Alright party people, ready yourselves for a night of heart-racingly risqué cabaret, because Blanc de Blanc Encore is back. The extravagance experts over at Strut & Fret have done it again, setting up the Spiegeltent — with all the glitz and glamour of 1920s Paris — once more. This time round, it's in residence at the new Northshore Hamilton pop-up, Twilight Electric. Considering the show's record-breaking box office sales across the country, some of you may already know what frivolous fun you're in for. And if not, you'd best get a ticket. The opulent immersive experience is on show till Sunday, September 18. Expect toe-tapping jazz, beguiling burlesque, circus tricks, side-splitting comedy and amazing music — plus, a new cast and fresh acts that Brisbane audiences haven't seen before. Whether you want to take date night to cheeky new heights and treat your partner to a night of edge-of-your-seat theatre, or you and your ride-or-dies don your best flapper dresses, feather boas and strings of pearls, this party has the makings of an affair to make Jay Gatsby jealous. So, consider this your invite — tickets will sell fast. Blanc de Blanc will take over the Spiegeltent from Wednesday, July 27 till Sunday, September 18. Head to the website for more information and to grab your tickets. Top images: Jacinta Oaten (first two), Jacquie Manning (last)
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=8vdaJcoKk0s PROMISING YOUNG WOMAN Promising Young Woman would've made an excellent episode or season of Veronica Mars. That's meant as the highest compliment to both the bubblegum-hued take on the rape-revenge genre and the cult-status private detective series. Writer/director Emerald Fennell clearly isn't blind to the parallels between the two, even casting Veronica Mars stars Max Greenfield (New Girl) and Chris Lowell (GLOW) in her feature debut. Don't go thinking the Killing Eve season two showrunner and The Crown actor is simply following in other footsteps, though. At every moment, the brilliant and blistering Promising Young Woman vibrates with too much anger, energy and insight to merely be a copycat of something else. It's a film made with the savviest of choices, and provocative and downright fearless ones as well, in everything from its soundtrack to its weaponised pastel, peppy and popping Instagram-friendly imagery. You don't include Italian quartet Archimia's orchestral version of Britney Spears' 'Toxic', Paris Hilton's 'Stars Are Blind' and an abundance of vibrant surface sheen in a movie about a woman waging war on the culture of sexual assault without trying to make a statement — and Fennell succeeds again and again. She has also made the smart decision to cast Carey Mulligan, and to draw upon the acclaimed actor's near-peerless ability to express complex internalised turmoil. Mulligan's fierce lead performance scorches, sears and resounds with such burning truth, and so does the feature she's in as a result. When Mulligan's character, Cassie Thomas, is introduced, she's inebriated and alone at a nightclub, her clothing riding up as she slouches in her seat. Three men discuss women over beverages by the bar, and notice Cassie while talking, with one commenting, "they put themselves in danger, girls like that". No woman brings sexual assault upon themselves, with this whole intelligent and astute revenge-thriller rebuffing the bro-ish bar guy's early observation in every way possible, and meting out punishment to those who think similarly. As viewers see in the film's opening sequence, Cassie is offered help by one of the chatting guys, Jerry (The OC's Adam Brody), who is concerned she could be taken advantage of by men who aren't as nice as him — but then takes her home, makes sexual advances, and learns that the medical school dropout-turned-coffee shop employee he's trying to bed has a lesson for him. Colour-coded names and tallies scrawled in a notebook illustrate this isn't a first for Cassie. The script drip-feeds details about its protagonist's motivations for her ritualistic actions; however, the specifics aren't hard to guess. Cassie's central vigilante quest is forced to adapt after she hears news about someone from her past, and the movie takes her to bold places, boasting a relentlessness that mirrors the persistence of grief and pain after trauma. Promising Young Woman never lets its protagonist's rage subside, proving furious from start to finish — and sharing that feeling even in the film's most overt setups and obvious scenes (which are also some of its most entertaining) is a foregone conclusion. Read our full review. https://www.youtube.com/watch?v=V4gSLP9Smlg SUMMERLAND Opening in the mid-70s, Summerland begins with Alice Lamb (Penelope Wilton, Downton Abbey) tapping away at her typewriter and scaring away the children who come knocking at her door. Rewind to the 40s, and the younger Alice (Gemma Arterton, Their Finest) does much the same. She's been labelled a witch by the kids in her seaside village, and she's hardly happy when the pre-teen Frank (Lucas Bond, The Alienist: Angel of Darkness) arrives on her doorstep as part of a government program to evacuate the next generation from London. In fact, Alice demands that he be rehoused instead of interrupting her work; however, she's told that'll take a week. Moving to the big screen after stage success as a playwright and theatre director (and making short film Leading Lady Parts, also starring Arterton), debut feature filmmaker Jessica Swale penned the original script, so Summerland isn't based on an existing text or property — but everyone watching knows Alice and Frank have ample time to overcome their initial animosity, and that that's exactly what'll happen. Indeed, exploring an unexpected connection between a misanthrope and the young boy placed in her care, tackling multiple types of trauma, and espousing the enduring need for hope, this primarily World War II-set drama proves standard, straightforward and predictable in many ways. And yet, it also demonstrates that a feature can be neat, obvious, heartfelt and rivetingly acted all at once. When it spins a story about a woman given a new lease on life via an unanticipated bond that's thrust upon her, Summerland rarely flirts with surprise, let alone delivers many. Again and again, Swale's screenplay makes easily anticipated choices, and yet it also tells a resonant tale in the process. The film feels as if it has been built around Arterton, and it's definitely better for it. Thanks to her lived-in performance, Alice is able to navigate a formulaic emotional journey and still staunchly feel like her own person at the same time. Other than Arterton's memorable efforts, Summerland also benefits from two specific aspects: the backstory behind Alice's demeanour, and the way it unpacks her outsider status. Inescapably, the movie includes an almost-cringeworthy, far-too-convenient twist — but when it leaps back to the 20s, to Alice's immediate attraction to and subsequent time with Vera (Gugu Mbatha-Raw, Misbehaviour) during her university studies, it doesn't just add a love story to the narrative. In its flashbacks and the shadow they leave on Alice's WWII-era life, the film also invests depth and emotion that isn't as strong otherwise, unleashes unexpected elements that aren't evident elsewhere, and offers a quiet yet potent undercurrent of subversion as well. Read our full review. https://www.youtube.com/watch?v=WxGXbsiDhw0 SPREAD YOUR WINGS Whether they're about people helping other creatures find a way back home, spin stories about connections between different species that change everyone involved, or combine the two in one setup, films about humanity's bond with cute critters comprise a hefty genre. French family-friendly drama Spread Your Wings doesn't just belong in this category, but heartily embraces everything that audiences have come to expect from features that fit the above description — and it also shows how charming movies about humans and animals can be when done simply but well. Sharing a storyline similar to 1996 American film Fly Away Home, but actually based on the real-life exploits of meteorologist Christian Moullec, the latest effort from filmmaker Nicolas Vanier (Belle & Sebastian, School of Life) follows a scientist who is certain that he can save an endangered species of wild geese by teaching them a new migration route, even if his superiors scoff at his idea. With the flying waterfowl's usual path filled with hazards, such as airports, powerlines and light pollution, Christian (Jean-Paul Rouve, I Wish Someone Were Waiting for Me Somewhere) plots an alternate course, raises a new gaggle of goslings from birth, then plans to take to the skies in a homemade ultra-light aircraft to show them the way. Working with a screenplay written by Moullec and Matthieu Petit, then adapted by Vanier and Lilou Fogli (Blind Date), Spread Your Wings recognises the strength of its story. Crucially, while it tells Moullec's tale via fiction rather than as a documentary, it doesn't overcomplicate or overdramatise the narrative. Sent to stay with him for three weeks, Christian's teenage son Thomas (Louis Vazquez, In Her Hands) becomes as engaged in the project as his dad, even taking the lead when authorities in Norway try to scupper their flight — and while everything in the plot charts the expected course, including Thomas' involvement and the firm bond he forges not only with all the geese in his care, but with one white waterfowl from a different species, Spread Your Wings always feels as if it's telling a timeless story, rather than a cliched and well-worn one. The lively efforts of Rouve and a tender performance from Vazquez helps immensely, as does the scenic cinematography, which heads above the earth as much as it can. Vanier is obviously well aware that he's soaring into busy territory, and opts for a classic approach — which pleasingly works for viewers of all ages. https://www.youtube.com/watch?v=Q6iXpyVQf5Q&feature=youtu.be BUDDY GAMES When Adam Sandler factored into Oscar consideration for his phenomenal performance in Uncut Gems this time last year, he said that if he didn't receive a nomination from the Academy, he'd make a movie that was downright terrible on purpose. He doesn't star in Buddy Games, and this flat-out awful comedy actually premiered six months before Uncut Gems did (yes, even though it is just reaching Australian cinemas now); however, it's the kind of film one would imagine that Sandler was talking about. Directed, co-written by and starring Transformers: The Last Knight actor Josh Duhamel, this oppressively unfunny flick feels like the product of a bet to turn Jackass into fiction, to make it as awful and obnoxious as possible, and to give Duhamel both a cruisy filmmaking credit and the easiest on-screen role of his career. The premise: for years, a group of male friends have gathered together over a boozy summer weekend to compete in challenges, obstacle courses and games, with bragging rights the ultimate prize. Then one of their get-togethers goes wrong, the tournaments are shuttered and everyone loses touch. Jump to five years later, when ringleader Bobfather (played by Duhamel, of course) is convinced to restart the festivities by his struggling pal Shelly (Dan Bakkedahl, Space Force) — and, at the urging of the rest of the gang (Entourage's Kevin Dillon, Psych's James Roday Rodriguez, CHiPS' Dax Shepard and The Wrong Missy's Nick Swardson), to put up $150,000 for the winner. Duhamel and his fellow first-time feature screenwriters Bob Schwartz and Jude Weng must find testicle jokes and cocktails made with semen hilarious, because that's comedic level that Buddy Games operates on. Also covered: men strapping slabs of meat to their head, then trying not to get attacked by a wild reptile; and a chauvinist contest to see who can pick up a woman at a bar, dance with them and land a kiss, all after just taking laxatives and straining to avoid defecating. While meant to garner laughs, the film simply serves up sad middle-aged men trying to assert their masculinity and hold onto their youth in a puerile way — and says plenty about the folks who thought it was a movie worth making. Unsurprisingly given the alpha male traits aggressively on display, women barely feature, and are either stunning but still one of the guys when they do (with The Predator's Olivia Munn the only female cast member with any real screen-time) or painted as the object of no one's real affection. Homophobic references abound, too, and the fact that one of the group is secretly gay (his only character trait) is as cliched and flimsily thought-out as it sounds. Not even the cast appears particularly committed to their parts, other than Duhamel, obviously, and an over-acting Bakkedahl. Adam Sandler didn't end up getting an Oscar nomination for Uncut Gems — but whatever he thinks will be his absolute worst film is bound to be better better than Buddy Games. If you're wondering what else is currently screening in cinemas — or has been throughout the year — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5, November 12, November 19 and November 26; and December 3, December 10, December 17, December 26 and January 1. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky, The Furnace, Wonder Woman 1984, Ottolenghi and the Cakes of Versailles, Nomadland, Pieces of a Woman and The Dry.
Whether it sports a catchy beat, an intoxicating riff, a punchy melody or instantly quotable lyrics, a brilliant pop tune never gets old. As Girls5eva demonstrates with its second season, the same proves true for smart and hilarious sitcoms about pop stars who climbed the charts, lived the late-90s/early-00s girl group fantasy and, two decades later, are trying to become more than one-hit wonders. And yes, this Tina Fey-executive produced sitcom — which shares the same joke-avalanche approach that 30 Rock, Unbreakable Kimmy Schmidt, Great News and Mr Mayor do, too — is also filled to the brim with ridiculously infectious songs. When it first hit streaming in 2021, Girls5eva introduced viewers to the eponymous band when reclaiming their fame wasn't even a blip on their radars — until, unexpectedly, it was. Dawn Solano (Sara Bareilles, Broadway's Waitress), Wickie Roy (Renée Elise Goldsberry, Hamilton), Summer Dutkowsky (Busy Philipps, I Feel Pretty) and Gloria McManus (Paula Pell, AP Bio) had left their days as America's answer to the Spice Girls behind, barely staying in contact since the group split and their fifth member, Ashley Gold (Ashley Park, Emily in Paris), later died in an infinity pool accident. But then rapper Lil Stinker (Jeremiah Craft, Bill & Ted Face the Music) sampled their single 'Famous 5eva', and they were asked to perform backing vocals during his Tonight Show gig. Jumping back into the spotlight reignited dreams that the surviving Girls5eva members thought they'd extinguished long ago — well, other than walking attention-magnet Wickie, who crashed and burned in her attempts to go solo, and was happy to fake it till she made it again. Dawn had settled into life as a mother (to four-year-old Max, played by debutant Julius Conceicao), wife (to school guidance counsellor Scott, played by Billions' Daniel Breaker) and manager at her brother's (Dean Winters, Joe vs Carole) Italian restaurant. Summer was an Insta-celebrity among conservatives and Christians thanks to her longstanding marriage to ex-boy band member Kev (Andrew Rannells, The Prom). And Gloria was a successful dentist whose other claim to fame since Girls5eva was being part of the first gay couple to get divorced in New York City. It's a glorious premise, as brought to life with a pitch-perfect cast — there's zero weak links among Bareilles, Goldsberry, Philipps and pell — with Girls5eva's first eight-episode season bopping through the group's contrasting personalities and their shared dynamics. As they reunited, Wickie's oversized ego, Dawn's uncertainty, Summer's seeming ditziness and the now-forthright Gloria's engrained trauma from pretending to be straight back in the day all swirled around. So too did a cavalcade of clever and perceptive gags about the show's two favourite topics, unsurprisingly: the ludicrous chaos of the entertainment industry, in the 90s and now alike; and the way not only showbiz but the world in general treats women, especially anyone beyond their 20s. Arriving on Stan in Australia and TVNZ On Demand in New Zealand on Friday, May 6, dropping three episodes at once before unfurling weekly afterwards, season two picks up where its predecessor left off, in narrative, vibe and themes. It's also back with more rapid-fire pop-culture references and digs; the same knowing, light but still sincere tone; and a new parade of delightful tunes composed by Jeff Richmond, Fey's husband and source of music across every sitcom she's produced. Having stormed the Jingle Ball stage at the end of the last batch of episodes, Girls5eva now has a new record deal on their own terms, with Dawn penning all of their songs. That said, they're signed to a label owned by the Property Brothers, they've been given just six weeks in the studio by their assigned executive (Grey Henson, Suburgatory), and Gloria busts her knee during a show as they're hitting the publicity circuit. One of the joys of Girls5eva — one of many — is how gleefully absurd it skews, all while fleshing out its central quartet, their hopes and desires, and their experiences navigating an industry that treats them as commodities at best. That silliness is as much a trademark of Fey-produced comedies as Richmond's soundtracks, and it's a template that creator/showrunner Meredith Scardino clearly learned while writing for Unbreakable Kimmy Schmidt and co-scripting the Unbreakable Kimmy Schmidt: Kimmy vs the Reverend movie. It's easy to watch Girls5eva and spot similarities with 30 Rock, Kimmy and the like as a result, but the devil is in the detail in everything with Fey's name attached. Wickie boasts plenty in common with 30 Rock's Jenna Maroney and Kimmy's Titus Andromedon, for instance, but feels like a sibling, not a clone. She's a new song from a familiar band, rather than a cover version — and the same can be said of Dawn, Summer and Gloria, all of whom have counterparts in fellow sitcoms that feature Fey's fingerprints. Girls5eva has always been about second acts, second chances and new beginnings — and wading through the baggage that can hinder all three — so the fact that it hums to a recognisable refrain has never been anything but extremely fitting. The show's sophomore season finds much to satirise with that in mind, while also diving deeper and pushing Wickie, Dawn, Summer and Gloria to grow. Another of its supremely apt underlying riffs: how difficult it is to follow your own heart and let your light shine when life keeps putting you in the same old box. That pulsates through as Wickie falls in love with someone other than herself, Dawn keeps trying to balance her home and work commitments, Summer adjusts to singledom and Gloria woos back her ex-wife (Janine Brito, Wine Country), only to wonder if that's what she really wants. Along the way, there's an onslaught of goofy gags for every occasion (Wickie's boyfriend is a "lunch lord", for example), as well as a tune. Sometimes, Dawn is trying to work all 430 definitions of the word 'set' into a song. Elsewhere, the group belts out bangers such as immediate earworm 'BPE (Big Pussy Energy)'. At one point, they take cues from The Beatles and hit up a rooftop to play the anthemic 'Bend Not Break', which is actually about Gloria's knee injury, to the NYC streets. And season-one highlight 'New York Lonely Boy' gets an equally melancholic and lovely sequel called 'New York City Moms', too. There's power and self-reflection, ridiculousness and earnestness, determination and heart in everything about this series, music, jokes, characters and storylines included — and it just keeps proving a laugh-a-minute gem to watch. Check out the trailer for Girls5eva season two below: The first three episodes of Girls5eva's second season hit Stan in Australia and TVNZ On Demand in New Zealand on Friday, May 6, with new instalments dropping weekly afterwards. Read our full review of season one. Images: Stan/Peacock.
Netflix is making a controversial docu-soap about Byron Bay influencers. Hulu's next star-studded miniseries was shot in the area. And, come June, Stan will unveil a new eight-part series that was also filmed in the coastal town and New South Wales' Northern Rivers region. It seems that streaming services and TV networks everywhere are mighty keen to beam the spot's scenic backdrops into our homes — and, in the latter case, to get everyone hooked on a local mystery-drama. Called Eden, the Stan series begins with a missing person. When 20-year-old Scout (Sophie Wilde, Bird) returns to the titular beach community after a year at Juilliard in New York, she realises that her best friend Hedwig (BeBe Bettencourt, The Dry) has changed. Following a drug-fuelled night that sees them delve into their feelings, Hedwig disappears but Scout can't remember a thing. From there, the show charts the secrets and revelations festering beneath the surface of its small-town setting, all as Scout tries to find her bestie. Also pivotal: flashes back to Hedwig's summer. If it sounds somewhat familiar, that's because plenty of TV shows — Twin Peaks and The Killing, just to name two — have begun with missing people. That type of premise doesn't seem to be disappearing from our televisions anytime soon. Still, in both its first teaser and just-dropped full trailer, Eden tries to find its own look, vibe and mood. Come Friday, June 11, you'll be able to find out how it unfolds — and watch a cast that also includes Keiynan Lonsdale (The Flash), Cody Fern (American Horror Story), Samuel Johnson (Molly), Christopher James Baker (True Detective), Rachael Blake (Cleverman), Leeanna Walsman (Penguin Bloom), Simon Lyndon (Mystery Road) and Maggie Kirkpatrick (The Letdown). Behind the camera, the show stems from head writer Vanessa Gazy (Highway) and writing team Jess Brittain (Clique), Anya Beyersdorf (Shakespeare Now), Clare Sladden (Freudian Slip) and Penelope Chai (Other People's Problems) — and directors John Curran (Chappaquiddick), Mirrah Foulkes (Judy & Punch) and Peter Andrikidis (Alex & Eve). Plus, the creator of Skins, Bryan Elsley, helped created Eden, too, with Fiona Eagger and Deb Cox (Miss Fisher's Murder Mysteries). Check out the full trailer for Eden below: https://www.youtube.com/watch?v=R0LOYAPh3es Eden will be available to stream via Stan on Friday, June 11. Top image: Every Cloud Productions.
Brisbanites, you now have plans for 2032. Australians who reside elsewhere, you're going to want to make a trip to the Sunshine State that year, too. After first being named the preferred location back in February, and then earning the International Olympic Committee Executive Board's endorsement in June, Brisbane has just received the official tick of approval — and has been announced as the host of the 2032 Olympic and Paralympic Games. Today, Wednesday, July 21, the full International Olympic Committee voted to choose the 2032 host, with Brissie emerging victorious. Given how the past few months have panned out, this result was expected; however, that doesn't make it any less exciting. The 2032 games will take place between July 23–August 8, 2032 at a range of venues not just in Brisbane itself, but around southeast Queensland. Brissie's bid included clusters of venues in the city, on the Gold Coast and on the Sunshine Coast. As revealed in April, the Gabba will also undergo a huge revamp in preparation for the games, which'll basically involve tearing the stadium down and rebuilding it again. https://twitter.com/iocmedia/status/1417763724291497989 It has been a big year for Brisbane, sports-wise, with the city making history last October by becoming the only place outside of Melbourne to ever host an AFL Grand Final. It's been a big few years for southeast Queensland, actually, given that the Gold Coast hosted the Commonwealth Games back in 2018. The 2032 games will be the first held in Oceania since 2000 — when Sydney did the honours, as every Australian remembers. It'll also mark just a 32-year gap between Australia's most recent hosting slots. The Olympics were first held on our shores back in 1956, in Melbourne. https://twitter.com/AnnastaciaMP/status/1417764096678653952 Brisbanites can expect fireworks lighting up the sky tonight in celebration, as the Premier revealed in the lead up to the announcement. They're being set off from river barges and CBD buildings, and Brisbane's buildings, bridges and City Hall are also being lit up in green and gold hues as well. The news comes as the 2020 Tokyo Olympics — delayed from last year due to the pandemic — kick off this week, running through until Sunday, August 8. Paris is on hosting duties in 2024, while Los Angeles will take the torch in 2028. Brisbane will host the 2032 Olympics from July 23–August 8, 2032. For further information, head to the Games' website. Top image: IOC/Christophe Moratal.
If sunning yourself on a beach, surrounded by palm trees and crystal blue waters, sounds like total bliss, we'd say you're not alone. Most of us have a pang of wanderlust from time-to-time and, after a pretty stressful year, kicking back in a bikini or boardies with a cocktail in hand sounds like paradise. Sure, you can't yet jet off to the sandy white shores of Puerto Rico, the turquoise seas of the Maldives or the buzzing streets of Havana, but you can still get plenty of vacay vibes in Australia. We've teamed up with our friends at go-to rum label Bacardi to bring you four cruisy cocktails that you can whip up fuss-free over summer. We bet these tasty tipples will transport you to a tropical island in no time. So, don your favourite holiday outfit, whack on some bossa nova tunes and get ready makes some next-level drinks. THE COOL ONE: FROZEN DAIQUIRI Serves one Aussie summers are hot, so you'll want an ice-cold beverage on those days where the cicadas thrum and the air is thick and sticky. Enter the frozen daiquiri, a cool riff on the classic daiquiri. Basically, it's summer in a glass. To make it, you'll need a blender, so you can make multiple serves at once, meaning it's the perfect party drink. Just be sure to stick to the ratios to ensure you're serving up a sweet-but-equally-tangy concoction. Ingredients 60ml Bacardi Carta Blanca 30ml sugar syrup 30ml fresh lime juice 1 lime wedge (optional) 3/4 cup ice Method Combine all ingredients and ice in blender and blitz until a slushie consistency is achieved. Serve in a highball glass, or, if you're feeling fancy, a martini glass. Garnish with lime wedge and serve. THE PARTY STARTER: SPICED PIÑA COLADA Serves one If you like this fun drink and getting caught in the rain on a sweltering summer evening, then you should be making yourself one stat. Originating from Puerto Rico, the piña colada is typically made with white rum, coconut cream and pineapple juice aplenty. But this version, using Bacardi Spiced to hints of vanilla and cinnamon, is sure to get any party going. It has a surprisingly smooth finish, too, and the coconut water instead of cream or milk keeps things fresh. Ingredients 60ml Bacardi Spiced 30ml fresh pineapple juice 30ml coconut water 2 teaspoons castor sugar 3–4 cubes of fresh pineapple 1 pineapple slice (optional) 1 tropical leaf (optional) Ice Method Place pineapple cubes and castor sugar in cocktail shaker and slightly crush using a muddler or spoon. Add pineapple juice and coconut water to mixture and stir to dissolve the sugar, then add Bacardi Spiced. Half fill cocktail shaker with ice and shake until chilled (about 30 seconds). Strain into a highball glass and add ice cubes. Top with crushed ice and garnish with pineapple slice and leaf to serve. THE COOL ONE'S FUN COUSIN: FROZEN STRAWBERRY DAIQUIRI Serves one This frosty, fruity take on the daiquiri is pretty much an adult slushie. Again, to make this frozen delight you'll be using a blender, meaning you can easily make it in batches. Not only is it delicious, but its vibrant colour makes it an ideal go-to throughout the holiday season. Best of all, it is easy as a Sunday morning to whip up. Ingredients 45ml Bacardi Carta Blanca 20ml sugar syrup 30ml fresh lime juice 3–4 strawberries 1 partially sliced strawberry (optional) 1 cup ice Method Combine all ingredients and crushed ice in blender and blitz until a slushie consistency is achieved. Serve in a highball glass or any glass, really. Garnish with sliced strawberry and serve. THE CLASSIC: MOJITO Serves one If there's one drink that has you dreaming of salsa dancing in Cuba upon first sip it's the mojito. It's got all the ingredients for a refreshing summer drink without being utterly dull. There's zesty citrus, the freshness of mint, a slight sweetness and some fizz to keep things light and bubbly. Of course, there's also the rum. If you want to keep things old-school opt for Bacardi Carta Blanca, or you can spice things up a bit by using Bacardi Spiced. Either way, it's an A-class cocktail. Ingredients 60ml Bacardi Carta Blanca or Bacardi Spiced 4 lime wedges 2 teaspoons castor sugar 6–8 mint leaves 15–30ml soda water 1 mint sprig (optional) Method Squeeze lime into a highball glass, add sugar and stir until dissolved. Add mint leaves and muddle. Half fill glass with crushed ice, pour Bacardi Carta Blanca, or Bacardi Spiced if you're making a spiced mojito, then stir to combine. Top up with more crushed ice, add a dash of soda (to taste) and garnish with mint sprig. Do what moves you this summer with these super-easy tropical cocktails from Bacardi. Once you've mastered the art of rum cocktails, check out Bacardi's competition, where you and 20 mates could win the chance to attend Australia's smallest music festival. Top image: Mushroom Creative House
What do you think of when I say Daphne Mayo? Chances are you think you don’t know much– if anything at all – about her. Let me help you out: Daphne Mayo is one of Australia’s foremost sculptors, and is particularly significant to Brisbane’s sculptural heritage. Still drawing a blank? Trust me, if you are a native to Brisbane, or have spent any time here at all, I guarantee you will have seen at least one, if not more, of her works. Walking through the centre of the city, Mayo’s work is all around you: from the tympanum (carved bit) over the entrance to City Hall, to the Queensland Women’s War Memorial in Anzac Square and the statue of Major General Sir William Glasgow in Post Office Square. But listen, don’t feel bad about it; instead, get yourself to the Queensland Art Gallery to catch up on everything that you’ve missed! The exhibition comprises over 50 works from public and private collections around Australia, ranging from portrait busts to architecture monuments; official commissions to creative, modernist experiments; and include ceramics, paintings and drawings as well as sculptures. And, best of all, it’s free!
Hailed as kings of the cold-press, Blackstar don't take short cuts when it comes to providing their rich and earthy blend. In a story that has become a Brisbane legend, the Blackstar boys returned from a coffee-excursion in New Zealand, and with little more than flavour memory tried to replicate the finely crafted coffee they left overseas. Needless to say, success ensued and these days you can you can grab a brew from Blackstar in West End, Contessa in the City, or at the Queen Street markets.
There's a certain moment between waking up in a hot tent, losing your boot sole in shin-deep mud and slipping up the side of a muddy, muddy amphitheatre that we remember this unshakable music addiction of ours is fukt. Yet year after year, we load up our borrowed cars with hidden goon sacks, blow-up Kmart mattresses, '90s throwback playlists and enough muesli bars to make our mums happy and we drive our timetable-highlighting butts to the music mecca to rule them all post-BDO: Splendour in the Grass. Why do we do it? Why do we skate through mudpiles resembling a human bowel system? Why do we munch on greasy moshpit ponytails between burling throat-scraping vocals? Why do we shell out ten beans a tinny for watery piss that calls itself beer? Seems we can't shake this pesky music lovefiend. Returning to North Byron Parklands, this year's Splendour in the Grass gained wraps from the 5-0 for 'good behaviour' (the badly behaved are still sitting in sinkholes in the Mix Up tent), slam dunked three big gun headliners in a row (Mark Ronson, Florence and the Machine, Blur), and generally became the mudbath we annually buy novelty gumboots for. While we counted no less than seventeen headdresses and found an entire Splendour stall selling the damn things, there was a limited quota of douchebaggery to be seen — or perhaps they were simply easier to avoid; mud maketh muppets of the munted. Instead, here's what made us cheer for an encore. CLIENT LIAISON With a bigger budget and bigger audiences to boot, Client Liaison have become the nostalgia-fuelled spectacle they've been threatening to be for years; ferns, pastel tuxedos, gold necklaces, and three incredible legs-for-days aerobic dancers to pose Lampoon-style around Client's disco-dancin' Monte Morgan. With co-Liaison Harvey Miller tweaking singles 'Queen' and 'End of the Earth', Client finished up with a cover of INXS's 'Need You Tonight' with longtime live bandmate and triple j Hack presenter Tom Tilley. FLORENCE AND THE MACHINE Florence Welch is the new messiah. Well, you'd be forgiven for thinking so after this large-scale bapitism-by-ballad. Characteristically bare-footed and donning flowing white threads to rival Stevie Nicks, the British powerhouse entranced the amphitheatre with soaring vocals and theatrical spirit fingers, backed by her mighty Machine — stopping to remind the audience of her first Splendour performance in a Surry Hills-bought vintage wedding dress many moons ago. With expectations high following her slam dunk of a 2015 Coachella set, Welch careened through single to fan favourite to 'Dog Days Are Over' finish with the level of high energy usually associated with Bacchanalian wood nymphs. TAME IMPALA The last time Tame Impala played Splendour, they debuted a little ol' single called 'Elephant' three years ago. This year, Kevin Parker and his psychedelic bunch came armed with brand new album Currents and an amphitheatre full of expectant fans (and granted, Blur fans trying to get a good spot). It's not every artist who's confident enough to drop seven-minute single 'Let It Happen', or open a set with it, but Parker's not every artist. BLUR "You're all fucked, aren't you." Blur frontman Damon Albarn knew an end of Splendour audience when he saw one, bubbling with anticipation at seeing the '90s Britpop legends united in the ampitheatre on Sunday night. Saluting the moon, bounding about the stage like a merry pirate and getting up in fan faces over the almost two-hour set, Albarn steered Alex James, Graham Coxon and Dave Rowntree through a furiously fast 'Song 2', beloved singles 'Beetlebum', 'Parklife' and 'There's No Other Way' amongst plenty of material from new album Magic Whip. Finishing up the festival with epic 1995 ballad 'The Universal' made whimpering messes of fans amphitheatre-wide. PURITY RING Though the Mix Up tent was almost literally sinking into the mud, Canada's Purity Ring took Splendour punters to new heights of euphoria. Multi-instrumentalist Corin Roddick commanded booming synths and playable light-up crystals, while elven vocalist Megan James jumped, skipped and serenaded like a futuristic woodland sprite, blitzing everything from 'Push Pull' to 'Fineshrine'. MARK RONSON With Theophilus London, Kevin Parker, Daniel Merriweather, Keyone Starr and co. in tow, Mark Ronson's all-star variety show careened through the superstar producer's hit-dotted career so far; from explosive opener 'Feel Right' to a heartfelt 'Valerie' singalong using Amy Winehouse's original vocals. After cheesily getting bikes onstage for 'The Bike Song', bringing out Miike Snow's Andrew Wyatt for a rendition of the Ronson-co-written single 'Animal', Ronson dropped the firecracker Splendour was waiting for: a ten minute, rain-drenched bacchanal fuelled by 'Uptown Funk'. Worth the subsequent flu. MØ If you've ever wanted to feel as old as humanly possible at a live gig, see a MØ gig. The Danish electro pop singer (real name Karen Marie Ørsted) made a mockery of ageing, blasting out a youth-fuelled escapade into her debut album No Mythologies to Follow in the Mix Up tent — finishing up with a giant singalong of Major Lazer and DJ Snake single 'Lean On'. Ørsted gave a nod to her buddy Elliphant, the pint-sized Swedish pseudo rapper who'd similarly stopped time the day before, with a sultry rendition of their duet 'One More'. JENNY LEWIS While DZ Deathrays melted faces in the amphitheatre and Japanese Wallpaper threw shapes for giggly teenfans, longtime crooner Jenny Lewis was kicking goals over in the GW McLennan tent. Turning what should be a sheriff-badged country hoedown into a candy-coloured pop shop, as Lewis's pastel rainbow-themed set flagged new material from her latest album The Voyager. Lewis has never been better. Sauntering through old heartwrenchers like 'With Arms Outstretched', and new buzz tracks 'Just One of the Guys' and 'She's Not Me', the ever pitch perfect Lewis dropped a bit of 'Bad News' for Rilo Kiley fans late in the set. Kudos go to Lewis's lead guitarist and keyboardist who joined Lewis for a three-part harmony a la Brother Where Art Thou that left no dry eye in the house. UV BOI If you're not across this 18-year-old Brisbane producer, take note. One of the most original and refreshing producers in the game right now, UV boi threw every genre in the book in the bin with his Tiny Dancer stage set. JARRYD JAMES There's a lot to be said for a killer single. Brisbane's Jarryd James has been kicking serious goals over the last 12 months, with a debut album on the way and a multi-platinum single 'Do You Remember' tailor-made for a big ol' Splendour singalong. But James is more than his big breakthrough song, showcasing the his Frank Ocean-meets-Blackstreet catalogue to a packed-out Mix Up tent. "Thanks for coming and hanging out, I know my music's not party music." Beg to differ bro, beg to differ. THE SMITH STREET BAND Melbourne's bighearted rockers hit it out of the ballpark on Splendour's sunny, sunny Saturday afternoon, while toilet paper rolls soared over the crowd. "I dare anyone else playing at Splendour to sweat this much," mused frontman Wil Wagner staring straight into the sun and leading his crew and one heck of an adoring crowd through such hard-hitting jewels as 'I Don't Wanna Die Anymore', 'Don't Fuck With Our Dreams' and the nostalgia-driven 'Young Drunk' in front of a huge banner preaching "Real Australians say welcome". Total legends. THE DANDY WARHOLS Though slightly lacking in vocal volume, the Dandies put on one energetic show for their boob-flashing fans. Bouncing from mega single 'We Used to Be Friends' to Thirteen Tales From Urban Bohemia throwbacks like 'Mohammed' and 'Bohemian Like You', the Oregonians proved unexpected highlights for both longtime fans and Dandy newcomers alike — all trying to get a solid footing on the perilously muddy amphitheatre slopes. VALLIS ALPS Watch out for these two. Filing the Mix Up tent for Saturday's perilously early midday slot, bright young up-and-comers Vallis Alps served up their dreamy brand of Chrome Sparks-like electronica to new ears. The Canberra and Seattle-based duo blitzed their fourth ever live show (yep, kids today), cranking a beauty of a Bon Iver 'Blood Bank' cover and finishing up with big buzz single 'Young'. MEGAN WASHINGTON Surrounded by metallic balloons and playing the absolute crap out of her beloved keyboard, Washington delivered one of her most energetic, stadium-like sets yet. The real showstopper? A mid-'My Heart Is a Wheel' cover of Real McCoy's 'Another Night', with Washo's keyboardist crushing that immortal 'rap' bit. Plus, punters got to nab those silver balloons, most of which were released into the night during Tame Impala's amphitheatre set. Magic. #1 DADS Last show for Tom Isanek's #1 Dads side project, and what an emotional feelbucket it was — from the heartbreaking 'Return To' featuring Tom Snowdon to that glorious, widely celebrated cover of FKA Twigs’s 'Two Weeks’. JOHNNY MARR Watching a legend play their own iconic guitar lick reminds you of how many bad cover bands you've seen over the years. Legendary guitarist for The Smiths Johnny Marr commanded the GW McLennan tent with tracks from his latest album The Messenger, but indulged in a few Smiths classics for fans, nailing Morrissey's warbling vocals in 'There Is a Light That Never Goes Out' and finishing up with the howling 'How Soon Is Now'. Images: Bianca Holderness, A. Catt, Justin Ma, Savannah Vander Niet, Claudia Ciapocha, Ian Laidlaw, Stephen Booth, Marc Grimwade, UV Boi.
It’s always inspiring to hear about the successes of our local Brisbane folk. When it comes to inspiration, 24-year-old fashion designer Ana Diaz takes the cake. The 2010 fashion graduate is the guest speaker at the Brisbane Beginnings segment of Fashion Talks at QUT. Discussing her experience in the industry and her amazing achievement of debuting in the L’Oreal Melbourne Fashion Festival, Diaz is a shoe in to captivate an audience of eager fashion folk. Already in its second month of seminars for 2011, Fashion Talks is fast becoming a popular source of first hand information and insight into the fashion industry. Wanna find out what it takes to get your collection on the catwalk? Wanna be in on the secrets of the working fashion world? Let the experts fill you in. It’s the perfect opportunity for any students, artists, designers, writers and all fashion enthusiasts to look through the eyes of our successful achievers to understand the ways of the contemporary fashion field.
UPDATE, November 11, 2022: Fire of Love is available to stream via Disney+. Spewing fire is so hot right now, and literally always — and dragons aren't the only ones doing it. House of the Dragon and Blaze can have their flame-breathing creatures, and Fire of Love can have something that also seems fantastical but is one of the earth's raging wonders. The mix of awe, astonishment, adoration, fear, fascination and unflinching existential terror that volcanoes inspire is this documentary's playground. It was Katia and Maurice Krafft's daily mood, including before they met, became red beanie-wearing volcanologists, built a life chasing eruptions — The Life Volcanic, you could dub it — and devoted themselves to studying lava-spurting ruptures in the planet's crust. Any great doco on a topic such as this, and with subjects like these, should make viewers experience the same thrills, spills, joys and worries, and that's a radiant feat this Sundance award-winner easily achieves. What a delight it would be to trawl through the Kraffts' archives, sift through every video featuring the French duo and their work, and witness them doing their highly risky jobs against spectacular surroundings for hours, days and more. That's the task filmmaker Sara Dosa (The Seer and the Unseen) took up to make this superb film. This isn't the only such doco — legendary German director Werner Herzog has made his own, called The Fire Within: A Requiem for Katia and Maurice Krafft, after featuring the couple in 2016's Into the Inferno — but Fire of Love is a glorious, sensitive, entrancing and affecting ode to two remarkable people and their love, passion and impact. While history already dictates how the pair's tale ends, together and exactly as it seemed fated to, retracing their steps and celebrating their importance will never stop sparking new pleasures. For newcomers to the Kraffts, their lives comprised quite the adventure — one with two volcano-obsessed souls who instantly felt like they were destined to meet, bonded over a mutual love of Mount Etna, then dedicated their days afterwards to understanding the natural geological formations that filled their dreams. Early in their time together, the couple gravitated to what they called 'red volcanoes', with their enticing scarlet-hued lava flows. What a phenomenon to explore when romance beats in the air, and when geochemist Katia and geologist Maurice are beginning their life together. From there, however, they moved to analysing what they named 'grey volcanoes'. Those don't visually encapsulate the pair's relationship; they're the craggy peaks that produce masses of ash when they erupt — Iceland's Eyjafjallajokull, for instance — and often a body count. As narrated by actor and Kajillionaire filmmaker Miranda July, Fire of Love starts with blazing infatuation and devotion — between the Kraffts for each other, and for their field of interest — then establishes their legacy. Both aspects could fuel their own movies, and both linger and haunt in their own ways. And, as magnificent as this incredibly thoughtful, informative and stirring documentary is, it makes you wonder what a sci-fi flick made from the same footage would look like. The 16-millimetre imagery captured during the Kraffts' research trips around the globe, whittled down here from 200 hours to fill just 98 minutes, puts even the most state-of-the-art special effects in a different realm. Pixels can be used to paint gorgeous sights, and cinema has no shortage of movies that shimmer with that exact truth, but there really is no substitute for reality. During Fire of Love's first half, those easy visions of science fiction just keep flickering; if someone else had Dosa's access, and had July employ her dreamy voice to spin an otherworldly narrative, movie magic would likely explode. There's a particular sequence that cements that idea, set to the also-ethereal sounds of Air — layering French icons upon French icons — and featuring the Kraffts walking around against red lava in their futuristic-looking protective silver suits. They wander, they risk their lives, and pure actuality beams back. It's nothing short of extraordinary, as well as enchanting. Fittingly, the film's entire score springs from Air's Nicolas Godin, and it couldn't better set the mood; that said, these visuals and this story would prove enrapturing if nary a sound was heard, let alone a note or a word. Other segments ripple with sheer incredulity — not the several riffs on Katia and Maurice's meet-cute, though, or how he worked the publicity angles to fund their work while she pumped out their books. (In a doco stitched together from archival materials rather than contemporary talking-head interviews, those past TV chats come in handy, too). When Maurice and one of the duo's offsiders decide chalk up the first-ever sailing trip across a lake of sulphuric acid in just a rubber dinghy, floating around the crater of Java's Ijen, jaws can only drop. The footage is breathtaking, and more petrifying than any horror flick. That Katia refused to hop onto the raft also helps spell out the pair's differences. No chemist would trust their life to a bath of acid, yet the geologists are willing to take the chance. Fire of Love falls head over heels for the Kraffts' similarities and mutual fixations, but Dosa, her co-writers/editors Erin Casper (The Vow) and Jocelyne Chaput (Fractured Land), plus producer/fellow co-scribe Shane Boris (Stray), also see where they went their own ways. When Fire of Love focuses on the Kraffts' groundbreaking observations, it's even more astounding. The film covers the crucial life-or-death impact of their work on grey volcanoes, after attempting to educate towns and cities in the vicinity of such masses — so they could react appropriately and in a timely manner to avoid casualties — became a key part of their mission. Spying the fallout when the couple's warnings about potential fatalities went unheeded, including their cautions about deadly mudslides, is simply heartbreaking. Witnessing how one pyroclastic flow from Japan's Mount Unzen in 1991 forever ended the Kraffts' own narratives, albeit not for the same reason, is just as moving. What an existence Katia and Maurice shared — and what a stunningly compiled and edited tribute this is to them, the rock they called home as we all do, the land features they adored, the ash and fire those volcanoes expel into the sky, and the fragility of life, love and, well, everything.
It's no secret that New York City is overflowing with cultural experiences. That's probably one of the main reasons you're considering visiting (or revisiting). But what you might not know is that there's a slew of cultural experiences to be found beyond the Big Apple too. Once you've explored The Met and caught a Broadway show, head outside the city into New York State to explore art galleries, museums and performance spaces that showcase incredible creativity, history and stories. We've teamed up with New York State to highlight some of our favourite destinations that will elevate your journey beyond the typical tourist stops. [caption id="attachment_845553" align="alignnone" width="1920"] John Rozell, Office of Parks, Recreation and Historic Preservation[/caption] SCHUYLER MANSION, ALBANY Planning to see Hamilton when you're in NYC? In addition to listening to the soundtrack on repeat for the rest of your trip, you'll likely want to learn more about the characters you saw brought to life on stage. And you can do so at the Schuyler Mansion in Albany, the state's capital city. Once home to Philip J. Schuyler — the prominent 18th-century military leader, politician and father to Hamilton characters Angelica, Eliza and Peggy Schuyler — the Schuyler Mansion remains an enduring piece of Albany's history. Originally built on an 80-acre property overlooking the Hudson River, it was visited throughout the years by some of America's most notable figures including Benjamin Franklin, George Washington and Benedict Arnold. Spoiler alert: it was also the location of Alexander Hamilton and Eliza Schuyler's wedding in 1780. Enjoy wandering through this preserved Georgian home to delve into the story behind the mansion and its residents, and to experience how one of New York's influential figures shaped the surrounding region from this historic estate. [caption id="attachment_845255" align="alignnone" width="1920"] George Eastman House - Kellie Fraver[/caption] GEORGE EASTMAN MUSEUM, ROCHESTER Consider yourself a film and photography buff? The George Eastman Museum is a grand cultural institution dedicated to the origins of photography and motion picture. The estate's namesake owner founded the Eastman Kodak Company, and his former residence has hosted this not-for-profit museum since 1947 and features a collection spanning millions of artefacts. Throughout the year there are terrific exhibitions from established and emerging artists, plus daily tours of the grounds and regular talks by visiting scholars. The museum is also one of three places in the country where you can catch a screening presented on nitrate film — once thought too flammable to use safely. After you've finished exploring inside, take a moment to savour the mansion's immaculate gardens. [caption id="attachment_853517" align="alignnone" width="1920"] NYSDED, Darren McGee[/caption] NATIONAL BASEBALL HALL OF FAME AND MUSEUM, COOPERSTOWN Baseball is still referred to as America's favourite pastime and remains one of the most popular sports in the country. Attending a Major League game is definitely something to add to your itinerary (even if only for the hotdogs, peanuts and beer in paper cups) but if you're looking to learn about the history of the sport, it's worth a trip to the National Baseball Hall of Fame and Museum in Cooperstown. Here, both mega-fans and the sports-curious can explore remarkable exhibits featuring millions of items from the private collection. Opened in 1939 to draw tourists to the community, this vast three-storey museum now offers everything from baseball movie memorabilia to a 200-seat theatre screening documentaries. [caption id="attachment_853521" align="alignnone" width="1920"] NYSDED, Darren McGee[/caption] PROCTORS THEATER, SCHENECTADY Opened as a vaudeville playhouse in the early 20th century, Proctors Theater is one of the most historic stages to be found anywhere in the United States. It was the location for the first-ever public television demonstration in 1930 and has had iconic pop acts like Mariah Carey and Britney Spears grace its stage. Proctors Theater now focuses on accommodating Broadway productions, large-scale cinema screenings and shows for emerging local performers, so if you wanted to experience a quality theatrical production (without the huge crowds and ticket prices that Broadway often demand), head to the colourful city of Schenectady to secure seats to the likes of My Fair Lady (May 17–22, 2022) and Mean Girls (June 28–July 3, 2022). [caption id="attachment_853523" align="alignnone" width="1920"] NYSDED, Darren McGee[/caption] BOLDT CASTLE, ALEXANDRIA BAY It's hard to believe you can find something so picturesque and fairy tale-like within driving distance of New York City but here you have it: Boldt Castle. This grand Rhineland structure adorns its own five-acre island within the Thousand Islands-Seaways region, about 5.5 hours from Manhattan. The brainchild of influential hotelier George Boldt, the castle was originally built for his wife Louise, but sat incomplete for over 70 years after her death brought construction to a halt. After a long-standing effort to finish the castle, the island is now open to visitors between May and October each year when the weather is warmer. Catch a ferry or private boat across from the mainland to explore the carefully reconstructed spaces and period-specific furnishings, then hit up the formal gardens, picnic areas and gift shop. [caption id="attachment_851083" align="alignnone" width="1920"] NYSDED, Darren McGee[/caption] LUCY DESI STUDIOS MUSEUM AND NATIONAL COMEDY CENTER, JAMESTOWN Nowadays, it's difficult to grasp how influential a duo Lucille Ball and Desi Arnaz were. Back in the 50s, I Love Lucy was a worldwide sensation and a pioneering production on a couple of fronts, including being the first TV show to have a live studio audience instead of using canned laughter. The Lucy Desi Museum is where you can celebrate the legacy of these television icons by exploring a collection of costumes, awards, mementos as well as precise studio set recreations. Also in Jamestown is the National Comedy Center where you'll find more than 50 interactive exhibits that track the rise of modern comedy as a beloved art form. You'll gain an even greater appreciation for the genre's defining figures, from Charlie Chaplin to Carl Reiner. [caption id="attachment_845002" align="alignnone" width="1920"] NYSDED, Darren McGee[/caption] STORM KING ART CENTER, NEW WINDSOR New York State's kaleidoscopic landscape is striking as it shifts in colour throughout the year from one season to the next. One of the best places to experience the natural wonder is Hudson Valley's Storm King Art Center — a 500-acre outdoor gallery filled with towering installations and site-specific commissions from renowned artists. As you roam the wide open fields, you'll come across soaring artworks by world-famous sculpturists like Roy Lichtenstein, Alexander Calder, Richard Serra and Lynda Benglis. Alongside this enormous collection of permanent openair works, there are new exhibitions presented inside a smaller gallery space. This year, Storm King Art Center is hosting a special showing of Kenyan-born American artist Wangechi Mutu's earth and bronze sculptures, and New York-based artist Brandon Ndife's site-specific project Shade Trees. [caption id="attachment_853526" align="alignnone" width="1920"] NYSDED, Darren McGee[/caption] FISHER CENTER AT BARD, ANNANDALE-ON-HUDSON Cultural institutions rarely come more stunning than the Fisher Center at Bard College in Annandale-on-Hudson. Located in the Hudson Valley region, the experimental performing arts centre was designed by seminal architect Frank Gehry, and the building's sustainable innovations and deconstructivist roofline received rave reviews upon being opened to the public. The performances inside are just as impressive. The Fisher Center at Bard hosts musical theatre, dance and orchestral events across several groundbreaking spaces. Check the website to see what's happening during your visit and purchase tickets to whatever takes your fancy. To start planning your trip to New York State, head to iloveny.com. Also, be sure to check out our recommendations for the best food and drink stops, places to stay, outdoor adventures and day trips from NYC. Top image: NYSDED, Darren McGee
If you've been spending every weekend hitting up Australia's reawakened music festival lately, then you might have noticed two clear trends. Firstly, live music is well and truly back. Secondly, blasts from the pasts are back, too — and the just-dropped Beyond The Valley lineup has Nelly Furtado on the bill to prove it. At other events this year, you can catch everyone from TISM and Groove Armada through to Sophie Ellis-Bextor and TLC — and now, at the three-day end-of-year fest that is Beyond The Valley, the Canadian singer behind 'I'm Like a Bird', 'Turn Off the Light', 'Maneater' and 'Promiscuous' is taking to the stage. She's doing a one-off Australian-exclusive performance at fest, as well as her first show in over five years. The Beyond The Valley bill isn't all about getting retro, of course. Also on the eclectic lineup: Denzel Curry, Dom Dolla, Kaytranada, BENEE, Yeat, Flight Facilities, Honey Dijon, Lime Cordiale, Patrick Topping, Charlotte De Witte, Diplo and more. That includes Bicep, which'll come as no surprise if you saw the video earlier in the year announcing the fest's return, which was set to the sounds of 'Glue'. This year's Beyond The Valley will take place from December 28, 2022–January 1, 2023, marking a nice dose of normality given that the beloved camping music festival has been on hiatus during the pandemic. It hosted a city-based spinoff in to see out 2021, aka Beyond The City, but is now back in its original guise to take care of New Year's Eve plans. There is one big change on the agenda: a move of venues. In past years, Beyond The Valley has typically taken place in the regional Victorian town of Lardner, but for 2022 it'll sprawl across at site at Barunah Plains. So, music festival fans will be headed 90 minutes outside of Melbourne, to a spot on Wentworths Road in Hesse that comes compete with a 100,000-square metre-natural amphitheatre. [caption id="attachment_866661" align="alignnone" width="1920"] @ladydrewniak[/caption] That's where Beyond The Valley will set up its three usual stages, the main stage, dance tent and multilevel dance spot Dr Dan's, as well as a new podcast stage featuring live and interactive recordings. The 2022 fest will also include a beach club for swims; a small space that's only accessible via secret entrance called Schmall Klüb; the Poof Doof 'pride patrol'; and speed dating, yoga, pilates, meditation, open mic sessions and a fortune teller. And, if you only want to head along for a single day — or you aren't keen on camping — Beyond The Valley is introducing a daily entry ticket. BEYOND THE VALLEY 2022 LINEUP: BENEE Bicep (live) Charlotte De Witte Denzel Curry Diplo Dom Dolla Flight Facilities Honey Dijon Kaytranada Lime Cordiale Nelly Furtado Patrick Topping Yeat Aitch Budjerah Cloonee Confidence Man DJ Boring Folamour HAAi Heidi Jay1 Jnr Choi Job Jobse Or:la Palms Trax Partiboi69 Remi Wolf Sally C San Cisco SG Lewis Shygirl Tkay Maidza Vera Blue X Club. Yung Lean Aroha Benson Caitlin Medcalf Cassettes For Kids Denim Foura Hatchie Jesswar JK-47 Jordan Brando Joy. Juice Romance Kee'ahn Laura King Memphis LK Merci, Mercy Mia Rodriguez Ninajirachi Rest For The Wicked Sam Alfred Sofia Kourtesis STÜM SWIM Teen Jesus And The Jean Teasers The Illustrious Blacks Willo Yarra Beyond The Valley will run from December 28, 2022–January 1, 2023. Ticket presale registrations are open now, closing at 3pm AEST on Wednesday, August 31 — with presales starting that same day at 6pm AEST. General sales kick off at 12pm AEST on Thursday, September 1. For more information, head to the fest's website. Top image: Mackenzie Sweetnam.
The point of difference is right there in the name: at ΩHM (pronounced "ohm") Festival of Other Music, genre-defying, boundary-pushing, cutting-edge and pioneering tunes — and the artists behind them — are in the spotlight. 2025 marks the third year that Brisbane Powerhouse is putting on the fest, following the event's 2023 debut and first return in 2024. To celebrate, expect everyone from King Stingray to The 5.6.7.8's, plus the largest neuro-inclusive silent disco that the River City has ever seen as well. One of the New Farm venue's annual celebrations alongside the Brisbane Comedy Festival and queer cultural festival MELT, ΩHM has a date with Lamington Street across Friday, February 28–Saturday, March 22, 2025. While the program extends across the three-week-plus period, heading along on opening weekend is recommended — that's when Bonny Light Horseman is kicking things off, Camerata — Queensland's Chamber Orchestra wants you to de-stress at its hour-long meditation concert 'Interludes', documentary Becoming Led Zeppelin is gracing the big screen at Dendy Powerhouse Outdoor Cinema and the Sound Space Silent Disco will get you dancing. If those first four events on the bill across ΩHM's initial three days seem like an eclectic mix — folk tunes, music to bliss out too, celebrating an iconic band through film under the stars and making shapes — that's this festival's approach. From there, patrons can catch Toby Wren take to the stage to mark the launch of his seventh album Songs for Dead Sailors, then see Camille O'Sullivan's pay tribute to Shane McGowan and Sinead O'Connor in her new show Loveletter, plus Nigerien rockers Etran de L'Aïr do their best. They might be scheduled for the fest's final weekend, but boasting Tokyo's The 5.6.7.8's — who everyone should remember from Quentin Tarantino's Kill Bill — and Australia's own King Stingray on the closing lineup sets the stage for quite the ΩHM 2025 finale. This is a program filled with highlights — and the aforementioned Sound Space Silent Disco is one of biggest. It isn't every day that Brisbane Powerhouse's entire Powerhouse Theatre hosts a DJ-soundtracked party that's all about inclusion and accessibility, not only featuring a dance floor but also sensory-friendly activities outside in the venue's foyer. So, while DJ KSMBA, Update Prayer and folks from Brisbane's Quivr will be spinning tunes, attendees can also create music with unconventional objects, help make a community soundscape and take part in sound-free experiences. "ΩHM Festival of Other Music is all about celebrating the boundless possibilities of sound, and Sound Space is a powerful addition to this year's program," said Brisbane Powerhouse Program Director Phoebe Meredith. "This event redefines how we experience music and connection, creating an inclusive and welcoming space where everyone can engage with sound in a way that feels meaningful to them. We're proud to partner with Create Space to bring this unique experience to Brisbane Powerhouse." Ωhm Festival of Other Music 2025 Lineup Bonny Light Horseman Camerata Sound Space Silent Disco Camille O'Sullivan Etran de L'Aïr The 5.6.7.8's King Stingray Toby Wren Becoming Led Zeppelin ΩHM runs from Friday, February 28–Saturday, March 22, 2025 at Brisbane Powerhouse, 119 Lamington Street, New Farm. For more information and to buy tickets, head to the Powerhouse website. ΩHM images: Somefx.
In our own ways, we all fill our homes with interesting items. That's what galleries and museums obviously do, too. Imagine what must sit in their collections — the things they can't always display, and often don't, but are worth holding onto for an array of reasons. Actually, hit up Sydney's Powerhouse Museum in the second half of 2023 and you'll no longer simply have to wonder. The Ultimo venue has just announced its next huge exhibition: 1001 Remarkable Objects. That title is indeed descriptive, with the site's curators, led by curatorium chair Leo Schofield AM, diving into its vast store of pieces. Showcasing 1001 items might sound hefty, but there's a whopping 500,000 in the full collection, making those selections tricky work. [caption id="attachment_895796" align="alignnone" width="1920"] 'Supreme' mouse-trap making machine by AW Standfield and Co, Mascot, NSW, 1925-2000. Image: Anthony Potter.[/caption] Opening on Saturday, July 22, free to attend, and worth a look whether you're a Sydney local or making a trip to the Harbour City, this exhibition will span a wide variety of objects — celebrity-worn outfits, mousetrap-making machines, ceramic peacock and more. "Our vision for 1001 Remarkable Objects was a seemingly simple one: to create an exhibition celebrating the sheer scale, breadth and relevance of the Powerhouse collection. But how to choose?" said Schofield. "We rejected the nomenclature of 'treasures' or 'masterpieces' and instead determined all choices must be in some way 'remarkable' — whether by virtue of rarity, visual appeal, social history or an ability to invoke wonder. The result is a cornucopia of eras, styles, form, function, size and colour, to stoke memories that so many have of this iconic institution and signal the beginning of a new phase in its marvellous existence." [caption id="attachment_895790" align="alignnone" width="1920"] Performance costumes, 'Fruity Mambo', designed by Catherine Martin, made by Catherine Martin and Rosie Boylan, for Strictly Ballroom The Musical, Sydney, New South Wales, Australia, 2014. Image: Laura Moore.[/caption] Four certain highlights all were once donned by someone, well-known names and samurais alike. Kylie Minogue's Sydney 2000 Olympics 'showgirl' costume will be on display, as will Nicole Kidman's 'pink diamonds' Moulin Rouge! dress and, still on Baz Luhrmann, the 'fruity mambo' costumes from Strictly Ballroom the Musical. Or, you can peer at an Edo-period samurai warrior's armour. Featuring pieces that've never been shown before, and filling 25 rooms, Schofield's selections also cover the only surviving fragment of the Lockheed Altair aircraft Lady Southern Cross that Sir Charles Kingsford Smith flew in 1935 on his final flight, that 1.5-metre-tall peacock from 1870s, a Detroit Electric car made in 1917 and part of the original transatlantic cable from 1858. And, there's more than 100 pieces of jewellery, including mourning pieces crafted from human hair — and a focus on glass, as gleaming through French and Venetian examples from the 1800 and 1900s, plus Australian and international glass artworks. [caption id="attachment_895791" align="alignnone" width="1920"] Diamond brooch in the form of a bee with sapphires on his head and in stripes across his body and with ruby eyes, gold settings. English c.1870. Image: Marinco Kojdanovski.[/caption] 1001 Remarkable Objects displays at Powerhouse Ultimo, 500 Harris Street, Ultimo, Sydney from Saturday, July 22 through to December 2023. Top image: Detail of suit of armour, possibly of samurai officer Koma Kaemon of Bizen clan, Japan, Edo period, possibly 1775. Image: Ryan Hernandez.
Taking over the slice of Newstead that Chester Street Bakery once called home, Hello Gorgeous has one thing in common with its now-defunct predecessor: wherever you look, something catches the eye. In the site's previous incarnation, colourful and inventive cakes screamed out for attention. Now, it's the vivid decor. Given its name, this new watering hole isn't pretending to be modest. It might be compact in size, accommodating up to 100 people, but Hello Gorgeous is designed to make an impact. Emblazoned with the venue's moniker, a pink neon sign lights up one corrugated iron wall. Elsewhere, tropical prints and plants are scattered around the joint. Patrons grab drinks from a bar decked out with pastel pink tiles and gold detailing, then sit and sip at teal banquettes. In short, Hello Gorgeous is the kind of place that is luxe but casual — somewhere Brisbanites can head after work, settle in for a lazy arvo on a weekend or grab a meal up until 10pm every night of the week. Owner Justinn De Beer describes it as a place "for everyone to just relax, enjoy great food and wine, and have fun", an ethos that shines not only in the vibrant interiors by Bea Berry Designs, but in its multiple spaces. As well as the main bar, there's a deck out the front, a private dining room for 20 and the ability to host functions of up to 80 guests. Variety reigns on the menu as well. Primed for sharing, the food range spans chilli lime prawn skewers, grilled saganaki and paprika-dusted calamari — plus mains that include vegan potato and chickpea curry, crispy pork belly and pan-seared salmon. That's just the beginning. On the drinks list, you can choose from choose from a 19-strong wine list, 11 bottled and tap beers, and a range of classic cocktails. Updated July 17.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. BLACK PANTHER: WAKANDA FOREVER Black Panther: Wakanda Forever isn't the movie it was initially going to be, the sequel to 2018's electrifying and dynamic Black Panther that anyone behind it originally wanted it to be, or the chapter in the sprawling Marvel Cinematic Universe that it first aimed to be — this, the world already knows. The reason why is equally familiar, after Chadwick Boseman died from colon cancer in 2020 aged 43. At its best, this direct followup to the MCU's debut trip to its powerful African nation doesn't just know this, too, but scorches that awareness deep into its frames. King T'Challa's death starts the feature, a loss that filmmaking trickery doesn't reverse, no matter how meaningless mortality frequently proves when on-screen resurrections are usually a matter of mere plot twists. Wakanda Forever begins with heartbreak and pain, in fact, and with facing the hard truth that life ends and, in ways both big and small, that nothing is ever the same. Your typical franchise entry about quick-quipping costumed crusaders courageously protecting the planet, this clearly isn't. Directed and co-written by Ryan Coogler (Creed) like its predecessor — co-scripting again with Joe Robert Cole (All Day and a Night) — Wakanda Forever is about grief, expected futures that can no longer be and having to move forward anyway. That applies in front of and behind the lens; as ruminating so heavily on loss underscores, the movie has a built-in justification for not matching the initial flick. The Boseman-sized hole at Wakanda Forever's centre is gaping, unsurprisingly, even in a feature that's a loving homage to him, and his charm and gravitas-filled take on the titular character. Also, that vast void isn't one this film can fill. Amid overtly reckoning with absence, Coogler still has a top-notch cast — returnees Letitia Wright, Angela Bassett, Danai Gurira, Lupita Nyong'o and Winston Duke, plus new addition Tenoch Huerta, most notably — drawing eyeballs towards his vibrant imagery, but his picture is also burdened with MCU bloat and mechanics, and infuriating bet-hedging. The emotional tributes to T'Challa and Boseman hit swiftly, after the former's tech-wiz sister Shuri (Wright, Death on the Nile) agonises over not being able to save him. In a swirl of song, dance, colour, movement, rhythm and feeling on par with the first instalment, but also solemn, Wakanda erupts in mourning, and the film makes plain that the Black Panther audiences knew is gone forever. A year later, sorrow lingers, but global courtesy wanes — now that the world knows about the previously secret country and its metal vibranium, everyone wants a piece. Such searching incites a new threat to the planet, courtesy of Mesoamerican underwater kingdom Talokan and its leader-slash-deity Namor (Huerta, Narcos: Mexico). The Atlantis-esque ocean realm has vibranium as well, and it's not keen on anywhere else but Wakanda doing the same. If Queen Ramonda (Bassett, Gunpowder Milkshake), Shuri and their compatriots don't join Namor to fight back, Namor will wage war against them instead. Given Coogler and Cole's basic premise, bringing back Okoye (Gurira, The Walking Dead), head of the Wakanda's formidable Dora Milaje warriors, is obviously easy. The same applies to fellow soldier Ayo (Florence Kasumba, Tatort), and to introducing Aneka (Michaela Coel, I May Destroy You). Straight-talking tribal leader M'Baku (Duke, Nine Days) makes a seamless comeback and, although she's working in a school in Haiti, former spy Nakia (Nyong'o, The 355) does the same. Even excusing seeing CIA operative Everett Ross (Martin Freeman, Breeders) again is straightforward enough, but keeping overarching Marvel saga cogs turning means a pointless reappearance for another character familiar from the broader series but new to Black Panther movies. And, it results in the clunkiest of kickoffs for "young, gifted and Black" college student Riri Williams (Dominique Thorne, Judas and the Black Messiah), the star of upcoming MCU Disney+ TV show Ironheart, who is needlessly shoehorned in on the big-screen. Read our full review. THE VELVET QUEEN "If nothing came, we just hadn't looked properly." Partway through The Velvet Queen, writer Sylvain Tesson utters these lyrical words about a specific and patient quest; however, they echo far further than the task at hand. This absorbing documentary tracks his efforts with wildlife photographer Vincent Munier to see a snow leopard — one of the most rare and elusive big cats there is — but much in the entrancing film relates to life in general. Indeed, while the animals that roam the Tibetan plateau earns this flick's focus, as does the sweeping landscape itself, Munier and his fellow co-director and feature first-timer Marie Amiguet have made a movie about existence first and foremost. When you peer at nature, you should see the world, as well as humanity's place in it. You should feel the planet's history, and the impact that's being made on its future, too. Sensing exactly that with this engrossing picture comes easily — and so does playing a ravishing big-screen game of Where's Wally?. No one wears red-and-white striped jumpers within The Velvet Queen's frames, of course. The Consolations of the Forest author Tesson and world-renowned shutterbug Munier dress to blend in, trying to camouflage into their sometimes-dusty, sometimes-snowy, always-rocky surroundings, but they aren't the ones that the film endeavours to spy. The creatures that inhabit Tibet's craggy peaks have evolved to blend in, so attempting to see many of them is an act of persistence and deep observation — and locking eyes on the snow leopard takes that experience to another level. Sometimes, pure movement gives away a critter's presence. On one occasion, looking back through images of a perched falcon offers unexpected rewards. As lensed by Amiguet (La vallée des loups), Munier and assistant director Léo-Pol Jacquot, The Velvet Queen draws upon hidden cameras, too, but so much of Tesson and Munier's mission is about sitting, watching and accepting that everything happens in its own time. Letting what comes come — and acknowledging that some things simply won't ever occur at all — isn't an easy truth to grapple with. Nonetheless, it's also one of this contemplative feature's achievements, even though it's a type of detective story through and through. Tesson and Munier follow clues to search for the snow leopard, moving positions and setting up blinds wherever they think will score them their sought-after footage. In the process, they learn a lesson as all sleuths do. As they face the possibility that they might not be successful, which Tesson's perceptively navel-gazing narration explains, The Velvet Queen becomes a mindfulness course in filmic form. It has something astonishing that all the Calm, Headspace and similar apps in the world don't, though: the film's on-the-ground recordings (well, 5000-metres-up recordings), which show why finding peace with life's ebbs and flows is all that we can really hope for. Accompanied by a stirring score from Australian icons and lifelong bandmates Warren Ellis and Nick Cave — their latest contribution to cinema on a resume that includes The Proposition, The Road, Hell or High Water and Wind River before it — it's no wonder that The Velvet Queen's philosophising voiceover also notes that "waiting was a prayer". It's similarly unsurprising that Tesson penned a book, The Art of Patience: Seeking the Snow Leopard in Tibet, based on the trip captured in the documentary. In fact, if you're the kind of person who keeps their peepers peeled for feline life in any new neighbourhood you visit, or even if you're just strolling around your own, this feature firmly understands. More than that, it one-ups you, while also connecting with the act of scouring and seeking as much as the potential joys of getting what you wish for. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on August 4, August 11, August 18 and August 25; September 1, September 8, September 15, September 22 and September 29; October 6, October 13, October 20 and October 27; and November 3. You can also read our full reviews of a heap of recent movies, such as Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise, Clean, You Won't Be Alone, See How They Run, Smile, On the Count of Three, The Humans, Don't Worry Darling, Amsterdam, The Stranger, Halloween Ends, The Night of the 12th, Muru, Mona Lisa and the Blood Moon, Black Adam, Barbarian, Decision to Leave, The Good Nurse, Bros, The Woman King, Sissy, Armageddon Time and The Wonder.
It's this midway point of the year when many of us have travel on our minds. Whether the Euro summer Instagram dumps have you thinking about your next jaunt to the Northern hemisphere, or you want to escape the long winter for a warm Asian escape, a lot of us are plotting our next adventure. If it's been a while since you planned an international trip, here are some handy tips to keep in mind and help you travel smarter, not harder. Book Smart When deciding on a holiday destination, it's easy to get excited and book the first flight the airline presents to you. Take your time, do some research and look at off-peak tickets to save some money. These include flights on Tuesdays, Wednesdays and Saturdays. If you can, avoid flights that take off just after work and during holiday periods. Pack a 24-Hour Emergency Kit In Your Carry On Stuff happens. Flights get delayed, and luggage can be lost. While not ideal, having a backup outfit, toiletries, and any medication in your carry-on bag can help to ease your mind. Travelling can be unpredictable, but by preparing a little more, the big annoyances can become small details that you'll forget by the time your lost luggage arrives safely on your hotel doorstep. Get Your Money In Order Your holiday savings account looks nice and healthy, and your bag is packed, but how will you spend money when you get to your destination? Using the wrong card could result in some hefty international exchange fees. No one needs to pay $4 to get their own money out of an ATM in Italy. HSBC's Everyday Global Account is an everyday bank account with useful benefits for your international travels. Think instant (and seamless) fee-free* currency exchange 24/7, competitive exchange rates, and $0 HSBC ATM fees worldwide**. The HSBC Everyday Global Account also allows you to spend in multiple currencies from the one account. Organising your money before you're swept up in holiday adventures means you could save some serious cash in the long run. Plus, you can keep using your HSBC Everyday Global Account when you land back on home soil, too. With HSBC's Everyday Extras, enjoy up to $600 cashback*** a year on eligible tap and pay purchases under $100 domestically, making it the ideal everyday account for the world. Layovers As Mini Holidays As Australians, we're used to long haul flights. This doesn't mean we can't make the most of the time, though. Rather than rushing across continents as quickly as possible, consider an extra night in your layover destination. It's the perfect way to feel more rested pre-holiday and reset for reality on the way back. Singapore, Bangkok and Hong Kong are all popular layover destinations from Australia and have a wealth of culture and food to get you into the holiday zone. Make The Most of The Airport Lounge A part of getting older is learning that sometimes it's worth it to spend a little bit extra when traveling in exchange for comfort and cleanliness. If you're not going to leave the airport on your long haul layover, at least consider a pass to a lounge. Here, you can shower, eat some food (local cuisine is encouraged), and charge up your devices before landing at your destination. Utilising airport lounges can mean the difference between arriving at your first stop feeling excited and ready to explore, versus needing a day in your hotel to recover from the flight. Utilise Google Maps Is there anything worse than heading out to explore a new city's cuisine and finding yourself eating at a fast food joint? In the months and weeks leading up to your holiday, spend some time researching places you'd like to check out and save them on your Google Maps. This way, when you're wandering around, the sun is setting and hunger is rearing its head, you'll have a laundry list of local spots ready to go rather than wasting a meal on food you could get back home. Don't worry, you don't have to tick them off like a to-do list (that's part of the fun of exploring), but having them saved as a backup means that you're never left wandering around aimlessly. Don't Forget The Fine Print Travel is always a thrill, but you can give yourself some peace of mind by ensuring the admin has been triple-checked before your bag is packed. Is your passport six months within date? Do you have travel insurance? Have you read its fine print? Do you know how you'll be spending money once you're overseas? Checking this admin off before you head to the airport means peace of mind and travelling smarter, not harder. Give Yourself a Day to Reset Where once you might've driven from the airport to the office on a Monday morning, giving yourself at least one day at home before getting back into your day-to-day life can help to ease you out of holiday mode. From jet lag to a lack of clean clothes, you won't regret taking the time to reset post-travel. Yes, you might need to spend an extra day of annual leave, but reminiscing on your trip and getting a good night's sleep will help to ease the travel blues and get you gearing up for your next trip, wherever that may take you. Learn more about HSBC's Everyday Global Account here. *T&Cs apply. Other banking services fees and charges may apply, including corresponding bank fees for international transfers. Issued by HSBC Bank Australia Limited ABN 48 006 434 162 AFSL 232595. **Non-HSBC branded ATMs and some HSBC Group ATMs may charge an ATM operator fee for withdrawals or balance enquiries at their ATMs. ***HSBC Everyday Extras is a feature of the HSBC Everyday Global Account. You will be eligible for Everyday Extras if you deposit at least AUD2,000 into your HSBC Everyday Global Account before the last working business day of each calendar month. For more information, refer to the Transaction and Savings Accounts Terms (PDF).
Perched on Sydney Harbour and boasting an iconic design, the Sydney Opera House always makes a stunning sight. That's especially true when the sun goes down, with the world-renowned landmark lighting up its sails every night. When the venue uses its evening light show for a cause, though, the luminous display is extra special. That proved the case last night, on Saturday, January 11, when the famed venue illuminated its sails to support bushfire relief. Images of firefighters were projected on the eye-catching structure, in a show of support to the communities affected by the blazes, as well as the men and women fighting the flames across the country. The striking photos were sourced from Agence France-Presse (AFP), Australian Associated Press and The Sydney Morning Herald. As Sydney Opera House CEO Louise Herron explained, "we are lighting the Opera House sails to show our collective support for everyone affected by these devastating fires and to express our deepest gratitude to the emergency services and volunteers for their incredible efforts and courage. As difficult circumstances continue, we want to send a message of hope and strength to the people of Australia." In a further effort to assist — and raise funds — the Opera House is also hosting a huge comedy gig on its steps and forecourt on Monday, March 16. Called Comedy Steps Up for Bushfire Relief, the outdoor gala performance will see Arj Barker, Tim Minchin, Becky Lucas and The Simpsons star Harry Shearer take to the stage, as well as Carl Barron, Urzila Carlson, Joel Creasey, Kitty Flanagan and Julia Morris — with more acts to be announced. All proceeds from ticket sales will be donated to the Australian Red Cross Disaster Relief and Recovery fund, the NSW Rural Fire Service, Wildlife Victoria and WIRES Images: Ken Leanfore.
Twisted true tales getting the TV treatment: that's 2022 in a nutshell. The trend isn't confined to this year alone, it won't go away once December 31 hits, and it isn't new or a passing fad; however, the list of crime dramas based on IRL events has just kept growing in recent months. From Pam & Tommy to Inventing Anna, and The Dropout through to The Girl From Plainville and The Staircase, one case after another has been filling streaming queues — and that's just to name a few such shows. Still, even with such a hefty roster reaching screens of late, Black Bird grabs attention. It also boasts an immediately compelling premise: the quest to get a serial killer to confess to his crimes to ensure that he'll never be released from prison. Now available to stream in full via Apple TV+, the six-episode miniseries focuses on Jimmy Keene (Taron Egerton, Rocketman), a former star high-school footballer turned drug dealer. A charmer — with women and in his illicit line of work alike — he's happy in his narcotics-financed life, even if facing hairy situations comes with the territory. But that all crumbles when he's arrested in a sting, and has zero chance of escaping jail time. Offered a plea bargain with the promise of a five-year sentence (four with parole) by prosecutor Edmund Beaumont (Robert Wisdom, Barry), he takes the deal on the advice of his former cop dad Big Jim (the late Ray Liotta, The Many Saints of Newark), but ends up getting ten anyway. Seven months afterwards, still fuming at Beaumont and worried about Big Jim's ailing health, Keene is given the opportunity to go free. The catch: as put to him by FBI agent Lauren McCauley (Sepideh Moafi, The Killing of Two Lovers), he needs to transfer to a different maximum-security prison out of state, where the most vicious and violent are held, and where hellish conditions await. While there, he'll have to befriend suspected kidnapper and murderer Larry Hall (Paul Walter Hauser, Cruella), an avid civil war reenactment attendee. Hall is accused of abducting, raping and killing up to 14 girls young teenage girls, possibly more, and Keene's job is to get him to reveal where he's buried his victims' bodies. The first instalment of Black Bird is unsurprisingly instantly gripping, charting Keene's downfall, the out-of-ordinary situation put to him and the police investigation into one Hall's suspected victims. When Jessica Roach (debutant Laney Stiebing) is found dead, Vermilion County sheriff's investigator Brian Miller (Greg Kinnear, Crisis) tracks the clues to the man considered a harmless weirdo by those who know him — and given that includes local law enforcement in Hall's own hometown, the cop's intuition is dismissed. The slow-spoken, sideburn-sporting person of interest, and grave-digger's son, also has a history of confessing to murders, then routinely recanting and proving unreliable. Accordingly, Hall is labelled an attention-seeking serial confessor, but Miller isn't convinced that's all there is to his story. Black Bird takes its tale from Keene's autobiographical novel In with the Devil: a Fallen Hero, a Serial Killer, and a Dangerous Bargain for Redemption, making two things plain from the outset for those who don't know the tale. Clearly, he'll have to get to the point where there's a memoir to write — and he'll have to be alive to do so. But that doesn't make the series any less compelling, tense or chilling; in fact, the wild and riveting details just keep on coming in each episode. With Dennis Lehane, author of Gone Baby Gone, Mystic River and Shutter Island, as its behind-the-scenes driving force, Black Bird dives deep into its complicated scenario as Keene starts to truly realise that his own life and freedom aren't the most important things at stake. A prison drama, a catch-a-killer game of cat and mouse, a psychological thriller, a redemption journey: Black Bird ticks all of these boxes. As Keene strikes up a tentative friendship with the reluctant Hall, the series also features a sadistic guard (Joe Williamson, All Rise) extorting Keene for cash under threat of blowing his cover, plus a mafia old-timer (Tony Amendola, Father Stu) with his own veiled threats — and Miller and McCauley's continued investigations, especially after one of Hall's appeals is granted. It covers Hall's relationship with his handsome twin brother Gary (Jake McLaughlin, Quantico) as well, and Big Jim's guilt over failing to stop Jimmy ending up behind bars, which compounds his health woes. These all add emotion and detail, but if Lehane had solely focused Black Bird's grey-hued frames on its two central inmates, the series wouldn't have been any less powerful. At its core, this is an intense two-hander about two men laying bare their true natures in thorny, anxiety-dripping back and forths, and Keene learning the cost of getting his life back in the process. In a weighty acting showcase, the look on Egerton's face frequently says it all in; Keene will always have to live with what he discovers from Larry, with crimes like these impossible to forget. 2022 marks a decade since Egerton's first on-screen credit as a then-23 year old, and he's rarely been out of the cinematic spotlight since — but Black Bird is his most mature performance yet. The confidence that's so crucial to his work in the Kingsman movies dissipates the further that Keene is plunged into a nightmare. The adaptability that worked so well for Egerton as he hopped through Eddie the Eagle, Robin Hood and Rocketman also comes in handy. It's a multi-faceted turn, and it's fantastic. Black Bird is home to excellent performances all round, each one proving pivotal. Liotta makes a firm imprint as Big Jim, and is particularly heartbreaking to watch after the actor's sudden passing in May. Hauser's menacing efforts won't ever be forgotten, either — and ranks among the great on-screen serial killer portrayals. That too is a packed field, but from the sluggish, wheezy voice through to the distinctive casual-yet-taught body language, his time as Hall is that unnerving, that raw, and that eerily extraordinary. If you were to come across the actor in-character after watching the series, you'd want to run the other way. That, and feeling echoes of Mindhunter as well, couldn't be more of a compliment. Check out the trailer for Black Bird below: Black Bird streams via Apple TV+.
There's no bad place to slurp oysters, no matter which bar or restaurant around Brisbane you pick — but there's just something extra enticing about tucking into the seafood favourite when the actual sea is in sight. Fancy getting your fix on a boat, while cruising over to Moreton Island touring an oyster farm? Yes, of course you do. Tour outfit River to Bay is doing champagne and oyster trips — so you won't just be slurping, but also sipping. These voyages are setting sail on Thursday, June 23 and Friday, June 24, and include a three-hour tour, half a dozen oysters, three glasses of French sparkling, and plenty of dolphin, turtle, stingray and dugong spotting. Did we mention that those oysters will be coming straight from the ocean? And, you can pre-purchase more if you think six won't be enough, or you'd like to take some home with you. You can also buy extra champers, too. The cruises set off from Northshore Harbour Cafe at 2pm on the Thursday and 3pm on the Friday, and prices start at $149 per adult — with $289 discounts for couples also available.
Ah hot chocolate! Once a substitute for those non coffee drinkers (are there any of you left?) is now a fine and respectable drink to order. In fact, new research shows a cup or two of hot cocoa can help keep brains healthy. For those purists who like their chocolate fix plain and simple, as well as those who are willing to mix it up with punchy flavour combinations — we have you all covered. Here are the top ten hot chocolates in Brisbane, in no particular order. And a disclaimer: we take no responsibility for your sugar coma, but will take credit for increased memories. 1. La Dolce Vita Cafe Life is indeed sweet, especially while sipping on a Nutella hot chocolate under the Eiffel Tower. With its signature 'you can stand a spoon in it' consistency, La Dolce Vita's hot chocolate has been around for so long it should be a dedicated stop on Brisbane's City Sights bus route. Remember the days getting caught red handed with your head in the pantry and heaped tablespoon of Nutella stuck to the roof of your mouth? Well, my friend, those days were not in vain, for they were the perfect practice for chugging down this drink. Nutella lovers will be back for more, we can guarantee it. 20 Park Road, Milton 2. The Dark Chocolatier Like stepping into chocolate heaven, the Dark Chocolatier is complete sensory overload. Take your eyes away from the array of take-home goodies available for a second, then head toward the back of the shop and order yourself a Dark Turkish Delight hot chocolate from their 'rustic hot chocolate' menu. They're made from vegan natural rosewater jelly, Noosa Chocolate Factory dark chocolate, raw cane sugar and Ecuadorian single origin cacao. For those who don't fancy Turkish delight, there are plenty of other options available such as Dark Valencia Orange Hot Chocolate or White Hot Chocolate. Three words. Thank you God! 156 Adelaide Street, Brisbane 3.Monty's Chocolates A good hot chocolate should be like any good husband: sexy, rich and smooth. So ladies, you can rejoice as Monty's hot chocolate meets all of the above criteria. Not for the faint hearted, this drink is ideal for a cold winter's day and should be slowly savoured to get the most out of the Belgian chocolate and spicy blend. For a mid-workday pick-me-up this glorious drink is also available at their city store, sure to please all our working folk based in the CBD (not just you, ladies!). 155 La Trobe Tce, Paddington 4.Bunker Although usually renowned for their impeccable coffee, Bunker challenges your thinking when it comes to hot chocolate. Theirs is available in 75% dark, milk or white with flavours such as lavender, Chai and their newest addition, lime and sea salt (a must try!). Bags of this ethical, Fair Trade chocolate mix are also available to take home. 20 Railway Tce, Milton 5. Campos Coffee If 'thickness ain't your weakness' then a Campos' hot chocolate may be more down your alley. They're renowned primarily for their coffee, but hot chocolate fans need not worry. It's not too sweet, not too thick — these guys take pride in getting the balance just right (and the only chocolate powder you'll see is for decorative purposes only). Made with premium melted chocolate but not overpowering, this drink is ideal for those who don't want to 'eat' their hot chocolate with a spoon, but rather enjoy in a takeaway moment. 11 Wandoo Street, Fortitude Valley 6. Max Brenner Who knew that a little bald man could have women lining up out the door. I bet you George Costanza didn't see that happening! On a cold winter's night you can't go past the cult classic hot 'chocolat' served in a hug mug. Mmm, the perfect shape to wrap each hand around and inhale each sip. Heaven. However, if you are feeling a little adventurous, definitely give the Mexican spicy chocolate or the Danish Toffee chocolate a try — both are equally tasty and don't overpower the original recipe. 179 Oxford St, Bulimba 7. Cream Patisserie Ever enjoy a great hot chocolate out and think to yourself 'I should make this at home' only to cry over your homemade cup of ruin? Well gone be the days! After consuming a cup of the finest Belgian hot chocolate from Cream Patisserie (and being completely distracted by all the pastries showing off in the front window) one must purchase a bag of the pre-made hot chocolate mixture ready for you to take home. No more watered down Nesquick in front of the TV; you deserve the best. 380 Cavendish Road, Coorparoo 8. San Churro The day San Churro arrived in Brisbane was the day the Spaniards successfully seduced us with cups of melted hot chocolate and we all went a bit loco. Available in an array of flavours such as peanut butter bomba (which tastes like a liquid form of a Reese's peanut butter cup! Winning!) it'll have you saying 'puedo tener otro?' We recommend pairing your drink with churros, naturally. 2/161 Grey St, South Bank 9. Wrapture Cafe After drinking Wrapture's Shakti hot chocolate you'd be forgiven for spending the rest of the day in a Zen-like state. The chai spice mix and chilli Venezuelan hot chocolate warms you up from the inside out, and gives you a subtle chilli kick at the end. Set in the quieter side of West End, escape the crowds, leave the awkward yoga positions at home and achieve hot chocolate enlightenment. 71 Russell St, West End 10. Chocolate Soldier Amongst their busy CBD shopfront, Chocolate Soldier's hot chocolate made with their homemade ganache is ideal for those people who don't want to commit to dessert but need a sugar hit after every meal. Reminiscent of an old-school traditional Parisian coffee house, it's all too easy to spend a few hours here while enjoying some locally made hand-crafted sweets. 275 George St, Brisbane
Before they were chasing storms in Twisters, the 28-years-later sequel to one of the disaster-film blockbusters of the 90s, Daisy Edgar-Jones, Glen Powell and Anthony Ramos were no strangers to whirlwinds. Filmmaker Lee Isaac Chung, who directs the Twister follow-up, swirls alongside them in the same category. The last few years have seen the careers of all four rise rapidly. Normal People made Edgar-Jones a star. Powell has enjoyed a Top Gun: Maverick, Anyone But You and Hit Man hot streak. Ramos is a Lin-Manuel Miranda favourite with an originating part — two actually — in Hamilton and a lead role in the big-screen In the Heights adaptation. And Chung is fresh from drawing upon his own life in Minari, which won an Oscar and collected five more nominations, including for Best Director. How did this quartet end up following in the footsteps of Helen Hunt (Hacks) and the late Bill Paxton (The Circle), as well as cinematographer-turned-filmmaker (and Die Hard and Speed veteran) Jan de Bont? Chasing fun, valuing the chance to focus on the human side of weather wreaking havoc, bringing America's Tornado Alley to the screen, not only having a personal connection with the first film but wanting the second to feel personal: they're among the answers that Twisters three leads and its director shared with Concrete Playground. For Chung, growing up on the Oklahoma border means that he's also no stranger to tornadoes IRL. As a teenager in the 90s, he was mesmerised with the original Twister, as the entire world was. "That was a really big deal for me, and for my friends and for my family," he advises. Under his guidance — working with a script by The Boys in the Boat and The Revenant screenwriter Mark L Smith, which started with Top Gun: Maverick helmer Joseph Kosinski — Edgar-Jones, Powell and Ramos play storm obsessives on a mission. Make that missions, plural, beginning in college. At first Edgar-Jones' Kate and Ramos' Javi are on the road attempting to establish that tornadoes can be tamed. Then, tragedy strikes. Five years later, the pair reteam to scan the seasonal gusts that terrorise the US heartland, using portable radars that Javi has built a business around, albeit with now New York-based meteorologist Kate reluctant to be back out in the field and Javi leaving the details of his funding out of their conversation. Also seeking the same squalls is Powell's swaggering Tyler Owens, who prefers livestreaming his crew's exploits — and being a "tornado wrangler", merchandise and all — over taking the ultra-professional ethos sported by Javi's team. As Edgar-Jones and Ramos do with their characters, he ensures that this is a part that feels like only he could've slipped into. Indeed, Twisters doesn't enlist its impressive main on-screen trio just to get them caught up in the well-staged spectacle and action. [caption id="attachment_965979" align="alignnone" width="1917"] Jeff Spicer/Getty Images for Warner Bros.[/caption] No one gets out of the film without battling wild weather, of course, a process that's "like being in a washing machine, really", Edgar-Jones explains. "A great dirty washing machine," Powell adds. That said, the naturalistic imagery that Chung and cinematographer Dan Mindel (Star Wars: Episode IX — The Rise of Skywalker) paint their tale with, favouring an aesthetic approach that makes Twisters visually resemble Minari more than the standard disaster flick, also mirrors the film's handling of Kate, Javi and Tyler. There's always storms to chase, plus run from, with special effects proving both pivotal and phenomenally convincing; however, there's also a genuine sense of character as its key threesome face devastating vortexes alongside their own baggage. Appreciating the communities impacted by destructive gales feels equally as authentic. If it seems like a leap for Chung to hop from Minari to here, he went via an episode of The Mandalorian — and that his latest movie falls in the middle of those two extremes, even if it might appear closer to the latter on paper, also came up in our chat. With Twisters in cinemas Down Under since Thursday, July 11, 2024, we also spoke with Edgar-Jones, Powell, Ramos and Chung about tackling a sequel to a beloved film after almost three decades, perfecting the right look, the human element of the narrative and more, including preparing to play the resident cowboy who wants to shoot flares into the storm. "I always came to set with fireworks and rockets," Powell jokes. "Nobody ever knew when I was just going to fire those things off." On Twisters Falling in the Middle of Minari and The Mandalorian Isaac: "After I made Minari, I was editing Minari and watching The Mandalorian — that's where I decided I'd love to do an episode of The Mandalorian, just because I fell in love with that TV show. When I worked on that show, it was so much VFX work, so much work on these LED screens and on a stage that, in taking Twisters, I wanted to bring our production back out to the field and back out to Oklahoma. So it did feel like it was kind of zigging and zagging and trying to figure out what I've learned from Minari, what I've learned from The Mandalorian, trying to bring those two things together in some way." On the Appeal of Chasing Tornadoes On-Screen Anthony: "It sounds fun — and that's kind of the biggest appeal. It's something that I never thought I'd ever do. And to work with this team has been a dream. It's cool, just the thought of going out into Oklahoma and driving trucks and being in the elements out there, and working with an incredible cast — I think that's what made it so appealing. That's what made it sound like 'hey, this is something I want to do, sounds fun'." On How Growing Up on the Oklahoma Border Influenced Chung's Decision to Direct Twisters Isaac: "That was a hugely influential part of taking on this project. I felt like growing up, there aren't many big films, blockbuster films, that take place in that world. And when Twister came out, that was a really big deal for me, and for my friends and for my family. And I remember that being really special. When I saw that this project was happening, I thought it was just a once-in-a-lifetime opportunity to go back to where I grew up with a big tentpole action movie. So absolutely, that was a huge part of that decision-making." On Ensuring That This Is a Disaster Film with a Strong Human Element Daisy: "I think that was a big part of why I was so excited to be involved with this film. I'd watched Minari — I'm such a huge fan of that film and Isaac as a filmmaker — and obviously that's got a very indie sensibilities, very character-driven. And so when I heard he was making Twisters, I was so curious to see what that mixture would be like, someone who has this real interest in detail and interpersonal dynamics, but also this huge scale, this blockbuster feel. And so I think that was what was so exciting when we were involved, that all of the characters feel very beautifully drawn out. It's imbued with a lot of reverence for nature, but it also has this fun, this scale, this adrenaline to it. And I just think Isaac did such a remarkable job of really making all the individual characters feel so grounded in truth. As an actor, that's the thing I'm most excited about: to represent people truthfully." On Taking on a Sequel to a Film That's Widely Adored — and Making It Personal Isaac: "It really makes it very challenging because everybody has their own reason for loving that previous work. I'd encountered that already when I was working on the Star Wars shows, which I think Star Wars audiences are maybe the least forgiving, because I love that world so much. So I got my feet wet already with the idea of 'how do I honour something that a lot of people love for very good reasons, and still try to bring in my personal side and my own spin to things?'. In general, what I find with audiences is that if you really start with that love and appreciation for something, then they come around to whatever you choose to do as long as you're really honouring. So that was my approach with this. I wanted to honour that first film, but also make it personal to myself." On What Goes Into Playing the Resident Cowboy Storm Chaser Who Wants to Shoot Fireworks Into the Wild Weather Glen: "At the end of the day, it's Kate's journey to rediscover something she loves, something that should give her a lot of joy. And so Tyler's role in this movie is just to remind Kate why chasing something that gives you joy is the greatest pursuit of your life. And so it's fun to show up in a cowboy hat and jeans, and cowboy boots and drive trucks across the Oklahoma plains, and shoot rockets into the sky. I recommend it. It's a good way to go to work." On Favouring Naturalistic Cinematography That Grounds the Film Over a Glossy Action-Blockbuster Sheen Isaac: "I worked with an incredible cinematographer named Dan Mindel, and he's a real legend behind the camera. When he came on board, we were already talking about old western movies like The Searchers, we were talking about Kurosawa. We wanted to create a sense of place and space, and also evoke a feeling of a western with this movie. And then when we knew that we were going to be filming a rodeo, we wanted it to really feel like rodeo photography from the 1970s in magazines. So there was a lot of that thought going into the process to bring out the texture of the place. And hopefully that comes through. It was just a real joy working with him." On Filming Action Scenes in a Movie That's Not Only About Tornado Season in Oklahoma, But Was Shot During Tornado Season in Oklahoma Daisy: "Every scene felt quite laced with irony in the sense that we would have to shut down filming pretty constantly for actual weather, to then start filming again to then recreate the weather we had to shut down for. It was so incredible to really be in Oklahoma during storm season. There were a lot of tornadoes that did touch down while we were filming, and weather like I've never seen before, but it really helped us imbue the whole thing with truth. And everybody we met that was there, that were background artists from Oklahoma, they were chasers, they were also Red Cross workers, it really helped, I think, to imbue the film with as much truth as possible. The actual filming of tornado sequences is just sort of wild. It's like being in a washing machine, really. You don't really know what's happening." Glenn: "A great dirty washing machine." Daisy: "You're just hoping that there's some acting happening, but you're just kind of in it." Anthony: "Yeah, if you're getting pelted with wind and your face, you can't help but to make a face because you're getting rained on, there's dirt all over you. I see stills of me in some of the scenes that we shot, and I'm dusty and my clothes are filthy — and that's what you want when you shoot this kind of movie. You want to be in it. You want to feel that, and they were so good about making sure that we did it." Twisters opened in cinemas Down Under on Thursday, July 11, 2024. Read our review.
What's more ludicrous in Venom: Let There Be Carnage: an alien invasion of one man's body that turns into a parasite-host odd-couple show, or a prologue that thinks Woody Harrelson could've been a 90s teen? Kudos to this sequel to 2018's Venom for starting how it means to go on, at least. With its opening, set in 1996 in a home for unwanted children, the film doubles down on silliness, overblown theatrics and packaging itself as a cartoonish lark. The goofiness of the original box-office hit was among its best traits, and worked because that ridiculousness rattled against the movie's gritty superhero setup. Venom adopted all the stylistic markers that've become the serious-minded caped-crusader formula, then let Tom Hardy bounce around like he was in a comedy. But this time, everyone's gone more than a little vaudeville, as has the movie — and the outcome is right there in the title. Carnage isn't just an apt term to describe the film, which has actor-turned-director Andy Serkis (Mowgli: Legend of the Jungle) behind the lens; it's also the name of its second symbiote, aka a flesh-munching extra-terrestrial who inhabits a bag of bones, then brings out its basest urges. Mercifully, Let There Be Carnage isn't big on rehashing the mechanics established in the initial flick, but Venom fits the bill, too, after the creature took up residence inside San Francisco journalist Eddie Brock (Hardy, Capone), then unleashed the franchise's one-body, two-personality double act. Carnage, the red-hued parasite, is the spawn of Venom, albeit bursting forth from condemned serial killer Cletus Kasady (Harrelson, Zombieland: Double Tap) after a scuffle with Brock. And yes, this is the kind of feature that has the scenery-chewing Harrelson proclaim its subtitle with glee. He bellows "let there be carnage!" with winking jokiness, but resembles a ringmaster announcing the next act in a big top. Scripted by returning scribe Kelly Marcel, who also mined Fifty Shades of Grey for all the humour she could — and using a story co-credited to Hardy, who clearly has an attachment to his Marvel-but-not-Marvel Cinematic Universe character — Let There Be Carnage isn't burdened with much plot. After getting murderous following his separation from girlfriend Frances Barrison (Naomie Harris, No Time to Die) in their youth, Kasady will only tell his tale to Brock before he's executed. The latter goes awry due to Carnage's arrival, and a deal. The new symbiote will reunite Kasady with Barrison, whose ability to manipulate sound has seen her locked in an asylum, if the sadistic criminal assists his havoc-wreaking passenger to dispense with Brock and Venom. Cue the obvious — yes, carnage — and an inevitable showdown. Harrelson wasn't an adolescent in the 90s, but his performance nods to that decade, back when his resume spanned White Men Can't Jump, Natural Born Killers, The People vs Larry Flynt, EDtv and the like. That isn't a compliment; he's simply summoning-slash-parodying that heyday, and he's in a film that wishes it released then. Indeed, Let There Be Carnage could've been the hit of 1993, 1999 or any other year before Christopher Nolan's Batman trilogy reshaped the genre, the MCU turned it into one of the predominant forms of big-screen entertainment (and now small screen, too), and superhero flicks began arriving every few weeks. Really, Harrelson's work here feels like a chaotic distraction rather than a throwback nudge, because there's only one great thing about Let There Be Carnage: Tom Hardy arguing with himself. One of everyone's favourite friendly neighbourhood web-slinger's antagonists on the page, Venom might've first hit cinemas in the misfire that was Spider-Man 3, but the strongest aspect of his recent films is that self-banter. Plenty can be read into the back-and-forth, all voiced with gusto by Hardy: Venom is the literal growling voice inside Brock's head; a fight with conflicting impulses; the side of our identities we aren't comfortable revealing; and, here, the friend we need to be to ourselves in the name of self-care. In fact, Let There Be Carnage is a bromance as Brock and Venom try to live in harmony. That their disputes mimic domestic feuds isn't accidental. That said, endeavouring to layer in queer subtext — including comments about Venom coming out of Eddie's closet — falls flat. So do mentions of stopping cruelty to aliens, with the film merely paying lip service to deeper ideas, rather than even pretending to give them substance. There's always more CGI mayhem to come, after all, and more Brock-symbiote fights about eating chickens and chocolate instead of brains. Hardy makes all that bickering the most entertaining element of the film, though, almost purely through his sheer physical — and vocal —commitment. In 2013's Locke, he proved he could make talking the most riveting thing in the world, a notion the Venom franchise happily attempts to steal. Hardy is having the same great time he did in the initial flick, and trying to have even more. But, while often amusing to watch, it isn't infectious. Let There Be Carnage is nowhere near as fun as witnessing Hardy quarrel with himself should be, and gets routine and repetitive fast. Understandably, that doesn't bode well for the film's other performances; hopefully Michelle Williams (After the Wedding) was paid handsomely to reprise her thankless role as Brock's ex-fiancée Anne Weying, and the similarly underused Harris as Barrison/Shriek as well. It's knowingly absurd, boasts a self-aware lead and moves quickly — when the climax hits, it feels like everything before it breezed by — but Let There Be Carnage remains a slog. Most of its gags land with a thud, and Serkis mistakes pace for personality while going for a monotonous same-is-same approach that largely takes Venom's successes, spreads them over the entire movie, dials up the anarchic vibe and uses messiness as a visual template. Although it falls within Sony's Spider-Man Universe, which differs to the MCU but also includes the same version of the web-slinger, this symbiote sequel has pilfered one of Marvel's worst tendencies, too. Spider-Man: No Way Home reaches cinemas in weeks, the Jared Leto-starring Morbius follows the next month and, as the obligatory post-credits sting teases, Let There Be Carnage mainly exists to keep stitching this on-screen universe together and lay foundations for more to come in yet another sprawling comic book-inspired movie realm. Try as he visibly and energetically does, Hardy shouting at himself can't fix that either.
Fond of zipping around Brisbane on a brightly coloured, two-wheeled mode of transport? If you're making your way across the inner-city, you now have two choices. While Lime's suitably green electric scooters have been available since last year, Brisbanites can now also go orange by jumping on one of Neuron Mobility's new e-scooters. The Singapore-based outfit has unleashed 200 of its vibrant motorised stand-up vehicles on Brissie's streets, with the full fleet of 600 due to be rolled out gradually according to market demand. And they're not just any old motorised stand-up e-scooters. Brisbane is the first place in the world to receive the company's latest model: the N3. These feature 12-inch tyres and a 21-centimetre-wide floorboard, are designed for better safety and stability, and can travel up to 50 kilometres on one battery charge. The N3 also uses modular parts that can be replaced easily (as opposed to replacing the whole scooter), and is adaptable to different road conditions. If you're keen to hop on one of Neuron's new rides, you'll need to be in its ride zone boundary. At the moment, that includes the CBD, Fortitude Valley, New Farm Teneriffe, as well as Petrie Terrace and some of Milton. On the other side of the river, South Brisbane, West End and Kangaroo Point are covered. [caption id="attachment_738726" align="alignnone" width="1920"] The areas the scooters will operate in. [/caption] As well as a GPS-enabled parking indicator on its handlebar display, the N3 comes with in-built geo-fencing technology, which means that the orange vehicles can't venture beyond a specific zone. If you're in a spot that you're not supposed to be in, the e-scooters will stop completely. The software not only controls the designated boundary, but the maximum speed of travel, as well as where you can park — and where you can't. So far, more than 10,000 Brissie residents have signed up with Neuron, which received a tender from Brisbane City Council just last month. When all of the company's tangerine N3s hit the streets, Brisbane's entire e-scooter fleet will number 1000 — including 400 from Lime, which was forced by BCC to reduce its vehicles down from around 750 when Neuron was awarded the rights to set up shop in the city. Price-wise, Neuron's scooters cost $1 to unlock, then 38 cents per minute to ride. The service works in a familiar way, requiring patrons to download the company's app, scan a QR code on their chosen scooter and ride to wherever they need to within the operating zone. Then, once you've found a parking spot, you add a photo of the stationary scooter to the app to finish the transaction. Neuron Mobility's e-scooters are now available around Brisbane. For further details, visit the company's website.
If you're hungry for more from the author behind Boy Swallows Universe — and if you've ever wanted the inside scoop on Tinseltown, you'll want to make a date with the 2025 Brisbane Writers Festival. As always, the festival celebrates local literary legends as much as it welcomes international writers. Prepare to be busy, literature lovers: more than 100 live sessions are on the full bill. When the BWF takes place from Thursday, October 9–Sunday, October 12 at the Brisbane Powerhouse and other venues around Brisbane, you'll spot some familiar headliners. Trent Dalton will return with the launch of his most personal novel to date Gravity Let Me Go, while Anita Heiss retakes the mic as one of the prolific Indigenous voices resonating through the festival. They're joined by other A-listers, literary or otherwise: actress and memoirist Ione Skye, filmmaker and writer Griffin Dunne (yes, the Practical Magic director and Joan Didion's nephew) unravel the myth and mystique of Hollywood, American romantasy star Callie Hart speaks about Quicksilver and historian Bettany Hughes guides audiences through ancient worlds in a sightseeing tour and Helen Garner unpacks the Aussie passion for footy with former AFL player Brandon Jack. From there, the usual applies at Brisbane's annual ode to storytelling and publishing: if it involves words, it's probably covered. Among the book-centric buffet, other highlights include keynote addresses by Heiss and Singaporean poet Theophilus Kwek, cultural critic Sophie Gilbert dissecting Y2K-era misogyny at the heart of Girl on Girl, Fisk writer Steph Tisdell talking about her debut YA novel and a mixed bag of old and emerging authors examining their chosen genres of crime and historical fiction. Or, there's also the New York Times bestseller and PEN/Faulkner Award finalist Eric Puchner, crime novelist Mark Brandi and Obernewtyn Chronicles' Isobelle Carmody — and the fact that Sharlene Allsop and Jillian Bowie are both guest curators. Sally Hepworth, Holly Wainwright, Michael Robotham and Di Morrissey are also flying the flag for Australian scribes, each with a new tome to discuss. This year, Queensland is particularly well-represented, with over half of the artists hailing from the Sunshine State — among them are Steve Minon, Laura Elvery, Kimberley Allsopp, Melanie Saward, Martine Kropkowski, Cheryl Leavy, Joanna Jenkins, Lauren Ford and Allison Rushby. If you're trying to make sense of the world, you're in luck there, too. Political analyst Clinton Fernandes takes on the circus of politics in the Trump era, Bryan Horrigan examines ethics in business and David McWilliams unpacks the relationship between humans and money. Inspiring stories of human resilience are in the spotlight too, with sessions featuring F1 engineer turned Lune Croissanterie founder Kate Reid, Masterchef host Melissa Leong, kickboxer John Wayne Parr, Pub Choir's Astrid Jorgensen, Ottolenghi offsider Helen Goh, and athletic legend Turia Pitt — and poets from all over the Asia Pacific will unpack the importance of language. Two days dedicated to children and YA fiction, celebrating Aussie drag culture from Rupaul Drag Race Down Under's Art Simone, exploring the impact of our COVID vaccinations, solutions to the Doomsday clock, the Anzac myth, conspiracy theories, the history of Brisbane's rock scene and how to write stories inspired by your own life: they all deserve some attention because the lineup is jam-packed. [caption id="attachment_895240" align="alignnone" width="1920"] Morgan Roberts[/caption] Images: Josef Ruckli, Markus Ravik and Morgan Roberts.
What would your last meal be? Many of us don't get to choose, but if you're a famous criminal on Death Row, you actually have to pick your final foods. Luckily, for most law-abiding citizens, you won't have to make that selection. But what did Ted Bundy choose? What about John Wayne Gacy — aka Killer Clown? Brisbane's Transcontinental Hotel want to take Henry Hargreaves' idea of photographing Death Row prisoners' last meals and actually let you taste them, with an upcoming dinner this September. It's a risky concept, one that was recently slammed in London. At the Last Meal Conviction Dinner on September 17, The Trans and Rocks Brewing are teaming up to offer morsels tinged with all things morbid. You'll drink craft beer while choosing to eat one of the last meals actually ordered by infamous criminals, photographed here by Hargreaves for the bittersweet No Seconds series. First, there's the Ted Bundy, featuring medium-rare steak, eggs over easy, toast with butter and hash browns. Or, perhaps you'd prefer the spread favoured by John Wayne Gacy, which includes the odd pairings of fried chicken, fries, fried shrimp and strawberries. Last but not least, you can feast on Jeffery Dillingham's ultimate request of a triple cheeseburger without mayo, eggs, fries, lasagne, garlic bread, macaroni and cheese, cinnamon rolls and nacho cheese. These men committed terrible crimes, and paid the price for their actions, but choosing their final food wasn't one of them. Tickets cost $45, which includes your choice of last meal plus one pot and three ponys of Rocks beer — aka the ideal amount of alcohol to help assuage any inner ickiness you're feeling. For those happy to embrace the serial killer thrills, dressing up is encouraged, and there'll even be prizes on offer for the best costume. The Last Meal Conviction Dinner takes place at the Trans on September 17. For more information, or to book tickets, visit their website. Images: Henry Hargreaves.
Because sometimes dessert should be the main deal, that's why. If you've left it too late for dinner or are still hungry once it's finished, head to one of these five fine establishments that cater to the sweet tooth. From ice-cream and brownies to brioche dumplings and something billed as 'Death Row', the concoctions you'll find here take dessert to the next level. 1. Freestyle Tout Freestyle Tout is the stalwart of the Brisbane dessert scene. At any given time, the Fortitude Valley and West End locations are packed with hordes of Brisbane's sugar-deprived. Lunch and dinner menus are available, but the sweets are Freestyle's calling card (and who wants to eat savouries anyway?). Everyone has their own Freestyle favourite, but common picks are the sticky date pudding with caramel sauce, the white chocolate raspberry brioche dumplings, and the Little Bit of Queensland (macadamia white chocolate slice with caramel sauce and icecream). Emporium, 50/1000 Ann Street, Fortitude Valley and Cnr Browning and Melbourne Streets, West End; www.freestyletout.com.au 2. Mud Dessert Bar Do you love tapas? How about dessert tapas? At Mud Dessert Bar in Bulimba, an eight-course dessert tapas sitting will only set you back $30, and possibly set you forward a few kilos. This is a serious dessert menu that ventures off the standard fare found at most restaurants. Classics like lemon tart and banana split sit next to banoffee and strawberry shortcake. Chocolate lovers, however, won't care about this; they'll be too busy burying themselves in the decadent and aptly named Death Row: chocolate mousse, ganache, sponge, bavarois, brulee, cheesecake, icecream and homemade chocolate tequila. Smile and say cavity! 1/190 Oxford Street, Bulimba; www.muddessert.com.au 3. ShliX One of Brisbane's best gelato joints, ShliX is the place to go for a slightly more casual dessert experience. Grab a basic cup or cone, or splurge on a banana split or a sundae if you're feeling a bit special. New and novelty flavours are often being added to rotation, but of the regular flavours the peanut butter is unbeatable. 364 Brunswick Street, Fortitude Valley; shlix.com.au 4. Dello Mano A recent addition to the Brisbane dessert race, Dello Mano are serious about their chocolate. Chocolate cake, chocolate fudge, chocolate souffle, chocolate truffles, chocolate tarts … you get the picture, right? Stealing the show, though, is the huge signature line of Belgian chocolate brownies, a batch of which were famously ordered by Ashton Kutcher for his birthday in 2011. They do brownie gift boxes as well, so while you're there, pick up something special for a loved one (or just for later). 29 Doggett Street, Teneriffe; www.dellomano.com.au 5. Alfred's Cafe and the Alfred & Constance Late Night Dessert Cafe Brisbane's favourite hipster superclub isn't content just sating the masses with its tropical tiki cocktails and endless tap beers; it also wants to feed your sweet tooth. Alfred's Cafe is a sugary Mecca during the day, and once the sun goes down, the Alfred & Constance's Late Night Dessert Cafe (open until midnight) wakes up as a part of the Vanguard Beer Garden. Confused? Us too. The point is, sweets are never too far away. Cnr Alfred and Constance Streets, Fortitude Valley; brisbane.concreteplayground.com.au/restaurants/92946/alfred-and-constance.htm View all Brisbane Restaurants.
By the time that 2024 is out, hopefully the Matildas will have Olympic gold medals from the Paris games. Sports fans, cross your fingers and toes now. But no matter how Australia's national women's soccer team fares midyear, the Tillies are set to score a bronze tribute to the squad before 2025 rolls in, with plans for Brisbane's ode to their 2023 FIFA Women's World Cup efforts progressing. Last year, after a whirlwind month of football that included the Matildas beating France in a stunning penalty shootout, and Sam Kerr kicking the goal of a lifetime in the semi-final loss to England, the Queensland Government announced that it would build a Matildas statue. The team will be immortalised in a bas-relief piece at the River City's Suncorp Stadium, where the epic match against France was played — was the Matildas' 3–2 loss to Nigeria in the group stage and 2–0 third-place playoff defeat by Sweden. The artwork will measure around six metres in width and two metres in height, with the Brisbane-based Urban Art Projects newly commissioned to deliver the sculpture. There's no exact date yet that the public piece will be unveiled, other than the end of 2024 — but you can factor seeing the celebration of Kerr, Ellie Carpenter, Mackenzie Arnold, Hayley Raso, Steph Catley, Katrina Gorry, Mary Fowler, Caitlin Foord and their teammates, and their history-making World Cup campaign, into your trips to the Milton stadium. Fans can expect "a high-quality, large-scale cast bronze bas-relief capturing an iconic moment of celebration from the tournament," says UAP Associate Paul Gurney, with the company employing "both robotic and hand-crafted techniques to achieve the players' likenesses in bronze". No Australian soccer team has made it as far into World Cup as the Matildas did in 2023 — not the Matildas themselves in the past, and not the Socceroos, either. Indeed, it's no wonder that their games kept smashing ratings records, with the England match becoming the country's most-watched TV program since 2001, and also likely ever. When the statue celebrating the Matildas is installed, it'll add both female and football representation to a site that currently features statues of rugby league stars Wally Lewis, Arthur Beetson, Darren Lockyer, Mal Meninga and Allan Langer, plus rugby union's John Eales. "In a nation that loves its sport, the Matildas were not only the most watched team on Australian television in 2023, their semi-final against England was the most watched event in Australian television history," said Queensland Minister for Women Shannon Fentiman. "They are inspiring women and girls to become more active and get involved in organised sport, and it is fantastic that their efforts will be recognised with a permanent tribute." Brisbane's new tribute at Suncorp Stadium celebrating the Matildas' 2023 Women's World Cup efforts is set to be installed by the end of 2024 — we'll update you when further details are announced.
This summer, your nearest beach will transform into an international food market. And it doesn't matter where you live — be it near St Kilda, Bondi or Broadbeach. How? As of now, Deliveroo, the food delivery service that transports tasty meals from your favourite eateries directly to your door, can travel to the sand. And, more specifically, right to your beach towel. That's right, next time you're sprawled out on the beach catching some rays and hunger pangs, you won't have to go anywhere. Jump on your phone, make your order and, somehow or other, your faithful Deliveroo driver will be at your side. Yes, this is going to be very, very interesting to watch on Bondi Beach on a stinking hot day in January when beachgoers number in the thousands and thousands. The food delivery app is now delivering to 150 beaches around the country, having recently launched its services in Hobart, the Sunshine Coast, Cairns and Newcastle. Deliveroo is now delivering to 150 beaches around the country. To see if it delivers to you, check your app.
If you know your Studio Ghibli from your Sion Sono, and your vintage monster movies from your J-horror, then you’re probably going to want to head to GOMA’s next film program. And if you don’t, well, you’re definitely going to want to head along. Just prepare to have your eyes opened. From July until September, the Gallery of Modern Art’s Australian Cinematheque is paying tribute to everything that makes Japanese filmmaking great. Okay, maybe not everything. With a lineup that flits from creature feature The War of the Gargantuas to the cult craziness of RoboGeisha, and between the witchy delights of Kiki's Delivery Service and the violent mayhem of Why Don't You Play in Hell?, it’s the nation's strange, outrageous and eclectic stuff that’s in the spotlight. The two-month-long showcase is called Cult Japan after all — and there’s a reason why the release of each GOMA film schedule is one of Brisbane’s most anticipated cinema announcements. It’s a good thing that the gallery’s main movie theatre has the comfiest seats in town, outside of gold class, because every cinephile is going to be spending a lot of time there.
They're the stories we all lapped up as kids, telling us about enchanted creatures, magic and more. They're behind plenty of movies that still grace our screens, too. And, they're the focus of a huge Australian-exclusive exhibition coming to Brisbane's Gallery of Modern Art (GOMA) in the summer of 2023–24. Yes, we're talking about fairy tales. The just-announced showcase is indeed called Fairy Tales and, taking over GOMA's entire ground floor, it'll explore how these folklore-, myth- and legend-related narratives have fascinated audiences through art and culture over not just years and decades, but centuries. If creepy woods have influenced sculptures, or tales of princes and princesses have inspired painters, expect to see it here, in a blockbuster showcase that'll run from December 2, 2023–April 28, 2024. [caption id="attachment_758872" align="alignnone" width="1920"] Yayoi Kusama[/caption] Also included: everything from drawings and installations through to fashion, as well as films and filmic elements, such as props, and costumes. GOMA hasn't unveiled an accompanying movie program in its Australian Cinematheque just yet, but you likely don't need to wish for that to happen — just wait for further details late next year. Wicked witches, magic animals (fierce and friendly alike), coming-of-age tales, shifting gender roles, bravery, loyalty, castles, coaches, pumpkins — they'll all feature in some way. Artists involved include GOMA favourites Yayoi Kusama and Patricia Piccinini, plus Jana Sterbak, Kiki Smith, Abdul Abdullah, Ron Mueck and Charles Blackman. The list goes on, like breadcrumb trails. And, if you like huge site-specific installations, the South Brisbane gallery has commissioned something special from Brazilian artist Henrique Oliveira. He'll transform the building's architecture into a sure-to-be-stunning gnarled and twisted woodland (a sure-to-be-snapped piece, too, naturally). [caption id="attachment_845376" align="alignnone" width="1920"] H Walker[/caption] GOMA and the Queensland Art Gallery (QAG), its sibling venue at South Bank, have also dropped their full 2023 lineups, with Fairy Tales among a feast of art that Brisbanites — and culture-loving, gallery-attending visitors to Brisbane — can look forward to. The already-announced Air exhibition kicks off at GOMA in November 2022 and runs through till April 2023, and follows on from Water back in 2019 and 2020. Or, there's Michael Zavros: The Favourite, showcasing 90-plus paintings, sculptures, videos, photos and performances by the Queensland artist — and eX de Medici: Beautiful Wickedness, an extensive retrospective (the most extensive to date) about the Canberra-based artist. They'll both head to GOMA as well. And, Gone Fishing will draw pieces from the gallery's Indigenous Australian Art collection, including fibre sculptures, paintings, prints and installation, to ponder traditional sea rights, plus freshwater and saltwater fishing practices. [caption id="attachment_874638" align="alignnone" width="1920"] Michael Zavros / Australia b.1974 / V12/Narcissus 2009 / Oil painting on board / 20 x 29.5 x 2cm / Collection: Art Gallery of New South Wales, Gift of the artist 2013. Donated through the Australian Government's Cultural Gifts Program / Image courtesy: Michael Zavros / © Michael Zavros.[/caption] Over at QAG, Living Patterns will examine contemporary abstraction, forming one of the venue's major exhibitions. The list of artists contributing new and recent works there is also impressive; think: Paul Bai, Helen Johnson, Lindy Lee, Dhuwarrwarr Marika, Reko Rennie, Hossein Valamanesh, Jemima Wyman and more. QAG will also survey landscape and marine paintings by 19th-century artist Isaac Walter Jenner; explore Indigenous Australian artistic practice from the north to north-west of southeast Queensland to the top end of Western Australia; showcase the exchange enjoyed between Australian and Filipino artists in the 90s and 00s; and serve up a big focus on self-portraiture, including musing on selfie culture. Prepare to spend most of 2023 in Brisbane's two major art galleries, clearly. [caption id="attachment_874639" align="alignnone" width="1920"] David Griggs / Australia/The Philippines b.1975 / Frog boy's dissertation into a new karaoke cult 2008 / Synthetic polymer paint on sewn canvas with aluminium frame, wood and medium density fibreboard, rope and projected DVD: 34.54 minutes, colour, silent, 730 x 860 x 620cm (installed); tent wall: 286 x 2520cm / Purchased 2008 with funds from the Queensland Government's Gallery of Modern Art Acquisitions Fund and with the assistance of the Melbourne Art Fair Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © David Griggs.[/caption] QUEENSLAND ART GALLERY AND GALLERY OF MODERN ART 2023 PROGRAM: Air at GOMA — November 26, 2022–April 23, 2023 North by North-West at QAG — February 11, 2023—March 2, 2025 Lies, Magicians and Blind Faith at QAG — March 4–July 30, 2023 Looking Out, Looking In: Exploring the Self-Portrait at QAG — March 11–August 6, 2023 Gone Fishing at GOMA — May 20, 2023—January 21, 2024 Michael Zavros: The Favourite at GOMA — June 24–October 2, 2023 eX de Medici: Beautiful Wickedness at GOMA — June 24–October 2, 2023 Isaac Walter Jenner at QAG — September 2, 2023—January 28, 2024 Living Patterns: Abstraction at QAG — September 23, 2023–February 4, 2024 Fairy Tales at GOMA — December 2, 2023–April 28, 2024 Fairy Tales displays at Brisbane's Gallery of Modern Art, Stanley Place, South Brisbane from December 2, 2023–April 28, 2024. For further details — or to find out more about the gallery's full 2023 slate — visit its website. Top image: Henrique Oliveira / Brazil b.1973 / Baitogogo 2013 / Palais de Tokyo, Paris / Plywood and tree branches / 6740 x 1179 x 2076cm / Courtesy SAM Art Projects, Galerie GP&N Vallois, Galeria Millan / © Henrique Oliveira / Photograph: André Morin / This work is indicative of a new commission by Henrique Oliveira for the exhibition 'Fairy Tales' at QAGOMA.
Before there was The Undoing, there was Big Little Lies — the other HBO series starring Nicole Kidman and written by David E Kelley. They have quite the company, too, both on-screen and off-. The stacked cast also features Reese Witherspoon, Shailene Woodley, Laura Dern, Zoë Kravitz, Alexander Skarsgård and Meryl Streep. Plus, Wild filmmaker Jean-Marc Vallée directed its first season and American Honey's Andrea Arnold helmed its second. Based on Liane Moriarty's novel of the same name, Big Little Lies follows a scandalous murder at a public school in Monterey, California — where the characters played by all of the above cast members each have children or grandchildren in attendance. Its twists and turns are obviously best discovered by watching, but it'll keep you guessing across both seasons to-date. And, the show will have you marvelling at its performances and slick cinematography in the process as well.
Nothing says summer quite like a barbecue and a few cold bevvies in the sunshine. With an average 283 days of sunshine per year in Brisbane, you'd be a fool not to embrace the outdoors. Barbecues are etched deep in our culture here in the River City, and while there are plenty of parks to enjoy a snag fresh from the barbie not all of them allow you to legally enjoy booze. In partnership with Jim Beam, we've rounded up four barbecue spots in Brisbane where you can tuck into a barbecue and a few drinks worry-free. [caption id="attachment_668860" align="alignnone" width="1920"] New Farm Park via Brisbane City Council and Flickr[/caption] NEW FARM PARK Sprawling an impressive 37 acres, New Farm Park is undeniably a favourite picnic and barbecue spot for Brisbanites. With lush lawns, manicured rose gardens, river views and the heritage-listed Powerhouse Museum taking pride of place, it's easy to see why. There are plenty of barbecues and tables to accommodate large groups, or perhaps you'd prefer to lay out a couple of picnic blankets on the grass for a more relaxed vibe? Because it's so generously sized, the park has plenty of space to kick around a ball or play a game of bocce if you're wanting to set up camp here for the whole afternoon. You are permitted to drink alcohol here so long as you're eating. [caption id="attachment_784308" align="alignnone" width="1920"] Brisbane Marketing[/caption] ROMA STREET PARKLANDS CELEBRATION LAWN Planted in the middle of the CBD, Roma Street Parklands is as convenient as it is varied. If the thought of laying on a picnic rug while you tuck into a freshly cooked barbecue feast with a cascading waterfall in the background appeals to you, then we'd recommend heading to Celebration Lawn. Come nighttime, the waterfall is lit with a range of colours, adding a touch of romance to your evening. There are plenty of barbecues, but get in early to nab a spot and settle in for a day of feasting and frolicking around the lawn. Or, you could explore the Parklands a little further after lunch. The best part is, you can bring your own booze to Celebration Lawn between the hours of 10am–8pm seven days a week. [caption id="attachment_793757" align="alignnone" width="1920"] Brisbane City Flickr[/caption] ROMA STREET PARKLANDS LAKESIDE MEADOW Also situated within Roma Street Parklands, Lake Meadow Precinct is perfect for those days when you're chasing a little relaxation. With sprawling green lawns that stretch around a stunning manmade lake, the area attracts visitors and locals for its ability to make you feel like you've been transported to a tropical destination. Like the Celebration Lawn, alcohol is permitted at Lakeside Meadow between the hours of 10am–8pm daily, so you can kick back and enjoy a few drinks as you prepare a tasty lunch and relax on the grass. SOUTH BANK'S RIVERSIDE GREEN South Bank Parklands is teeming with picnic spots and barbecue facilities, but our favourite has to be Riverside Green — mostly because you can enjoy an alcoholic beverage here between 10am–8pm. With stunning, uninterrupted views of the Brisbane River and city skyline, Riverside Green is a popular spot year-round, so make sure you get in early to nab a spot on the hotplates. The free barbecue amenities are generally in high demand, but once you're done feasting there's lots of space to kick back on the lawns and watch the day go by. And, if you've got kids in tow, let them run wild on the impressive playground nearby. Top image: Roma Street Parklands via Bert Knot
Why is it that we look to books for comfort in times of need? Literature has a beautiful path of communication and leading us into new worlds. In a time when many of us are going inwards, there are a handful of books that can guide us through. Here, that could mean exploring the underbelly of Southeast Queensland through the eyes of a teenage drug dealer, entering the dystopian world of a Man Booker Prize-winning author or learning how to get your bank account sorted. Where possible, support your local independent bookstore through these uncertain times and enjoy the world of literature. BOY SWALLOWS UNIVERSE BY TRENT DALTON Trent Dalton's groundbreaking debut novel lives up to the accolades on its cover. The Courier Mail journalist explores the underbelly of Southeast Queensland through the eyes of a 12-year-old heroin dealer, who's best friend is a 60-something escaped convict named Slim. Something unusual happened while reading this exquisite piece — I had an urge to scribble on the pages. Do yourself the biggest favour yet, and devour Boy Swallows Universe in one sitting. THE TESTAMENTS BY MARGARET ATWOOD Right now the universe is experiencing something that even Margaret Atwood couldn't have predicted, but this recently released sequel to The Handmaid's Tale predicts a dystopian future that doesn't seem too far off if we don't clean up our act. The Testaments comes 35 years after the Canadian author's novel that sparked the hit TV series we can't get enough of. The novel picks up 15 years after the events of The Handmaid's Tale and alternates between the explosive testaments of three women from the Republic of Gilead. If you've felt yourself on the outskirts of good literary conversation of late, reading the winner of the 2019 Man Booker Prize from cover to cover will throw yourself right into the midst of it. EXPECTATION BY ANNA HOPE If your anticipation for the next Sally Rooney novel is wearing thin, Expectation is for you. Regularly compared to Rooney's cult hits Normal People and Conversations With Friends, Anna Hope's recent release embraces a raw and real approach to relationships. Expectation is a novel of the highs and lows of friendships — how they can dip, dive and rise again, and the way we somehow find our place among it all. It follows the ten-year timeline of best friends Hannah, Cate and Lissa from a shared world of art and activism, romance and revelry to flailing careers and faltering marriages. TALES FROM A FINANCIAL HOT MESS BY FRANCES COOK There are books that you slowly warm to. Then there are books that you know are going to change your life before they jump off the shelf at you. This one is the latter. The New Zealand Herald journalist Frances Cook's debut guide found it's way into my life with divine timing. Books have the power to change your life, and Tales From A Financial Hot Mess was no exception. It offers an opportunity to adopt a new way of being and sort your money shit. Learn new skills and turn the relationship with your bank account on its head (or tails). Money is a difficult, awkward and anxiety-inducing conversation to have, but within the first few chapters of this handy guide your financial stresses might just fly free. Budgets just became beautiful. WHERE THE CRAWDADS SING BY DELIA OWENS It may not be the freshest release, but Where The Crawdads Sing is the book on everyone's tongue and Kindle search list. It has been noted as the coming of age story of the 2010s and a delicate novel with poignant reminders of our fragility. Delia Owens reminds us that we are forever shaped by the children we once were and that we are all subject to the beautiful and violent secrets that nature keeps. This debut novel was even a New York Times bestseller for 58 weeks. It's not the newest book on global shelves, but it's slowly making it's way from North Carolina to our shores. THE XX BRAIN BY DR LISA MOSCONI The XX Brain explores one of society's most debilitating conditions: dementia. Dr Lisa Mosconi draws on scientific research and theory to develop an approach for women to prevent disease and improve brain health. The graphs are emotive and the theories are compelling. The flow is engaging even if you failed high school science, and Dr Mosconi's credentials are astounding. Understanding that the brain of a woman is different from that of a man is crucial in saving lives when it comes to dementia, and The XX Brain gives us the tools to do just that. CILKA'S JOURNEY BY HEATHER MORRIS If Heather Morris' The Tattooist of Auschwitz gripped you like no other, then her followup, Cilka's Journey, is the next step on this path. Based on the true story of a woman who survives Auschwitz, it features the same unforgettable tone and strength that taught us all the meaning of survival is inviting. Morris' novel teaches us that sometimes life isn't handed out fairly, but it's how we deal with hardship that shapes who we truly are. A must read for cosy days indoors and an excuse for letting all those bottled emotions run free. KNOW MY NAME: A MEMOIR BY CHANEL MILLER Content warning: sexual assault. You may not know her name, but her assailant's will leave a bitter taste on your tongue. The case of Brock Turner was one that rose to international news, but we never heard his victim's story. She became just that, Emily Doe, the unknown victim who's intimate inner workings of her life were splashed across headlines. But she is so much more; a survivor, a fighter, an artist and a writer. She is Chanel Miller and with Know My Name she reclaims her story. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
If your spring routine usually involves bar-hopping around Brisbane — and around Fortitude Valley in particular — while listening to up-and-coming musicians, then you must already a devotee of BIGSOUND. The music-fuelled celebration takes over the Queensland capital every September or October, albeit virtually in 2020. And this year, it's back as a physical festival. Between Tuesday, September 7–Thursday, September 9, Brissie will once again become Australia's live music hotspot — even if a Melbourne survey generally claims otherwise. When BIGSOUND hits the city in its in-person format, it typically seems like every venue in Fortitude Valley is filled with bands, industry folks and music-loving punters, all enjoying the latest and greatest tunes and talent the country has to offer. Expect 2021's iteration to be no different. The three-day program will include conferences, live festival showcases, secret shows and official parties, with around 150 musicians taking to the stage and showing the industry why they should be pointing their ears their way. While specific lineup details won't be revealed until closer to the event, attendees can look forward to an Indigenous showcase and a women in music event on BIGSOUND 2021's opening night. Also on the bill: tunes galore, as well as talks about everything from changing industry and audience dynamics and the post-COVID world to inclusivity and gender equality. Announcing the event's return for 2021, QMusic CEO and BIGSOUND Executive Producer Angela Samut said that this year's program will "provide the chance for us to collectively grieve the losses the industry has faced over the past year, and celebrate the treasure trove of Australasian talent that has been incubating throughout this time." She continued: "our commitment to rebuilding a stronger, safer, more inclusive industry as we emerge from COVID has never been greater, and BIGSOUND is once again stepping up to the plate as the place where people come to discover the future of music and to be part of the future of music." [caption id="attachment_809942" align="aligncenter" width="1920"] Kymie at BIGSOUND 2019, by Lachlan Douglas[/caption] Past BIGSOUNDs have showcased everyone from Gang of Youths, Flume, Tash Sultana and Courtney Barnett to San Cisco, Violent Soho, Methyl Ethel and The Jungle Giants, so its program is usually a very reliable bellwether of current and up-and-coming talent. If you're keen to attend the BIGSOUND conference within the broader program — and hear its talks and speeches — it'll run on Wednesday, September 8 and Thursday, September 9. And if you're an artist looking to take part in the event in general, applications are now open until May 28. BIGSOUND 2021 will take place between Tuesday, September 7–Thursday, September 9 in Fortitude Valley, Brisbane. For more information — or to apply to take part if you're an artist — visit bigsound.org.au. Top image: David Byrne.
Think there's just one Hottest 100 in January? Think again. The second important countdown of the month actually goes rather well with the music poll that just proclaimed Kendrick Lamar's 'HUMBLE' the nation's best track of 2017. In the GABS Hottest 100 Aussie Craft Beers list, great brews are in the spotlight. And, just like its music counterpart, a new victor has come out on top. That'd be Balter Brewing Company, the Gold Coast-based outfit part-owned by surfers Mick Fanning, Joel Parkinson, Josh Kerr and Bede Durbidge. It beat Stone & Wood — the winner of both the 2015 and 2016 polls — to the number one spot, jumping up from fourth last time around in only the brewery's second year of operation. They also had five beers in total in the 2017 list. Now that's something to toast to, ideally with their winning 'XPA' American Pale Ale in your glass. Clearly, plenty of folks did just that throughout 2017. Run by GABS — or the annual brew fest also known as the 'Great Australian Beer SpecTAPular' — the countdown is a 'people's choice' poll is decided by booze-lovers around the country. Elsewhere on the list, 24 brews that first wet lips in the past year were included in the GABS Hottest 100, and 71 from indie brewers as well. If you're particularly keen on either, GABS have also released rundowns of the Hottest 100 New Craft Beers and the Hottest 100 Indie Craft Beers, plus the next 100 from the main countdown. If you're thinking "less background, more beer", here's what you've been waiting for: the rundown of the best beverages from the past year that just keep tempting tastebuds. Working your way through them isn't just a great way to show your appreciation for locally made brews — consider it research for the 2018 countdown. GABS HOTTEST 100 AUSSIE CRAFT BEERS OF 2017 'XPA' American Pale Ale (Balter, QLD)* 'Pacific Ale' Australian Pale Ale (Stone & Wood, NSW)* 'Crankshaft' American IPA (BentSpoke, ACT)* 'Newtowner' Australian Pale Ale (Young Henrys, NSW)* 'Single Fin' International Pale Ale (Gage Roads, WA)* 'Mosaic' American IPA (Pirate Life, SA) NEW 'IPA' American IPA (Balter, QLD)* NEW 'Jedi Juice' New England IPA (Hop Nation, VIC)* NEW GABS 'Beechworth Pale Ale' American Pale Ale (Bridge Road, VIC)* 'KRUSH!' American Pale Ale (KAIJU!, VIC)* 'Little Dove' International Pale Ale (Gage Roads, WA)* 'Former Tenant' Red IPA (Modus Operandi, NSW)* 'IIPA' Double IPA (Pirate Life, SA) 'Hop Hog' American Pale Ale (Feral, WA) 'IPA' American IPA (Pirate Life, SA) 'Pale Ale' American Pale Ale (4 Pines, NSW) 'Juicy' New England IPA (3 Ravens, VIC)* NEW 'Future Factory' Double IPA (Modus Operandi, NSW)* NEW 'Back To The Brewer' New England IPA (Mountain Goat, VIC) NEW 'Pale Ale' Australian Pale Ale (Black Hops, QLD)* NEW 'Sonic Prayer' American IPA (Modus Operandi, NSW)* 'One Fifty Lashes' Australian Pale Ale (James Squire, NSW) 'Pale Ale' American Pale Ale (Pirate Life, SA) 'Sprocket' American IPA (BentSpoke, ACT)* NEW 'Coast Ale' California Common (Capital, ACT)* 'Pale Ale' American Pale Ale (Little Creatures, WA/VIC) 'Barley Griffin' Australian Pale Ale (BentSpoke, ACT)* 'Trail Pale Ale' American Pale Ale (Capital, ACT)* 'Wild Yak' Australian Pale Ale (Yak Ales, VIC) 'IPA' American IPA (Fixation, NSW)* 'VPA' American Pale Ale (Nail, WA)* 'War Hog' American IPA (Feral, WA) 'XPA' International Pale Ale (Philter, NSW)* NEW 'Vanilla Milk Stout' Sweet Stout (Thirsty Crow, NSW)* 'Atomic' American Pale Ale (Gage Roads, WA)* 'Windjammer' American IPA (Green Beacon, QLD)* 'Kolsch' Kölsch (4 Pines, NSW) 'Furphy Refreshing Ale' Kölsch (Furphy, VIC) 'India Red Ale' Specialty IPA (Prancing Pony, SA)* 'The Matriarch' New England IPA (CoConspirators, VIC)* NEW 'Indian Summer Ale' Australian Pale Ale (4 Pines, NSW) 'Throwback' American IPA (Pirate Life, SA) 'Pilsner' German Pilsner (Balter, QLD)* NEW 'Korben D.' Double IPA (Akasha, NSW)* 'Golden Stout Time' Sweet Stout (Big Shed, SA)* GABS 'Cloud Catcher' Australian Pale Ale (Stone & Wood, NSW)* 'Twisted Palm' American Pale Ale (Burleigh, QLD)* 'Bling' American IPA (Bridge Road, VIC)* 'Three Sheets' Australian Pale Ale (Lord Nelson, NSW)* 'Mount Tennent' American Pale Ale (Pact, ACT)* 'The Mountie' Specialty Beer (Stockade, NSW)* NEW GABS 'Squish' Specialty IPA (Fixation, NSW)* NEW 'Wayfarer' American Wheat (Green Beacon, QLD)* 'Hopsmith' American IPA (Akasha, NSW)* 'Hornet' American IPA (Black Hops, QLD)* NEW '3 Bolt' American Pale Ale (Green Beacon, QLD)* 'Summer Hop Ale' American IPA (Young Henrys, NSW)* 'Small Ale' American Pale Ale (Colonial, WA/VIC)* 'Pale Ale' American Pale Ale (Colonial, WA/VIC)* 'Steam Ale' California Common (Mountain Goat, VIC) 'Natural Lager' Pale Kellerbier (Young Henrys, NSW)* 'Dark Ale' Porter (White Rabbit, VIC) 'Spearhead' Australian Pale Ale (Cricketers Arms, VIC) 'Fat Yak' Australian Pale Ale (Yak Ales, VIC) 'IPA' Specialty IPA (Colonial, WA/VIC)* 'Pale' American Pale Ale (Modus Operandi, NSW)* 'Dog Days' Australian Pale Ale (Little Creatures, WA/VIC) 'Evil Eye' Red IPA (Capital, ACT)* 'Pale Ale' Australian Pale Ale (Kosciuszko, NSW) 'Taco' Specialty Beer (Two Birds, VIC)* GABS 'Old Mate' American Pale Ale (Moon Dog, VIC)* 'Summer Ale' Blonde Ale (Mountain Goat, VIC) 'Garden Ale' Australian Pale Ale (Stone & Wood, NSW)* 'Hazelnut Brown Ale' English Brown Ale (Bad Shepherd, VIC)* 'Tusk' Double IPA (Feral, WA) 'Hazy Craze' New England IPA (White Lies, QLD)* NEW 'Session IPA' Specialty IPA (Modus Operandi, NSW)* 'Aftermath' Double IPA (KAIJU!, VIC)* 'TPP Strong Pale Ale' American Pale Ale (Pirate Life [SA] / Ballast Point [USA]) NEW 'Vanilla Malt Thickshake' Winter Seasonal Beer (Pirate Life, SA) NEW GABS 'The Punch' Gose (Hop Nation, VIC)* 'Juicy Banger' Dry Hopped Lager (Blackman's, VIC)* NEW 'Biggie Juice' New England IPA (Feral, WA) NEW '7 Bells' Gose (Green Beacon, QLD)* NEW 'Blood Orange New England Rye IPA' New England IPA (Dainton, VIC)* NEW 'The Swindler' Australian Pale Ale (James Squire, NSW) NEW '28' American Pale Ale (Burleigh, QLD)* 'India Pale Lager' Pale Lager (Beerfarm, WA)* 'Bighead' Pale Lager (Burleigh, QLD)* 'Black Metal Disco' Sweet Stout (Balter, QLD)* NEW 'Passion Victim' Australian Pale Ale (Two Birds, VIC)* NEW 'Robust Porter' Porter (Bridge Road, VIC)* 'Session Ale' Australian Pale Ale (Mismatch, SA)* 'Pale' American Pale Ale (Mornington Peninsula, VIC)* '8bit' American IPA (Stockade, NSW)* 'Alt Brown' American Brown Ale (Balter, QLD)* 'Sparkling Ale' Australian Sparkling Ale (Coopers, SA)* 'Bright Ale' Australian Pale Ale (Little Creatures, WA/VIC) 'Little Bling' Specialty IPA (Bridge Road, VIC)* 'Rogers' American Amber Ale (Little Creatures, WA/VIC) * — Brewed by an independent brewery. NEW — First brewed in 2017. GABS — Brewed especially for GABS Beer, Cider & Food Fest. Image: Balter Brewing Company.
Next time you peer at the Sydney Harbour Bridge — whether you're a local who passes it daily, or just an occasional visitor to the city — you'll spot the Australian Aboriginal flag flying atop the iconic structure. The New South Wales Government has today, Monday, July 11, announced that the flag is now in place permanently on the landmark. The flag was already waving above the structure for NAIDOC Week which, historically, has been among the rare occasions that it has graced the Sydney Harbour Bridge. Indeed, before now, tje Aboriginal flag was only on display above the harbour for 19 days annually, including on Australia Day, Sorry Day and during Reconciliation Week. "From today, one of Australia's most recognisable landmarks will celebrate our Indigenous people and provide an everyday reminder of our nation's rich history," said NSW Premier Dominic Perrottet, announcing the news. "Our nation's story is rich and enduring, and flying the Aboriginal flag permanently above the Sydney Harbour Bridge is a celebration and acknowledgment of that. Honouring this commitment is part of our ongoing commitment to recognise the history, culture, excellence and achievements of Aboriginal people, and is a fitting end to NAIDOC Week 2022." [caption id="attachment_858129" align="alignnone" width="1920"] Boyd159 via Wikimedia Commons[/caption] To fly atop the bridge permanently, the Aboriginal flag replaces the NSW State flag, which'll be relocated "to a place of prominence as part of the revitalisation of the Macquarie St East precinct redevelopment," the NSW Government advised. The move comes after an eventful few months involving the Aboriginal flag, after the NSW Premier originally pledged to give it a permanent berth atop the country's most famous man-made structure back in February, then announced in June that it'd become a reality by the end of 2022. Last month, when that last promise was made, it was also revealed that a third flagpole would be added to the bridge, allowing the Australian flag, NSW State flag and Aboriginal flags all to top the structure side by side. But, that was set to come with a hefty price tag, with $25 million committed in the 2022–23 NSW budget. Instead, those funds will now be allocated towards Indigenous initiatives. "This builds on the NSW Government's commitment to improve outcomes for Aboriginal people across NSW, following a $716 million investment in this year's budget to prioritise Closing the Gap initiatives," said NSW Minister for Aboriginal Affairs Ben Franklin. "I am proud to be part of the government that will permanently fly the Aboriginal flag above the Sydney Harbour Bridge and I am happy that a further investment will be made to deliver real outcomes for Aboriginal people across NSW." VICTORY!!! A proud moment & a powerful ending. I want to extend appreciation for everyone fighting injustice. Don't stop until you're proud & stay persistent 👊🏽@MayorDarcy @IWCouncil @david4wyong @AIA_SydneyCBD Aboriginal flag to replace NSW flag https://t.co/A1q26dx3lR — Cheree Toka (@Chereetoka) July 10, 2022 The move to fly the Aboriginal flag permanently follows a five-year-long campaign by Kamilaroi woman Cheree Toka, who also launched a Change.org campaign in 2020 to continue to call on the NSW government to make this exact move. "The Aboriginal flag is a reminder that the country has a history before European arrival," Toka said two years ago. "I think it's really important to have a symbolic gesture on the bridge that identifies the true history of Australia, which is a starting point for conversation around greater issues affecting the Indigenous population." After the first three years of Toka's campaign, she had amassed more than 157,000 digital signatures and the required 10,000 paper-based signatures to bring the issue to NSW parliament. However, when it was debated in the final NSW parliamentary session of 2019, the result then was that it would cost too much to construct a third flagpole to see the Aboriginal flag flying daily — which was what sparked her crowdfunding campaign to raise the $300,000 quoted by the government to 'fund the flag'. Also in Aboriginal flag news this year, the Australian Government unveiled a copyright deal at the end of January with Luritja artist Harold Thomas, who designed the symbol, to make it freely available for public use. The Aboriginal flag is now flying permanently on the Sydney Harbour Bridge, effective Monday, July 11. Top image: Mary and Andrew via Flickr.
As always, Falls Festival has gifted us with one helluva lineup. Helping to ring in the art and music festival's 27th year is a pretty exciting gang of musical mates headlined by America pop singer and star Halsey, who'll be performing songs off her Platinum albums Badlands and Hopeless Fountain Kingdom. She's joined by Ezra Koenig-fronted rock band Vampire Weekend, who've just dropped their latest album Father of the Bride, British electro duo Disclosure and Icelandic indie pop band Of Monsters and Men. True to form, the Falls 2019 local lineup is equally exciting, and every bit as broad. Homegrown acts hitting the stage include The Voice himself John Farnham, who'll be belting out hits from some of his nineteen albums, including, we're sure, 'You're the Voice'. Aussie dance trio Pnau, dance floor regulars Peking Duk, folk singer Vera Blue and rapper Baker Boy will all be making appearances, too. As always, the tunes are backed by a colourful curation of art events, performances, pop-ups, markets, wellness sessions and gourmet eats. It's all happening over New Years at the usual spots in Tassie's Marion Bay, the North Byron Parklands and the Fremantle Oval Precinct, WA. But, the Lorne festival in Victoria, as of Sunday, December 29, has had to cancel one day into the event because of extreme and hazardous weather. You can read more about the cancellation here. FALLS FESTIVAL 2019 LINEUP Halsey (no sideshows) Vampire Weekend Disclosure Peking Duk Of Monsters and Men Pnau Lewis Capaldi Milky Chance John Farnham Banks (no sideshows) Dope Lemon Vera Blue Yungblud G Flip Crooked Colours Parcels Thelma Plum #1 Dads Waax Baker Boy Psychedelic Porn Crumpets Amyl & The Sniffers The Japanese House Pink Sweat$ Good Doogs Cxloe Totty Tash Sultana (Byron Bay only) What So Not (Lorne only) Wolfmother (Marion Bay only) Matt Corby (Fremantle only) Updated December 29
Arguably the worst part of travel is the bit where you actually have to travel. Sitting in an over-cramped, over-air-conditioned metal tube for 20+ hours almost makes post-pasta swims in the Mediterranean seem too much trouble than it's worth (almost). But until we're at The Fifth Element stage where we can just hop in a capsule and get knocked out cold for the duration of the journey, we'll just have to be content with airlines' attempts at cutting down flight times and transfers. So it was welcome news for Aussie travellers when, in December last year, Qantas announced it would introduce a direct flight from Australia to Europe. And now the non-stop flights have officially gone on sale, with the first one set to take to the air on March 24, 2018. The new route will take passengers from Perth to London daily in approximately 17 hours, thanks to their new Dreamliner 787-9 aircraft, which is set to start flying in October. It will be the first and only direct flight from Australia to Europe. It will also be considerably quicker than their current route, which, with their partnership with Emirates, includes a stopover in Dubai. Melburnians will be able to fly to London via Perth, with Qantas also swapping out its daily Melbourne-Dubai-London flight for a daily Melbourne-Perth-London service. Travellers from other cities will have the option to go via Perth when booking too. "This is a game-changing route flown by a game-changing aircraft," Qantas CEO Alan Joyce said in a Qantas press release. "Australians have never had a direct link to Europe before, so the opportunities this opens up are huge." We first reported on this back in October 2017, when Qantas were still in negotiations with the Western Australian Government and Perth Airport to lock down the new route. It seems they managed to reach an agreement, as the new Perth-London flight will operate from Qantas' domestic terminal at Perth Airport, to make the stopover as smooth as possible for travellers coming from other states. Qantas will also build a new international transit lounge at the airport. The layout for the airline's new Dreamliner fleet will be two-thirds the size of the 747s they will eventually replace and have only 236 seats (as opposed to the 747's 364 seats). Economy will have a 3:3:3 seat situation (as opposed to the 3:4:3), as well as USB ports and an extra inch of leg room. Hurrah for leg room! The first Perth to London route will take off on in March 24, 2018, and flights are on sale now.
Two Australian music legends. Decades of collaboration. One long-awaited album. One big night. That's the maths behind the Brisbane leg of Nick Cave and Warren Ellis' Carnage tour, which heads to the Convention and Exhibition Centre on Friday, December 9. Yes, this is some news to come sail your ships around — as part of an array of gigs in five states and one territory, on a tour that kicked off in mid-November and runs through to mid-December. The pair is doing the rounds to support the 2021 album that shares the tour's name, which actually marks Cave and Ellis' first studio album as a duo. [caption id="attachment_862516" align="alignnone" width="1920"] Megan Cullen[/caption] Bandmates across several projects since the 90s — including Nick Cave and the Bad Seeds, and Grinderman — Cave and Ellis are Aussie icons, with careers spanning back decades. Together, they also boast more than a few phenomenal film scores to their names as well, including for The Proposition, The Assassination of Jesse James by the Coward Robert Ford, The Road, West of Memphis, Far From Men, Hell or High Water and Wind River.Cave and Ellis have headed home after an American Carnage tour, and following Cave's subsequent tour with the Bad Seeds in Europe. [caption id="attachment_845538" align="alignnone" width="1920"] Laurine Payet[/caption] Top image: Palma Sabina.
Bright lights, fame and the chance to become something special all beckon in The Neon Demon. For small-town teen and aspiring model Jesse (Elle Fanning), they're intoxicating — and to the others she meets in her quest for success, so is her innocence and youth. Still, there's a reason that, when Drive director Nicolas Winding Refn first introduces his wide-eyed protagonist, she's splattered in blood and looking not long for this world. She's posing for a photo, but it's immediately apparent that she has wandered into an oh-so-vicious realm. Refn isn't known for being the subtlest of filmmakers, as the manic intensity of Bronson and the detached violence of Only God Forgives both show. He's also a man fond of ensuring that everything audiences see and hear — every colour choice, camera angle, throbbing beat, telling line and moment of silence — is both powerful and entrancing. Combine that with his fondness for dallying with dark tales of human behaviour, and his output tends to be quite polarising. The Neon Demon certainly fits that mould. In fact, it feels like the movie he's been building towards his entire career. Take that as cause for celebration, or a word of warning, depending on how you've felt about his work so far. It's with a parade of suitably neon-saturated images — and with opening credits emblazoned with his own initials — that Refn recounts Jesse's twisted, violent fairytale excursion to Los Angeles. When she meets makeup artist Ruby (Jena Malone), she's plunged deeper into an industry and a city that seems gorgeous and glamorous on the outside, yet remains shallow, false and all-consuming underneath. More experienced, older, surgically enhanced models Gigi (Bella Heathcote) and Sarah (Abbey Lee) don't quite befriend the fresh-faced wannabe, but they do take an envious interest. The competitive edge to their interactions only grows the more that the eager Jesse attracts attention. Skewering the superficiality of society's obsession with appearances is hardly new or novel. But it's not what Refn is saying in The Neon Demon that makes it so seductive. Rather, it's how he says it. In turning a stars-in-their-eyes story into a moody, psychological horror film, his scathing satirical edge is always evident. Every stylistic choice draws audiences in, then slowly reveals that they should have kept their distance. He's aided by a pulsating score from regular collaborator Cliff Martinez that's both melodic and just the slightest bit unnerving. Likewise the film's images, which could have been ripped from the front page of a fashion mag, yet retain an insidious air. Everything looks pretty, even when the movie's true nature proves otherwise. To put it simply, Refn wants to both lure people in while threatening all the while to spit them out — and he does so in eye-popping fashion, as does his entire cast. Fanning plays the seeming ingenue with pinpoint precision, and, though there's a stilted air to Aussies Heathcote and Lee, that's clearly by design. Keanu Reeves and Christina Hendricks are both memorable in small, well-used parts as a seedy landlord and a no-nonsense agent, but if there's a supporting player that the film belongs to, it's Malone. In The Neon Demon's most subtle performance, she's caught in the middle of the many extremes swirling around her, and she knows it. Viewers will relate, even if they're too busy either loving or hating Refn's latest big-screen effort to appreciate it. For the record, we're well and truly in the former camp.
If chanteuses set your music-loving heart a-flutter, then Women in Voice is your kind of thing. You probably already know this. Over more than two decades, the celebration of female artists has become a Brisbane institution. Since starting out in a West End cafe back in 1993 and then journeying through a number of venues around the city and beyond, Women in Voice has become one of the nation's longest running performances. Showcasing talented lady vocalists in an up-front, uncomplicated manner, the show has featured the likes of Chrissie Amphlett, Deborah Conway, Jenny Morris, Katie Noonan and Kate Miller-Heidke on the bill at some point. As always, the latest iteration of Women in Voice boasts quite the lineup. Prepare your ears for the sounds of the ethereal Emma Dean, rock legend Carol Lloyd, world music mama Yani and the astounding Alison St Ledger. They're all banded together by MC Queenie van de Zandt’s hilarious alter ego, Jan van de Stool, International Music Therapist, because crooning and comedy are all part of this cabaret package.
It's the first film from Andrea Arnold in almost a decade, since 2016's Cannes Jury Prize-winning American Honey. It boasts Barry Keoghan in his first big-screen role since Saltburn made him a megastar. ("He could pretty much have done anything he wanted and he stuck with my small, low-budget film, so that's pretty spectacular," Arnold tells Concrete Playground.) It gives Franz Rogowski another exceptional part for his ever-growing resume (see also: Victoria, Happy End, Transit, A Hidden Life, Undine, Great Freedom and Passages). It unearths a stellar new talent in British Independent Film Award Breakthrough Performance-nominee and first-time actor Nykiya Adams. It sports a soundtrack filled with British sing-alongs, complete with a nod to its most-famous face's film past worked in among Blur's 'The Universal', The Verve's 'Lucky Man' and Coldplay's 'Yellow'. Bird is worth watching for each of these reasons alone — as well as for Arnold's blazing empathy, a hallmark of her work since her Oscar-winning short film days, and also the brilliant naturalism that always beams through in the cinematography by her regular collaborator Robbie Ryan (a two-time Academy Award-nominee for The Favourite and Poor Things). It's also a must-see for letting audiences discover how Arnold has spun a tender and moving coming-of-age fable that blends social realism with magical realism from a unique starting point: "it was an image of a naked tall man with a long penis standing on a tall building at night in the mist," she advises. "I think it's a metaphor." Bird began the same way that Andrea Arnold's work always does: with a distinctive picture. While every film, be it a short, feature or documentary, trades in visuals, of course, the writer/director's creative process for each of her projects commences with an image that comes to her, and that she's then driven to unlock. Such was her kick-off point when she started penning a movie that now sits beside Red Road, Fish Tank and Wuthering Heights on her resume as well — plus episodes of Transparent and I Love Dick, the entire second season of Big Little Lies and heartbreaking doco Cow. Rogowski portrays the titular character, who is indeed sighted on a rooftop. Adams is Bailey, the movie's 12-year-old protagonist. Keoghan plays Bug, her single dad, who she resides with in a north Kent squat — also with her brother Hunter (fellow first-timer Jason Buda) — and whose new engagement shatters Bailey's status quo. Arnold layers Bird with journeys and searches to belong. It's true for the girl at the feature's centre, who feels like the already-chaotic existence that she's living with Bug and Hunter is crumbling. It's accurate of Bird, the mysterious stranger on a quest that's tied to his past, too. Bug's impending nuptials, Hunter's own romantic situation: it applies to them also, as it frequently has to other characters across the helmer's filmography. Chatting with us in 2016, American Honey star Riley Keough described that picture as "like an experience, rather than like a film" and "really getting to that sort of place in people's souls"; again, that applies across every Arnold project. In her Oscar-awarded short Wasp, Arnold's focus is a single mother trying to start a new relationship. Red Road follows a CCTV operator who spots someone that she knows on surveillance footage, Fish Tank charts the change in a 15-year-old's life when her mum begins seeing a new boyfriend, Wuthering Heights obviously adapts Emily Brontë's gothic great about Catherine and Heathcliff, and American Honey heads on a US road trip. A female dairy cow earns the filmmaker's attention in Cow. Each unfurls a different narrative, even if dysfunctional families and growing up are familiar themes. "None of the stories are directly connected, but I'm quite interested in those kind of families, I guess," Arnold notes. "Maybe because my own family was quite sort of chaotic as a child." Her work is linked by a sentiment that's summed up wonderfully in an unforgettable line in Bird, too: "no one's no one". That piece of dialogue was pivotal for the director. Arnold is adamant about that fact, as she was about ensuring that the line made it into Bird. As she keeps demonstrating a devastatingly evocative and effective knack for seeing working-class reality with clear eyes while equally spying the world's beauty wherever her characters can snatch it, Arnold likes to let her films speak for themselves rather than unpacking their meaning — "I really believe in cinema being something that you give to the audience to have their own experience with," she says; "you want the audience to go to the bar afterwards and argue about what they think it meant, 'I think it meant this' or 'I think it meant that', 'no, no, what about that scene, because that scene means that'" — but she's aware of how crucial those four words are. Bird's evolution from that first image of a man on a building, delving into magical realism, casting Keoghan, discovering Adams, guiding naturalistic performances out of her actors, her approach to the film's soundtrack, making three-dimensional movies about the working class: we also spoke with Arnold about all of the above. On How Bird Evolved From Arnold's First Vision of a Man on a Rooftop in the Mist "Every time I write, I have an image that I then treat like a puzzle. It's like a mystery. The image is a mystery. Who's the man? Why is he naked? Why is he in mist? Why is he standing on a building? Is someone looking at him? Is he an alien? How old is he? The image encourages me to ask lots of questions, so it becomes a puzzle that I then have to solve. And usually what happens is, I know that if the image really keeps annoying me, like it keeps coming into my head, that it's something I need to explore. So I go off and I start making notes, and I start thinking about what are the answers to some of the questions, and that starts me thinking about scenes and possible other images and characters. And then I just build it from there, really. Which takes years sometimes. Not like every day, but it doesn't always make sense straight away, and I start digging around and 'yeah, that makes sense' and 'that doesn't make sense'. I keep — I think I started Bird years ago, five years ago or something, but then I did Cow and did other things, and so I came back to it. If I'd made it straight away five years ago, I think it would be a completely film to the one I made just now, actually. I think it would have been an interesting, different film. Because in five years, you change and you grow, and you do other things and your ideas change. So it depends on the kind of person I am at the time — and actually, interestingly I wasn't sure I should do it. Because I felt like somehow, the image, although I started with the image, that maybe I didn't need to really go there. But then I just kept going and did. And then I think some of the magical realism came out of that because I was pushing the idea more than I perhaps would have done. Maybe five years ago, there would have been no magical realism, but now there is." On Bird's Flight Into Magical Realism "It came naturally out of the process of writing. I didn't have any other films in mind. I love films like Pan's Labyrinth, for example. I think that's an amazing film, but it's not a film that I ever thought was anything like my films or anything to with me. When I saw that film, which I loved, I never thought 'oh, yeah, that I'm going to do that' or 'that's something to do with me' — I loved it for what it was, for its own creation. I never even thought about it. When I started writing, it just started coming naturally — the storytelling, my imagination just went there. So I just let it. It was liberating. I thought 'well, it's a film, I can make anything happen'. It's like magic, isn't it? You can do what you like. To me, it would seem like a natural progression from what I already do. Because I think, all the nature things I film, to me they're magical anyway. If you put a camera on something like a dragonfly, for example, that's about as alien and as magical as you can get. If you look at anything that we, all these things we have naturally in our lives, that are around — look at a worm. What an amazing thing a worm is, right. If you want look at a worm, film a worm and study it, you'd be thinking 'wow, that's like an alien. That's a strange thing. Does it move? How does it work? How does it live?'. I find all the things around us magical anyway. I literally find them fascinating. I find a snail, for example — you just have to look at those things and it's magical anyway. So to me, what I did just didn't seem so weird. It didn't seem so strange to me. It felt normal. It felt like an extension and natural progression of what I'd already done." On the Importance of the "No One's No One" Line — and How It Also Echoes Across Arnold's Other Work "That line just came while I was writing and I just thought 'oh god, that just sums up everything I care about. That just sums up absolutely everything'. And I was absolutely adamant. Because sometimes when you're filming scenes — my scripts end up being quite layered, I think, and I lose so much from my scripts when we film, because filming is so clunky compared with when you do layers in a scene. I might layer a scene with all sorts of things, and of course you film it and sometimes it's like driving a tank across your scenes. It's hard to achieve some of the subtleties that I put in my in my script. Sometimes I think 'maybe I should just write, because then I can have all the things that I want in there'. So often I'm improvising — or not, no I'm not improvising, I'm allowing things from the script, I let them go because I just have to, because the situation, the timing. Sometimes they have lots of non-actors, they don't remember a line or they don't always say it like it is. So often, the scene becomes sort of an echo of what I wrote, but not totally what I wrote. But that line, I was absolutely adamant that we didn't lose it. I was like 'it doesn't matter what'. And we had to hurry in that situation, because we didn't have much time to film in the station and we had some other issues that day. So we ended up with very little time to film on the station and outside the station, but I was absolutely like 'we're putting the camera there and we're going to get that line, that's got to be there'. It's my favourite line. And I think you're right, thank you for spotting that — it is something that I really care about and I think probably is across my work, and that is something I believe." On Casting Barry Keoghan as Bug "My casting comrade Lucy Pardee, who I work with — who's an amazing woman and who I've worked with for years — she knows me really well. She knows my worlds really well. She completely understands them. I've known her for many years. And she thinks about people she thinks will fit in my world. She mentioned him very early on, like ages before Banshees came out. And I met him just before The Banshees of Inisherin came out. And I hadn't seen him very much, actually, but she sent me a picture of him and I was like 'wow, I love the way he looks' — and he looked like he could fit straight in. Then I saw him in a couple of things, just small roles in things, and then I went to meet him. I don't always need to see them in another film necessarily. I like meeting people. And I'll always go on meeting. I feel like that's the genuine feeling that you get, from meeting a person. And I met him — he came down from Scotland when I was in London, and we had a meeting, and I just loved him the minute I met him. I think I offered it, we offered it, to him the next day. But that was quite a long time before we started — but I never ever faltered. I don't think I met anyone else for Bug, actually. I think I just met him and I was like 'yeah, totally'. But that's thanks to Lucy because she just knows me so well, so she picks people that she knows what I'm going to respond to and who feel like they go in my world. And then Banshees came out, of course, and I went to see it, and I just loved him in that. He was so fantastic in that. I was like 'yeah, we definitely made the right choice, without a doubt'. But I'd cast him before that came out so. And then, of course, he was in Saltburn. And then he went stratospheric. I actually thought 'he's never going to stay with our film', because he could do anything he wants now. But he did. So that was beautiful. He stuck with us." On Knowing That Adams, Who Only Auditioned to Get Out of a Class at School, Was the Film's Bailey "The first audition was with Lucy, the casting director, and then Lucy took her along to another — when she saw her, she brought her along to meet me after. So when I met her, she just came on a Saturday. We do the auditions up near where everybody lives, so they don't have to travel very far. So we were up in the area, and she came on that Saturday. I think she'd been playing football that day. She does football and stuff. She's very physical, very sporty. I think she did it to get out of a design and technology class, didn't she? I think that's the story. I think I heard her say that the other day — I didn't know that until I heard her say that. She did the audition more to get out of a lesson than she did because she wanted to be an actor. She just did it to get out of something. So I think even, I don't know when she came to see me, I'm not sure that she was still that not sure about this thing. I think I remember her walking in like 'yeah, what is, what is this thing?'. But I remember waking up when I saw her. I felt like she had a presence. And that I really took note of, I kind of thought 'oh, this this kid has got a presence'. It wasn't quite the sort of the kid that I'd written or been looking for, exactly. She was different. But I noted her and she woke me up, and I think you've got to pay attention to those feelings. That never left me, so she ended being the Bailey." On Guiding Naturalistic Performances Out of Bird's Cast "I shoot chronologically, which I think is a huge thing, and I particularly love it. I do that mostly for the people who haven't acted before, because I think it gives them some sense of where they are, and then they don't have to jump in and out of the chronology — they're not having to do a scene from the end and then a scene from the beginning. It gives them some sense of their journey. Then, because I do that, I do that with all the actors as well, of course — and then I don't show them the whole script. I give them scenes bit by bit. And then I think the actual day-to-day directing is, for me, every person I'm working with is an individual and your relationship then is an individual relationship — and different actors, different people who haven't acted before, need you or there's different ways in which you work with each of them. So there's not one way, I don't think, that I work with anybody. But I try to have relationships with everybody with, and for that to be like a living, growing, evolving thing that is something that we do as we go along." On the Use of British Anthems in the Soundtrack "Every character, I make a playlist for. So that was on Bug's playlist, these sort of very blokey anthems. I mean, 'Yellow' is a song that I absolutely love anyway. I try, all the songs I use, I try, even though the character's songs, I still want them to be songs I love — and I usually don't pick any song that I don't love. Most songs in my films, I love. And even if they're particular character songs, I still want to love them. So I try to find songs that I love for every character. So 'Yellow' is, I think, a fantastic song and. And 'The Universal' is a fantastic song. And 'Lucky Man'. They're all on Bug's playlist. Bug had that kind of playlist, sort of anthems, because I think he likes to sing and he likes to be loud, and he likes to sing these songs. He knows all the words. Then I made playlists for everyone else. I made a playlist for Bailey, but her music got drowned out by Bug's — every time I tried to have a song that was Bailey's song, it didn't happen because she's in the house and Bug takes over. So that happened naturally, actually. That wasn't an intention. I didn't mean for that to happen, but it did happen. And actually now, I realise it happened naturally because of the character and because of the way the world was. So that was something that was sort of a truth that happened, even though I planned something different — the truth came out. And then what happened is because we had Burial do some of the soundtrack, and I've never worked with someone doing a soundtrack before, so this was a new experience for me — but his music became more like Bailey's internal world. So she had her own music, but it wasn't songs. It wasn't songs that she would have on a playlist. It was more her internal world." On Making Three-Dimensional Films About the Working Class "I grew up in a working-class family and in that kind of area, so I very much feel that's something I very much understand and feel deeply connected to. So I don't have any judgment of anybody. I don't have that in my bones. So I think that's just going to come out in what I do. I don't have any sort of — I don't need to do anything because that's just how I feel. But I think like that about everybody. I think we should all respect and be kind and caring towards each other. I feel the world doesn't — I feel like that about everybody. I try not to judge anyone when I first meet anyone, or to judge anything or anybody. I try not to. I guess, of course, we probably all do on some level, but I try not to. And I just don't have that in my bones, so it's not going to be there in the film, I don't think. I don't think I'm making political — it's not a political gesture, not really. It's more about the people, I think. And it's more about trying to show people in three-dimensional ways. It's a privilege for someone like me who comes from that working-class background to be a filmmaker. What a privilege. What an amazing place I'm in that I've come from a working-class background, but here I am making films — what an amazing thing that is. And to me, I see that as quite a responsibility. And it's almost I feel like I need to really try to present it — I mean, obviously I'm making a film from my point of view, and that I'm not trying to make a wide political gesture, I'm just trying to make one from my point of view, in a way I understand, and that's all I try to do. I don't try to pretend I know everything, or I have great, sweeping view — obviously I wish the world was a more equal, fairer place for people. And there's plenty of wealth in the world to go around, isn't there? I'd like it that people weren't struggling to eat or to have somewhere to live. Originally in the film, I put the family — because of lockdown here and COVID, nobody went to work, and London at the moment has masses and masses of buildings, it has sprouted up like some sort of Blade Runner futuristic thing. And all the people that didn't go to their offices every day didn't want to go back into the offices. And I thought 'oh, there's all of these empty buildings now, all of these big office blocks, empty — why don't put all of the people that don't have homes there? There's so many people without homes. The homeless situation, it seems to be getting worse in every single country. When I go to America, they say the homeless thing is incredibly awful there. There are tent cities, and there are avenues and streets full of people living in tents and cars. I'm thinking 'but you've got all these empty buildings. You've got all of these office blocks that no one's working in. Why don't we just put everybody in there?'. So originally in the film, I put the family them in there. But we couldn't find a building like that to film in, so we didn't end up filming there. But the intention was there. My heart was there. So there's all these little things that I do care about that I put in the film, but I wouldn't say it's a big, sweeping political gesture. It's more about the people, more about trying to tell a small world in a way that I see as being true, as true to me. It's my truth — I'm not saying it's everyone's truth or a universal truth, it's just a truthful thing for me. There's things I care about in the film always. Everything I care about. But I would say I'm not trying to make a massive statement." Bird opened in cinemas Down Under on Thursday, February 20, 2025. Images: Robbie Ryan / Atsushi Nishijima.
Cloudland is throwing a cocktail party. It's also a Cocktail party, too. There'll be plenty of creative boozy concoctions on the menu, as well as an 80s vibe inspired by a very fitting Tom Cruise movie. If you haven't experienced Cocktail, the 1988 flick, it features Cruise as a business student by day, bartender by night — with Aussie legend Bryan Brown playing his mentor. The pair become quite the beverage-slinging hit, and dream about opening their own establishment called Cocktails & Dreams. There's more to it than that, of course, including The Beach Boys' hit 'Kokomo' on the soundtrack. Whether you consider the film an 80s gem or you've never heard of it until now, Cloudland is using Cocktail as its theme from 8pm on Friday, January 25. You'll want to get there fast and then take it slow — and enjoy pop-up bartending shows, live music and plenty of 80s-inspired fashion. Yes, that's the dress code. Two types of tickets are available. You can enter for free and buy your booze as you go, or pay $75 for a three-hour food and drinks package. Either way, prepare for plenty of retro cocktails, Hawaiian outfits, neon and big hair.
While most people think of a concept before a title is given to the project, graffiti artist and satire king Banksy does the opposite. The reclusive English artist and activist ventured into the world of TV last Saturday with his show The Antics Roadshow, a title he claims was born before the show's concept. In a statement Banksy said that "Basically I just thought it was a good name for a TV programme and I've been working back from there." Banksy's foray into TV takes a look at a topic he is most familiar with: public pranks. But his approach is tongue-in-cheek; from the 2010 politically motivated prank by Russian performance art group Voina to the pie-in-face pranks of Noel Godin, The Antics Roadshow (a pun on the iconic British TV show Antiques Roadshow) celebrates the humorous side and, at times, poignant statements of recent pranks and pranksters. The hour-long TV show is currently being aired on UK's Channel 4 and is narrated by English actress Kathy Burke and produced by Jamie D'cruz (who also produced Banksy's 2010 film offering Exit Through The Gift Shop). https://youtube.com/watch?v=NdpVVgMRbKg
Taking quality of beard and beardiness of lyrics as the two main factors, South Australian folk rock foursome The Beards are definitely at least one of the beardiest bands in music today. But they’re not the only band with facial hair that says a lot about their music. In anticipation of The Beards The First World Tour, which is currently making its way around the US before wrapping up on our eastern states in June, learn to know your EDM from your alt country by facial hair alone with this list of eight genre-defining beards. 1. THE INDIE FOLK BEARD Like the warm sounds of a guitar and a country-tinged melody, the indie folk beard is rural, familiar and comforting. It is comprised of a mid-density beard with rugged chops and a clearly defined moustache section. Often those two parts will merge slightly, but if so there will normally be some form of styling gel involved so the moustache retains definition. See Justin Vernon and Iron & Wine’s Samuel Beam, and closer to home, Angus Stone’s is a bristly contender. 2. THE CLASSIC ROCK BEARD In the same family is the classic rock beard, a more rugged and manly development that suggests life on the road and an inoffensively boisterous attitude. It can be seen on the faces of Clutch’s Neil Fallon, The Black Keys’ Dan Auerbach and most bands signed to Sub Pop in Seattle. The main feature of the rock beard is its thickness, while length can vary. It is also, despite its bushiness and proximity to the mouth, not a very dirty beard. 3. THE RAP BEARD Rappers don’t get the ladies because of their smooth rhymes, they get them because of their smooth mutton chops and well-groomed chin curtains. See: Ice Cube, 50 Cent, Flo Rida and P. Diddy. 4. THE METAL BEARD A fun thing to do is imagine the guys from metal bands plaiting their beards and fastening them with those little beads. They do this frequently, and it is maybe one of the reasons so many metal bands originate from Scandinavia, where hair is usually long and silky and lends itself well to styling. 5. COUNTRY Pioneering this style were Kris Kristofferson and Willie Nelson in the Highwaymen era. After a brief fling with the pornstache, country beards seem to be reverting back to that unkempt style, which is increasingly evident in light of the popularity of modern and alternative country. Zac Brown and Alabama Shakes’ Zac Cockrell in particular suggest both genre and beard and only betting bigger from here. 6. THE MOTLEY COLLECTION A discrepancy between styles of facial hair often goes hand in hand with a discrepancy between styles of music. This is particularly true concerning two of the worst reasons to have been born in the late ‘80s: System of a Down and Linkin Park. Part Swedish hardcore and part magician rock with a weak attempt at 'urban' thrown in, it’s just a recipe for confusion. 7. THE ELECTROBEARD Have you ever noticed that electronic artists appear to have good levels of personal hygiene? This is seems to be echoed in their facial hair, which is normally non-existent or well groomed and not excessive in length. Al Doyle of Hot Chip and our own Oliver Tank both have excellent beards, and it’s pretty much impossible to imagine Flume with a wild face mane. 8. THE GANDALF Some older rock bands make attempts to stay relevant, while others give youth the proverbial finger by growing massively daggy beards. The most famous example of this would be ZZ Top, made up of two fiercely bearded Texans and one beardless (and unfittingly named) Frank Beard. See also Benny and the Jets, a Detroit rock band formed several years before Elton John’s hit of the same name.
It's your saving grace when you're designated driver. The dash you can't do without in any manhattan or whisky sour. Yet, Angostura bitters has long been relegated to play the bittersweet supporting role. But, trust three ex-MasterChef contestants (and culinary champions) to look beyond the old fashioned and take bitters from cocktails to cooking. Far from bitter that they missed out on the top spot, MasterChef runners-up Ben Ungermann, Matt Sinclair and Georgia Barnes accepted the challenge to create three unique recipes featuring one unlikely ingredient — Angostura bitters. From entree through to dessert, the three chefs prove that bitters complements both sweet and savoury dishes that, luckily for us, you don't need to be a MasterChef to cook at home. ENTREE: ANGOSTURA-POACHED COD WITH FENNEL AND ORANGE SEGMENTS While bitters and fish may seem like an unlikely combo to us amateurs, Ben Ungermann found multiple ways to hero bitters in his Angostura-poached cod entree. First by using the ingredient in the marinade for the cod, and then as a bittersweet vinaigrette to match the tartness and zest of the accompanying orange and fennel salad. Angostura Marinated Poached Cod with Fennel and Orange Salad For the vinaigrette 1 tsp Angostura aromatic bitters 2 tbsp olive oil 1 tbsp white wine vinegar Pinch of salt and pepper For the fennel and orange salad 1 handful shaved fennel 1 small handful of bean sprouts Orange segments from one orange For the Angostura-poached cod 150g cod 1 tbsp Angostura aromatic bitters 100g unsalted butter Zest from one orange Salt Pepper Method Vinaigrette Combine all ingredients in a small bowl and whisk together. Set aside for serving. Fennel and Orange Salad With a mandolin, shave the fennel into thin strips. Take an orange and remove the skin. Cut the orange into segments, then vertically cut the segments to make small triangles. Toss the fennel and orange through bean sprouts and set aside. Angostura-Poached Cod Cut fish fillet into 4–6cm pieces. Place fish in foil along with butter broken into small pieces, Angostura aromatic bitters, orange zest and seasoning. Tightly wrap and place in oven at 120 degrees Celsius until steamed. Check fish every 10 minutes until cooked through. MAIN: ANGOSTURA BEEF SHORT RIBS WITH OLD FASHIONED GLAZE When a single ingredient added to an orange glaze helps to achieve what Matt Sinclair describes as "a liqueur-like intensity that complements the richness of short ribs", there's no questioning that bitters has found a new calling as the secret ingredient in your new favourite dish. Seeing bitterness as a "vital aspect of a balanced dish that's just as important as sweet, sour and salt", Matt brings all these elements together, turning an old favourite into new in his recipe for Angostura beef ribs with old fashioned glaze. Angostura Beef Short Ribs with Old Fashioned Glaze For the beef ribs 2kg beef ribs 1l master stock or chicken stock For the glaze 1/2 cup soy sauce 1/2 cup bourbon 6 tbsp Angostura orange bitters 4 tbsp vinegar Zest and juice of two oranges 1 cup sugar 2-inch piece of ginger, thinly sliced 6 cloves of garlic 4 star anise For the crystal cucumber 2 lebanese cucumbers 1 tsp sea salt 2 tsp caster sugar, plus extra 1 1/2 tbsp rice wine vinegar 2 tsp sesame oil 2 tsp soy sauce 1 tbsp olive oil 2–3 garlic cloves, finely grated 1–2 birdseye chillies, finely sliced 2 tsp toasted sesame seeds 1/2 cup fresh mint, leaves picked Method Ribs and Glaze Preheat oven to 150 degrees Celsius. Place ribs in a deep oven tray, bone-side up and cover with master stock or chicken stock. Cover with foil, and cook in the oven for 3.5 hours. Remove from oven, and transfer ribs to a wire rack over a roasting tray, bone-side down. Cover with foil. Increase oven temperature to 220 degrees Celsius. While ribs are cooking, in a medium saucepan add all glaze ingredients and bring to a boil over medium heat. Reduce heat and simmer glaze until a syrup-like consistency is reached. Pour 1/3 cup of the glaze over the ribs, and place them back in the oven, uncovered, for 30 minutes. Remove ribs from the oven and place onto a platter. Pour over any remaining glaze. Serve with steamed jasmine rice and crystal cucumber on the side. Crystal Cucumber Cut cucumber in quarters lengthways, and dice into 2-inch pieces. Place the cucumber in a colander, add a pinch of salt and sugar and toss to coat. Then place the colander over a bowl and allow to drain in the refrigerator for 20–30 minutes. Meanwhile, in a small bowl, add salt, sugar and rice wine vinegar and whisk to combine, until sugar and salt are dissolved. Add sesame oil and soy sauce and mix through to combine. To serve, remove cucumbers from the refrigerator and transfer to a bowl. Drizzle with olive oil and toss to coat before adding garlic, dressing, chilli and mint. Mix together well, garnish with sesame seeds and serve immediately. DESSERT: ANGOSTURA LEMON, LIME AND BITTERS TART When it comes to bitters, it'd be remiss not to mention the sweet, refreshing flavour combination of a lemon, lime and bitters. So rather than break away completely from something that's already so damn good, Georgia Barnes opted to reinvent the iconic soft drink as an Angostura lemon, lime and bitters tart with a thick, buttery pastry base and sweet, creamy filling. Garnish the tart with edible flower petals and plate with precision, and you'll do a convincing job that you too could be a MasterChef contender. Angostura Lemon, Lime and Bitters Tart with Brown Sugar Shortcrust Pastry For the pastry 2 cups plain flour 4 tbsp brown sugar 1/2 tsp salt 150g unsalted butter, cold and chopped 3–4 tbsp ice cold water For the tart filling 100ml lemon juice 100ml lime juice 1 cup caster sugar 2 tbsp corn flour 4 free-range eggs 4 free-range egg yolks 100g butter, chopped 2 tbsp Angostura aromatic bitters To serve 100ml dollop cream Lemon zest Lime zest Edible flower petals (optional) Method Grease and line a 23cm springform tart tin. For the pastry, place flour, sugar, salt and butter into a food processor, and pulse until the mixture resembles fine breadcrumbs. Slowly add the iced water until mixture forms a soft ball of dough. Place a large piece of baking paper onto a clean, dry surface. Sprinkle baking paper with a little extra flour. Place dough onto baking paper and roll to 2–3mm thick using a floured rolling pin. Carefully turn the sheet of pastry onto the tart tin, pastry side down. Peel away the baking paper. Gently press pastry into the sides of the tart tin. Place tart shell into the refrigerator to chill for 30 minutes. Meanwhile, preheat oven to 160 degrees Celsius. Remove tart shell from refrigerator. Using a sharp knife, trim excess pastry away from the edge of the tart tin. Using baking paper and pie weights or uncooked grains, place tart shell in the oven to blind bake for 20 minutes. Remove tart shell from oven. Carefully remove baking paper and weights and return to the oven for a further 5 minutes, or until the base of tart shell is golden brown. Remove from oven and allow to cool. To make the filling, place lemon juice, lime juice, sugar, corn flour, eggs and egg yolks into a saucepan and whisk together well. Place saucepan over medium heat and continue to whisk until the mixture reaches boiling point and has thickened. Remove saucepan from heat. Strain hot filling through a fine sieve into a bowl to remove any lumps. Add butter to filling, and continue to stir until butter has melted and the mixture is smooth. Add Angostura aromatic bitters and mix well. To assemble the tart, pour lemon, lime and bitters filling into the cooled tart shell. Place tart in the refrigerator to chill for 1–2 hours or overnight. To serve, carefully remove the tart from the springform tart tin and place onto a serving plate. Sprinkle tart with lemon and lime zest and drizzle with cream. Garnish with edible flower petals. Using a sharp knife, cut tart into even pieces. Best served chilled. Now that you've got this secret ingredient on your radar, move your bottle of Angostura bitters from the drinks cupboard to the pantry, and try your hand at cooking some of these deliciously bittersweet recipes.
When it comes to all things gaming, Brisbane has been levelling up over the past few months. First came Netherworld, the city's first arcade game bar. Then Super Combo arrived with its Street Fighter-themed burgers. Now, add 1UP Arcade's retro-style freeplay gaming to the mix. Setting up shop on the basement level of 230 Lytton Road, Morningside, 1UP opens its doors at 2pm on May 13, operating from 2pm to 10pm Wednesday to Sunday from then on. Once patrons step inside to mash buttons on usual suspects such as NBA Jam, multiple versions of Street Fighter and rarer finds like Garou: Mark of the Wolves, however, it has more than just pumping coins into machines in mind. In fact, the 80-machine joint wants you to play all of the above, plus the likes of Tekken, Cyber Sled, Puzzle Bobble, Bad Dudes Vs DragonNinja, and Aliens, The Simpsons and Teenage Mutant Ninja Turtles tie-ins too, without needing to continually reach for your wallet. Patrons will pay a flat $15 daily entry fee, or opt for a weekly ($29), monthly ($79) or quarterly ($129) membership, and then play to their heart's content. If you've been having Timezone lock-in withdrawals, you'd best start stretching your fingers now because you'll be in your element. We want to attract players of all ages and skill levels, and that means removing all roadblocks to enjoyment," says owner and founder Stephen Holmes. "Usually you have to feed a machine dollar after dollar to get enough playtime to improve — but not at 1UP." Yes, gaming is firmly in the spotlight — and, in a departure from the current trend, drinking and eating at the same venue isn't. While a selection of suitably retro snacks is on offer, including drinks such as TAB, Minute Maid and Cherry Coke, 1UP proudly stands alone as dedicated arcade, rather than falling within a bar or cafe. Staying true to old-school parts is also on the agenda, with Holmes focusing on authenticity, both among the machines he has in place, and in his forthcoming additions. Prepare to stare at arcade-standard CRT monitors in original cabinets for hours on end, with anything needing a bit of love being rebuilt from original bits and pieces. Game on. Find 1UP Arcade at 230 Lytton Road, Morningside from 2pm on May 13. For more information, head to their website.
For most of the past seven years, Eat Street Northshore has served up a stellar combo: food, markets and a great riverside vantage. But, after opening its doors back in 2013, the Hamilton spot temporarily shut down when COVID-19 restrictions started coming into place in March. If you've been missing feasting on its spoils, you're not alone. Across three weekends between Friday, September 18–Sunday, October 4, Eat Street has good news — and a range of great sweet treats for Brisbanites, too. The event is making a comeback by hosting the Eat Street Kombi Alley Drive-Thru Dessert Festival, which is obviously exactly what it sounds like. You'll drive inside, stop by plenty of food stalls serving up plenty of desserts while you're still behind the wheel, and have your chosen snacks brought to your car as well. As for what you'll be munching on, expect everything from doughnuts and cannoli to shakes and ice creams. Exact times are yet to be confirmed, but Eat Street Northshore usually trades between 4–10pm on Friday and Saturday, and 12–8pm on Sunday. The Eat Street Kombi Alley Drive-Thru Dessert Festival will take place across the three weekends between Friday, September 18–Sunday, October 4 — keep an eye on Eat Street Northshore's Facebook page for up-to-date details. Image: Eat Street Northshore.
