Theatre fans, the latest production to hit Brisbane has more than a little bite. The creative folks at shake & stir theatre co are sinking their teeth into a certain gothic literature classic, complete with fangs, blood, lust and the v word. Yes, we mean vampires. For those who don't know the Dracula story, there's more to the tale than drinking from people's necks. Young lawyer Jonathan Harker journeys to the Carpathian Mountains for a job, and proves quite surprised by his mysterious client. Then there's Jonathan's fiancée, Mina, whom the Count becomes quite taken with through a photo. Leaving Jonathan alone in his creepy castle, Dracula heads to London seeking love and seduction. In its world premiere season, this bloody good production takes Bram Stoker's twisted tale and turns it into a gripping and gory modern-day piece. Yes, Dracula promises to be better than the last serious film version back in 1992. No, it doesn't feature Keanu.
When Queensland's COVID-19 numbers were announced on Wednesday, August 4, covering up until 6am that morning, the state hit the 100 active cases mark — with 63 locally acquired cases all tied to the current outbreak in and around Indooroopilly. All of those latter infections have spread in just the past week, following a first case in a student from Indooroopilly State High School. And, as the figures have ramped up, so has Brisbane's list of venues that've been visited by people who've tested positive. As always, you know what happens from here. Yes, naming locations and venues that positive coronavirus cases have been to is a core element of Queensland's containment strategy, and has been since early 2020. The list has been growing quickly over the last week, and keeps adding new and well-known locations. The latest high-profile trio: the Gallery of Modern Art, South Bank and Toowong Village. A positive case visited GOMA on Tuesday, July 27 between 9.45–10.45am. If you were there at the same time, you've been at a close contact spot. That means that you need to get tested ASAP and then self-isolate, regardless of whether you receive a negative result — and you'll need to remain in isolation for 14 days, too. South Bank also joins the list on the same day, from 10.45–11.20am, specifically covering the walkway from the Cultural Centre to the Wheel of Brisbane. It's a low-risk spot, however, which requires getting tested ASAP, then monitoring for symptoms. And, given that a large number of cases and venues are currently concentrated in Brisbane's west, it isn't surprising that Toowong Village has been named — this time, across multiple categories. The Coles inside the centre is a close contact spot, covering 12–12.20pm on Friday, July 30, and so is Kmart on the same day from 4.05–5.05pm. If you were at either store at those times, you need to get tested and then self-quarantine for a fortnight. Also at Toowong Village: Boost Juice from 11.35–11.45am and Merlo Coffee between 3.50–4.12pm, also on Friday, July 30. They're casual contact spots, which requires getting tested ASAP and then quarantining until you get a negative result. The entire centre is also listed as a low-risk venue — which calls for getting tested ASAP, then monitoring for symptoms — from 11.15am–12.30pm and 3.45–5.15 on the same day. https://twitter.com/qldhealthnews/status/1422839118648598531 Other places of note recently named as exposure sites include electronic darts bar Oche in Fortitude Valley; Ashgrove Fresh Fruit Market and the nearby Pet Cafe, Woolworths and 7-Eleven; the food court at Stafford City Shopping Centre; Logan Hyperdome; and Guzman y Gomez Indooroopilly. For the full list, head to the Queensland Health website. As always, the usual advice regarding COVID-19 applies anyway. So, requests regarding social distancing, hygiene and getting tested if you're feeling even the slightest possible COVID-19 symptoms in general are still in effect, as they have since March 2020. Residents of 11 Local Government Areas in southeast Queensland are currently under lockdown until at least 4pm on Sunday, August 8, and are only permitted to leave their homes for four permitted reasons; however, getting tested for COVID-19 is one of them. For more information about the status of COVID-19 in Queensland, head to the Queensland COVID-19 hub and the Queensland Health website. Top image: Gallery of Modern Art, exterior, south and east face, James Turrell artwork.
Calling all vegans and vegan-curious folk: The Vegan Market is coming to Brisbane for three big spring days from Friday, November 10–Sunday, November 12. Arriving just in time for festive shopping, and across the same weekend that the Boho Luxe Christmas Market is also on at The Old Museum in Bowen Hills, this event serves up wall-to-wall vegan food and locally designed items. You'll find businesses selling plant-based wares everywhere — everything from bites and sips to jewellery and ethical clothing. Vegan cacao, vegan ice-cream, vegan threads: they're all here. Sustainability will also be front of mind, including when it comes to fashion. And, there'll be vegan cosmetics and skincare items as well. Books and crafts are on the lineup, too, as are vegan candles. Fancy sipping vegan hot cocoa? Getting your fortune read? For a $5 entry fee (and then paying for everything from there), that's also on offer. Head by from 5–9pm on the Friday, 9am–5pm on the Saturday and 9am–3pm on the Sunday. Images: Marie-Luise Skibbe.
Many an Aussie kid has spent a Saturday night hyped up on lime cordial spinning around their lounge room to Kylie Minogue. So, prep the cordial, and get ready to party like it's 2000 'cause the Aussie pop icon is heading back to home turf. While your inner child might be more familiar with her hits 'Spinning Around', 'Can't Get You Out of My Head' and that duo with Robbie Williams 'Kids', next year, Minogue is returning to Australia to perform songs off her just-released album Golden. Minogue was last here four years ago, in 2014, for her Kiss Me Once Tour, and now she's back, taking her Golden Tour for a spin around the country in March, 2019. As well as performing headline shows in Sydney, Adelaide and Melbourne, she'll also be performing at A Day on the Green in Perth, the Hunter Valley and Mount Cotton, Queensland. She'll be singing hits off her latest — and fourteenth — album Golden, which debuted at number one on the ARIA charts just this year. Featuring hits like 'Dancing' and 'Stop Me from Falling', the album has more of a country music-feel than her others, which is fitting, seeing it was recorded in Nashville, Tennessee. On stage, Minogue will be joined by former Scissor Sisters frontman (now solo artist) Jake Sears at all shows and Brisbane artist Hatchie at A Day on the Green. Another special guest is expected to be announced soon, too. KYLIE MINOGUE 2019 'GOLDEN' TOUR DATES Sydney — ICC, March 5 Perth — A Day on the Green, Sir James Mitchell Park, March 9 Melbourne — Sidney Myer Music Bowl, March 13 Hunter Valley — A Day on the Green, Bimbadgen, March 16 Mount Cotton — A Day on the Green, Sirromet Wines, March 17 Tickets for capital city shows are available through Frontier Touring and A Day on the Green tickets are available through its website. Both go on sale at midday on Monday, November 19.
If you're going to watch a romantic film with your other half this Valentine's Day, you may as well do so while you're splashing around in a pool — especially if that's the kind of watery movie date that you've never had before. That's what's on the bill at Brisbane's returning outdoor cinema pop-up, aka the fittingly called Float-In Cinema. Once again setting up at W Brisbane, it's taking over the riverside hotel's WET Deck for three nights in February to pair swim-in flicks with food and cocktails. Screening from Sunday, February 12–Tuesday, February 14 — with a 6.30pm seating time for a 7.15pm start — Float-In Cinema costs $109 per person. For that price, you'll float on the water in an inflatable lounger, watch the movie (obviously), tuck into your choice of three grazing boxes, and sip a glass of bubbles or a I Heart You cocktail upon arrival. Those food options include a cheese box packed with aged cheddar, double brie, blue cheese, prosciutto, salami and stuffed olives; a savoury box with vegetarian sliders, flank steak skewers, corn ribs and fried plantain with guacamole; and a sweet box with macaroons, mini tarts, mini cakes and caramelised mixed nuts. Whichever you select, you'll need to email the venue in advance to make your pick. If you're keen, you might want to get in quick, as seats are limited per session. And as for what you'll be watching, romance is the natural theme. So, that means The Other Woman, Focus and — yes, on the day itself — Valentine's Day.
If your ideal holiday involves hitting the sea, sailing to a heap of countries and exploring some of the most famous sites in popular culture over the past decade, then come September 2021, you'll be in luck. With Game of Thrones turning Iceland, Northern Ireland, Spain, Malta and Croatia into must-visit tourist destinations, a new cruise is launching to take fans to all of the above places. Naturally, it's called Cruise of Thrones. While it isn't officially affiliated with Game of Thrones, HBO, author George RR Martin or any of the enormous page-to-screen hit's powers-that-be, Cruise of Thrones will let fans live out their love for their series on a prolonged boat trip through Europe. Two eight-day options will be available, so you can pick one or the other — or sail them back to back. If you choose the northern cruise, you'll head to Iceland and Northern Ireland, where the Fist of the First Men, the Bloody Gate, Jon and Ygritte's cave, The Wall, Castle Black, Hardhome, Winterfell, Pyke and the King's Road all await. Folks on the southern cruise will journey through Spain, Malta, and Croatia, visiting Sunspear and the Water Gardens, the Tower of Joy, the Citadel, the Long Bridge of Volantis, King's Landing and the Red Keep. https://www.facebook.com/CruiseofThrones/posts/2368376046808980?__xts__[0]=68.ARDKtajQ6dIZzuH_8UMZveijqPbNWJ88xfHW_GQ6UnaQKDIySSo9wuynxBaGqzaE5RMgt1kvfbiPP72SkIxqYTDdqXHeRnGBbDFK-S1ZNx11lNElAkoMAz5BV-jxuAQP9mHcE0XZZDPoam__mGLvNX6HDpDg8q9Yfl7Gcry4wRIkfhAie_ASB0hdAcp2jqDh_Cjst8zO-V4-mLh6B1crmVCQWS2-ersCur9OLezRpRJhekaONPIVxPti0say29XxAi5MN150hD4GC29nvksfKnoO8gDgkoO9qS6q_YzRnKTmZhRjx1etMSh__oC9OKhEc04moCBZYECoat6Q2twFitPl4s3w&__tn__=-R Apparently the luxury ship will be fitted out to suit the theme, too; think dining rooms that resemble Winterfell's feasting halls, other decorative touches that recall various places from the show, and plenty of encouragement to dress up and play along. Everything from panels, discussions and lectures to wine tasting, storytelling, a scavenger hunt and game shows is also listed on the cruise's website, should you be in need of some onboard entertainment. A reference to celebrity guests is also made — presumably meaning GoT stars — but no specifics have been provided. If you're keen, you'll need to have a hefty Iron Bank account, with prices starting at US$5130 per person for eight nights. Of course, if you're not overly fond of organised cruises, plenty of fans have been making similar treks themselves — and, from sometime in 2020, you'll also be able to visit a huge new (and official) GoT tour through sets, costumes and props in Northern Ireland. For more information about Cruise of Thrones, which is due to set sail in September 2021, visit its website.
Throughout 2021 so far, the Queensland Government has been trying to entice the state's residents out of the house by handing out travel vouchers. First came 15,000 to use in the state's north, then 30,000 for Greater Brisbane and 6000 for The Whitsundays. They were followed by another release of 5000 for folks already holidaying in the Cairns region, and then 30,000 more for Queenslanders heading to the Gold Coast. That's a hefty batch of incentives; however, more are coming — 38,000 more, in fact, as Queensland Premier Annastacia Palaszczuk has announced. For those keen on spending some time on the Gold Coast, in Brisbane or in Cairns, you now have a second chance — with 10,000 on offer for the Goldie, 19,000 for Brissie and 9000 for the Far North. The new vouchers for the first two spots are being distributed to folks who missed out the first time, too. Accordingly, if you entered then but didn't score anything for your troubles, you're automatically in the running now. The Gold Coast vouchers were allocated yesterday, Sunday, July 11 — and they operate exactly the same way as the first batch. So, recipients receive a $100 voucher to be used on tourism experiences and accommodation in the area. You'll score a 50-percent discount on whatever you're booking, up to $100 maximum, and you need to book by Wednesday, July 21 for use before Friday, September 17. Keen on a Brissie staycation — or getaway, if you're located elsewhere within Queensland? Those vouchers are being distributed today, Monday, July 12, and are also worth $100. The same rules that were in place for the last Brisbane vouchers — and for the Gold Coast vouchers, as explained above — still apply. This time, though, you need to book and use the vouchers by Sunday, August 15. And, if you're headed to Cairns soon, you could nab a 50-percent-off voucher just by walking through the airport. They're being given to people who've just gotten to the city — so those already going on holidays up north — with the $200 passes being handed out in the arrivals hall at Cairns Airport. https://twitter.com/AnnastaciaMP/status/1413968292566372355 Like all of the past voucher drops, the ongoing concept has two obvious objectives: enticing Queensland residents to go venturing throughout the state, and helping support tourism businesses. With parts of the Sunshine State going through not one, not two, but three lockdowns so far this year, they're all important aims. When the first Holiday Dollars scheme was announced back in March, Premier Palaszczuk said that it could keep being rolled out if the vouchers are popular. That's obviously happened quite a few times now, but there's no word as yet about whether other parts of Queensland might be covered in the future — or if these areas of the state will score even more vouchers in the future. For more information about the Queensland Holiday Dollars program, head to the scheme's website.
It seems for many that gelato has assumed ice-cream's mantle as the height of iced indulgence. Lower fat content, less air incorporated during the churning process and a lower serving temperature all contribute to gelato's smooth, elastic allure. Many argue that these differences in preparation and serving give gelati a more intense flavour than ice-cream. Whether or not this is true, it certainly seems that way when polishing off a couple of scoops of Milani's banana gelato. So strong is the banana flavour, you wonder whether it actually contains anything other than its namesake ingredient. So impressive is this particular iced confection that it won a Gold Medal at the 2011 Queensland Royal Food & Wine Show. Milani has picked up a host of awards, having also been honoured at the Australian Dairy Awards and the Australia Dairy Product Competition. The panna cotta seems to be their most decorated creation so feel free to give in to the hype and give it a try. Though, you're just as likely to enjoy any of the other flavours. The beauty of Milani, is that unlike many ice-cream/gelati shops, where you pick your favourite early in the piece and stick to it religiously, here you'll be tempted to pick something new upon each return visit: dark chocolate, pistachio or French vanilla for example. Better yet, select all of the above to customise your own sundae. If you need some guidance, consider the Coppa Exclusiva with your selected combination of gelati, topped with whipped cream, drizzled in chocolate sauce and festooned with roasted hazelnuts, wafers and crunchy chocolate bits. Co-owned by Olympian Tatiana Grigorieva, Milani is incredibly popular and like many of its neighbours on Racecourse Rd, it attracts a crowd most nights of the week. Go there after dinner and you will be lucky to find a table – find yourself in this situation however, and you can always get a takehome tub.
Fancy teeing off at mini golf over a few drinks — while playing your way through over-the-top, pop culture-themed holes — but don't feel like venturing from the Brisbane CBD to Fortitude Valley? Come November, you can grab a club and start swinging at the city's second Holey Moley, which is opening in the Wintergarden shopping centre. The location is hardly surprising, as it's where Strike Bowling — which is also run by the same company as Holey Moley — has been operating for well over a decade. Lucky for us, Funlab has decided to double the Queen Street Mall fun, meaning that you'll be able to knock down a few pins and then get tap, tap, tapping (or vice versa, if you'd prefer). From Friday, November 29, inner-city dwellers can work their way around a nine-hole course that'll feature a Ferris Bueller's Day Off-inspired hole, a replica of Vincent van Gogh's bedroom and a room filled with flying cash. Among the other themed holes, there's one paying tribute to Steve Irwin, another featuring King Kong and yet another ramping up the wizarding antics — it's called Hole 9 & 3/4, naturally. Booze and food are also part of Holey Moley's usual lineup, including plenty of cocktails. When you're not downing drinks with names like Austin Sours and The Sugar Caddy, you can sip an alcoholic concoction from a tiny bath tub that even has rubber ducks floating in it — or opt for wine, beer, spirits or a mocktail. As for snacks, you'll be able to choose between pizzas, hot dogs and extravagant burgers (such as The Dirty Birdie, which combines southern fried chicken, lettuce, bacon, slaw, guacamole and chilli mayo). Or, enjoy chicken wings, mac 'n' cheese bites, and five types of potato dishes (spanning normal fries, loaded fries, waffle fries, tater tots and sweet potato fries). If you're vegan, vegetarian or gluten-free, you'll find something on Holey Moley's menu, too. Find Holey Moley Wintergarden on Level 1 in the Wintergarden shopping centre, 171–209 Queen Street, Brisbane from Friday, November 29.
Stop what you're doing (particularly if what you're doing is re-watching old Seinfeld episodes for the 33rd time), because Jerry Seinfeld, the man himself, is finally coming to Australia. Announced just this morning, the comedian will be gracing our shores with a five-date national stand-up tour of our capital cities — his first visit Down Under in almost 20 years. Yowsa. The Seinfeld Live tour — which will visit Perth, Adelaide, Brisbane, Melbourne and Sydney's soon-to-open International Conference Centre — is booked in for August of next year. So you'll have ample time to rewatch seasons one through nine at least twice. It's Seinfeld's first visit to Australia since 1998, when he toured the country just after the show wrapped. On that visit he called Melbourne the "anus" of the world — we'll see what he has to say about it this time round. SEINFELD LIVE 2017 TOUR DATES PERTH: Friday, August 4 – Perth Arena ADELAIDE: Saturday, August 5 – Adelaide Entertainment Centre MELBOURNE: Sunday, August 6 – Hisense Arena BRISBANE: Wednesday, August 9 – Brisbane Entertainment Centre SYDNEY: Friday, August 11 – ICC Sydney Theatre, Darling Harbour Seinfeld Live will tour Australia in August 2017. Tickets go on sale at 10am on Monday, November 14 via Ticketek.
The initial event announced for RISING 2025, Swingers — The Art of Mini Golf was always going to be one of the Melbourne winter festival's big highlights for this year. Combining mini golf and art, exploring the feminist history of the short game, getting folks tap, tap, tapping across the entire upper level of Flinders Street Station, and boasting talents such as Kajillionaire filmmaker and All Fours writer Miranda July designing courses: what a combination. Accordingly, months after the fest wrapped up its later iteration, it should come as no surprise that its putt-putt experience has not only proven a hit, but is also sticking around even longer than planned. While RISING ran for 12 days from Wednesday, June 4–Sunday, June 15 for 2025, Swingers — The Art of Mini Golf was locked in until Sunday, August 31 from the beginning. Now, that season has been extended. With a new closing date of Sunday, September 21, you've now got three more weeks to take to the greens. Expect company, as more than 25,000 people have headed by so far, resulting in soldout sessions. What do you get when you create an art exhibition that's also a mini-golf course? Swingers — The Art of Mini Golf answers that question with its playable setup. The piece's greens are designed by female-identifying and gender-diverse artists, resulting in surreal and mindbending creations in a work that also aims to get attendees thinking about the sport's beginnings. July's contribution, for instance, riffs on her latest book's name with an 'all fores' setup. Also helping to shape Swingers — The Art of Mini Golf: Soda Jerk switching from bringing TERROR NULLIUS and Hello Dankness to the big screen, plus Australian artists Kaylene Whiskey and Nabilah Nordin, Japan's Saeborg, the United Kingdom's Delaine Le Bas, Indonesia's Natasha Tontey, Atlanta rapper BKTHERULA and Hobart-based photographer Pat Brassington. "It's been fantastic seeing the diverse groups of people coming through the space, having fun, playing and learning about all of the beautiful, unusual artworks," said RISING's Grace Herbert, who curated the work. "So far, Swingers has hosted many families, friend groups and dates, and we've even had a proposal in the ballroom. I'm so glad that RISING is extending the season so that more people can enjoy this experience." As for the festival itself, it came, it celebrated, and it filled Melbourne with art, music and performances in June — with help from 100-plus events from 610 participating artists, including 16 brand-new commissions. Not only was Swingers — The Art of Mini Golf the first 2025 announcement, but it's the longest part of this year's program. And, while a few other events extended past RISING's official dates, this will also be the last to wrap up. Swingers — The Art of Mini Golf runs until Sunday, September 21, 2025 at Flinders Street Station, Flinders Street, Melbourne — head to the event's website for further information. Images: Remi Chauvin.
You know those bad Christmas gifts, the ones that make you slap on your very best fake smile in order to say thanks without groaning. A brick-like pud, some subpar sports socks, a sickly sweet candle — generic and uninspired clutter that you instantly want to return, regift or chuck in the trash. We don't want to sound ungrateful — sure, it's the thought that counts — but a poorly chosen present can be kind of disappointing, not to mention wasteful. Nobody wants to get — or give — a gift like that. Indeed, there's a fine art to Christmas shopping. Not all of us can be gift-giving masters, after all. So, to help you pick the perfect pressie and avoid any bigtime blunders, we've partnered with Australia Post to pull together ten stellar gift ideas, which won't warrant a return. They all cost less than a pineapple, can be ordered online and conveniently delivered to your nearby Parcel Locker so you can pick 'em up whenever it suits you. Let your fingers do the walking, forgo the crazy Christmas crowds and rest easy knowing your parcel is stored securely till you're ready to collect. Happy shopping, Santas. FRANK GREEN STAINLESS STEEL REUSABLE CUP Forget splashing cash on a mug with some trite "Keep Calm and Carry On" message inscribed on the front and get a cup that is both eco-friendly and uber trendy instead. The Frank Green stainless steel reusable cup is pretty much the Superman of drinking receptacles; crafted from commercial grade stainless steel, it's built to last forever (in a good way) which is great if you have clumsy caffeine-lovers in your midst. Drop this baby and there's no need to cry over spilt milk — it won't shatter or break. The cup is also stain and odour resistant, has a nifty spill-proof lid and a clever one-handed toggle button to drink and reseal — like we said, Superman. How much? $39.95 RELOVE PRINT BOOK SUBSCRIPTION We all know a bookworm and a surefire way to score a special place in their heart is to shout them a book subscription. Revolve Print will ship one quality preowned book to their doorstep each month, so they'll never have a shortage of great literature. What's more, they get to curate their reads and pick what kind of pageturners they receive. This gift is not only super thoughtful, but it's also eco-friendly. To take things up a notch, arrange to meet each month to discuss the books. How much? From $9 per month SMARTPHONE PROJECTOR An excellent accessory for the silly season, the portable Luckies Smartphone Projector 2.0 projects music videos, films and photographs anywhere you please. It's a great gift for the gadget-obsessed as it's both stylish and practical. With up to 8x magnification, the projector is light, compact and works with iOS and Android smartphones. Come Christmas Day, the family can stop crowding around one iPhone to look at Uncle John's travel photos and instead see them on the big screen. How much? $49.95 GROW YOUR OWN TEA Tea is a real crowd pleaser; young or old, most people enjoy a good cuppa. While you could gift a nice loose-leaf blend, why not go one step above and give that special someone a Grow Your Own Tea Kit. Each kit contains a growing pot, some soil, the tea seeds — choose between chamomile, peppermint, lemon balm or echinacea — as well as a mug and tea strainer to taste-test the brew. Not only is this pressie full of antioxidants, but it also gives the grower a sense of satisfaction and achievement, which is priceless. How much? $34.95 BACON MAKING KIT This gift is for that one friend or family member who always hangs by the Christmas ham — the bona fide pork fiend, the bigtime bacon fan. Introducing the Baconsmith Bacon Making Kit, which produces top-notch bacon in just seven days. The kit makes two-kilograms of tasty bacon — sweet or savoury, the choice is theirs. All it requires is a good slab of pork belly. The great thing about this present is that it's also like a gift to you. Give it to a housemate or your partner, and you'll reap the benefits, too, with some tasty homemade bacon to snack on next fry-up. We guarantee they (and you ) will be squealing with delight. How much? $34.95 MEMOBOTTLE A staggering one million single-use plastic bottles are purchased around the world every minute and most end up in landfill. Depressing, right? Do your bit and buy your mate a Memobottle. Remember the book Flat Stanley? This is the water bottle version of that; it's nice and slim and can slide right into compact spaces. Memobottles are great for students as they pack neatly into backpacks, between all those textbooks. The bottle has a 450-millilitre capacity and is BPA free — so the water will stay nice and pure. How much? $44.95 DIY BEESWAX WRAPS If you're friends with a passionate eco-warrior or want to inspire a less socially conscious friend, sling them this beeswax block and get them making their own environmentally friendly version of Cling Wrap. The Wanderlightly DIY Beeswax Wraps are non-toxic, biodegradable and reusable — save on cash and save the planet. Win, win. The step-by-step instructions are super simple, just add cotton fabric and you're ready to go. Since they'll be spending less money on plastic packaging for, well, the rest of their lives, it really is the gift that keeps on giving. How much? From $17.50 AESOP JET SET KIT Ah, the intoxicating aromas of Aesop. We still haven't worked out how they make it smell so darn good, but we're not complaining. Give the globetrotters in your life the gift of sweet smells and smooth skin with this Aesop Jet Set Kit. The assortment features the go-to products — like classic shampoo and conditioner, Geranium Leaf Body Cleanser and Rind Concentrate Body Balm — and can be stored in their carry-on for easy access. Aesop products are renowned for their hydrating qualities, exactly what one needs during a long-haul. How much? $41 COFFEE MUG BY INDIGENOUS ARTIST LUKE PENRITH Yes, this is the second cup we've mentioned but its eye-catching design warranted a spot on the list. Created by Aboriginal artist Luke Penrith, the mug depicts the Yilawura Camp Site in soothing green and blue tones. It's a statement piece, which would suit any kitchen or office desk. Since it's only $16, you can order two or three and gift a set. Let's face it, one can never have too many mugs. And if you're a fan of the artwork, you can pick up a range of other wares featuring the same design. How much? From $15.99 SOLAR-POWERED PORTABLE PHONE CHARGER We all have that one friend or family member who is forever searching for a phone charger. Treat them to this solar-powered portable phone charger and never hear "Hey, can I borrow a charger?" again. While the top of the line chargers can set you back around $100, hit up eBay to find a charger on the cheap. With USB connectivity, this compact little nugget will charge everything from an iPhone to a tablet to a digital camera. Just add sun and you're all set. How much? From $22.99 Christmas shopping has never been so simple — order online, ship to a Parcel Locker and avoid the hectic shops with Australia Post.
While the end result might not be particularly impressive, you have to hand it to the folks behind Goosebumps, the film version of R.L. Stine's best-selling book series that everyone read as a kid. Director Rob Letterman (Gulliver's Travels) and writer Darren Lemke (Turbo) not only manage to capture a sense of nostalgia, but they also solve what must've been one of the biggest problems of the adaptation process. With 62 initial novels and more than 100 spin-offs published, choosing which tale to bring to the screen can't have been easy. Their solution? Bundle together as many as they can, then wrap them all up in a big meta-textual package. Indeed, Goosebumps both follows the formula set out on the page — i.e. a few kids find themselves in a scary situation — while still providing plenty of twists. The latter come in a couple of forms, including inserting Stine himself into the mix. Given that each of the printed volumes followed different characters, he's the series mainstay, after all. Here, played by Jack Black, he's a seemingly eccentric neighbour with a daughter, Hannah (Odeya Rush) he doesn't let wander far, and a bookshelf filled with locked manuscripts. When high-schooler Zach (Dylan Minnette) moves in next door to Stine with his widowed vice principal mother (Amy Ryan), he's more interested in Hannah than her father. In fact, he has no idea who Stine is, though he gets curious when the author tells him to stay away. After hearing screams, Zach thinks something sinister is afoot and is determined to investigate. With his new pal Champ (Ryan Lee) in tow, he breaks into Stine's house, opens some of his books and accidentally unleashes their spooky contents onto the world. Enter Slappy the living dummy, the abominable snowman, a giant mantis, a pink blob, an invisible boy and a whole host of garden gnomes to terrorise Zach and the gang. Yes, Goosebumps goes for the more is more approach to their monsters. Unfortunately, here, it doesn't really pan out. Fans of the novels might be pleased that their favourite foes make their way into the movie; they're less likely to be impressed with the scattershot and over-the-top way in which that's achieved. If it feels like the filmmakers have thrown everything they can at the screen, that's because they have. It makes for a jam-packed 103 minutes, with no time wasted jumping from one creepy encounter to the next. However it also makes for a chaotic array of set pieces and little else. Some scenes hit the mark, including the kitchen-set gnome attack. But they do so at the expense of fleshing out the characters, establishing a mood of anything other than silliness, and thoughtfully exploring themes of loss and inner turmoil. When Black hamming it up is among the feature's few highlights — doing double duty as the voice of Slappy, and saddled with some terrible one-liners as a result — then you know you're in trouble. Rereading the books would be a much more enjoyable alternative.
If you think of famous artists, you may recall the likes of Picasso, Dalí, Monet, Michelangelo, Rothko and Warhol. One thing these artists have in common is none of them are Australian. Another is that they're all men. They are, undoubtedly, some of the greats. But this year the National Gallery of Australia is turning its focus to the Aussie women who have greatly contributed to the arts with an upcoming exhibition. Dubbed Know My Name: Australian Women Artists 1900 to Now, the free exhibition kicks off on Friday, November 13 and will run till Sunday, July 4— so you'll have plenty of time to catch it. The blockbuster exhibition is part of the gallery's ongoing initiative to increase the representation of female artists. As the name suggests, it'll showcase works by artists from the early 1900s to the present day, including some brand-spanking-new commissions. By bringing together artists of different times, as well as cultures, practices and places, the exhibition challenges the assumption of Australian art being male-dominated. There'll be more than 350 works on display, featuring everything from paintings to performance art and a floor-to-ceiling presentation of the artists' portraits. Highlights include a commission by the Tjanpi Desert Weavers; performance art by Bonita Ely and Jill Orr; Tracey Moffatt's key series of photographs, Something more; a huge painting by the Ken Family Collaborative; and an installation by Justene Williams. You can also expect works by KuKu and Erub/Mer artist Destiny Deacon, leading modernist painter Grace Cossington Smith, famed printmaker Margaret Preston, photographer Rosemary Laing, Anmatyerr artist Emily Kame Kngwarreye and contemporary painter Anne Wallace. [caption id="attachment_775540" align="alignnone" width="1920"] Anne Wallace, 'She Is' 2001 , oil on canvas, National Gallery of Australia, Canberra, Purchased 2002, © Anne Wallace[/caption] Coinciding with the exhibition's launch will be a three-day conference, which will bring together established and emerging artists, curators and academics to discuss everything from creative practice to women and gender equity in the arts. The conference will run from November 11–13. Know My Name: Australian Women Artists 1900 to Now is showing at the NGA from November 13 through July 4, 2021. The gallery is open from 10am–5pm daily and entry is free. Top images: Yvette Coppersmith, 'Nude selfportrait, after Rah Fizelle' 2016, oil on linen, Private collection, ©Yvette Coppersmith; Roma Butler and Yangi Yangi Fox, from Irrunytju in Western Australia, with their sculptures, 2017, photo: Rhett Hammerton; and Grace Cossington Smith, 'The Bridge in building' 1929, oil on pulboard, National Gallery of Australia,Canberra, Gift of Ellen Waugh 2005. For the latest info on ACT border restrictions, head here.
On March 14, Cyberdyne presented an exhibit at the 2011 Cybernics International Forum. The invention: HAL, an exoskeleton robot suit powered by electric motors that enhances physical strength and allows users to defy typical human capabilities. Creepy or cool? A little bit of both, I'd say. At first glance, it's perplexing to think that someone can slip on this suit and instantly inherit superhuman strength. The likes of Iron Man are revered in comic books and robots are cool in sci-fi movies, but to give humans that power in real life is both scary and a bit weird. Between these robot suits and the latest thought-controlled cars, the distinction between man and machine is starting to get blurred. But if you look deeper, HAL was designed to do more than just transform humans into cyborgs. Creators of HAL had a high-tech advance in industrial work in mind. The contraptions, that come in many forms, from a full-body suit to a "lite" single arm version, were initially aimed at helping factory workers who had to lift heavy objects on a daily basis. HAL would prevent joint pain and stress on the body, especially for older workers and those with limited joint function, and also aid people with reduced mobility. In addition, in light of the many recent natural disasters, developers have been thinking that robot assistance may have a future with the military, with firefighters or other rescue personnel. A group of firefighters with the ability to lift rubble on their own after an earthquake seems too good to be true, but with HAL it is a very real possibility. Yes, it is still somewhat creepy that a human being can now strap on a suit and basically turn into a cyborg. But if it can help save lives, then it's pretty damn cool. [via FastCompany]
Across its five seasons to date, Black Mirror has dedicated 22 episodes to imagining dystopian futures — and while it makes for compelling viewing, none of the sci-fi anthology series' predictions are particularly pretty. But, for all of its prognosticating, the Charlie Brooker-created show didn't foresee 2020's chaos. And now we've all endured this hectic year and are about to see it come to an end, the team behind Black Mirror has something to say about it. At 6pm AEST on Sunday, December 27, just before 2020 fades away forever, Netflix will drop a new comedy special called Death to 2020 — which is made by the Black Mirror crew. The show will look back on the year via a documentary-style special that uses real-life archival footage from the past 12 months, as well as narration from fictitious characters played by the high-profile likes of Samuel L Jackson, Hugh Grant, Lisa Kudrow, Kumail Nanjiani, Tracey Ullman, Samson Kayo, Leslie Jones, Diane Morgan, Cristin Milioti and Joe Keery. Immediately keen to see more? After revealing a teaser trailer for Death to 2020 earlier in December — when it first announced that the project even existed — Netflix has now dropped a full sneak peek. Jackson's character gets snappy, Grant's wants to make sure that a drink is close at hand, and Jones' advises she'd say 2020 "was a trainwreck and a shit show, but that'd be unfair to trains and shit". Brooker has a history of looking back at events that have just passed, as Newswipe with Charlie Brooker and his end-of-year Wipe specials between 2010–16 have all demonstrated — so satirising and savaging the year's developments definitely falls into his wheelhouse. Brooker and Netflix also love releasing new material over the holiday period, with interactive Black Mirror special Bandersnatch dropping between Christmas and New Year's Eve back in 2018. So, true to form, they're giving everyone an extra festive — and grimly funny — present this year. Check out the full Death to 2020 trailer below: https://www.youtube.com/watch?v=veUqfcyZ_Bo Death to 2020 will hit Netflix at 6pm AEST on Sunday, December 27 . Images: Saeed Adyani/Keith Bernstein.
Another year, another version of Batman. The Dark Knight doesn't get a new famous face quite that often, but you can be forgiven for thinking that it feels that way. Following in the footsteps of Adam West, Michael Keaton, Val Kilmer, George Clooney, Christian Bale and Ben Affleck, Robert Pattinson is now the latest actor to don the recognisable cape and mask — all thanks to upcoming superhero flick The Batman. No one really needs a plot synopsis for flicks about the Gotham City-dwelling character, because yes, we've all seen multiple versions of Batman over the years. This one is meant to stand completely apart from the most recent Affleck-starring DC Extended Universe version of the character, though. So, basically, what DC Films and Warner Bros Pictures did with Joker in 2019 — serving up a grimmer, grittier iteration of the infamous figure that has absolutely nothing to do with the rightfully hated Jared Leto version — they're endeavouring to do for Batman now. Also following the same playbook: enlisting a top-notch star in the lead role. Remember, it was only last that Joaquin Phoenix won an Oscar for playing the clown prince of crime. As well as Pattison as the titular character and his alter-ego Bruce Wayne, The Batman stars Zoe Kravitz (Big Little Lies) as Catwoman, Paul Dano (Escape at Dannemora) as the Riddler, Colin Farrell (Voyagers) as the Penguin, Jeffrey Wright (Westworld) as Commissioner Gordon and Andy Serkis (Long Shot) as Alfred Pennyworth. Plenty of these figures have popped on screens large and small multiple times, too — but Farrell's version of the Penguin certainly stands out in the film's just-dropped (and suitably dark, brooding and violent) full trailer. Originally slated to release this year, The Batman is one of the many movies that've been delayed due to the pandemic. And yes, you have gleaned a sneak peek before, with the movie dropping its first teaser trailer more than a year ago. Pattinson did just star in the Christopher Nolan-helmed Tenet in 2020, so perhaps it makes sense for him to play a character that Nolan helped bring back to cinemas 16 years ago. This time around, however, Cloverfield, Let Me In, Dawn of the Planet of the Apes and War for the Planet of the Apes filmmaker Matt Reeves is in the director's chair. Check out the full trailer for The Batman below: The Batman is currently due to release in Australian cinemas on March 3, 2022. Images: Courtesy of Warner Bros. Pictures/ ™ & © DC Comics.
After an eternity of sweltering days, it seems like winter is finally coming to Brisbane. And while light, healthy meals will suffice almost all year round, when the temperature starts to drop there's just nothing better than a hearty Indian curry. 'Mehfil' literally translates to a gathering of people, and Indian Mehfil is built on a philosophy of socialising and sharing. Located on Felix Street in Brisbane's CBD (a short walk from Eagle Street Pier), it's an ideal place for a client dinner or casual Saturday night with friends; however, the best time to go is undoubtedly weekday lunchtime. Then, you can choose from a range of takeaway lunchtime curries for under $10, including the deliciously rich and creamy butter chicken. If dining in is more your style, the $15 all-you-can-eat lunch buffet will be right up your alley. The buffet options vary from day to day but usually include a dahl, a vegetarian curry, a chicken curry and a red meat curry as well as rice and raita. You can also order from the extensive a la carte menu. The menu of share plates includes tandoori chicken ($20.99), namkeen squid ($16.99) and fish tikka ($19.50). Mains include classic dishes such as lamb rogan josh and chicken tikka masala (both $21.99), as well as more exotic options such as lobster Bombay (a whole lobster served with mushroom, capsicum and masala sauce, $49.99). There are plenty of vegetarian options on offer as well, including dahl makhani Punjabi (slow-cooked lentil curry, $20.99), saag paneer Punjabi ($21.99), and brinjal mirchi ka salan (baby eggplant and green banana chillies with a paste of peanut butter, sesame and coconut, $23.99). The usual selection of naan breads and accompaniments are also available, plus a fantastic range of craft beers, both bottled and on tap. The venue has seen a few different restaurants come and go over the years, and as a result the space has a more open and airy feel than many Indian restaurants. With capacity to host up to 150 people, it is also well suited for functions.
If seasonal change has left you in a dizzy headspin of new colours and fabrics and prints and jackets — or if, y'know, you just like some fancy new clothes now and then — you'll be pretty pleased to know that the Big Fashion Sale is back. Usually, it's a physical affair that takes place in Sydney and Melbourne; however like plenty of other events at the moment, the shopping extravaganza is going online — and national — for its next outing. The name pretty much says it all. This thing is big. You'll find a hefty array of lush items from past collections, samples and one-offs from a huge lineup of cult Australian and international designers, both well-known and emerging — including Romance Was Born, Alexander McQueen, Isabel Marant, The Row, Dries Van Noten and more. With discounts of up to 80-percent off, this is one way to up your count of designer threads while leaving your bank balance sitting pretty, too — whether you're keen on clothes, shoes, swimwear or accessories. The Big Fashion Sale's online edition kicks off at 9am on Monday, May 18 on the event's website — and you can register in advance to be notified when it kicks off.
It's one of southeast Queensland's two spots on the World Heritage List, it's the world's largest sand island and it's a place that every Brisbanite — and every Australian — should visit at least once. It's also a location that's been known by several names, but only one will stick moving forward: K'gari, which is what the original Butchulla people called the island. The Queensland Government has announced that the 122-kilometre coastal locale that's been known as Fraser Island will revert to its original Indigenous name, and that the moniker will apply across the entire island — covering the World Heritage Area within Great Sandy National Park which is centred on Fraser Island, as well as the surrounding waters and parts of the nearby mainland. Back in 2017, the island's national park was renamed the K'gari (Fraser Island) section of the Great Sandy National Park; however, this new move clearly goes a step further. "The Butchulla people have been campaigning for years to change the name," said Butchulla Aboriginal Corporation Chairperson Jade Gould in a statement. "The name Fraser Island is a tribute to Eliza Fraser — a woman whose narrative directly lead to the massacre and dispossession of the Butchulla people," Gould continued. "A word meaning paradise in Butchulla language is a much more fitting name for such an iconic place." The World Heritage Committee officially adopted the name change at its recent 44th session. In Queensland, the government will now work through the formal steps required to enact the change, in conjunction with the Butchulla people, stakeholders and the community. [caption id="attachment_743610" align="aligncenter" width="1920"] Tourism and Events Queensland[/caption] K'gari isn't just the biggest sand island in the world; it's made up of 184,000 hectares of the stuff, in 72 colours and mostly in the form of magnificent dunes, much of which are covered in rainforest. It's also home to more than 100 freshwater lakes, including the crystal-clear waters of Boorangoora (Lake McKenzie), a perched lake made up of rainwater and soft silica sand. For more information about K'gari's change of name, head to the Queensland Government website. Top image: Tourism and Events Queensland.
Instead of shooting tequila and fighting back the tears while biting on a lemon, you might be better off using it as an alternative fuel. Originally seen as a potential saviour, crop-based biofuels are now criticised for competing for arable land, driving up grain prices and being grown in conditions that damage the environment. Agave, the plant used to make tequila, might just provide a solution. Since it grows in arid conditions, it doesn't compete for arable land and water supplies, and can adapt to future changes in the climate. Research into the energy and greenhouse cost of producing agave-derived bioethanol shows that it would be preferable to current biofuel crops, and one Australian company Ausagave is already giving it a try. So, the next time someone tries to force a tequila shot on you, you can refuse on the grounds that you'll need it for the drive home. Just don't put the salt or lemon in the tank... [via PSFK]
Since launching in 2008, Airbnb has drastically changed the short-term accommodation market. Travellers can now stay somewhere other than a hotel — and find more than three million places in 65,000 cities and 191 countries around the world — while anyone with a spare room or an empty house can rent them out and make some cash. Alas, their gains can come with pain for folks living next door to an Airbnb-listed property. There's no shortage of stories about neighbours finding themselves faced with an endless stream of parties, for example. Enter Airbnb's next move, Niido. Set to open in 2018, it's a Florida complex that's designed specifically with house-sharing in mind. In partnership with property developer Newgard Development Group, Airbnb will build a 324-unit block near Disney World in Kissimmee, Florida, rent out its apartments to tenants, and allow anyone who signs a lease for a year to offer up their homes on the website for up to 180 nights each year. If residents just wish to list a single bedroom, then there's no cap. If this sounds familiar, that's because it's rather similar to plenty of concepts that already exist, including ones that Airbnb is in direct competition with. Basically, it's their version of a hotel and time-share accommodation combined. Other hotel-like touches include keyless doors, housekeeping and cleaning services, and an on-site "master host" (aka, a concierge) who checks-in visitors, helps during their stay, and can act as an intermediary between hosts and guests. Speaking to Financial Times, Newgard CEO Harvey Hernandez said that 2,000 Airbnb-branded units are planned in the next two years. Airbnb aren't the first to attempt to reinvent something that already exists — Lyft announced plans for a bus-like shuttle service earlier this year. Via Financial Times / Forbes. Image: Airbnb.
If your 2021 plans could use a little colour and liveliness from one of the best artists that ever lived, you're in luck — because the Art Gallery of NSW is delivering exactly that as part of its newly announced 2021 program. For four months from November 2021–March 2022, the Sydney venue will host the huge Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris exhibition. It'll feature more than 100 of Henri Matisse's pieces spanning six decades of his artistry, it's only heading to Sydney and it'll mark the greatest single exhibition of his masterworks that's ever graced the NSW capital. Whether you're keen on Matisse's early efforts, including from his Fauvist phase, or you're more fascinated with how his talents progressed over his considerable career, you'll see something suiting your interests on display — with the exhibition running from November 22, 2021–March 13, 2022. Standouts include Le Luxe I 1907, if you're after one of his first pieces; Decorative figure on an ornamental ground 1925, from the middle of his career; and The sorrow of the king 1952, a self-portrait. If it all sounds a bit familiar, that's because it was originally due to happen in 2020 as part of AGNSW's Sydney International Art Series, but was postponed for obvious reasons. 2021 is now shaping up to be a great year for Australians to see European masterpieces, with Brisbane's Gallery of Modern Art and the National Gallery of Australia in Canberra also showcasing works from the region — but only AGNSW will solely focus on Matisse. As well as Matisse's paintings, sculptures and cut-outs — all from the Centre Pompidou in Paris, which boasts quite the collection — AGNSW will also be hosting Matisse Alive, which'll reflect upon Matisse in a modern context. The gallery-wide event will kick off in October 2021, letting art lovers indulge in a free festival of Matisse. Think: art, music, performances and dance, all delving into his life, his creations and how his works have inspired artists today. Textile environments, huge paintings and video works are all on the lineup, including by artists such as Nina Chanel Abney, Sally Smart, Angela Tiatia and Robin White. [caption id="attachment_794669" align="aligncenter" width="1920"] Henri Matisse. 'Blue nude II (Nu bleu II)' 1952. Gouache on paper, cut and pasted, on white paper, mounted on canvas, 116.2 x 88.9 cmCentre Pompidou. Musée national d'art moderne AM1984-276. Photo © Service de la documentation photographique du MNAM Centre Pompidou, MNAM-CCI /Dist RMN-GP. © Succession H Matisse/Copyright Agency.[/caption] Obviously, AGNSW won't be empty for the rest of the year, before all things Matisse hit. Back in mid-2020, it revealed its blockbuster summer 2020–21 exhibitions, so you might already be familiar with Streeton, Pat Larter: Get Axed, Archie Plus, Khaled Sabsabi: A Promise, Real Worlds: Dobell Australian Drawing Biennale 2020 and Joy. Joining them on the full 2021 agenda: the also previously postponed Margel Hinder and The Purple House exhibitions; the food focused The Way We Eat; and Brett Whiteley: Printmaker, featuring Whiteley's lithographs, etchings, linocuts and silkscreen prints. Or, you can scope out Longing for Home, which'll feature works by six Aboriginal artists; and The National 2021: New Australian Art, which will hero pieces from 39 emerging, mid-career and established Australian artists. [caption id="attachment_789423" align="aligncenter" width="1920"] Installation view of the 'Streeton' exhibition at Art Gallery of New South Wales, Sydney. Photo: Jenni Carter, AGNSW.[/caption] And yes, after 2020's delays, the Archibald, Wynne and Suleman Prizes are back as well, with the corresponding exhibition displaying from June–September 2021. There's an added bonus, too, with AGNSW also hosting a 100-year-anniversary look at the Archibald. Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris will display at the Art Gallery of NSW, in Sydney, from November 22, 2021–March 13, 2022. Matisse Alive will run from October 2021–2. For more information — including about AGNSW's full 2021 lineup — visit the Art Gallery of NSW website. Top images: Sally Smart. 'The choreography of cutting' 2017. © Sally Smart. Photo: Fajar Riyanto, installation view OFCA, Yogyakarta. Henri Matisse. 'The sorrow of the king (La tristesse du roi)' 1952. Gouache on paper, cut and pasted, mounted on canvas, 292 x 386 cm. Centre Pompidou. Musée national d'art moderne AM3279P. Photo © Philippe Migeat - Centre Pompidou, MNAM-CCI /Dist RMN-GP. © Succession H Matisse/Copyright Agency. Nina Chanel Abney. 'Seized the Imagination', Jack Shainman Gallery, New York, New York, 9 November 9 – 20 December 20, 2017. © Nina Chanel Abney. Courtesy of the artist and Jack Shainman Gallery, New York.
Get Rooney Mara, Claire Foy, Jessie Buckley, Frances McDormand and more exceptional women in a room, point a camera their way, let the talk flow: Sarah Polley's Women Talking does just that, and the Best Picture and Best Adapted Screenplay Oscar-nominee is phenomenal. The actor-turned-filmmaker's fourth effort behind the lens after 2006's Away From Her, 2011's Take This Waltz and 2012's Stories We Tell does plenty more, but its basic setup is as straightforward as its title states. Adapted from Miriam Toews' 2018 novel of the same name, this isn't a simple or easy film, however. That book and this feature draw on events in a Bolivian Mennonite colony from 2005–9, where a spate of mass druggings and rapes of women and girls were reported at the hands of some of the group's men. In a patriarchal faith and society, women talking about their experiences is a rebellious, revolutionary act anyway — and talking about what comes next is just as charged. "The elders told us that it was the work of ghosts, or Satan, or that we were lying to get attention, or that it was an act of wild female imagination." That's teenage narrator Autje's (debutant Kate Hallett) explanation for how such assaults could occur and continue, as offered in Women Talking's sombre opening voiceover. Writing and helming, Polley declares her feature "an act of female imagination" as well, as Toews did on the page, but the truth in the movie's words is both lingering and haunting. While the film anchors its dramas in a specific year, 2010, it's purposefully vague on any details that could ground it in one place. Set within a community where modern technology is banned and horse-drawn buggies are the only form of transport, it's a work of fiction inspired by reality, rather than a recreation. Whether you're aware of the true tale behind the book going in or not, this deeply powerful and affecting picture speaks to how women have long been treated in a male-dominated world at large — and what's so often left unsaid, too. Stay and do nothing. Stay and fight. Leave the only home they've ever had behind, be excommunicated from their faith and forgo their spot in heaven. When the Mennonite women catch one of their attackers, he names more, arrests follow and the men are sent to the city — the culprits imprisoned, the rest there to bail them out — those three choices face the ladies of Women Talking. To decide which path to take, they hold a secret vote while the colony's males are away. When the results are tied, a cohort within the cohort chat it out in the barn. From elders to mothers and teens, everyone has a different perspective across three generations, or a different reason for their perspective, but the hurt, pain, dismay and distress simmering among the stern gazes, carefully braided hair and surrounding hay is shared. The women's religious beliefs dictate one solution only: absolution. That's the outcome demanded by the scarred Janz (The Tragedy of Macbeth's McDormand, also a co-producer here), so much so that she won't entertain alternatives. But her peers Agata (Judith Ivey, The Accidental Wolf) and Greta (Sheila McCarthy, The Broken Hearts Gallery) see shades of grey in their predicament — shades that Polley and her returning Away From Her and Take This Waltz cinematographer Luc Montpellier highlight in Women Talking's colour palette, even though their viewers will scream internally for the women to immediately leave. While dialogue-driven by necessity, the film also spies the country idyll that sits outside the barn doors, where the kids play contentedly in the crops. This isn't an aesthetically sunny movie — its tones are muted, as its women have long been required to be — but it still sees what departing means on multiple levels with clear eyes. As the debate rages against Hildur Guðnadóttir's (Tár) score of yearning — The Monkees' 'Daydream Believer' also gets a spin, surreally so — Agata's daughter Salome (Foy, The Electrical Life of Louis Wain) furiously advocates for battling. Her toddler daughter was among those attacked, which is understandably something she can't forgive, forget and keep living submissively beside the perpetrators, in a culture that allowed it to happen, afterwards. For Greta's just-as-irate daughter Mariche (Buckley, Men), who is abused by her husband openly aside from the widespread attacks, nothing good can come from running — including with their god. And for Salome's sister Ona (Mara, Nightmare Alley), who is pregnant from being raped, her ideals keep her going. As pros and cons about fighting or fleeing are thrown around, she speaks calmly but passionately about wanting a better community where the Mennonite women have agency and educations, as well as being safe and free. Indeed, because the group cannot read or write, formerly ex-communicated teacher August (Ben Whishaw, No Time to Die) is the lone male permitted to their meeting, taking minutes. More than a decade has passed between Polley's third film and Women Talking, and cinema has been all the poorer for it. How rich and resonant — how raw, sensitive and potent at the same time — her latest directorial effort proves. Compassionate and thoughtful in every frame, it scorches as a based-on-a-true-tale drama and as a state-of-the-world allegory, and says just as much beneath all the feverish utterances. Even with the Mennonite order's rules and conformity, costuming and hairstyles convey plenty about varying personalities. Letting colour seep into the movie's characters as the sun sets parallels the vibrant personalities these ladies are not expected to possess. And when Women Talking peers at the boys of the collective, it does so softly, asking what it takes to turn those innocent faces into men who'd subdue Salome, Mariche, Ona and company with cow tranquillisers to violate them. Such a complex and empathetic feature that's also intense, gripping and wide-ranging — pondering gender inequality, what community truly means and should stand for, religious devotion and the sins permitted in its name, unthinking compliance to any societal order and more — is unsurprisingly packed with performances to match. Women Talking's cast are deservedly up for the 2023 Screen Actors Guild Awards ensemble prize, while Buckley and Whishaw earned Gotham Awards nominations as well; there's no weak link in this troupe, including with all the rhythmic chatter. Each in their own way, Foy, Mara, McDormand and their co-stars radiate heartbreak, determination, vulnerability and anger. Whishaw is similarly excellent, but also never the film's focus. These portrayals are talking, too, in a movie that wouldn't fantasise about offering easy answers — but dreams of the possibilities spirited conversations and no longer staying silent can and do bring.
It's the kind of dazzling space that you could easily lose a whole day to, and it seems that plenty of people have. A year after opening, Tokyo's teamLab Borderless Digital Art Museum has revealed that it welcomed more than 2.3 million visitors in its first 12 months, making it the most visited single-artist museum in the world. In this case, the term 'single artist' doesn't mean that everything that graces the site's walls, floors and ceiling is the work of just one person, with teamLab comprised of a collective of creatives. Still, Borderless' entry figures for the year exceed the other top single-artist venues, eclipsing the Van Gogh Museum's 2017 record high, the last reported figures for Spain's Dali Museums in the same year and the Picasso Museum's numbers for 2018. The first, in the Netherlands, saw 2.26 million patrons through the door, while the second reached 1.44 million across three sites and the third hit 948,483. [caption id="attachment_701274" align="aligncenter" width="1920"] Sarah Ward[/caption] While plenty of Japanese locals have made the trip to teamLab's permanent Odaiba facility, almost half of Borderless' visitors hail from overseas. Folks from more than 160 countries and regions made the trip, with the most coming from the USA, followed by Australia, China, Thailand, Canada and the United Kingdom. teamLab's other Tokyo site, teamLab Planets in Toyosu, also attracted huge numbers over its first year. Another immersive space — this time asking patrons to walk barefoot through its digital artworks — it received 1.25 million visitors from 106 global locations. It's safe to assume that patronage at teamLabs two current pop-ups — across 500,000 square metres of Japanese forest and hot springs, and in old oil tanks in Shanghai — will also prove rather healthy. For Australians keen to get a glimpse of the collective's work without jetting overseas, it's bringing its sculptures of light and "cascades of shimmering luminescence" to this year's Melbourne International Arts Festival in October. Find teamLab Borderless Tokyo: MORI Building Digital Art Museum in Odaiba Palette Town, 1-3-8 Aomi, Koto-ku, Tokyo, Japan. It's open seven days a week — for more information, visit the museum's website. Via Business Wire.
This article is part of our series on the diverse highlights of NZ's Canterbury region, from city to snow. To book your Canterbury trip, visit the 100% Pure New Zealand website. There's nothing quite like a road trip. Even if you're not completely sold on the idea of long hours wedged into the backseat of your friend's Corolla, the high points of a roadie — driving along the highway, windows down, the purpose-made road trip playlist blaring, obviously — definitely outweigh the low ones. Especially when you've got incredible scenery and lots of awe-worthy stops along the way. That's why New Zealand is made for road trips. Not only is it crazy beautiful with a landscape that changes at every turn (right or wrong), it's a country that you can cross in little more than three hours. It's tiny. Unlike Australia, driving around NZ isn't a ridiculous task — everything's compact, and it never takes more than a few hours to get somewhere great. In fact, you probably won't even need to pee on the side of the road once. There are a slew of routes you can take to get right down the North and South Islands, but for an easy drive and a chance to see the most in a short amount of time, take your road trip to Canterbury. The region that includes Christchurch and its surrounds — from Kaikoura all the way down to Timaru and across to the Southern Alps — it boasts a landscape that's so incredibly diverse, it's almost unbelievable. In any one day you can be driving across the plains, through snow-topped mountains and around glaciers — without even leaving the snug confines of the region. So what exactly should you mark on your map? Start in Christchurch and make your way down to the ski region, pull up under the stars at Lake Tekapo and put your hiking boots on at Mount Cook — it's all in our guide to the ultimate Canterbury road trip. Christchurch In Canterbury, Christchurch is your best base. It's New Zealand's second biggest city so you can get a direct flight with Air New Zealand from Sydney, Brisbane and Melbourne for a coupla hundred bucks. It's choice. From the airport, pick up your ride and head into the city — it's a simple enough drive and, bonus, road rules are basically the same for Australians. It just gets a bit tricky (read: impossible) once you hit the city centre, as a heap of roads are either one-way or closed and lanes are defined by a small army of witches hats. Christchurch is a city rebuilding, but that doesn't mean there's not a lot happening. The locals here are making it work, and it's incredible to see how they're reinventing the city as their own. You'd be best to take a full day here — two if you can — to eat, drink, see and learn. The CBD isn't that big, so you can easily walk from breakfast at Black Betty to the Re:START shipping container mall and the Christchurch Art Gallery. Make sure you take a walk to the Botanic Gardens (they're the third biggest city gardens in the world, behind New York and Munich) and head over to New Regent Street for dinner and then a drink in the Christchurch's cosiest whiskey bar, The Last Word. The surrounding suburbs have it going on too, so, seeing as you've got wheels, head out to The Tannery shopping precinct in Woolston and picturesque port town Lyttleton. Stay: The George, 50 Park Terrace, Christchurch Central, thegeorge.com Methven Whether you have a carload of ski bunnies or not, Methven is the perfect little ski town to stop off at once you leave Christchurch. Just an hour or so out of the city, Methven sits near the base of Mt Hutt, so it's teeming with ski pros and staff that work up on the mountain. They frequent the Blue Pub and the Brown Pub — they sit opposite each other on the main street, it's all very quaint — and The Last Post of an evening, all of which house fireplaces, hearty dishes and lots of booze. And you'll need all of these things if you do or don't decide to go skiing up at Mt Hutt. You are? A shuttle picks up skiers from most hotels each morning (no need to book) and will bring you back down in the afternoon. Just be warned: the drive up is unsealed and unnerving as hell if it's your first time. Not heading up the mountain? There are plenty of walks you can do around the area, and thanks to the cooperation of local farmers, some of them pass through some very pretty private land. Just don't forget your beanie. Stay: Ski Time Lodge, 39 Racecourse Road, Methven, skitime.co.nz Lake Tekapo When you've had enough of skiing (or sitting by the fire in the pub), it's onward to Lake Tekapo. If you haven't seen photos of Tekapo, refrain from doing so before your trip — it'll make your first sighting even better. The water in this lake is the bluest of blue, so much so that I'd be inclined to say it was magic if someone didn't tell me that it comes from the reflective rock flour that gets ground into the lake by the glacier that feeds it. Whatever the reason though, this place has snow-topped mountains bordering the lake and the adorable Church of the Good Shepherd sitting on it's shores, and it's stunning. In winter it's covered in a blanket of snow, and later in the year it's blooming with lupins — you really can't lose. Spend a day or two hiking up Mt John, stargazing, bathing in the hot pools or sipping wine by the fire. Have a look at our Tekapo itinerary for deets. Stay: Peppers Bluewater Resort, State Highway 8, Lake Tekapo, peppers.co.nz/bluewater or the YHA Lake Tekapo for some great indoor views of the lake, 3 Simpson Lane, Lake Tekapo, yha.co.nz Mount Cook In a country full of really big mountains, you know that the biggest one of the lot of going to be massive. So, yes, Mount Cook (also known as Aoraki) is really, really big. If you know what you're looking at you can even see it from Tekapo, but it's worth getting up close. Take State Highway 8 and stop along the banks of Lake Pukaki — it's even bigger than Tekapo and there's a salmon shop with some incredibly fresh smoked salmon that comes straight from the salmon farms that are dotted around Canterbury's canals. (Just make sure you get at least two servings because that stuff is seriously good.) From there you head around the blue oasis of Pukaki and up towards Mount Cook. The township is tiny, but there's plenty of accommodation as plenty of people come here to hike and do heli-skiing and other adventurous things. So unless you're an experienced hiker, you won't be climbing to the summit of this big boy, but there's a whole heap of walks you can do, whether you want to be walking for an hour or a whole day. It's best to drive up to the car park of Aoraki/Mount Cook National Reserve and take it from there; you'll get some sweet views from Kea Point and the Hooker River swing bridge without even having to venture too far. Christchurch Round off your road trip by heading back to Christchurch. It's the longest stretch at about four hours, but it will be a welcome excuse to stay stationary if there's been hiking involved. If you do have an extra day or two in the city and want to get a feel of the Canterbury Plains, take a drive out to Arthur's Pass — it's one of the most scenic you can do. Or else, book yourself in for jetboating (it's something of a national pastime here) on the Waimak Gorge or four wheel driving over Mt Torlesse Station through Alpine Safaris. Both give you some killer views that you wouldn't be able to get without their help.
He captured imaginations and made his artistic mark with big-screen hits like The Royal Tenenbaums, Moonrise Kingdom and The Grand Budapest Hotel. And, he once designed a Milan cafe that resembled one of his film sets. Earlier this year, he also released his gorgeous stop-motion animated movie Isle of Dogs — but that's not all that acclaimed director Wes Anderson has for fans in 2018. Known for his visual distinctive style and fondness for symmetry, Anderson has also taken his creative vision into the art world, playing museum curator alongside his partner, set designer and illustrator Juman Malouf. As announced back in February, the pair have been invited to put together an exhibition for Vienna's Kunsthistorisches Museum, which you've got to admit looks like it's been plucked from a dreamy Anderson flick itself. Called Spitzmaus Mummy in a Coffin and Other Treasures, the exhibition is set to kick off on Tuesday, November 6, 2018 and run until April 28, 2019. The creative couple were given a task that plenty would envy: trawling through the Kunsthistorisches Museum's more than four million objects, and selecting their favourites from the incredibly broad collection of in-house artifacts. The end result includes items from all 14 of the museum's collections, which span old master paintings, Greek and Roman antiquities, Imperial coins and more. Pieces like historical musical instruments, suits of armour, foreign antiques, carriages and sleighs will be accompanied by a fully illustrated catalogue — sure to be a swoon-worthy piece of art in its own right. And if you're not planning to be in Austria while it's on, maybe start thinking about heading to Italy. After its initial Kunsthistorisches run, the exhibition will travel to the Fondazione Prada in Milan at a yet-to-be-announced date. Here's a sneak peak of what's in store. https://www.youtube.com/watch?v=_vTQI6Vw5nY Image: Wes Anderson and Juman Malouf in the Picture Gallery, Kunsthistorisches Museum Vienna © KHM-Museumsverband .
In a world of pay-to-own content, companies like Spotify run to the sound of a different tune. Now, they're giving you the chance to quite literally do the same. The music streaming service today announced the introduction of Spotify Running, a new feature that automatically detects your running pace and plays tracks to match your tempo. Spotify Running will select music based on your listening history, incorporating different playlists as well as original compositions from DJs and composers around the world. Sensors in your phone will then detect how fast you're moving, with the music changing as you speed up or slow down. The feature will also be integrated into the Nike+ and Runkeeper apps later in the year. Of course, this isn't a new idea. There are already a number of third-party apps for both iOs and Android that will match music to your running pace, including Pace DJ and RockMyRun. However, Spotify is also working with musicians to develop customisable music, where the composition actually changes and rearranges itself depending on your speed. The new feature is one of several announced by Spotify at a recent New York media event. The Now page will better allow users to select playlists based on their personal preferences, mood and even the time of day. They’re also (finally) incorporating other forms of media such as video clips and podcasts (podcasts!), announcing partnerships with the likes of the BBC, Comedy Central, ESPN, TED, Adult Swim, Vice Media and NBC. The company will also launch Spotify Originals, shows and content that will be exclusive to the service. Turntable will pair musicians and chefs for a performance and a meal, while Incoming will cover the latest music trends. Artists including Icona Pop and Tyler the Creator will also be getting their own radio shows, while Dance Move of the Day, from Amy Poehler's Smart Girls, is exactly what it sounds like. No word yet on when exactly this content will be available for users in Australia, although Spotify Running is — pun very much intended — already up and running. The new features should add fuel to the competition between Spotify and its rivals, including Jay Z's Tidal, which already streams video content. Likewise, Apple is expected to launch a new music streaming service later this year, incorporating the recently acquired Beats Music. One of that service’s major selling points is its ability to deliver a personalised playlists based on user preferences and input, territory that the Spotify Now page appears to be cutting into. Game on. Spotify Running will be rolling out to all users globally from today.
Four years ago, legendary Rock and Roll Hall of Famers Fleetwood Mac toured Australia with Christine McVie, who'd just rejoined the band after a 16-year absence. This year, when the British-American group tours the country, the lineup will look a little different. Mick Fleetwood, Stevie Nicks, John McVie and Christine McVie will be joined on stage in August by Crowded House frontman Neil Finn and Mike Campbell, from Tom Petty and the Heartbreakers, with Lindsey Buckingham controversially axed from the band early last year. Despite the switch-up — it's not the band's first personnel change, and probably won't be its last — the band will be performing all its biggest hits, from 'Dreams' to 'The Chain' and 'Go Your Own Way'. The six will head to Australia's west coast first, hitting up Perth on August 9, before flying east to perform shows across the east coast — with one show in Brissie, and two in Sydney and Melbourne. Fleetwood Mac is one of the world's best-selling bands, selling in excess of 100 million albums worldwide, with the album Rumours one of the best-selling of all time. Their Aussie tour follows the band's 50-show tour of the US. FLEETWOOD MAC 2019 TOUR DATES Perth — RAC Arena, August 9 Brisbane — Brisbane Entertainment Centre, August 20 Sydney — Qudos Bank Arena, August 27 and 29 Melbourne — Rod Laver Arena, September 2 and 4 Fleetwood Mac pre-sale tickets are available from midday (local time) on Thursday, January 24, 2019, with general on-sale is at midday (local time) in Sydney and Perth, and 1pm in Melbourne and Brisbane, on Friday, January 25, through Live Nation.
Nothing says classic pre-pandemic Brisbane like spending four whole days eating and drinking your way up and down James Street. This July, nothing will say post-lockdown Brissie quite like that, either. Yes, the James Street Food and Wine Trail is finally back in-person, and will take over New Farm once again — this time without last-minute at-home pivots, which is what happened to last year's event, sadly. If you're a Brisbanite with a healthy appetite, there's now only one place to be between Thursday, July 28–Sunday, July 31. Take your rumbling stomach and its yearning for something scrumptious down to the well-known stretch of shops — and then fill it with tasty treats. Over JSFWT's 2022 run, the New Farm precinct it calls home will become a culinary wonderland again, and highlight the gastronomic delights of the area. That includes devouring delicious dishes and drinks, of course, regardless of what kind of food, beverage or event takes your fancy. And, it also boasts a whole day of market activity. Whenever you decide to head by, you can hop on the trail. Follow the roadway to a feast of dishes and drinks; think: a Lebanese pizza party at Gerard's Bar to start things off on the Thursday, an evening by The Green's leafy surroundings on the Friday, plus a four-course champagne lunch at Essa on the Saturday. Then, come Sunday, more than 32 businesses will unleash their wares on Market Day, which'll take over the entire street. There'll be at least 19 food stalls and 13 bars, spanning everywhere from Gemelli, sAme sAme and Biánca to SK Steak & Oyster, Hellenika and Mosconi. Because Gelato Messina is in the vicinity, the dessert fiends will be doing two special dishes, too, while Essa will join the fun with caviar and frozen vodka, plus fried chicken and truffle rolls. Also on the agenda at the picnic-style Market Day event: live performances and live music. No wonder the road will be closed between McLachlan and Arthur Streets, to make room for five live music stages, tables across the roadway and craft workshops. James Street Food and Wine Trail returns to James Street, New Farm from Thursday, July 28–Sunday, July 31. For more information, head to the JSFWT website.
Our phones have a lot of uses these days. While they were once merely a means of communication, they are now a great way to fill time or catch up on current events as well as the perfect crutch in an awkward situation. Need to fill an unbearably long silence or look like you're doing something while alone at a party? Just whip out an iPhone. But all of these new uses seem to defeat the original purpose of the device. With a smartphone glued to the palm of our hand, can we still maintain any meaningful communication face-to-face? A new photo series entitled 'The Death of Conversation' suggests not. Picturing friends, couples and dinner dates entranced with the screens of their phones but ignoring each other, these works by London photographer Babycakes Romero are all too familiar. It's something you see everyday. Don't feel too embarrassed. We're all guilty of it. This is what inspired the photographer to create the series. "I saw that smartphones were becoming a barrier to communication in person," he told Buzzfeed. "I saw how people used it as a social prop to hide their awkwardness, to fill the silence, but as I continued to observe and document this modern phenomenon I felt that the devices were actually causing the awkwardness and the silence." There's been a growing awareness of this problem over the past few years especially. Many musicians including the Yeah Yeah Yeahs and Prince now ask their audiences to put their phones away and "be in the moment"; some restaurants even ban their customers from taking photos of their food. "[Using your phone] is a form of rejection and lowers the self-worth of the person superseded for a device," said the artist. "I have nothing against technology at all but I feel it is starting to affect social cohesion, and we need to know when to switch it off or we will become permanently switched off from each other." Though this behaviour is now common all over the world, it may not be as bad as it first appears. Many theorists think this kind of criticism is unfounded. With this kind of constant digital companionship, aren't we in fact being more social than ever? It's for you to decide. But, at first glance, the evidence is pretty damning. Via Buzzfeed. All photos via Babycakes Romero.
If ever your heart could be hugged by a live show, Tiny Ruins will leave yours well and truly cuddled. Following the release of their enchanting folk release Brightly Painted One, the native New Zealanders will head to Australia to crank out their softly spoken repertoire in a national tour. As well as giving their newest album a big ol' run around, Tiny Ruins will revisit tunes from their 2010 release Some Were Meant for Sea as well as their 2013 EP Haunts. Expanding her solo flight into a touring trio, Tiny Ruins' Hollie Fullbrook now hangs with bassist Cass Basil and drummer Alexander Freer as a trio. The threesome haven't had a holiday for quite some time, touring for the past few years through Australia, Europe and the US in highly coveted support slots for Fleet Foxes, Beach House, Joanna Newsom and Father John Misty to name a few. But now's no time for Tiny vacationing, with a national tour ready to kick off this July. The NZ folksters have plenty of Aussie radio feature albums, festival slots and critical accolades under their belts and have been gaining traction over the past few years with folk lovers worldwide. But Tiny Ruins are no stage hogs, inviting their buds Shining Bird and Aldous Harding along for the ride this time. Sydney favourites Shining Bird have spent the last year gaining high fives Australia-wide after the release of their debut album Leisure Coast gained the crew some serious festival appearances. Shining Bird aren't dudes to waste a touring opp, combining their support spot with their brand new 7" single. Aldous Harding is one of those Kiwi musical talents we'll casually be calling our own in a few years. You may not have heard much from her yet, but this Christchurch folk queen is just about to drop her debut album and counts this support slot on her first tour of Australia. Be sure to check her out — by all accounts, she's killin' it across the Tasman. Her self-titled debut so far has just the one single, 'Hunter', with the rest to be released on July 25. These shows are sure to be a very chilled affair — perfect for red wine, big jumpers and melodious swaying. Words by Shannon Connellan and Meg Watson. https://youtube.com/watch?v=jnqc4falhGk
Vivid Ideas festival director Jess Scully knows how to get psyched about winter (it ain't all wet feet and friendless Call of Duty marathons). From pickling workshops to no-holds-barred pampering sessions, DIY crafternoons to steamy hot chocolate-Robert Pattinson combos, Scully knows how to embrace winter with a big ol' hug. So throw on your favourite chunky knits and welcome the chilly season with Jess's tried and tested gear-ups. To take advantage of these and even more great Sydney winter experiences, go to lastminute.com.au and line up your fun-filled days and even cooler nights. Get pickled That used to mean something different in my twenties... how times have changed. This year my friends and I are taking a winter pickling workshop at Cornersmith in Marrickville; we're going to learn to do it ourselves, in the hopes of constructing the perfect Ploughman's Lunch down the line. Get pampered I tend to take better care of my skin and hair in winter; in summer I let the sun and sea take over, and I feel healthier just by virtue of being outdoors. But in winter, I go to the experts. My go-to place is Brad Ngata at The Ivy, where I will get a pro-keratin treatment to hydrate my hair (winter actually dries it out) and a gloss to cheat a little and get some all-over shine. Get cosy At the end of Vivid there is nothing I like better than getting a big hot chocolate, getting cosy in a cinema chair and soaking up beautiful images at Sydney Film Festival. This year I'm particularly excited about seeing The Rover — not least because I'll also be able to sit in on a chat with director David Michod and actors Guy Pearce and Robert Pattinson, on Sunday June 8... Get hearty For breakfast I'll be trying out every one of the Top Five Porridges in Sydney (as selected by Concrete Playground: expect my rankings shortly!) and then I'll be hunting down the best pub roasts for lunch and dinner. I've also been dreaming of a giant schnitzel and beer from the amazing Concordia Club in Tempe; 'tis the season for mash and gravy! Get crafty After a few months of exhausting mental work, crafting and presenting the Vivid Ideas program, I always feel like doing something with my hands. So I love the workshops at Koskela, giving me a chance to get messy and tactile and hands-on. I took Gemma Patford's rope basket workshop last year, and this year I've got my eyes on a Shibori indigo dyeing workshop. Vivid Ideas runs until June 9. Check out the events still to come over here.
If The Phantom of the Open was part of a game of golf, rather than a movie about the club-flinging, ball-hitting, bunker-avoiding sport, it wouldn't be a hole in one. It couldn't be; perfection doesn't suit the story it's telling, which is as real and as shaggy — as so-strange-it-can-only-be-true, too — as they can possibly come. That other key factor in spiriting dimpled orbs from the tee to the cup in a single stroke, aka luck, is definitely pertinent to this feel-good, crowd-pleasing, happily whimsical British comedy, however. Plenty of it helped Maurice Flitcroft, the man at its centre, as he managed to enter the 1976 British Open despite never having set foot on a course or played a full round of golf before. It isn't quite good fortune that makes this high-spirited movie about him work, of course, but it always feels like a feature that might've ended up in the cinematic long grass if it wasn't so warmly pieced together. When Maurice (Mark Rylance, Don't Look Up) debuts on the green at the high-profile Open Championship, it doesn't take long for gap between his skills and the professionals he's playing with to stand out. In the words of The Dude from The Big Lebowski, obviously he's not a golfer — although what makes a golfer, and whether any sport should be the domain of well-to-do gatekeepers who reserve large swathes of land for the use of the privileged few, falls into The Phantom of the Open's view. So does a breezily formulaic yet drawn-from-fact account of a man who was born in Manchester, later settled in the port town of Barrow-in-Furness in Cumbria and spent much of his life as a shipyard crane operator, providing for his wife Jean (Sally Hawkins, Spencer), her son Michael (Jake Davies, Artemis Fowl), and the pair's twins Gene (Christian Lees, Pistol) and James (Jonah Lees, The Letter for the King). Maurice had never chased his own dreams, until he decided to give golfing glory a swing. For audiences coming to all this anew, director Craig Roberts (Eternal Beauty) clues viewers in from the get-go, via a recreation of an 80s TV interview with Maurice. The film's key figure chats, looking back on his sporting efforts after his attempts at golf have clearly earned him a level of fame, but he'd also rather just sip a tea with six sugars. That's an easy but pivotal character-establishing moment. He's a cuppa-coveting everyman accustomed to finding sweetness in modest places, which aptly sums up his whole approach to his middle-aged pastime. The jovial humour of the situation — in caring more about his beloved tea than talking on the television — is also telling. Using a screenplay by Simon Farnaby (Paddington 2) based on the actor and writer's 2010 biography of Maurice, Roberts laughs along with and never at his protagonist. He affectionately sees the wannabe golfer's eccentricities, and also values the new lease on life he's eagerly seeking. That quest starts while watching late-night TV, after Michael advises that the shipyard where both men work — and Jean as well — will be making layoffs. With Bridge of Spies Oscar-winner Rylance dripping with sincerity and never cartoonish quirkiness, Maurice eyes the game on-screen like a man having a life-altering and surreal epiphany. Befitting anyone who's ever had a sudden realisation, he's instantly convinced. That he has zero know-how, nor the cash for the right attire, equipment and membership to the local club to practice, doesn't put him off. Neither does filling out the Open entry form, where he instructs Jean to tick the 'professional' box because that's what he wants to be. On the ground at Royal Birkdale Golf Club in Southport, he swiftly attracts attention for hitting 121 — the worst score ever recorded — with the press, as well as tournament bigwigs Keith Mackenzie (Rhys Ifans, The King's Man) and Laurent Lambert (Farnaby, Christopher Robin). "The world's worst professional golfer" gets slung Maurice's way, alongside other descriptions and titles, the movie's own moniker included. But with the competitive disco-dancing twins as his caddies, he isn't dissuaded. As seen in fellow recent comedy The Duke — another seemingly tall but genuinely true tale about an ordinary fellow battling the establishment — The Phantom of the Open becomes a caper, in fact. Maurice makes new putts at re-entering the Open aided by disguises and accents, hijinks ensue again and again, and his determination to strive for something better rarely fades. There isn't much in the way of drama amid the on-the-course larks, but some springs at home. While Jean remains supportive, as do Gene and James, Michael gets embarrassed about his dad being made a joke — and there are also financial ramifications. As with The Full Monty, Eddie the Eagle and other thoroughly British underdog-focused stories, The Phantom of the Open earns all the terms it's striving for: nice, perky, funny, pleasant, sweet, moving and rousing, for starters. Another two that echo like a ball whacked convincingly with a club: entertaining and engaging. Roberts and Farnaby find the right mood, which recognises how ridiculous so many of the details prove — they'd be called contrived if a screenwriter had simply conjured them up — but keeps its heart with the Flitcrofts. Taking tonal cues from his best-known on-screen appearances in 2010's coming-of-age charmer Submarine and delightful streaming series Red Oaks, Roberts also appreciates how embracing a look, feel and era can shape a movie. The Phantom of the Open sees Maurice's efforts as firmly a product of the 70s, and plays up the period details everywhere it can, including on the soundtrack. A singular real-life character, a wild series of actual events, ABBA and other upbeat needle-drops, disco contests, 70s oddities galore, all that golf, a cartful of fantastical visual flourishes, slapstick upon slapstick: throw them all together and, again, the movie equivalent of a sand trap or water hazard could've resulted. Thankfully, Roberts knows how to mould all these pieces into something affable — albeit not particularly concerned with digging too deep, let alone needing a sand wedge — and also enlists the stellar Rylance. Even when The Phantom of the Open is at its silliest, he gives an earnest and charismatic performance that can last 18 holes, no matter how many triple bogeys and worse that Maurice hits. Crucially, he plays the prankster and dreamer as someone who knows to keep tap, tap, tapping even when stuck. A narrative like this always going to draw people in, of course, as gumption-fuelled against-the-odds tales tend to, but it wouldn't keep them cheering along without Rylance's both believable and endearing stint in the argyle vest.
It's an occasion everyone should be excited about, as well as one you mightn't realise is coming. Queensland's public holidays have jumped around over the past few years, switching between May, June and October — but the most important thing is that Monday, October 3 is (for most of us) not an ordinary work day. Instead, it's the date the state is celebrating the Queen's birthday — and it's mighty regal reason to plan a royally massive long weekend. As with every three-day break from the daily grind, there's plenty to do around town. Here's our top ten choices.
Much to the delight of Adelaide residents, the South Australian capital scored a huge new two-day music festival in 2022. Actually, Harvest Rock wasn't just about tunes. It was about food as well, and also wine given the location. And it went big, thanks to an Aussie-exclusive show by Jack White, plus The Black Crowes, Khruangbin, Groove Armada, Kurt Vile & The Violators, The Lumineers and Hot Chip also on the bill. That was last year's huge news, as 15,000 attendees per day enjoyed. In 2023, the festival will return for another weekend of music, bites and beverages at Rymill Park / Murlawirrapurka and King Rodney Park / Ityamai-itpina, Adelaide, on Saturday, October 28–Sunday, October 29. For folks in Adelaide, you've got another reason to make your interstate mates envious. For everyone outside of the City of Churches, you clearly have an excuse to visit. The 2023 lineup doesn't drop until Wednesday, August 2, but here's hoping that it's as impressive as Harvest Rock's first event. 2022's fest also featured Crowded House, The Avalanches, Courtney Barnett, You Am I and Tones And I. Dubbed Harvest Rock II, the returning spring fest mightn't have any musicians to reveal as yet, but it has confirmed some of the other parts of the event — including the dedicated VIP Village and Harvest Lounge if you want the luxe treatment. The festival's most decadent ticketing options, if you can afford them in these hefty cost-of-living times, feature a private suite looking out onto the Harvest stage, your own concierge, curated food, and even a personal cocktail bar and private balcony. If your budget doesn't stretch that far, you'll find Adelaide's top restaurants and eateries serving up food at the Feastiville precinct. And at onsite eatery Wildwood, arkhé's chef and co-owner Jake Kellie will be leading the show again. The culinary-focused Hello Chef stage will feature live demonstrations with chefs and mixologists, plus talents from the music lineup. Plus, wine lovers can enjoy a taste of South Australia's wine regions, and order bottles for home, at the Harvest Rock II cellar door. Harvest Rock II will also boast a wellness centre called The Grape Escape, aka your go-to for hot chai, tarot readings and massages. And, there's mini festival Little Harvest for kids, which'll do arts and craft, circus workshops, hula hooping and glitter tattoos. The festival hails from Secret Sounds, the crew behind Splendour in the Grass, and is locked in for a 2023 return because 2022's event was such a success. "After a ripping debut in 2022 we are returning for our second year and are damn excited to welcome you back for a weekend of incredible music, food, wine and good times at Harvest Rock II. We're set to make this year's festival even more epic. Let's make Harvest Rock II a year to remember," said Secret Sounds co-CEO Jessica Ducrou. Harvest Rock 2023 will take at Rymill Park / Murlawirrapurka and King Rodney Park / Ityamai-itpina, Adelaide, on Saturday, October 28–Sunday, October 29, 2023. The lineup will drop on Wednesday, August 2 — head back here then. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Throw a stone in Brisbane's inner city, and it'll likely hit a bar. Try to find somewhere that doesn't just pour wine, but makes it, and it's a completely different story. Until now, that is. Thanks to the opening of Brissie's first urban micro-winery, stomping and sipping in the shadow of the CBD now go hand in hand. First announced in late 2018, and freshly opened in Campos Coffee's old 500-square-metre warehouse in Fortitude Valley, City Winery Brisbane clearly doesn't boast its own sprawling vineyard onsite. But, after sourcing grapes from around the country, it is now barrelling, bottling and serving vino in Wandoo Street. Locals can even help with all of the steps in the process — and drink it too, obviously, with the winery open daily for tours and tastings. As well as a barrel room and winery that can double as a function space when each year's vintage is complete, and a cellar that can also be used as a 20-person private dining room, the site features a 70-seat restaurant that's open Wednesday–Sunday for lunch and dinner. Chef Travis Crane heads up the kitchen, whipping up a menu that revolves around an open fire and highlights modern Australian cuisine. Highlights include small plates of smoked mussels, pork and liver terrine and grilled red claw, plus smoked fish rillette and roasted pumpkin with toasted grains. From the large plate selection, diners can choose from pork, sheep, beef, fish or sirloin, then match it with crunchy potato, grilled corn on the cob and cucumber sides. The dessert range features pineapple upside down cake with anise hyssop yoghurt sorbet, as well as baby sweet potatoes glazed with miso and mead, and then served with burnt honey ice cream. With a big fresh produce focus, Crane and his team source their ingredients from the establishment's own market garden in Rosewood. They also butcher and dry-age their own meat, and make all of the bread, butter, yoghurt, cream and charcuterie that patrons will be eating. A collaboration between winemaker Dave Cush and City Winery Brisbane's managing director Adam Penberthy, the venture has been more nearly two years in the making — largely due to the difficulties of finding the right warehouse-style location. And as well as letting Brisbanites visit a winery without leaving the big smoke, the newcomer actually nods to the city's winemaking history. "In the 1800s, there were over 350 acres of grape vines planted throughout the city," Cush explains. "The Lamberts had a vineyard along Lambert Road in Indooroopilly, there was substantial vineyards throughout Mitchelton, and of course Carl Gerler who had a 14 acre vineyard along the Brisbane River where Kingsford Smith Drive is today." In honour of the latter, City Winery Brisbane's own wine label is named Gerler. Find City Winery Brisbane at 11 Wandoo Street, Fortitude Valley — open Monday–Wednesday from 10.30am–10pm and Thursday–Sunday from 10.30am–11pm. Images: Grace Elizabeth Images.
Whether you're a Queenslander hoping to hop over the border for a mid-year holiday, or a resident of the rest of the country eager to soak in the Sunshine State's splendours once winter hits, don't go making plans anytime soon — with Queensland's borders possibly remaining closed until September. While the state has been relaxing its COVID-19 restrictions in recent weeks — including allowing non-essential trips out of the house, then permitting small in-home gatherings and letting restaurants, cafes and pubs reopen — Queensland hasn't changed its stance on its locked-down border. And, as Premier Annastacia Palaszczuk revealed this morning, that's not likely to happen in the short term. Speaking to ABC News Breakfast, the Premier said "we want to welcome as many domestic tourists as possible to Queensland", but that isn't on the cards as yet because "there is still community transmission in Victoria and New South Wales". The Premier also explained that the border situation will be reviewed at the end of each month, and that she's aware that people are starting to ponder their plans for the June–July school holidays; however she noted that it's likely "things will look more positive towards September". Asked about opening up travel to other states without community transmission — that is, allowing Queenslanders to visit Northern Territory, Western Australia and South Australia, and permitting residents of those regions to visit Queensland — the Premier advised that she "could see that happening before New South Wales and Victoria, but that's a matter for the premiers there as well". https://twitter.com/BreakfastNews/status/1262137356460539904 The Queensland Premier's comments come a few days after her New South Wales counterpart Gladys Berejiklian called for borders between Australian states to be reopened — and just a day after the NSW Premier singled out Queensland specifically, saying "I don't want to be able to say to people I'm allowed to go to Auckland before I can go to Brisbane". As part of the national three-step roadmap out of COVID-19 lockdown announced by Prime Minister Scott Morrison earlier this month, some interstate travel is earmarked to return in step two, while all interstate travel would be allowed in step three — however, while it's the Federal Government's aim to implement all three stages by July, each step has to be put in place by every state individually. Over the past week, Queensland, New South Wales and Victoria each moved to the first stage of eased coronavirus restrictions in different ways, with the same approach likely to apply to interstate travel. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Tourism and Events Queensland
Here's one of the greatest double features that you can stream right now: Emma Stone and Greek Weird Wave director Yorgos Lanthimos teaming up on 2018's ace The Favourite, then the duo working their combined magic again in 2023's Poor Things. The best film of last year is still screening in picture palaces; however, it's also hitting Disney+ on Thursday, March 7 so that you can soak up its delights at home. If you're wondering why this riff on Mary Shelley's Frankenstein is dancing like it's never danced before into your streaming queue right now, you have the Oscars to thank. Hollywood's night of nights takes place on Monday, March 11 Down Under, with Poor Things collecting 11 nominations — coming second only to Oppenheimer. So, you can either rewatch or finally catch up with the awards contender, which is up for the big gongs such as Best Picture, Best Director, Best Actress for Stone and Best Supporting Actor for Mark Ruffalo. Poor Things is also in the running for Best Adapted Screenplay, Best Cinematography, Best Costume Design, Best Film Editing, Best Makeup and Hairstyling, Best Original Score and Best Production Design. Even if it doesn't emerge victorious in all or even most fields, it's going to get plenty of attention at the Oscars whenever these categories come up. Poor Things doesn't actually use the f-word — Frankenstein, that is — but Stone is clearly playing a version of Frankenstein's monster. The film adapts Alasdair Grey's 1992 award-winning novel, with the parallels with Shelley's mother-of-all horror greats as obvious as a bolt of lightning. The focus: Bella Baxter, a woman resurrected by an unorthodox scientist, distinctive in her mannerisms afterwards and eager to learn about a world that isn't quite sure how to react. Continuing the movie's top-notch casting — and Lanthimos' in general, as seen in everything from Dogtooth and Alps to The Lobster and The Killing of a Sacred Deer as well — Poor Things boasts Willem Dafoe (Asteroid City) as the tinkering Dr Godwin Baxter; Ruffalo (She-Hulk: Attorney at Law) as Duncan Wedderburn, a slick lawyer that Bella runs off with; and also Ramy's Ramy Youssef, plus On the Count of Three co-stars Jerrod Carmichael and Christopher Abbott. It features just one of Stone's two stunning 2023 performances, too, with the end of the year seeing her turn in exceptional work in both this and TV's The Curse. She'd been away from the screen for a short stint beforehand; Cruella released in 2021, and only The Croods: A New Age, Zombieland: Double Tap and TV's Maniac also sat on her resume after The Favourite. Check out the full trailer for Poor Things below: Poor Things is still showing in cinemas, and streams via Disney+ from Thursday, March 7. Read our review. Images: courtesy of Searchlight Pictures. © 2023 20th Century Studios All Rights Reserved.
With her song and record titles — her lyrics as well — Courtney Barnett has long found the words to express how many people feel. It's a knack, talent and gift, and it's helped her rocket to Australian fame and global success within a decade of releasing her debut EP in 2012. As thoughtful and captivating documentary Anonymous Club shows, it's also something she's frequently asked about in interviews. But expressing those lines and the emotions behind them with a guitar and microphone as weapons, plus a riotous melody as armour, is different to sharing them quietly one on one. Directed by her long-time collaborator Danny Cohen, who has helmed a number of her music videos, Anonymous Club begins with this reality. Barnett can pour her heart, soul and observations about life's chaos into the tunes that've made her a household name, achieving something that few others can; when she's on the spot, however, she's as uncertain and awkward as the rest of us. Barnett's way with words and wordplay in her work, and her lack thereof elsewhere, thrums through Anonymous Club like a catchy riff. The subject doesn't fade, burrowing into the film as an earworm of a song inside a listener's head does, and feature first-timer Cohen doesn't want it to. His movie was shot over three years, starting in 2018, which places it between Barnett's second studio album and her third — and knowing that makes the phrases from their titles, and from her debut record also, echo with resonance throughout the doco. Anonymous Club could've been called Sometimes I Sit and Think, and Sometimes I Just Sit, like its subject's first album in 2015. Tell Me How You Really Feel from 2018 would've worked as well. And, yes, Things Take Time, Take Time would've been apt, too, concluding a line of thinking that the film invites anyway — ultimately finding its moniker in a Barnett track from 2014, before all those releases. Across two tours spanning Europe, the US and Asia, plus stints in Melbourne, Anonymous Club watches Barnett sit and think, and sometimes just sit. It tasks the singer/songwriter with telling how she really feels, and shows her realising the truth that things take time. All of the above is captured on glorious 16-millimetre film and, even within a mere 83 minutes, the backstage documentary is overwhelming comprised of these ruminative, reflective moments — of snatches of Barnett's life caught as she hops between rooms that aren't her own, be it stages or green rooms or hotels or homes she's housesitting. Her thoughts and feelings come via brief chatter in front of the lens (or, more accurately, with the unseen Cohen behind it, shooting with a camera customised to record synchronised sound), and from overlaid snippets of the audio diary he asked her to keep. That's a job she tussles with — more words, more on-the-spot candour rather than deliberated-over lyrics, more struggles — but she still stuck at it for the project's duration. Frank, earnest and honest, so much of what's uttered is as revelatory as everything that Barnett has sung over the years. She confides in the fly-on-the-wall film via her Dictaphone recordings; as a result, a highly poised, posed, image-conscious portrait, this isn't. "I don't know what the fuck I'm talking about anymore. I just feel like I'm going around in circles and digging myself a deeper hole," she says at one point, and many other statements have the same tone. Jumping from America to Japan to Germany and elsewhere, life on the road gets to her. Back in Australia, life without a fixed space to call her own after spending so long touring has a similar impact. "My heart is empty, my head is empty, the page is empty," she offers, another telling statement. "It feels like I'm being part of this scripted performance of what we think we're supposed to see on stage, and it just feels really pointless," she also advises. There's raw feeling behind these words, and Cohen wouldn't have it any other way; Barnett uses her work to wittily and astutely contemplate everyday life, and he does the same with her rockstar existence in his doco. Of course, one of its insights, blatant as it proves, is how anti-rockstar the indie musician's day-to-day reality is. She gets excited about gold in her Berlin lodgings, her unassuming vibe has crowds mesmerised during her shows, and she needs prompting about lyrics when one fan asks her to sign his t-shirt with her own — but much of her days, as seen here, are a quiet, busy shuffle from place to place with swathes of downtime and alone time. Cohen and editor Ben Hall (another veteran of Barnett's videos) convey this in the movie's structure, too. The big-ticket parts of the tours — the gigs, travelling, and interviews with Jimmy Fallon and Ellen DeGeneres — whiz by, while the gap around them lingers. Anonymous Club is a music documentary, but it isn't a concert movie. It knows where Barnett's career is at, the path she took to get there and how she's regarded, but it isn't a career overview or talking head-filled tribute. It features gig footage, but largely spliced into montages instead of as whole songs played on-stage. It thoroughly avoids other chattering figures — be it fellow musicians offering their praise, experts and commentators, or friends and family — in favour of its intimate, personal, in-the-room, inner monologue-driven approach. It's a road movie, but it's about the experience of being on tour over the tour itself or the places visited. Anonymous Club is about spending time and hanging out with Barnett, and about what it's like to be Barnett; melancholy, anxiousness, claustrophobia, doubt, fears, malaise and imposter syndrome come with the territory, relatably so. Cohen isn't advising viewers that stars are people too, though. Again, this isn't that kind of message-pushing, persona-redefining doco. He makes it plain that this one figure is a person first and a famous musician second — and chronicles the process of constantly juggling and balancing the two, and the impact upon her mental health. His chosen aesthetic suits the job perfectly, playing like warm, soft, unprocessed memories, and also relishing blue shades in both pensive and hopeful moments. As its revealing journey is wrapping up, Barnett finds herself more in the second category, and has the words to explain it. "My albums won't be with me on my deathbed holding my hand," she notes. "This film will not be with us as we lie dying — but I'd like to think in the bigger scheme of things, it will live on and help other people, or inspire other people, or create some sort of conversation."
As much of the TV-watching world is, Ashley Zukerman is a Succession fan. Unlike almost everyone else, however, his affection was partly built from inside of the award-winning series. In a recurring role across the HBO masterpiece's four seasons, he played political strategist Nate Sofrelli, whose past romantic relationship with Shiv Roy — portrayed by fellow Australian Sarah Snook (Memoir of a Snail) — kept spilling over into their present professional and personal spheres. But "there was periods where I didn't know if I was coming back", Zukerman tells Concrete Playground, "and there were periods where I just became more fan than part of it". A role in one of the best TV shows of the 21st century, plus a range of others in fellow international fare — big-screen horror-western The Wind and drama Language Arts; television's A Teacher, The Lost Symbol and City on Fire; and the three straight-to-streaming Fear Street movies among them — kept Zukerman away from home for years. Then In Vitro, an Aussie sci-fi thriller that premiered at the 2024 Sydney Film Festival and hit local cinemas in general release on Thursday, March 27, 2025, came his way. Before this, he hadn't worked on a homegrown project since 2017's The Easybeats miniseries Friday on My Mind. Prior to that, he'd hopped between the Australian and Aussie-made likes of The Pacific, Rush, Terra Nova, Underbelly and The Code, and Manhattan, Fear the Walking Dead, Masters of Sex and Designated Survivor overseas. Starring in In Vitro eventuated because he initially met two of the film's co-writers and fellow actors, Will Howarth (who also co-directs with Tom McKeith) and Talia Zucker, in Los Angeles when they were all stateside endeavouring to establish their careers. Due to release timing, audiences who didn't catch In Vitro on its 2024 festival run will have seen Zukerman pop up in homegrown efforts in Aussie limited series Apple Cider Vinegar first, earlier in 2025. Later this year, he also has Australian-made, New Year's Eve-set time-travel film One More Shot heading to Stan. Only In Vitro has him playing a cattle breeder in an eerie vision of the potential near future, though — a livestock farmer experimenting with biotechnology in a world, and an industry, decimated by the climate crisis and struggling to adapt to the new reality. As Jack, husband to Zucker's (Motel Acacia) Layla, Howarth (Toolies) and McKeith's (Beast) movie also tasks Zukerman with exploring the distance that clearly lingers in the the feature's central marriage, digging into the source of Jack and Layla's domestic disharmony, and unpacking the impact of controlling relationships. More than two decades have now passed since Zukerman's initial screen role, also in an Australian film, with playing Thug #2 in Tom White his debut performance. Looking back on it, "so that was my first-ever thing, and I hadn't gone to the Victorian College of the Arts yet. I had no idea what I was doing", he advises. "My family, no one in my family, was in creative industries at all. I was just trying to brute-force my way through, trying to get headshots and making cold calls and just trying", Zukerman continues. "And then when that called and I got a role, I thought it was the craziest thing in the world. Then I get there and I do it, and I'm in a scene with Colin Friels [Interceptor] and Dan Spielman [Black Snow], who I ended up playing brothers with in The Code years later. And I thought that was just very, very special at the time. Dan was on, I think, The Secret Life of Us, and Colin Friels on Water Rats, and they were heroes of mine at the time. And then to be able to revisit that with Dan years later as, I guess, equals, was very special." [caption id="attachment_997134" align="alignnone" width="1920"] Succession, David Russell/HBO[/caption] From the outside, the success that Zukerman has enjoyed over the last few years with Succession, Fear Street, City on Fire, A Teacher, The Lost Symbol and more seems huge. It is huge. He's also added Apple TV+'s Silo to his resume. For him, however, "it hasn't felt huge, but I don't think I necessarily ever have that feeling of looking at things from the outside", he reflects. "From the inside, I'd say that it's felt really fun. I know that the thing I love most is when I love the project and I feel like I'm close to the coalface of something. I thought that they were all great projects, and so that has been fun." "You're right, it's been a really nice few years, and it felt comfortable," Zukerman goes on. "I guess I'll say I've just never really stressed work. I've always known things will come, and I've always been aware that if I'm not chosen for something that it's because the person, the artist in charge of it, just doesn't need my specific colour, my specific paintbrush, and so I've never really sweated it if things haven't come to me. But the last couple of years, it's just been really enjoyable to just work on special things — and to be able to have a continuous run of that, I do feel very full now. I'm not someone who enjoys acting all the time, I don't necessarily love the experience, but I do love it when I feel that there are certain elements there, and I've been on a run projects now where those elements were largely there. It has been a really fun few years for that." From what excited Zukerman about In Vitro, his read on his complicated character and the research that went into his performance, to farewelling Succession, returning home and his initial acting dream, our chat with Zukerman covers them all — and more — as well. On What Excited Zukerman About In Vitro, and About Making His First Australian Project Since Friday on My Mind "So I knew Tahlia and Will. I'd known them before. We all met in LA when we were all younger and hustling out there. It was just this coffee shop that we all ended up frequenting, and that's where we got to know each other. It was during the pandemic that they sent the script and said 'we've been working on this, we've been thinking about you for it'. And I read it and I thought 'wow'. And I was honoured that they thought of me for it. But I thought that they had done something just really special. I think that the horror genre or the thriller genre is interesting when it's used to explore other themes. And so the thriller part of it didn't necessarily pop for me, but I thought that they were able to thread together some nuanced questions about a few issues that we're dealing with in the world, and finding a connection between them — with the climate crisis; domestic violence; how we use tech to brute-force our way through solutions; and how some people in our world don't really care about our world or the natural world or each other as the actual life that exists in it, but just what they can take from it. And I think that they were able to thread all those ideas in a very nuanced way, offering something new to the questions of 'what do we do in this world?' and 'how are we going to deal with all of these issues we have?'. The climate crisis, like so many of us, that keeps me up at night. One of the things I worry most about it is this idea that it's happening just, just slow enough that we get used to it, and it's so hard to talk about. It's so difficult to engage with it, because it's so scary for so many of us. As soon as, I know for me personally, it's hard for me when I see an article written about it for me to click on it, for me to actually open that page and delve into it. It's hard for me to watch something about it. And I thought that what they did here was they did it in a very nuanced way, where they offered something very new to that conversation, and in a way that I thought was going to be very useful and interesting — and human. It was just that the film seemed to have a very new idea to approach this issue, and that's I think what moved me about it. And then, as we went on, there were questions about the character that became far more important for me to ask. But when I first read it, that's what touched me." On Zukerman's Read on Jack and His Motivations "I think it depends how far back we go with him. If we go from what we know backwards, I think he's gotten to a stage where he has lost his sense of humanity and he's just so far down the rabbit hole on this that he can't actually turn back. I was working on this show, The Lost Symbol, the Dan Brown thing, at the time that I read this, and I was researching these secret societies and how people who were doing bad things justified them. And I came across this quote, which was from the Bible: 'to the pure, all things are pure'. I think that that is key to Jack, that because he felt he was doing something worthy and important, everything else he was doing was fine and justified … It's this idea that he's probably just a bucket with a hole in it. It doesn't matter what you pour in, he's always going to be empty. I think he's one of these just incredibly ordinary people who thinks that he's a vulnerable genius, and no one is giving him the adulation he deserves, and he will never get enough love from his partner, and that then leads to control and violence. So I think those are the things that are at play in him." On Playing a Part That's a Puzzle for the Audience as They Try to Piece Together the Full Story "Typically, the more complex a character, the less challenging I find it, because then there are just so many things underneath the surface. So those things were great, and once I knew the approach, what we were trying to do, we talked, Will, Tom and Tahlia and I talked early about this idea that we'd be doing a disservice to this story if he was arch — especially the domestic control, domestic violence story. And that he had to be so ordinary in that way, that if we were trying to portray a villain, it would do a disservice to Tahlia's story and it would be doing a disservice to the wider story. So the fact that we could let all of that complexity live in him, that gave me a lot of freedom. But you're right that the challenging thing in any of these stories is how we bury the lead when we choose to drop breadcrumbs, how we lean on awkward moments as clues for the idea — like leaving just enough the information for the audience to question what is going on to lead them down the rabbit hole with us ,but gently. That is the more challenging thing, because that's not necessarily about just living in the scene naturally. That's trying to plan the larger story. I was buoyed when I saw it — I thought we did that quite well. I really loved especially how they put it together in the edit, leaning on those awkward interactions, I thought was quite nice." On the Research That Goes Into Playing a Part Like This, Digging Into Coercive Control, Biotech and More "Typically I do love a lot of research, and I started down the path of him being an engineer. I wanted to make sure those thoughts were in there. I wanted to know where we were at with that stuff. But I think ultimately where I got to was, all that stuff — like you like feel at the end of the film — I think is window dressing in a way. I needed to know enough about that so that I could know what he was doing, but ultimately the key to him is what we're talking about — how to actually think about these men who do these things, like 'what is the wiring going on in in them?'. That's the work of understanding this character. It's the domestic work. It's the human work. And to try to explain, empathise, not absolve, but just to understand what makes these people do those things. I think that was the work with him." [caption id="attachment_997132" align="alignnone" width="1920"] Succession, Macall Polay/HBO[/caption] On Saying Goodbye to Succession, and What It Meant to Zukerman to Be a Part of It "I think it's so nice that that show will exist forever. I think it's now part of television canon, and to be a part of it, I'm just so proud. So I think it will just always have a life. I grew up loving The Sopranos and Six Feet Under and The Wire and Oz, and those seminal TV shows — and The West Wing. I knew characters that were there for an episode, that were there for three episodes. I was so aware of every little storyline on all of those shows, and I was just like 'if only I could be in something like that, that would be it'. Like, 'I would be fine'. [caption id="attachment_997133" align="alignnone" width="1920"] Succession, Peter Kramer/HBO[/caption] And I'm lucky that I got to do one of those, and I got to be there for a little bit, and I got to witness how they made it, and I got to be around those people. I just feel so lucky. I was there and I was a part of it, but I got to also be an audience just as much as, I think, in it. It's an interesting question. It was something just so special about that production that I think I'll continue to try to, I guess, understand and learn from and think about. [caption id="attachment_997137" align="alignnone" width="1920"] Succession, David Russell/HBO[/caption] All I love about any work is how close to the creative muscle I can be, and I think what was special about that show was that. I was on the periphery. There were moments when I was a little more forward in the story, but largely I was orbiting the story. And I think what was special about that is that it doesn't matter how big your role must have been — that's both the cast and crew — everyone on that set felt like they were a part of it, that they had agency to make decisions, that they were genuinely like what was being asked of them was what was special about them to only bring that. That was what was special, and that's what I'll remember. And I think it left something with me that I've taken to other things. I think it's that energy that I've brought with me after that show. " [caption id="attachment_997145" align="alignnone" width="1920"] Apple Cider Vinegar, courtesy of Netflix © 2025[/caption] On Heading Back to Australia After a Significant Run of Roles Overseas "It was never by design that I would be away. It was just that the right things didn't come up, or scheduling got in the way, or something happened for me over there that meant that I couldn't come back for various things. And it was just always I missed it. I really missed being back. I really love it here. I love the way we work. I love how fast we are, how efficient we are. We work with few resources sometimes, but it's an advantage, it creates the style of TV and film that we make. It all goes into it. It ends up on camera, that energy. And it kind of has become our visual language sometimes. [caption id="attachment_997144" align="alignnone" width="1920"] One More Shot, Ben King/Stan[/caption] And I also guess there is something about being overseas and an expat which means I'm always playing someone else in a way. There's something about home, is what I'm saying, that's important. That I know the rules of Australia. I know how people interact, that there's the micro gestures between us all, how we all interact. I guess that is home for me, that when I get back to Australia my shoulders drop and I just know how to live here. Even though the US isn't that different, it's different enough that it changes me. It requires something else of me to live there. And that's a joy sometimes. I mean, to leave is wonderful — but to come back is really, it's home. It's just a very special thing. And also, I feel very fortunate because of what I've been able to do overseas, I can now come back and work on these great things, and help these great things get up." On the Initial Dream for Zukerman's Acting Career When He Was First Starting Out "It's such a great question, because it's so rare to look back and go 'what was it that that younger person had actually wanted, and are you there now?'. That's a very special question that I don't really often give myself time to do. But I think I probably had a lot of chutzpah and a lot of ambition back then. I probably had ideas, but I didn't know what the job was, even. I didn't know what the work of being an actor was. I had a feeling that acting gave me the ability to do something I couldn't do in life, that I loved the analysis of human beings, and I loved being able to express things that I didn't express in my normal life. I loved that. But that hadn't really congealed yet, and probably at the time I just had ideas about wanting to play these big roles and do these big things, but I didn't know what it was. [caption id="attachment_997146" align="alignnone" width="1920"] City on Fire, Apple TV+[/caption] Once I started studying and I started understanding what it was, I think very quickly the only goal of mine was to have choice — just to be able to do the things I love. Like I said, it's just not always the case that I love acting, and I knew that early on that sometimes the experience can be difficult for myriad reasons. But to be able to get to a point where I can just, from project to project — based on, whether it's the quality of the work or it's the quality of the people, or both — that I could just choose to do that. I think that's nice to think about that. I think I have it, I am doing that now. I get to be pretty picky with what I do, and I get to do things for the right reasons." In Vitro opened in Australian cinemas on Thursday, March 27, 2025.
Woolloongabba's South City Square precinct keeps getting bigger — and before it scores Australia's first Angelika Film Centre, and then a two-level brewpub with a Mad Men-themed chophouse, it has just welcomed in a new hole-in-the-wall joint. Meet Los Felix Taco Stand, which heroes Southern Californian-style Mexican dishes as paired with mezcal, tequila and margaritas. Now open and trading from lunch through to dinner five days a week — from Wednesday–Sunday — Los Felix is The Talisman Group's latest venture, too. The hospitality company is mighty fond of this patch of Logan Road, with the aforementioned The Wright House set to become part of its stable, alongside already-existing Italian bar and eatery Sasso, Chinese Peruvian joint Casa Chow, Palm Springs-inspired gin-pouring garden bar Purple Palm, and European-influenced wine bar and wine shop South City Wine — and now this. Taco fans can stop by for an openair bite, choosing from a menu overseen by Talisman's Head Chef Gabriele Di Landri, who has teamed up with San Miguel de Allende-born chef Aldo Lara. The latter is currently Head Chef at Sydney's hatted The Dolphin Hotel, and is known for consulting for Australian Mexican restaurants (see also: Carbón, Sonora and Santa Catarina). Here, he's also taking inspiration from Tijuana. Those tacos come served in soft corn tortillas with six varieties of fillings, starting with carne asada with guacamole and red onion, Baja-style beer battered snapper with chipotle mayonnaise, and orange confit pork carnitas with jalapeños. There's also lamb shoulder barbacoa, chipotle-style chicken tinga with shaved cabbage and pickled onion, and portobello mushroom with smoked mayo and then more mushrooms — wild and pickled — as well. Tuna aguachile tostadas, guacamole and chips, and Tijuana loaded fries — which includes chipotle mayo, pickled jalapeños and bacon — are similarly on offer. And for dessert, there's churros dusted with cinnamon sugar, then paired with ancho-infused chocolate sauce. To wash all of the above down, diners can pick from those aforementioned spirits and margs — which come in classic, Tommy's and frozen varieties — plus beers from Mexico and soft drinks. Find Los Felix Taco Stand at South City Square, 148 Logan Road, Woolloongabba — open 12–8pm Wednesday–Saturday and 12–6pm Sunday.
Currently on display in Melbourne, the National Gallery of Victoria's world-first exhibition Keith Haring | Jean-Michel Basquiat: Crossing Lines is pegged to be one of the hot-ticket cultural events of this summer. But if browsing the two iconic artists' works on a wall just isn't enough, you're going to want to check out the latest line of threads from clothing retailer and sponsor Uniqlo. The Japanese brand has just unveiled its new Crossing Lines collection of t-shirts, inspired by key pieces from both Haring and Basquiat's own repertoires. Launching overseas this month before dropping in Australian stores in January — all as part of Uniqlo's UT range — the mens' and womens' collection is the result of a collaboration with the Basquiat Estate and creative consultants Artestar. And it's filled with famous designs from the two late art legends, translating a number of Haring and Basquiat's works into t-shirt form. You'll spy Haring's famed crawling baby figure, Basquiat's recognisable scrawl from his piece Untitled (World Famous) 1983, and the tribute crown symbol painted by Haring after Basquiat's death. The horseshoe sketch makes an appearance, as do the familiar wiggling outline figures, just like the ones Haring famously painted on a Collingwood wall back in 1984. It's not the first time Uniqlo has gotten behind a major art event with some fresh designs. The label's collaboration t-shirts with acclaimed American artist Kaws proved a sell-out success when they launched earlier this year, coinciding with NGV exhibition Kaws: Companionship in the Age of Loneliness. Uniqlo's Crossing Lines collection will hit Australian stores in January 2020. Keith Haring | Jean-Michel Basquiat: Crossing Lines is on display at the National Gallery of Victoria until April 13, 2020.
Couldn't make it to Australian Fashion Week this year? Keen to see one of the event's standout shows? Eager to celebrate and support First Nations talent wherever you can, including in the sartorial sphere? Then First Nations Fashion: Walking in Two Worlds is your must-attend part of Brisbane Festival 2021. As overseen by multicultural Australian artist Grace Lillian Lee, this runway show highlights contemporary garments and textiles by First Nations designers — giving Indigenous fashion and design a stunning showcase, complete with talent from across the nation, 20 local models, and live music from hip hop artist Kaylah Truth. Dance and film are also part of the event, although you'll be dazzled by the outfits on display, naturally. Brisbane Festival is hosting two sessions on Sunday, September 5, so you can either end your weekend with an afternoon stint of First Nations fashion at 4pm, or make a night of it at 7.30pm. Images: Stefan Gosatti/Getty Images
If your creative juices start flowing after a beverage or several, then you're probably a fan of Cork & Chroma. The BYO art studio has been hosting paint and sip sessions across Brisbane, Sydney and Melbourne for years — and now it's bringing the boozy, arty fun into your home. From Wednesday, April 1, Cork & Chroma is moving its alcohol-fuelled art classes online, so you can join in without leaving the house. The general setup remains the same, with each session teaching wannabe artists how to paint a specific picture. Whip up a gorgeous midnight scene, capture your houseplants on canvas, busy your brush painting Joshua trees or go manic for mandalas. Sessions cost $20 each, and are hosted by Cork & Chroma's artists — who'll be live-streaming their step-by-step painting instructions from 6.30pm AEST on select weeknights, and at 10am and 2pm on weekends. Classes are currently scheduled until the end of May. And if you're wondering about supplies, you can either use what you've got at home or you can order one of Cork & Chroma's new At Home Studio Kits. The latter comes in three sizes, setting you pack $60 for one person, $100 for two and $160 for four — and includes a range of acrylic paints, two canvases per person, and a palette and a set of brushes each. Pick them up from C&C yourself, or contact them about delivery options. As for the wine, beer, cocktails or whatever other booze gets you in the painting mood, you'll need to provide that yourself, as always. https://www.youtube.com/watch?time_continue=50&v=_7wmobTAPWY&feature=emb_title Updated April 25.
There's something rather cool about being ahead of the curve when it comes to cinema, watching the latest and greatest flicks unfold on the silver screen before the rest of the world gets to see them. Well, at Flickerfest Short Film Festival you can do just that. Yep, break out the popcorn, the internationally acclaimed festival is touring in Brisbane on Thursday, February 20 — and there's a swag of homegrown talent on the bill. This year, the folks at Flickerfest received a record 3500 entries from more than 100 countries around the world, making the 2020 program a real doozy. More than 200 handpicked creative and inspiring shorts screened at the festival's ten-day stint in Sydney earlier this summer. Now, at Palace James Street cinema, you'll catch the cream of the crop, with a focus on the best Australian shorts. Highlights include Chicken, directed by Papua New Guinean-Australian director Alana Hicks; animated short Rebooted about a movie star who also happens to be a skeleton; A Day In Your Life which is a thoughtful insight into homelessness; and moving Indigenous drama My Name Is Mudju by Brisbane director Chantelle Murray. [caption id="attachment_759070" align="alignnone" width="1920"] 'Rebooted'[/caption] After seeing a bunch of Aussie-made shorts, you can head to the after party. There you'll find plenty of snacks, beer, wine and non-alcoholic bevvies. Tickets for the evening cost $25 and include access to the afterparty. To see the full program and grab tickets, head here. Top image: Chicken by Alana Hicks and Sleena Wilson
If the waning temperatures have got you feeling frosty about the cooler months to come, here's something that'll warm up your outlook: Naarm's (Melbourne's) major citywide arts festival RISING is back. As always, it promises to be the bright spark in Victoria's winter. From Wednesday, June 7 till Sunday, June 18, a blockbuster 185-event program is transforming the city streets — and it's set to be a monumental affair. More than 400 artists are assembling for almost two jam-packed weeks of art, culture, music, performance and culinary goodness. There are 35 works commissioned exclusively for the festival and an impressive 12 world premieres set to happen. Alongside the already-announced Euphoria, which will take over Melbourne Town Hall with an immersive multi-screen film installation starring Cate Blanchett (as a tiger on the hunt, no less), the program is filled with a hefty and diverse array of happenings. Large-scale events abound, not least of which is Shadow Spirit — a showcase of First Peoples-led projects across the realms of art, performance, music, food and more — which takes over abandoned rooms in Flinders Street Station. Another large-scale offering is The Rink, which fantastically will be sticking around for longer than RISING's residency. From Thursday, June 1 till Saturday, July 8, it's the place for carving icy laps in Birrarung Marr on the banks of the Yarra. There's warming snacks (like pizza courtesy of Fugazi) and even more bevs (like boozy Mörk hot choccies and mulled wine). The Rink's precinct is free to enter and is kept toasty by fireplaces, so even if you're not lacing your skates, it's a magical spot to hang. Then on Saturday, June 10, a mass participatory work by composer Ciaran Frame will hit Federation Square. The free experience will see 10,000 biodegradable kazoos played simultaneously by eager locals (like you). While Dutch artist Daan Roosegaarde's SPARK takes the form of a wondrous floating light show, animating thousands of 'fireflies' crafted from biodegradable materials from Wednesday, June 7 till Saturday, June 10. On the music front, there's a bunch of shows with tickets still available (you're too late for Ethel Cain or Thundercat, sadly). Catch Flying Lotus on Saturday, June 17; Paul Kelly on Tuesday, June 6 and Wednesday, June 7; and many more. Gigs are hitting the Forum, Max Watt's and the Melbourne Recital Centre for the duration of the festival. RISING's free festival hub Night Trade is taking over the grounds of St Paul's Cathedral for the duration of the spectacular fest. It comes to life with super-sized surrealist art from Poncili Creción, live performances, hawker-style dining by Free to Feed, patio bars with bevs and sans-booze sips aplenty, and even a smattering of drag karaoke. Gather here with your group, get fed and plan the rest of your festival explorations. RISING will take over Melbourne from Wednesday, June 7 till Sunday, June 18. To plan your visit, head to the website.
