Since first making the jump from the page to the screen in 2019, The Boys has never been afraid to splash OTT violence — gory carnage, too — across its frames. The same proved true in 2020's second season and 2022's third, and also in college-set spinoff Gen V in 2023. That isn't changing in The Boys season four, which will hit streaming in June. But the show will reckon with why fights and frays (and killing as well) are always a solution for its characters, no matter whether they're meant to be good or evil. "Look, we've all done bad shit. What's insane is that our solution to every problem is murder," says Hughie Campbell (Jack Quaid, Oppenheimer) in the fourth season's just-dropped full trailer, which follows an initial teaser back in 2023. "Violence isn't brave," he continues. The counterpoint, coming from The Deep (Chace Crawford, Gossip Girl): "violence is power". Fans will know that Hughie is part of the show's titular crew, becoming a member after his girlfriend died at the hands of a superhero. The Deep sits among the caped crusaders and, specifically, The Seven. The latter is comprised of the superheroes that are placed above all superheroes in this vision of a world where superpowers are a regular occurrence, and therefore where the kinds of tales that Marvel and DC bring to cinemas and TVs are real. Chaos is still set to ensue, of course, as this new glimpse at season four makes plain. Cue: a supe-slaying virus and superheroes as "wrathful gods", for starters. The Boys' latest episodes will begin streaming Down Under from Thursday, June 13. The season will also see its world dealing with Homelander (Antony Starr, Guy Ritchie's The Covenant)-versus-Starlight (Erin Moriarty, Captain Fantastic) factionalism, and just being ready to tear itself apart in general. Victoria Neuman (Claudia Doumit, Where'd You Go, Bernadette) is getting closer to the Oval Office, too, with Homelander pulling the strings. Also on the way: no-nonsense Brit Billy Butcher (Karl Urban, Thor: Ragnarok) facing the fact that he's only got months left, and that he's no longer leading The Boys — aka the eponymous ragtag team intent on bringing down Vought International, Homelander, and the company's caped-crusader industry and dominance. And, there's a new face, with Jeffrey Dean Morgan (The Walking Dead) joining the cast, adding another Supernatural link after Jensen Ackles did the same in season three. The Boys has always stood out as an antidote to narratives about powerful folks who are supposedly better than most, by both parodying and questioning that very idea. Here, superheroes work for Vought. They're still the main form of entertainment, but they're real, the most famous celebrities there are and inescapable in daily life. While The Seven are the absolute top talent, most are hardly role models when the public isn't looking. That has made quite the change from the usual cinematic universes as the Prime Video show has kept notching up the seasons, all coming to the small screen from Garth Ennis and Darick Robertson's comics series of the same name. As well as Quaid, Crawford, Starr, Moriarty, Doumit and Urban, Jessie T Usher (Smile), Laz Alonso (Wrath of Man), Tomer Capone (One on One), Karen Fukuhara (Bullet Train), Colby Minifie (I'm Thinking of Ending Things) and Cameron Crovetti (Goodnight Mommy) all return — with Susan Heyward (Hello Tomorrow!) and Valorie Curry (The Lost Symbol) set to be season four newcomers. Check out the full trailer for The Boys season four below: The fourth season of The Boys will start streaming via Prime Video from Thursday, June 13, 2024. Read our reviews of The Boys season three and Gen V.
Already home to Vietnamese food hall Fat Noodle and upmarket steakhouse Black Hide by Gambaro, the Treasury Brisbane expanded its food range to include Cantonese-style cooking when the CBD spot welcomed Mei Wei Dumplings, a hawker-style eatery which set up shop on the basement level back in March. Head underground every day of the week to eat your way through plenty of Mei Wei's titular dish. This venue marks the chain's second location, with its first restaurant already a favourite at The Star Gold Coast. Whether you like your dumplings fried or steamed — and whether you're dropping by for lunch, an after-work meal or a weekend bite — you'll find a variety of flavours on offer. Prawn dumplings, vegetable dumplings and three varieties of potstickers (beef, chicken and pork) are all on the menu, as are other dim sum staples such as spring rolls, barbecue pork buns and xiao long bao. Also on the lineup: char siu pork, crispy pork belly and Cantonese crispy duck, as part of an extended Brisbane-only selection filled with new signature dishes. If you can't choose between barbecued options, there's also a combination platter. And just like Mei Wei's Gold Coast site, there's a range of wok-cooked options, including kung pao chicken, hofan beef noodles and seafood in garlic sauce. The restaurant also boasts a separate congee menu, with the rice porridge topped with the likes of pork and preserved egg, seafood and Chinese doughnut. Design-wise, Mei Wei's Brisbane eatery includes elements of Chinese design while also taking into consideration the Treasury's 134-year history. And, in terms of places to sit, you can choose between booths, benches and tables. If you're already thinking about gathering the gang for dumplings next time you're in the vicinity of the casino, Mei Wei also features a 14-person private dining room. And, patrons can enter via a separate George Street entrance, rather than through the Treasury.
UPDATE, Wednesday, May 15, 2024: After two new Olivia Rodrigo shows for October were added at midday today, another two have been announced at 4pm. This article has been updated to reflect all four new gigs — two each in Sydney and Melbourne. Great news if you're a fan of Olivia Rodrigo and the first four tour dates announced for her first-ever Down Under visit didn't suit: four more shows have just been added to the singer and former Disney talent's Australian itinerary. She's still only playing Sydney and Melbourne, adding a third and fourth gig in both cities — and doing so before punters can even buy general tickets, which starts on Thursday, May 16. Big-name acts have a habit of doing this; see also: Taylor Swift, blink-182, Lizzo and The Weeknd, for some recent examples. So, it shouldn't come as a surprise — but it will give you more chances to head along to Rodrigo's huge GUTS world tour Rodrigo has a date with Australia in October, and will now take to the stage at Melbourne's Rod Laver Arena from Wednesday, October 9–Thursday, October 10, and also from Sunday, October 13–Monday, October 14. In Sydney, you can catch her at Qudos Bank Arena dates from Thursday, October 17–Friday, October 18, and also from Monday, October 21–Tuesday, October 22. When we say that this tour is big, we mean it. With the Aussie dates alongside gigs in Bangkok, Thailand, Seoul, Hong Kong, Tokyo and Singapore, the tour spans more than 80 concerts around the globe. Fans Down Under who aren't in Sydney and Melbourne, however, you'll be needing to travel. In support of her second studio album that's also called GUTS, this marks three-time Grammy-winner Rodrigo's first arena tour. The 'Drivers License', 'Good 4 U' and 'Vampire' singer will have her debut album SOUR to work through as well. The GUTS tour started in Palm Springs in February, saw Rodrigo do four shows at Madison Square Garden in April, and is currently making its way around the UK before heading to Europe, back to the US, then to Asia and Australia. Olivia Rodrigo GUTS World Tour 2024 Australian Dates: Wednesday, October 9–Thursday, October 10 + Sunday, October 13–Monday, October 14 — Rod Laver Arena, Melbourne Thursday, October 17–Friday, October 18 + Monday, October 21–Tuesday, October 22 – Qudos Bank Arena, Sydney Olivia Rodrigo is touring Australia in October 2024. Ticket presales start at 1pm on Wednesday, May 15, and general sales at 1pm on Thursday, May 16 — head to the tour website for further details. Images: Chris Polk, Polk Imaging.
Positioned on the corner of Sandgate Road and Station Street is the newly revamped Nundah pub, The Royal. Built in 1888, it was once painted a bright sunflower yellow with a black trim, needless to say, its overall look was a little drab. Recently, it has received a major makeover that would give fashion guru Gok a run for his money. The Royal's exterior is now crisp white and the large outdoor dining area is modern and inviting. Its overall vibe is charming with a cosy feel and its interior gives a nod to classic English style pubs due to its homely fireplace, exposed brick and warm atmosphere. Our waiter, Caeser, welcomed us on arrival and was more than happy to answer any questions. While The Royal is an old English pub, its menu is solely Italian. It has a large variety of choices and is filled with classics such as pizza, pasta and gelato. For starters, the crispy fried squid, aioli and lemon ($9.90) and antipasto platter ($16.90) were selected. They went down a treat with a glass of white and both would be suitable as a light meal to accompany afternoon drinks. Fans of seafood will be pleased by the selection on the menu. The Pesco Fresco — fresh fish, blistered cherry tomatoes, roasted capsicum, red onions, white wine, EVOO and gnocchi ($26.90) was a good choice. The fish was indeed fresh and packed full of flavour thanks to the white wine sauce. The combination of a fish fillet and gnocchi is a little unusual, but overall it worked well. Another seafood option is the sand crab lasagne, abalone cream sauce and salad ($25.90). It was a little heavier yet also tasty. The salad provided balance to the creamy, flavourful sauce. The dessert menu boasts classic Italian sweets such as tiramisu and pizza lovers can please their sweet tooth with a warm chocolate pizza. But we couldn't go past the tart, as a tart featuring Lindt chocolate and salted caramel gelato is a clear winner in our books ($11.90). The inside of the tart was filled with deliciously warm molten chocolate, proving to be a perfect way to top off a winter lunch. The Royal has been causing quite a stir in the rapidly changing Nundah precinct, and most nights the inside and outdoor areas are buzzing with activity. Not only does the menu include filling mains, it caters for coffee and cake, a shared pizza lunch or evening drinks and nibbles with ease. The staff were pleasant and are clearly excited about the transformation of this elegant establishment. Images: Grace Smith.
Movie lovers of Australia, rejoice: New York-born arthouse cinema chain Angelika Film Centre is making the leap Down Under. A film-showing favourite in the US since 1989, starting in Soho and expanding to nine American locations since, the brand is launching its first-ever Aussie location on Thursday, August 24. In fact, when it opens its doors in Brisbane, it'll mark the chain's first picture palace outside of the USA. First announced earlier in 2023, and now set to welcome in filmgoers to its Woolloongabba site, Angelika Film Centre's Australian debut will land in Woolloongabba, in the inner-city suburb's South/City/SQ precinct. On offer: an eight-screen, 400-seat cinema complex that spans 2500 square metres. Three of those screens are SoHo Lounge cinemas, which means full-recliner seating, table service, and access to the SoHo Lounge Bar for wine, spirits and signature cocktails. When it starts ushering in patrons, Angelika Film Centre will screen a heap of current hits, with Asteroid City, BlackBerry and Gran Turismo: Based on a True Story all on its launch slate. Yes, so is Barbenheimer, aka Barbie and Oppenheimer. Plus, viewers can check out advance screenings of Past Lives before it officially releases the following Thursday. And, in excellent news for your wallet, the cinema is doing $10 tickets for all sessions — including SoHo Lounge — across its opening week. The above lineup will be joined by the likes of Theatre Camp, Biosphere, My Big Fat Greek Wedding 3, Ego: The Michael Gudinski Story, A Haunting in Venice and Scrapper in coming weeks, following the style of programming that's served the chain well in the US. In New York, Angelika Film Centre's clout in the independent, foreign and specialty film space has seen it help make titles like Lady Bird, Moonlight, I, Tonya, Pain & Glory and Free Solo box-office hits. Woolloongabba's outpost also has retrospective flicks such as Searching for Sugar Man, Roman Holiday, Fight Club, Fargo and The Third Man on its slate. And, it'll do gin-inspired sessions, with Casablanca, The Great Gatsby and Casino Royale all locked in. "We look forward to joining the Angelika family, and being part of the exceptional reputation that comes with the Angelika name. More so we are incredibly pleased that we get to open our doors in such an impressive and elegant complex as South/City/SQ. We are really looking forward to being part of the community" said Mark Douglas, Reading International's Australia and New Zealand Managing Director, with Angelika Film Centre hitting Australia via Reading Cinemas Group. The venue has been in the works since 2017, and also boasts a lolly station among its snack selection. And yes, it's a case of another week, another Australian-premiere movie experience landing in southeast Queensland, after Event Cinemas launched its 270-degree ScreenX setup on the Robina in mid-August. In Brisbane specifically, new cinemas have been popping up with frequency over the past decade, including New Farm Cinemas, The Elizabeth Picture Theatre, Red Hill Cinemas, Dendy Coorparoo, Reading Newmarket and Reading Jindalee. There's no word yet as to whether Angelika Film Centre has more Aussie sites in its future. Film lovers in other cities, cross your popcorn-grabbing fingers. [caption id="attachment_893537" align="alignnone" width="1920"] Markus Ravik[/caption] Angelika Film Centre will open at level one, 160 Logan Road, Woolloongabba, on Thursday, August 24 — head to the cinema's website for tickets and further details.
One of the most spectacular must-sees on any Tokyo trip will soon be back on every tourist's itinerary: digital-only art gallery teamLab Borderless. When it opened in 2018, the stunning spot instantly became one of Japan's top destinations. Since mid-2022, however, the venue has been closed while it shifted to a new site. Thankfully, wandering through its dazzling array of artworks is about to become a reality again from January 2024. Breathtaking, kaleidoscopic, glorious, delightful, worth a trip to Tokyo all by itself: all of those descriptions apply to teamLab Borderless, which became the most-visited single-artist museum in the world during its first year of operation. Expect all those gushing terms to flow again when it reopens at Azabudai Hills in central Tokyo, relocating from its past Odaiba base. [caption id="attachment_912403" align="alignnone" width="1920"] teamLab, Sea of Clouds © teamLab[/caption] First, the bad news: to get there, you'll no longer be crossing over Tokyo's gorgeous Rainbow Bridge. That's the only negative aspect of move, however. Among the excellent news, the new teamLab Borderless will feature both evolved and brand-new artworks. So, even if you've been before at its old digs, you won't just be seeing the same things — even though they're definitely worth enjoying more than once. [caption id="attachment_912401" align="alignnone" width="1920"] teamLab, Microcosmoses (tentative title) © teamLab[/caption] If you were lucky enough to mosey around the OG spot before the pandemic, you'll know that the Borderless experience involves vibrant, constantly moving, always-changing interactive digital art keeps that keeps glowing and rearranging before your eyes. As the name makes plain, nothing is fixed or static here. Pieces move from one space to the next, and interact with other works. Sometimes, several different projections and installations mingle together. For attendees, peering at the end results isn't merely a passive experience, with the venue encouraging patrons to "wander, explore and discover". While the full list of works that'll feature at teamLab Borderless 2.0 hasn't yet been revealed, the pieces announced so far include the jaw-dropping Light Sculpture series — which cycles through an array of light formations and colours — as well as an eye-catching mirrored infinity room-style space that's tentatively been titled Microcosmoses. teamLab might be best-known for its Tokyo site, but it doesn't only operate in Japan. A second teamLab Borderless has already been open in Shanghai since 2019, and others are slated for Jeddah in Saudi Arabia and Hamburg in Germany — the former without an exact opening date, the latter slated to launch in 2025. The organisation also operates a different museum in Macao, and has its first teamLab Phenomena on the way for the Saadiyat Cultural District in Abu Dhabi, again targeting a 2024 launch. The list goes on, with teamLab's works a drawcard wherever they pop up. [caption id="attachment_868130" align="alignnone" width="1920"] teamLab Borderless: MORI Building DIGITAL ART MUSEUM, Azabudai Hills, Tokyo © teamLab[/caption] [caption id="attachment_912400" align="alignnone" width="1920"] Birth © teamLab[/caption] [caption id="attachment_912402" align="alignnone" width="1920"] teamLab, Microcosmoses (tentative title) © teamLab[/caption] teamLab Borderless Tokyo: MORI Building Digital Art Museum will reopen at its new location at Azabudai Hills, Garden Plaza B B1F, 1-2-4 Azabudai, Minato-ku, Tokyo sometime in January 2024 — for more information, visit the museum's website. Top teamLab, Universe of Water Particles, Transcending Boundaries; teamLab, Flowers and People, Cannot be Controlled but Live Together © teamLab.
In 2020, due to the pandemic, the Sydney Film Festival completely moved online. This year, after initially shifting from its usual June dates to the end of August, then moving again to November due to Sydney's lengthy lockdown, SFF is back in cinemas for a huge 12 days of big-screen delights — but it's also going virtual afterwards. Meet SFF On Demand, which'll stream 56 feature-length films and 13 shorts from Friday, November 12–Sunday, November 21. Sydneysiders, that means that you can check out the 2021 festival in-person, then continue it on your couch afterwards. Australians elsewhere, you can still get your SFF fix even if you can't get to Sydney this year. Streaming must-sees include New Zealand's The Justice of Bunny King, which stars Essie Davis (Babyteeth) and Thomasin McKenzie (Old) as a mother-daughter duo; three-time Sundance 2021 winner Hive, the first film to ever win the fest's Grand Jury Prize, Audience Award and Directing Award; Never Gonna Snow Again, about an eerie Ukrainian masseur making house calls in Poland; and exceptional Iranian drama There Is No Evil, 2020's Berlinale Golden Bear winner. There's also Swan Song, starring the inimitable Udo Kier (Bacurau); Sydney-set slacker comedy Friends and Strangers; Apples, a Greek satire set in the aftermath of an amnesia pandemic; and thriller The Beta Test. And, you can either pick and mix your flicks separately, or choose bundles — including a heap of this year's Documentary Australia Foundation Award contenders, a package of international docos and movies in SFF's Europe! Voices of Women in Film strand.
Brisbane and sunny days are pretty synonymous with one another. But when a good-weather day happens, you should always be ready to take advantage of it. And if there's one neighbourhood brimming with opportunity for such an adventure, it's Fortitude Valley. From a flourishing arts and culture scene to some of the best dining in Brisbane, this inner-city 'burb has a lot going for it. So, we've teamed up with White Claw to pull together a dawn-to-dusk itinerary in the Valley. 6AM: START THE DAY WITH ROOFTOP YOGA Even the most motivated fitness fanatics can struggle to drag themselves out of bed from time to time — but pairing your morning workout with a stellar view makes the serotonin hit that much sweeter. Kick off your busy day with an early-morning stretch overlooking the Valley at Cielo Rooftop. On Tuesdays and Saturdays, the rooftop bar hosts a gentle sunrise yoga session for $20 per person — all you need to bring is your own mat. Fingers crossed your instructor incorporates a sun salutation into the routine to usher in good weather vibes for the day ahead. 8AM: TREAT YOURSELF TO SWEET PASTRIES After that wholesome morning activity, you've earned yourself a sweet treat or two. Fortunately, the Valley has plenty of spots to choose from should you wish to indulge. Our pick? The recently opened Agnes Bakery — one of the few good things to come out of lockdown. You'll find it in a heritage-listed cottage on the corner of James and Harcourt Streets. Just like its restaurant counterpart, fire is at the core of Agnes Bakery, so expect complex flavours and interesting spins on classic sourdoughs and pastries. Enjoy the likes of miso and spring onion escargot, a variety of kouign-amann, potato and rosemary danishes and super luxe basque cheesecake. It'll be near impossible to pick just one. 10AM: SOAK UP SOME CONTEMPORARY ART Culture vultures should already be very familiar with the Judith Wright Arts Centre. This Brunswick Street building is home to a number of Brisbane's most important arts institutions, including AusDance Queensland, BlakDance, Outer Space, The Little Red Company and Institute of Modern Art. Set your sights on the latter today — and take advantage of its free entry — to check out its latest thought-provoking exhibition. Until April 16, you can visit This language that is every stone, a survey of Martinican writer Édouard Glissant's work. And, from May 7, a collection of artists will explore the notion of value and a circular economy in An Alternative Economics. 12PM: ENJOY A LEISURELY LONG LUNCH AT A ROOFTOP BAR Another rooftop? Yep. What Maya has on offer will make your second journey skyward feel very different from the early morning yoga sesh — but equally worth the effort. We're talking stunning 270-degree city views and dreamy decor, complete with cosy booths, marble tables, lush greenery and desert cacti. And we've not even mentioned the food and drinks yet. As the name suggests, this rooftop venue is inspired by the Mayan region of Central America. Load up on dishes such as tostadas topped with seared wagyu and salsa macha; aguachile with scallops, yuzu and baby cucumber; and crumbed jalapeños stuffed with tequila cream cheese and smoked cheddar. 3PM: EXPLORE THE BOUTIQUE SHOPS IN THE VALLEY'S HIDDEN LANEWAYS One of the best parts about Fortitude Valley's revitalisation over the past few years has been the network of funky little laneways that has emerged. Some of the city's most creative minds have flocked to these laneways to set up shop, so it's worth dedicating a little time to exploring what they have to offer. Winn Lane hosts pop-up shops and boutiques like Jess Blak, House of Ezis, Uncommon Store and Forge Forward (plus, the legendary Ben's Burgers, should you get peckish). Nearby Bakery Lane is home to a bunch of eateries and bars, like Johnny's Pizzeria, Nom-Nom Korean and Laruche. For sweet treats, swing by Cakes and Shit to check out its X-rated baked goods or drop into dessert bar Moist. Finally, 1960s-inspired California Lane has even more eateries, bars and boutiques, including vibrant fashion labels Alice Nightingale and Bella Joan, sustainable skincare line Dunkle and jewellery brand Rebellious Grace. 6PM: ENJOY SUNDOWNERS AND SNACKS IN A SUNNY COURTYARD The best way to end a busy day is enjoying frosty cold drinks in a buzzing courtyard as the sun sets. Simple as that. What's not so easy? Deciding which worthy Fortitude Valley spot you should visit for this end-of-day ritual. Our recommendation is eight-in-one venue The Prince Consort. Make tracks to the Garden Bar to nab a table in the openair courtyard, where you can enjoy a White Claw hard seltzer alongside bar snacks like pulled pork croquettes, coconut-infused calamari and popcorn chicken. Then, you have plenty of choice for how you continue your evening within this multifaceted building. Check out dive bar The Greaser, or head to La La Land for a boogie. 8PM: TEST YOUR PIPES AND PUTTING SKILLS AT HOLEY MOLEY If you still have some party left in you, make tracks to Holey Moley Golf Club. We probably don't need to tell you what this haven of late-night fun is best known for. But if it's been a while between rounds, consider this your sign to have another go at the crazy-loose course that includes Stranger Things- and Uno-themed holes. The venue also has a few karaoke rooms if you're keen to belt out a tune or two in between sips of White Claw hard seltzer. For more information on White Claw, head to the website.
Festivals, markets, pub crawls, brewery visits: sounds like a busy social calendar, doesn't it? Lock 'em into your diary and gather the gang — but make sure one such friend is of the four-legged variety. Brisbane is rarely short on doggo-friendly events, and Brisbanites keep flocking to them. If you have a cute pooch by your side, you're probably always filling their diaries with canine celebrations. Here are six more to add, ranging from boozy strolls — the beer is for you, not them — around the Valley through to visits to iconic local spots. Expect tails to wag with happiness.
Internationally celebrated fine dining restaurants, beery brunch spots, teeny tiny cafes and openair dining terraces by the sea — Perth's fast becoming one of Australia's food capitals. With over two million Perthites, it's no wonder Western Australia's capital has matured into a hub of wealth and high achievers. Perth is a food lover's city with a laidback attitude, full of enthusiastic folks in activewear — in fact, it's apparently acceptable to wear head-to-toe exercise clothes 24 hours a day in Perth with zero judgment. Think of Perth like San Diego — a sprawled out city with pockets of creativity and sunshine for days. As one of our favourite long weekenders, we thought it time to share the love. You'll need a thick wallet, an empty stomach, an explorative mindset and an Uber account (taxis aren't exactly flowing in Perth). Grab a cross-country flight (around five to six hours) on Thursday night then take these cues for the best long weekend in pretty little Perth. [caption id="attachment_621562" align="alignnone" width="1920"] Petition.[/caption] EAT AND DRINK The benefits of flying to Perth include gaining time which ultimately means, double breakfast and double dinner. It's the food, wine and beer scene in this city that never disappoints. You thought Melbourne, Sydney and Brisbane were hard to please? Perth boasts an exceptional quota of local coffee and food snobs with high expectations. Start your days strong with breakfast or brunch at Gordon Street Garage in East Perth, Petition Kitchen, Tiisch, Post, or La Veen in Perth city. If you're more of a long mac kinda person, Telegram, Saint Larry, Small Print, Max + Sons, Lowdown and Mo Espresso have you covered for a takeaway before you start your adventures. In the 'burbs, you want to head to Pixel Coffee Brewers in Leederville, Hylin in West Leederville or Mary Street Bakery in Highgate for epic baked goods to match your mug o' caffeinated magic. [caption id="attachment_621569" align="alignnone" width="1920"] The Shorehouse.[/caption] By about midday, the sun has fully occupied Perth so you want to sit outside near a beach and enjoy those lunchtime rays that Melburnians dream of. Bread in Common in Fremantle, Bib & Tucker on Leighton Beach, Il Lido in Cottesloe, The Shorehouse in Swanbourne and Kailis Trigg Beach are a sure thing to a light tan while you indulge in Western Australian seafood and Semillon. Happy hour begins rather early in Perth and it seems customary to head to Little Creatures Brewery in Fremantle for a pale ale with a side of hand-cut fries. Heading up the Indian Ocean you also can't go past the infamous Ocean Beach Hotel on Cottesloe Beach. Not many places in the world provide that view matched with thongs and bathers being an acceptable dress attire, but it's Perth so it's all good. [caption id="attachment_621556" align="alignnone" width="1920"] Long Chim.[/caption] Roughly five years ago, Perth saw a significant shift in the dining scene. Maybe it was the mining boom, which saw wealth flow over the state, or perhaps it was Perth's maturity kicking in, but it's plain to see local restaurants and bars have stepped it up. There's an old meets new, East meets West theme clearly evident across the city's menus. Following news of Restaurant Amuse and Neil Perry's Rockpool closing down, many feared the worst for Perth's fine dining industry. But new kids on the block, Ku De Ta, Long Chim, Wildflower and Lulu La Delizia are not letting anything deter them. After dinner, if you're keen to continue the late night shenanigans, hidden CBD bar Helvetica, underground cocktail bar Alfred's Pizzeria, snug rooftop joint Mechanics Institute, rum speakeasy Sneaky Tony's, country-loving dive bar Alabama Song, whiskey den Varnish On King, all-day/night favourite Pica Bar, WA-proud, two-level classic bar Dominion League or these ten bars worth travelling for. [caption id="attachment_621536" align="alignnone" width="1920"] COMO The Treasury.[/caption] STAY Turns out Perth hosts the second best hotel in the world according to Conde Naste. Yep, it's true. It's called COMO The Treasury and it's absolutely stunning. If you're a high baller with cash money to burn, look no further. Wedged between the original 1875 brick and stonework sits a sculpture of polished opulence. With the likes of David Thompson's Long Chim setting up shop inside the Hotel, one never really has to leave. DO Like most Australian destinations, Perth's activities are highlighted in the sun, and no trip is complete without visiting Rottnest Island. Around 20-40 minutes from Perth is Western Australia's version of the Whitsundays (at just a fraction of the price). Think crystal blue water, powder white sand and no cars in sight. You can do Rotto in a day by hiring a bike and snorkel gear and wandering through the bays along the way. The Rotto Pub, Hotel Rottnest is where it's at for fish and chips while you take selfies with the Island's famous native little friend, the quokka. Get your return ferry to drop you at B Shed in Fremantle and explore the Maritime Museum, Fremantle Prison and Fremantle Markets. After Rotto, head for more of the Indian Ocean coastline from Leighton Beach up to Trigg. Hiring a stand-up paddleboard from Elemental SUP is a great place to start. Whether you're a beginner, keen to head out by yourself or try SUP yoga, the team has you sorted. For those a little less SUP and little more surf, there's plenty of boards to hire in Cottesloe, Scarborough and Trigg beach. For a change of pace, head to one of the world's largest inner city parks, King's Park. Hosting various hikes, botanical gardens, outdoor cinema and concerts, treetop walks, memorials and Indigenous history, the park is perfect for exploring for a few sunny hours. Take a picnic with you to savour while you overlook Perth city and the Swan River. [caption id="attachment_621560" align="alignnone" width="1920"] Petition.[/caption] LET'S DO THIS: WHEN TO GO Like the majority of Australian destinations, to get the best out of them, you want to visit during summer. With an annual average of 25 degrees though, Perth is a sure thing for eternal sunshine. It's from November to April when this city really turns it on so if you can manage a long weekend around the Perth Fringe Festival or the Perth International Arts Festival you'll see Perth in its shining glory.
Winter weekends haven't looked this wonderfully packed for many a cold, cold week. There's plenty of winter harvest treats to be eaten, films to be snuggled into and live music to warm your hands on, doonas have never looked so unappealing. Get out there, put a dumb-looking animal beanie on and lap up that wintry goodness — there's plenty of time to worry about prepping for bikini season later. Harvest at GOMA GOMA has a new exhibition that will get your tummy rumbling. The wonderful Harvest exhibition celebrates food and art with over 150 pieces from the Gallery's Collection on display. Harvest features stunning still life paintings from the 17th century to now, delicious videos and large installations to fully immerse yourself in. As part of the exhibition, Harvest: Food on Film will focus on the presence and importance of food as a symbol in filmmaking. GOMA have even designed a special lunchtime meal at the cafe bistro. After having your fill of art and working up an appetite, dig into the roasted Spatchcock, puffed corn and toasted grains with blueberry gel with a glass of wine ($20). There are plenty more programs being held during the exhibition, so bib up and get noshing. When: Saturday, 28 June - Sunday, 21 September Where: GOMA , Stanley Place, South Bank Brisbane How much: FREE Odd Home at The Hold Artspace The most perplexing pieces of contemporary art are those that stem from the most absurd briefs, and the premise of The Hold Artspace’s new exhibition Odd Home, is true testament to that. Asked to critically deconstruct long held conventions through the individual art practice, the artists on display at this exhibition have not held back. Artists James Barth, Marisa Culpo, Spencer Harvie, Lilly Heenan, Aishla Manning, Naomi O’Reilly, Anya Swan are Trevor Tierney will be doing their best and draw from the everyday and pop culture art of conflicting ideas. Think everything from processed food to alternative lifestyles — if you don’t leave Odd Home a little squeamish and confused, then these artists haven’t done their job (but we can assure you this exhibition is in fine hands). When: Wednesday, 9 July - Saturday, 12 July Where: The Hold Artspace , 274 Montague Rd west end How much: FREE The Lunchbox A charming portrait of two lonely hearts who connect across a city of more than 20 million people, Ritesh Batra's debut feature feels worlds away from a stereotypical Indian melodrama. As a matter fact, were it not for the setting, the language and the mouth-watering shots of local cuisine, you might very well mistake it for Nora Ephron's You've Got Mail. The epistolary romance is hardly a new genre; Ephron's film was itself a modernised remake of the classic Hollywood rom-com The Shop Around the Corner. Fundamentally, The Lunchbox is a film about unlikely human connections, and the unexpected happiness they can bring. Endearing characters give substance to the formulaic plot and make Batra's debut feature a satisfying cinematic meal. Read our full review here. When: Thursday, 10 July - Wednesday, 6 August Where: Various cinemas in Brisbane How much: $15 - $25 Hey Geronimo Take Over Trainspotters Hey Geronimo have been amassing a solid fan base over the past few years, branching out from their Brisbane roots and hitting the national airwaves thanks to some seriously catchy hits. Their latest effort, Erring On The Side of Awesome further established the band as one to keep an eye on, even though their YouTube clips have amassed over a million views. The band has returned home to curate a series of shows for Trainspotters, the popular hub for live music. For their first show, the band has collected an interesting group of acts. My Own Pet Radio, Bilby and Born Joy Dead will be taking the stage from 9pm. When: Saturday, 12 July - 9:00pm Where: Trainspotters , 270 Ann Street, Brisbane How much: FREE Yoga Fest Do you crave a bit of extra flexibility? Do you need to relax and unwind? Do you need to ease yourself into some form of exercise? It’s our chance to make a change: Yoga Fest 2014. A festival of yoga might sound like a tame affair, but it isn’t. Get this: market stalls, dance workshops, food stalls, natural medicine demonstrations are all happening throughout the two days as well as heaps and heaps of yoga. Head over to the Old Museum where there will be five halls of yoga. When: Saturday, 12 July - Sunday, 13 July Where: The Old Museum , Cnr Gregory Tce & Bowen Bridge Rd Bowen Hills, Brisbane How much: $48 - $128 Scandinavian Film Festival Step into your local arthouse theatre these days and you'd be hard pressed not to find a regional film festival going on. In 2014, the line-up is getting that little bit more crowded, with the inaugural edition of a brand new festival highlighting the films from Europe's frozen north. Covering Denmark, Finland, Iceland, Norway and Sweden, the first annual Scandinavian Film Festival is set to put the kvikmynd in kvikmyndahátíð. For more information about the Scandinavian Film Festival, visit their website. When: Friday, 11 July - Sunday, 20 July Where: Palace Cinemas Brisbane , Brisbane How much: $15 - $20 Reframed14 at White Canvas Gallery There’s nothing better than local produce, especially when it comes to art. Brisbane-based Reframed has long made it their agenda to keep eagle eyes on Brisbane’s best creatives and put them in a gallery space to show off their flying colours. Now, in their fifth annual exhibition, Reframed14, they’ve curated an array of styles and mediums across painting, photography, objects, installation and jewellery, all from artists with postcodes begin with four. The exhibition will feature the work of 17 artists such as Belinda Giddins, Tessa Brown, Ari Fuller, Kerryn Lane, and a dozen more. When: Thursday, 3 July - Sunday, 13 July Where: White Canvas Gallery , 26 Church St, Fortitude Valley How much: Free Caligula Welcome to the future, a striking hyperreality envisioned by The Danger Ensemble. They have been described as a love-or-hate cast, bold, mesmerising, yet infuriating and explosive. Now, the cast of notoriety take on the story of Caligula, the first Roman emperor to meet an untimely death by assassination, his divine intervention shrouded in controversy and conspiracy even to this day. Cruelty, passion, severance and glory makes for a scandalous tale that you can dig your dramatic fangs into; a wild ride for the gutsy and the vindictive. Meet Marie Antoinette with shields and brutality, extravagance with the ever pending ultimate cost. When: Thursday, 3 July - Saturday, 12 July Where: Judith Wright Centre of Contemporary Arts , 420 Brunswick Street, Fortitude Valley How much: $20 - $35 Words by the Concrete Playground team.
We made it through 2020. We're in the throes of a new year, with two months of summer still ahead of us. The holidays are done and dusted, and as we get back into the swing of work it can be easy to get swept up in all the chaos and miss out on the good stuff — like outdoor cinemas, gigs, beer festivals and food pop-ups. It's time to make the most of the summertime events you probably meant to check out in 2020 but didn't. New year, new you. And that means getting outside and embracing the best of Brisbane life. Here are seven things to do this summer and autumn to help lift your mood. Get out there and enjoy it.
Brisbane isn't known for its frosty winters, which means that spring's arrival doesn't usually herald a drastic change in weather. The season is still worth celebrating, however, whether you're keen on embracing all things floral, spending more time in pub beer gardens sipping drinks, feasting on seafood or, once October hits, getting in the Halloween. At The Prince Consort's Spring Fling festival for 2023, you can do all of the above. First, the flowers. This is the Wickham Street spot that brings in snow when winter hits, so of course it goes with blooms come spring. During this five-week-long fest from Thursday, October 5–Saturday, November 11, which spans 20-plus events, there'll be 40,000 flower stems brightening up the 135-year-old place. And, each Saturday will become 'Saturdaisy', with dancing in the venue's version of a botanical garden. Since opening in its current guise in 2020 — after previously being known as The Elephant immediately prior — The Prince Consort has operated as multiple venues in one. Several are getting in on the Spring Fling action. That means disco fun in the Garden Bar and burlesque at La La Land, for instance, amid a seafood festival and Halloween margarita party as well. Highlights include a drag queen-led sip-and-paint session, Vanguard Burlesque getting spooky, those horror-themed margs and the return of the Urban Wine Walk to the Valley, with The Prince Consort among the self-guided tour's vino-slinging stops. If you like the ocean's finest, the seafood fest is another big drawcard, complete with ample bites to eat — yes, there'll be oysters — and cooking demonstrations. On the tunes front, throwing it back to one of Fortitude Valley's past big nightclubs is also a massive standout. Remember Monastery on Ann Street? It's been closed for over a decade — and its old digs are about to become a new steak restaurant — but it's getting a reunion first on floating bar Oasis, then at the after party at The Prince Consort. On the lineup at both shindigs: Felix Da Housecat, plus DJs who once hit Monastery's decks. Spring Fling also includes a 25th-anniversary Kosheen set, as well as a Mark Farina-led after party for Zen & the Art of House — which is also hitting Oasis first. And, whenever you head by, the pub's menu is getting a spring-themed revamp by Head Chef David Blackman.
On the small screen, 2023 started by showing the world exactly how a beloved video game should be turned into a television series. By the time the year had reached its midpoint, it had delivered one of the best TV murder-mysteries ever — from Australia, too, and also a smart and savvy comedy. Now that 2024 is almost upon us, a cringe-inducing parody of reality home-improvement programs, among a wealth of other targets, has proven a late-in-the-year stunner. So, as the best new TV shows of 2023 illustrate, no one can say that there hasn't been anything new to watch over the past 12 months. This year's television slate also gave viewers a subversive social satire, a David Cronenberg body-horror masterpiece turned into TV and a calming show about friendship in Japan. They're all among the best of the top brand-new arrivals, as are an eat-the-rich horror gem, a telemarketing true tale that has to be seen to be believed and a side-splitting history-of-the-world mockumentary. Here's an even better piece of news: not only has the past year been exceptional for television, but summer is a glorious time to reflect, revisit and, if you need to, work through your catch-up list. After filling 2023 viewing and rounding up TV highlights — and first selecting the must-sees midyear — we've now whittled down the results of all that couch time to the 15 best small-screen newcomers. THE CURSE It has always been impossible to watch TV shows by Nathan Fielder, including Nathan for You and The Rehearsal, without feeling awkwardness gushing from the screen. The films of Josh and Benny Safdie, such as Good Time and Uncut Gems, are such masterclasses in anxiety and chaos that viewers can be forgiven for thinking that their chairs are jittering along with them. From Easy A, La La Land and Maniac to The Favourite and Poor Things, Emma Stone keeps proving an inimitable acting force. Combine Fielder, the Safdies and Stone on one series, then, and whatever sprang was always going to be a must-see. Dark satire The Curse is also as extraordinary in its brilliance as it is excruciating in its discomfort. As well as co-creating the ten-part series, Fielder and Benny Safdie co-star, co-write and co-direct. Stone joins them on-screen and as an executive producer, with Benny's brother Josh doing the latter as well. And the Safdies' regular collaborator Oneohtrix Point Never, aka Daniel Lopatin, gets the show buzzing with atmospheric agitation in one of his best scores yet. Yes, The Curse is everything that the sum of these parts promises. It flows with disquiet like a burst hydrant. It fills each almost hour-long episode with a lifetime's worth of cringe. It's relentless in its unease, and also a marvellous, intense and hilarious black comedy that apes the metal Doug Aitken-esque houses that Stone and Fielder's Whitney and Asher Siegel like to build, reflecting oh-so-much about the world around it. The Curse takes the show-within-a-show route, with the Siegels eager to grace the world's screens as reality TV hosts spruiking environmentally sustainable passive homes in New Mexico's Española. The newly married pair have American pay TV network Home & Garden Television interested in Fliplanthropy, as well as their efforts to green up the community, create jobs for locals, and revitalise a place otherwise equated with struggling and crime stats. Lurking between the couple and HGTV is producer Dougie Schecter (Safdie, Oppenheimer), Asher's childhood friend with a nose for sensationalism — particularly as disharmony lingers among his stars as they try to start a family, get their show on the air, build their gleaming houses, find ideal buyers, honour the area's Indigenous history and overcome The Curse's title. The Curse streams via Paramount+. Read our full review. DEADLOCH Trust Kate McCartney and Kate McLennan, Australia's favourite Kates and funniest double act, to make a killer TV show about chasing a killer that's the perfect sum of two excellent halves. Given their individual and shared backgrounds, including creating and starring in cooking show sendup The Katering Show and morning television spoof Get Krack!n, the pair unsurprisingly add another reason to get chuckling to their resumes; however, with Deadloch, they also turn their attention to crime procedurals. The Kates already know how to make viewers laugh. They've established their talents as brilliant satirists and lovers of the absurd in the process. Now, splashing around those skills in Deadloch's exceptional eight-episode first season lead by Kate Box (Stateless) and Madeleine Sami (The Breaker Upperers), they've also crafted a dead-set stellar murder-mystery series that ranks among The Kates' best work in almost every way. The only time that it doesn't? Not putting the tremendous pair on-screen themselves. Taking place in a sleepy small town, commencing with a body on a beach, and following both the local cop trying to solve the case and the gung-ho blow-in from a big city leading the enquiries, Deadloch has all the crime genre basics covered from the get-go. The Tasmanian spot scandalised by the death is a sitcom-esque quirky community, another television staple that McCartney and McLennan nail. Parody requires deep knowledge and understanding; you can't comically rip into and riff on something if you aren't familiar with its every in and out. That said, Deadloch isn't in the business of simply mining well-worn TV setups and their myriad of conventions for giggles, although it does that expertly. With whip-smart writing, the Australian series is intelligent, hilarious, and all-round cracking as a whodunnit-style noir drama and as a comedy alike — and, as Box's by-the-book Senior Sergeant Dulcie Collins and Sami's loose and chaotic Darwin blow-in Eddie Redcliffe are forced to team up, it's also one of the streaming highlights of the year. Deadloch streams via Prime Video. Read our full review, and our interview with Kate McCartney and Kate McLennan. I'M A VIRGO No one makes social satires like Boots Riley. Late in I'm a Virgo, when a character proclaims that "all art is propaganda", these words may as well be coming from The Coup frontman-turned-filmmaker's very own lips. In only his second screen project after the equally impassioned, intelligent, energetic, anarchic and exceptional 2018 film Sorry to Bother You, Riley doesn't have his latest struggling and striving hero utter this sentiment, however. Rather, it springs from the billionaire technology mogul also known as The Hero (Walton Goggins, George & Tammy), who's gleefully made himself the nemesis of 13-foot-tall series protagonist Cootie (Jharrel Jerome, Spider-Man: Across the Spider-Verse). Knowing that all stories make a statement isn't just the domain of activists fighting for better futures for the masses, as Riley is, and he wants to ensure that his audience knows it. Indeed, I'm a Virgo is a show with something to say, and forcefully. Its creator is angry again, too, and wants everyone giving him their time to be bothered — and he still isn't sorry for a second. With Jerome as well-cast a lead as Atlanta's Lakeith Stanfield was the last time that Riley was behind the lens, I'm a Virgo also hinges upon a surreal central detail: instead of a Black telemarketer discovering the impact of his "white voice", it hones in on the oversized Cootie. When it comes to assimilation, consider this series Sorry to Bother You's flipside, because there's no way that a young Black man that's more than double the tallest average height is passing for anyone but himself. Riley knows that Black men are too often seen as threats and targets regardless of their stature anyway. He's read the research showing that white folks can perceive Black boys as older and less innocent. As Cootie wades through these experiences himself, there isn't a single aspect of I'm a Virgo that doesn't convey Riley's ire at the state of the world — that doesn't virtually scream about it, actually — with this series going big and bold over and over. I'm a Virgo streams via Prime Video. Read our full review. DEAD RINGERS Twin gynaecologists at the top of their game. Blood-red costuming and bodily fluids. The kind of perturbing mood that seeing flesh as a source of horror does and must bring. An exquisite eye for stylish yet unsettling imagery. Utterly impeccable lead casting. When 1988's Dead Ringers hit cinemas, it was with this exact combination, all in the hands of David Cronenberg following Shivers, The Brood, Scanners, Videodrome and The Fly. He took inspiration from real-life siblings Stewart and Cyril Marcus, whose existence was fictionalised in 1977 novel Twins by Bari Wood and Jack Geasland, and turned it into something spectacularly haunting. Attempting to stitch together those parts again, this time without the Crimes of the Future filmmaker at the helm — and as a miniseries, too — on paper seems as wild a feat as some of modern medicine's biggest advancements. This time starring a phenomenal Rachel Weisz as both Beverly and Elliot Mantle, and birthed by Lady Macbeth and The Wonder screenwriter Alice Birch, Dead Ringers 2.0 is indeed an achievement. It's also another masterpiece. Playing the gender-swapped roles that Jeremy Irons (House of Gucci) inhabited so commandingly 35 years back, Weisz (Black Widow) is quiet, calm, dutiful, sensible and yearning as Beverly, then volatile, outspoken, blunt, reckless and rebellious as Elliot. Her performance as each is that distinct — that fleshed-out as well — that it leaves viewers thinking they're seeing double. Of course, technical trickery is also behind the duplicate portrayals, with directors Sean Durkin (The Nest), Karena Evans (Snowfall), Lauren Wolkstein (The Strange Ones) and Karyn Kusama's (Destroyer) behind the show's lens; however, Weisz is devastatingly convincing. Beverly is also the patient-facing doctor of the two, helping usher women into motherhood, while Elliot prefers tinkering in a state-of-the-art lab trying to push the boundaries of fertility. Still, the pair are forever together or, with unwitting patients and dates alike, swapping places and pretending to be each other. Most folks in their company don't know what hit them, which includes actor Genevieve (Britne Oldford, The Umbrella Academy), who segues from a patient to Beverly's girlfriend — and big-pharma billionaire Rebecca (Jennifer Ehle, She Said), who Dead Ringers' weird sisters court to fund their dream birthing centre. Dead Ringers streams via Prime Video. Read our full review. THE LAST OF US If the end of the world comes, or a parasitic fungus evolves via climate change, spreads globally, infests brains en masse and almost wipes out humanity, spectacular video game-to-TV adaptation The Last of Us will have you wanting Pedro Pascal in your corner. Already a standout in Game of Thrones, then Narcos, then The Mandalorian, he's perfectly cast in HBO's blockbuster series — a character-driven show that ruminates on what it means to not just survive but to want to live and thrive after the apocalypse. In this smart and gripping series (one that's thankfully already been renewed for season two, too), he plays Joel. Dad to teenager Sarah (Nico Parker, The Third Day), he's consumed by grief and loss after what starts as a normal day, and his birthday, changes everything for everyone. Twenty years later, he's a smuggler tasked with tapping into his paternal instincts to accompany a different young girl, the headstrong Ellie (Bella Ramsey, Catherine Called Birdy), on a perilous but potentially existence-saving trip across the US. Starting to watch The Last of Us, or even merely describing it, is an instant exercise in déjà vu. Whether or not you've played the hit game since it first arrived in 2013, or its 2014 expansion pack, 2020 sequel or 2022 remake, its nine-part TV iteration ventures where plenty of on-screen fare including The Road and The Walking Dead has previously trodden. The best example that springs to mind during The Last of Us is Station Eleven, however, which is the heartiest of compliments given how thoughtful, empathetic and textured that 2021–22 series proved. As everything about pandemics, contagions and diseases that upend the world order now does, The Last of Us feels steeped in stone-cold reality as well, as spearheaded by a co-creator, executive producer, writer and director who has already turned an IRL doomsday into stunning television with Chernobyl. That creative force is Craig Mazin, teaming up with Neil Druckmann from Naughty Dog, who also wrote and directed The Last of Us games. The Last of Us streams via Binge. Read our full review, and our interview with Melanie Lynskey. THE MAKANAI: COOKING FOR THE MAIKO HOUSE At the beginning of The Makanai: Cooking for the Maiko House, 16-year-old best friends Kiyo (Nana Mori, Liar x Liar) and Sumire (Natsuki Deguchi, Silent Parade) leave home for the first time with smiles as wide as their hearts are open. Departing the rural Aomari for Kyoto in the thick of winter, they have internships as maiko lined up — apprentice geiko, as geishas are called in the Kyoto dialect. Their path to their dearest wishes isn't all sunshine and cherry blossoms from there, of course, but this is a series that lingers on the details, on slices of life, and on everyday events rather than big dramatic developments. Watch, for instance, how lovingly Kiyo and Sumire's last meal is lensed before they set out for their new future, and how devotedly the camera surveys the humble act of sitting down to share a dumpling soup, legs tucked beneath blankets under the table, while having an ordinary conversation. Soothing, tender, compassionate, bubbling with warmth: that's The Makanai: Cooking for the Maiko House from the outset. There's a key reason that this cosy and comforting new treasure overflows with such affection and understanding — for its characters, their lives and just the act of living. Prolific writer/director Hirokazu Kore-eda simply isn't capable of anything else. Yes, Netflix has been in the auteur game of late, and The Makanai: Cooking for the Maiko House is unmistakably the work of its rightly applauded creative force. One of the biggest names in Japanese cinema today, and the winner of the received Cannes Film Festival's Palme d'Or back in 2018 for the sublime Shoplifters, Kore-eda makes empathetic, rich and deeply emotional works. His movies, including the France-set The Truth and South Korea-set Broker, truly see the people within their frames. On the small screen, and hailing from manga, the nine-episode The Makanai is no different. It's also as calming as a show about friendships, chasing dreams and devouring ample dumplings can and should be. The Makanai: Cooking for the Maiko House streams via Netflix. FULL CIRCLE Whether on screens big and small, when an audience watches a Steven Soderbergh project, they're watching one of America's great current directors ply his full range of filmmaking skills. Usually, he doesn't just helm. Going by Peter Andrews and Mary Ann Bernard — aliases from his parents' names — he shoots and edits as well. And he's prolific: since advising that he'd retire from making features after Side Effects, he's directed, lensed and spliced nine more, plus three TV shows. Among those titles sit movies such as Logan Lucky, Unsane, Kimi and Magic Mike's Last Dance; the exceptional two seasons of turn-of-the-20th-century medical drama The Knick; and now New York-set kidnapping miniseries Full Circle. The filmmaker who won Cannes Film Festival's Palme d'Or at 26 for Sex, Lies and Videotape, earned two Best Director Oscars in one year for Traffic and Erin Brockovich, brought the Ocean's franchise back to cinemas in 2001, and eerily predicted the COVID-19 pandemic with 2011's Contagion is in his element with his latest work. Six-part noir-influenced thriller Full Circle reunites Soderbergh with Mosaic and No Sudden Move screenwriter Ed Solomon, boasts a starry cast, involves money and secrets and deception, and proves a twisty and layered crime tale from the get-go. Full Circle starts with a murder, then a revenge plot, then a missing smartphone. These early inclusions all tie into an intricate narrative that will indeed demonstrate inevitability, cause and effect, the repercussions of our actions, and decisions looping back around. The pivotal death forms part of a turf war, sparking a campaign of retaliation by Queens-based Guyanese community leader and insurance scammer Savitri Mahabir (CCH Pounder, Avatar: The Way of Water). She enlists freshly arrived teens Xavier (Sheyi Cole, Atlanta) and Louis (Gerald Jones, Armageddon Time) to do the seizing under her nephew Aked's (Jharrel Jerome, I'm a Virgo) supervision; one of the newcomers is the brother of the latter's fiancée Natalia (Adia, The Midnight Club), who is also Savitri's masseuse. The target: Manhattan high-schooler Jared (Ethan Stoddard, Mysteries at the Museum), son of the wealthy and privileged Sam (Claire Danes, Fleishman Is in Trouble) and Derek Browne (Timothy Olyphant, Daisy Jones & The Six), and grandson through Sam to ponytailed celebrity chef Jeff McCusker (Dennis Quaid, Strange World). Savitri is convinced that this is the only way to stave off the curse she's certain is hanging over her business — a "broken circle", in fact. But, much to the frustration of the US Postal Inspection Service's Manny Broward (Jim Gaffigan, Peter Pan & Wendy), his go-for-broke agent Melody Harmony (Zazie Beetz, Black Mirror) is already investigating before the abduction. Full Circle streams via Binge. Read our full review. RAIN DOGS In 2019's Skint Estate, Cash Carraway told all; A memoir of poverty, motherhood and survival completes the book's full title. Penned about working-class Britain from within working-class Britain, Carraway's written jaunt through her own life steps through the reality of being a single mum without a permanent place to live, of struggling to get by at every second, and of being around the system since she was a teenager. It examines alcoholism, loneliness, mental illness and domestic violence, too, plus refuges, working at peep shows, getting groceries from food banks and hopping between whatever temporary accommodation is available. Rain Dogs isn't a direct adaptation. It doesn't purport to bring Carraway's experiences to the screen exactly as they happened, or with slavish fidelity to the specific details. But this HBO and BBC eight-parter remains not only raw, rich, honest and authentic but lived in, as it tells the same story with candour, humour, warmth and poignancy. Slipping into Carraway's fictionalised shoes is Daisy May Cooper — and she's outstanding. Her on-screen resume includes Avenue 5 and Am I Being Unreasonable?, as well as being a team captain on the latest iteration of Britain's Spicks and Specks-inspiring Never Mind the Buzzcocks, but she's a force to be reckoned with as aspiring writer and mum (to Iris, played by debutant Fleur Tashjian) Costello Jones. When Rain Dogs begins, it's with an eviction. Cooper lives and breathes determination as Costello then scrambles to find somewhere for her and Iris to stay next. But this isn't just their tale, with the pair's lives intersecting with the privileged but self-destructive Selby (Jack Farthing, Spencer), who completes their unconventional and dysfunctional family but tussles with his mental health. Including Costello's best friend Gloria (Ronke Adekoluejo, Alex Rider), plus ailing artist Lenny (The Young Ones legend Adrian Edmondson), this is a clear-eyed look at chasing a place to belong — and it's remarkable. Rain Dogs streams via Binge. Read our full review. SILO Rebecca Ferguson will never be mistaken for Daveed Diggs, but the Dune, Mission: Impossible franchise and Doctor Sleep star now follows in the Hamilton Tony-winner's footsteps. While he has spent multiple seasons navigating dystopian class clashes on a globe-circling train in the TV version of Snowpiercer, battling his way up and down the titular locomotive, she just started ascending and descending the stairs in the underground chamber that gives Silo its moniker. Ferguson's character is also among humanity's last remnants. Attempting to endure in post-apocalyptic times, she hails from her abode's lowliest depths as well. And, when there's a murder in this instantly engrossing new ten-part series — which leaps to the screen from Hugh Howey's novels, and shares a few basic parts with Metropolis, Blade Runner and The Platform, as well as corrupt world orders at the core of The Hunger Games and The Maze Runner flicks — she's soon playing detective. Silo captivates from the outset, when its focus is the structure's sheriff Holston (David Oyelowo, See How They Run) and his wife Allison (Rashida Jones, On the Rocks). Both know the cardinal rule of the buried tower, as does deputy Marnes (Will Patton, Outer Range), mayor Ruth (Geraldine James, Benediction), security head Sims (Common, The Hate U Give), IT top brass Bernard (Tim Robbins, Dark Waters) and the other 10,000 souls they live with: if you make the request to go outside, it's irrevocable and you'll be sent there as punishment. No matter who you are, and from which level, anyone posing such a plea becomes a public spectacle. Their ask is framed as "cleaning", referring to wiping down the camera that beams the desolate planet around them onto window-sized screens in their cafeterias. No one has ever come back, or survived for more than minutes. Why? Add that to the questions piling up not just for Silo's viewers, but for the silo's residents. For more than 140 years, the latter have dwelled across their 144 floors in safety from the bleak wasteland that earth has become — but what caused that destruction and who built their cavernous home are among the other queries. Silo streams via Apple TV+. Read our full review. BEEF As plenty does, Beef starts with two strangers meeting, but there's absolutely nothing cute about it. Sparks don't fly and hearts don't flutter; instead, this pair grinds each other's gears. In a case of deep and passionate hate at first sight, Danny Cho (Steven Yeun, Nope) and Amy Lau (Ali Wong, Paper Girls) give their respective vehicles' gearboxes a workout, in fact, after he begins to pull out of a hardware store carpark, she honks behind him, and lewd hand signals and terse words are exchanged. Food is thrown, streets are angrily raced down, gardens are ruined, accidents are barely avoided, and the name of Vin Diesel's famous car franchise springs to mind, aptly describing how bitterly these two strangers feel about each other — and how quickly. Created by Lee Sung Jin, who has It's Always Sunny in Philadelphia, Dave and Silicon Valley on his resume before this ten-part Netflix and A24 collaboration, Beef also commences with a simple, indisputable and deeply relatable fact. Whether you're a struggling contractor hardly making ends meet, as he is, or a store-owning entrepreneur trying to secure a big deal, as she is — or, if you're both, neither or anywhere in-between — pettiness reigning supreme is basic human nature. Danny could've just let Amy beep as much as she liked, then waved, apologised and driven away. Amy could've been more courteous about sounding her horn, and afterwards. But each feels immediately slighted by the other, isn't willing to stand for such an indignity and becomes consumed by their trivial spat. Neither takes the high road, not once — and if you've ever gotten irrationally irate about a minor incident, this new standout understands. Episode by episode, it sees that annoyance fester and exasperation grow, too. Beef spends its run with two people who can't let go of their instant rage, keep trying to get the other back, get even more incensed in response, and just add more fuel to the fire again and again until their whole existence is a blaze of revenge. If you've ever taken a small thing and blown it wildly out of proportion, Beef is also on the same wavelength. And if any of the above has ever made you question your entire life — or just the daily grind of endeavouring to get by, having everything go wrong, feeling unappreciated and constantly working — Beef might just feel like it was made for you. Beef streams via Netflix. Read our full review. THE FALL OF THE HOUSE OF USHER Of the many pies that Succession's Roy family had their fingers in, pharmaceuticals wasn't one of them. For virtually that, Mike Flanagan gives audiences The Fall of the House of Usher. The horror auteur's take on dynastic wealth gets a-fluttering through a world of decadence enabled by pushing pills legally, as six heirs to an addiction-laced kingdom vie to inherit a vast fortune. Flanagan hasn't given up his favourite genre for pure drama, however. The eponymous Usher offspring won't be enjoying the spoils of their father Roderick's (Bruce Greenwood, The Resident) business success, either, in this absorbing, visually ravishing and narratively riveting eight-parter. As the bulk of this tale is unfurled fireside, its patriarch tells federal prosecutor C Auguste Dupin (Carl Lumbly, SWAT) why his children (including Pet Sematary: Bloodlines' Henry Thomas, Minx's Samantha Sloyan, The Peripheral's T'Nia Miller, iZombie's Rahul Kohli, The Wrath of Becky's Kate Siegel and The Midnight Club's Sauriyan Sapkota) came to die within days of each other — and, with all the gory details, how. As with The Haunting of Hill House and The Haunting of Bly Manor before it, plus The Midnight Club as well, Flanagan's latest Netflix series finds its basis on the page. The author this time: Edgar Allan Poe, although The Fall of the House of Usher isn't a strict adaptation of the iconic author's 1840 short story of the same name, or just an adaptation, even as it bubbles with greed, violence and paranoia (plus death, loss, decay and the deceased haunting the livin)g. Character monikers, episode titles and other details spring from widely across Poe's bibliography. Cue ravens, black cats, masks, tell-tale hearts, pendulums and a Rue Morgue. What if the writer had penned Succession? That's one of Flanagan's questions — and what if he'd penned Dopesick and Painkiller, too? Hailing from the talent behind the exceptional Midnight Mass as well, plus movies Oculus, Hush, Ouija: Origin of Evil, Gerald's Game and Doctor Sleep, the series that results is a gloriously creepy and involving modern gothic horror entry. The Fall of the House of Usher streams via Netflix. Read our full review. POKER FACE Cards on the table: thanks to Russian Doll and the Knives Out franchise, Natasha Lyonne and Rian Johnson are both on a helluva streak. In their most recent projects before now, each has enjoyed a hot run not once but twice. Lyonne made time trickery one of the best new shows of 2019, plus a returning standout in 2022 as well, while Johnson's first Benoit Blanc whodunnit and followup Glass Onion: A Knives Out Mystery were gems of the exact same years. The latter also saw the pair team up briefly — Lyonne and Johnson, that is, although getting a Russian Doll-meets-Knives Out crossover from the universe, or just the Netflix algorithm, would be a dream. Until that wish comes true, there's Poker Face. It's no one's stopgap or consolation prize, however. This new mystery-of-the-week series is an all-out must-see in its own right, and a gleaming streaming ace. Given its components and concept, turning out otherwise would've been the biggest head-scratcher. Beneath aviator shades, a trucker cap and her recognisable locks, Lyonne plays detective again, as she did in Russian Doll — because investigating why you're looping through the same day over and over, or jumping through time, is still investigating. Johnson gives the world another sleuth, too, after offering up his own spin on Agatha Christie-style gumshoes with the ongoing Knives Out saga. This time, he's dancing with 1968–2003 television series Columbo, right down to Poker Face's title font. Lyonne isn't one for playing conventional detectives, though. Here, she's Charlie Cale, who starts poking around in sudden deaths thanks to an unusual gift and a personal tragedy. As outlined in the show's ten-part first season, Charlie is a human lie detector. She can always tell if someone is being untruthful, a knack she first used in gambling before getting on the wrong side of the wrong people. Then, when a friend and colleague at the far-from-flashy Las Vegas casino where Charlie works winds up dead, that talent couldn't be handier. Poker Face streams via Stan. Read our full review. TELEMARKETERS No one likes it when their phone rings from an unknown number, whether "no caller ID" or digits that you don't recognise flash up on your mobile's screen. Telemarketers isn't going to change that response. It won't dampen the collective ire that the world holds towards the pushy people on the other end of the line, either. HBO's thrilling three-part docuseries doesn't just reinforce what viewers already feel about the nuisance industry that thinks it can interrupt your day and life with a spiel that no one wants, and impact your bank balance in the process. In addition, it spins a true tale that demonstrates why a deep-seated dislike of telemarketing is so well-founded, and also why cold-calling operations can be so insidious. This true-crime story about the New Jersey-based Civic Development Group surpasses even the most call centre-despising audience member's low expectations of the field — and it's gripping, can't-look-away, has-to-be-seen-to-be-believed stuff. In fact, it's also an account of a tenacious duo revealing a billion-dollar fraud, and bringing this staggering whistleblower documentary to the masses. "Every other telemarketer who drives you crazy in the whole world is because of CDG," advises one of the series' interviewees. That might seem like a big claim, but co-directors Sam Lipman-Stern (Live From the Streets) and Adam Bhala Lough (The New Radical) step through its truth. The former knows the outfit's approach from experience, working there for seven years from the age of 14 after dropping out of high school, while the latter is the filmmaker cousin he wasn't aware of. Lipman-Stern is Telemarketers' on-screen guiding hand, too, but his ex-colleague Patrick J Pespas is its heart and soul. As seen early, Pespas is called a "telemarketing legend". Although he's happy snorting heroin on-camera in 2000s-era footage, he's switched on to CDG's shonkiness; more than that, he's determined to expose it even if it takes two decades. Everywhere that Lipman-Stern and Pespas look from there, this tale gets worse. It's no wonder that Uncut Gems and Good Time filmmakers Benny and Josh Safdie are among Telemarketers' executive producers, plus Eastbound & Down's Danny McBride, Jody Hill and David Gordon Green. Telemarketers streams via Binge. Read our full review. SWARM Becky with the good hair gets a shoutout in Swarm. Facial bites do as well, complete with a Love & Basketball reference when the culprit flees. This seven-part series about a global pop sensation and her buzzing fans and stans also has its music icon unexpectedly drop a stunner of a visual album, ride a white horse, be married to a well-known rapper, become a mum to twins and see said husband fight with her sister in an elevator. Her sibling is also a singer, and plenty of folks contend she's the more interesting of the two. Still, Swarm's object of fascination — protagonist Dre's (Dominique Fishback, Judas and the Black Messiah) undying obsession — sells out tours, breaks Ticketmaster and headlines one of the biggest music festivals there is. And, while they call themselves the titular term rather than a hive, her devotees are zealous and then some, especially humming around on social media. Donald Glover and Janine Nabers, the show's creators and past colleagues on Glover's exceptional, now-finished Atlanta — Nabers also worked on Watchmen, too — couldn't be more upfront about who they're referring to. No one says Beyoncé's name, however, but Swarm's Houston-born music megastar is the former Destiny's Child singer in everything except moniker. In case anyone watching thinks that this series is trading in coincidences and déjà vu, or just failing to be subtle when it comes to Ni'Jah (Nirine S Brown, Ruthless), the Prime Video newcomer keeps making an overt opening declaration. "This is not a work of fiction. Any similarity to actual persons, living or dead, or events, is intentional," it announces before each episode. From there, it dives into Dre's journey as a twentysomething in 2016 who still adores her childhood idol with the same passion she did as a teen and, instalment by instalment, shows how far she's willing to go to prove it. Swarm streams via Prime Video. Read our full review. CUNK ON EARTH If you've ever watched a David Attenborough documentary about the planet and wished it was sillier and stupider, to the point of being entertainingly ridiculous and ridiculously entertaining alike, then Netflix comes bearing wonderful news. Actually, the BBC got there first, airing history-of-the-world mockumentary Cunk on Earth back in September 2022. Glorious things come to waiting viewers Down Under now, however — and this gleefully, delightfully absurd take on human civilisation from its earliest days till now, spanning cave paintings, Roman empires, Star Wars' empire, 1989 Belgian techno anthem 'Pump Up the Jam' and more, is one of the best shows to hit Australia in 2023. This series is a comedy masterclass, in fact, featuring everything from a Black Mirror-leaning skit about Beethoven resurrected inside a smart speaker to a recreation of a Dark Ages fray purely through sound also thrown in. It's flat-out masterful, too, and tremendously funny. This sometimes Technotronic-soundtracked five-part show's beat? Surveying how humanity came to its present state, stretching back through species' origins and evolution, and pondering everything from whether the Egyptian pyramids were built from the top down to the Cold War bringing about the "Soviet onion". The audience's guide across this condensed and comic history is the tweed-wearing Philomena Cunk, who has the steady voice of seasoned doco presenter down pat, plus the solemn gaze, but is firmly a fictional — and satirical — character. Comedian Diane Morgan first started playing the misinformed interviewer in 2013, in Charlie Brooker's Weekly Wipe, with Black Mirror creator Brooker behind Cunk on Earth as well. Over the past decade, Cunk has also brought her odd questions to 2016's one-off Cunk on Shakespeare and Cunk on Christmas, and 2018's also five-instalment Cunk on Britain. After you're done with the character's latest spin, you'll want to devour the rest ASAP. Cunk on Earth streams via Netflix. Read our full review, and our interview with Charlie Brooker. Looking for more viewing highlights? We also rounded up the 15 best returning TV series of 2023, as well as 15 excellent new TV shows of 2023 that you might've missed — plus the 15 top films, another 15 exceptional flicks that hardly anyone saw in cinemas this year and the 15 best straight-to-streaming movies of the year as well. And, we've kept a running list of must-stream TV from across the year, complete with full reviews. Also, you can check out our regular rundown of film and TV streaming recommendations, which is updated monthly.
There shouldn't have been a dry eye in the house, or watching on from around the world, when Ke Huy Quan took to Hollywood's Dolby Theatre stage in March 2023 to collect the Best Supporting Actor Oscar for Everything Everywhere All At Once. His performance in the multiverse-hipping hit, which was only his second stint in front of the camera in two decades, thoroughly earned the coveted accolade on its merits. Just as with the feature's fellow Academy Award-winning actors Michelle Yeoh (The Brothers Sun) and Jamie Lee Curtis (The Bear), the sci-fi-, comedy-, fantasy-, drama- and martial arts-mashing film wouldn't have been the success it was without him. It's always moving to see a well-deserving talent get their time to shine. Quan's off-screen story was responsible for some of those tears, however. Thirty-nine years ago at the time, he was also all over the silver screen as a child actor in Indiana Jones and the Temple of Doom. Quan will always be the film's Short Round — and, in his next high-profile part afterwards, The Goonies' Data as well. After a handful of other roles, including TV's Head of the Class and 90s comedy Encino Man, he then stepped away from acting. Quan didn't farewell the screen industry, though. Off-camera, his credits include assistant fight choreography and stunt rigging on the first X-Men, action choreography assistant director on The One and first assistant director to iconic filmmaker Wong Kar-Wai on 2046. What's followed since Everything Everywhere All At Once wasn't something that he could've ever foreseen — as a teenager hitting it big, when he gave acting away and even when he was cast in the movie that changed his life. Neither was his upcoming part leading action movie Love Hurts. As Martin Gable, Quan steps into John Wick territory. He's also in Nobody terrain a touch, too. As seen in the feature's just-dropped trailer ahead of its February 2025 release, Love Hurts' protagonist is a real-estate agent who is devoted to his job, and has a Regional Realtor of the Year Award to show for it. He's also dedicated to helping people find their dream house. His slogan: "I want a home for you". His motto: "every day is an opportunity to change your life". But before this ordinary existence, Martin was in a completely different line of work as an assassin. [caption id="attachment_976823" align="alignnone" width="1920"] David Nguyen, ©AMPAS[/caption] In a film that boasts another Oscar-winner on-screen in West Side Story's Ariana DeBose (Argylle), of course that history finds its way back into Marvin's present. If Love Hurts sounds like classic David Leitch territory, that's because the stunt performer-turned John Wick, Atomic Blonde, Deadpool 2, Fast & Furious Presents: Hobbs and Shaw, Bullet Train and The Fall Guy helmer adds it to the producing side of his resume, where Nobody also sits, courtesy of his production and action design company 87North. Another former stunt professional makes his directorial debut with the movie, with Jonathan Eusebio also a fight coordinator on the first three John Wick flicks (and on plenty others, such as Iron Man 2, The Avengers, The Bourne Legacy, Doctor Strange, The Fate of the Furious, Black Panther and The Matrix Resurrections). Quan hasn't ever been a real-estate agent and obviously was never a hitman, let alone an ex-assassin turned realtor. Still, playing someone being drawn back into a line of work that they'd moved away from has clear synergy with his own path since 2021's Finding 'Ohana brought him back to the screen, then Everything Everywhere All At Once worked its magic, leading to TV's American Born Chinese and Loki season two, voice acting in Kung Fu Panda 4 and now this. We chatted to Quan about that synchronicity, doing something that he never imagined he'd get to in being number one the call sheet for an action film and his 'no compromise' approach to the feature's fight scenes — and about the last few years, capitalising upon and celebrating second chances, and becoming an inspiration to anyone who has ever thought their dream was out of reach. On Reflecting His Own Recent Experience by Making a Movie About Someone Drawn Back Into Their Old Line of Work "Oh, my god, what a great question. You made the connection that I didn't even make. The only difference is Marvin Gable is trying to get away from his past, and it hurts him so much that he can't — versus I want to get back to my past where I am an actor, and I'm very fortunate to be able to do so and have this incredible second chance. One of the things that I love about the character Marvin Gable is that he knows what he's done in the past, and he's very ashamed of it, and he's doing everything he can to redeem himself. And that's why he's a real-estate agent, because he has destroyed so many homes in the past and now all he wants to do is to help people's dream of owning a home come true. He wants to help build homes and not destroy them. And there is beauty in that, and there's that question: are we able to get away from the past that we don't like? That's what the movie is trying to answer." On Leading an Action Film — and Jumping Into John Wick Territory "I always loved the action genre. So John Wick and any action movies, I love, because they're just really fun to watch. And they're a great escape for you to forget about all your problems and just have a good time for 90 minutes. That's what we try to do with this movie. There's no agenda. There's nothing else that we're trying to do, just to entertain the audience for 90 minutes. One of the biggest differences with this movie is what David Leitch and our producers in 87North and Universal Studios try to do to create a new kind of action star. We have seen action movies for the longest time and they always have a certain type of action hero. This one is very different. He doesn't look like an action hero. He doesn't look bad-ass. But he's truly a bass-ass when the situation calls for it. And because of that element of surprise, I find that very refreshing, and I love it. [caption id="attachment_892688" align="alignnone" width="1920"] Everything Everywhere All At Once[/caption] Also, one of the things that I was adamant about when I came onboard was that I wanted to do everything myself. I'm not talking about stunts. Stunts is jumping off a building, getting hit by a car or being set on fire. That is a very specific skill. What I mean by doing everything myself with all the fights, all the punches that I threw myself, all the kicks — and I trained very hard for it with 87North's action team for this. And mentally and physically, it was exhausting. But it was also very gratifying, because I finally got to do it." [caption id="attachment_884620" align="alignnone" width="1920"] Everything Everywhere All At Once[/caption] On How Quan's Stunt and Action Choreography Background Helped Him with Love Hurts "Oh my gosh, it was so advantageous to have that experience and that knowledge. And I did it for a long time. But the only difference is I was behind the camera, and one of my responsibilities was to train actors to do that. For example, like on X-Men, I was helping Hugh Jackman to learn those moves. So to have that knowledge and to be able to utilise all of that in this movie was incredible. And it was a big, big help. I don't think I could have done this had I not worked as an action choreographer. The only difference is I haven't done it for a long time so it's really bringing my muscle memory back to forefront — and also getting myself mentally and physically prepared for it. It was a lot of fun to do." On the Preparation Process for Starring in an Action Movie — and Giving the Genre a Different Type of Hero "I trained for almost three months with our action team, and the training didn't stop when we started production. It carried on till the end of the movie. It was very intense. There was a lot of weights, a lot of core training, muscle training — and, most importantly, a lot of stretching. Because not only you don't want to hurt yourself, but also doing those kicks, you need to be flexible. So there was a lot of stretching involved as well. And I've got to tell you, when we were shooting making this movie, one of the most-difficult things was the time constraint. Actions take time. And ever since day one, I told everybody, I said 'please, there's no compromise. If we don't get it, please do not move on. It doesn't matter how many takes we do'. [caption id="attachment_976827" align="alignnone" width="1920"] American Born Chinese[/caption] Because this is an 87North movie and the audience who watches this movie expects a certain level of action. There was a certain demand from them, expectation from them. So I didn't want to disappoint them. And what that entailed is sometimes shooting 15 hours 16, 17 — I think one day we shot 18 hours. Now 18 hours shooting a dialogue scene is exhausting. But can you imagine what shooting a fight scene is like? And as the hours progress, your muscles get tired. Your mental capacity goes down. But when you do a fight, it takes tremendous focus. One, you have to remember the choreography. And second, you don't want to hurt the person you're fighting with and you certainly don't want to get hurt by them, so you have to remember the choreography. It was really demanding and at the same time, like I said, I didn't want us to compromise. In fact, our action team, at the end of the shoot they printed a shirt that says 'no compromise' and gave it to everybody." [caption id="attachment_976825" align="alignnone" width="1920"] Everything Everywhere All At Once[/caption] On What Quan Learned From Wong-Kar Wai That He Still Draws Upon Today "Nobody makes a movie the way Wong Kar-Wai makes them. He can spend an entire day finessing one shot. And what I learned from that is the dedication, the perseverance, the determination to achieve your goal, and I applied that to this movie. That's why I said 'let's not compromise it. If we don't get it, let's keep on doing it. If we don't have the time, then let's be creative. How can we find time and how can we make it work?'. And Wong Kar-Wai was part of that training that I had. It was seeing him go ' if it's no good, let's go again, and if there are problems, okay, then let's take a step back and let's find out what the problem is'. We applied that to the fight scenes that we did. There are five big action sequences in this movie. When it's just a fight scene, the audience gets tired of watching it very quickly. So what we try to do, what I learned from my experience on those action days was that you have to put a story behind those fights. All the characters, they fight a little bit differently, because that's who they are, that's their personality, that's their character — and we tried to apply that to this movie. And it was fun, but also at the same time it was very challenging to do it in the one movie for five scenes. You understand that the audience has a very sophisticated eye nowadays. They've seen everything already. So it's hard to throw them. I'm going to give you a great quote from Steven Spielberg. He says it's very hard to throw an audience with spectacle, but it's easy to do it if you give them a good story. And that's what we try to do with this, with the fight sequences in this movie." [caption id="attachment_851369" align="alignnone" width="1920"] Everything Everywhere All At Once[/caption] On What the Last Couple of Years, From Everything Everywhere All At Once Onwards, Have Been Like for Quan "It's incredible. Like Marvin Gable the character, it's about redemption and about second chances. When you talk about second chances, I really resonate with that. I got this incredible second chance to be an actor again and everything that has happened since 2022, when Everything Everywhere came out, has just been incredible. And Love Hurts is another proof that I didn't think I would ever get — being the lead actor in a major motion studio film, being number one on the call sheet, I didn't think that would ever happen. And one of the things that I really enjoy and love that came out of all of this is so many people have come up to me and said 'wow Ke, I've also struggled and seeing what you're going through, what happened to you, leaves me a lot of hope. And it gives me a lot of strength to keep on fighting, to continue to struggle, because it can happen'. I keep saying to everybody 'if it can happen to me, it can certainly happen to anybody'. This incredible opportunity to be in Love Hurts, it's kind of my answer to all those questions that they are asking themselves: 'if I put in the work, if I'm patient enough, if I'm determined enough, will one day my future get better? Will one day my dream come true?'. It's a great feeling to have, to be able to do that." [caption id="attachment_921343" align="alignnone" width="1920"] Loki. Photo by Gareth Gatrell. © 2023 MARVEL.[/caption] On Becoming a Source of Inspiration Thanks to His Glorious Comeback "It's amazing, because I have been inspired by so many people, so many wonderful actors that I've enjoyed, so many filmmakers — and not only that, also people outside of our industry. When I watch the news and I see people do incredible charity, I'm very inspired by that. I never thought I would ever be in a position to inspire others, and to be able to do that is one of the greatest feelings I ever had. It just gives me this really warm feeling inside that, I don't know what to say. I know I've been saying a lot of the same things for the last years, where you hear me say it all the time — grateful or it's a great blessing and I'm lucky, and certainly those are true adjectives." [caption id="attachment_976824" align="alignnone" width="1920"] Phil McCarten, ©AMPAS[/caption] On Not Knowing What Was Set to Come When Quan Was Cast in Everything Everywhere All At Once "I didn't think in terms of how much it was going to change my life, and I certainly didn't expect the incredible response that we got, all those incredible accolades that the movie has received. I just thought it was a great script, and I thought the Daniels were incredible filmmakers, and I just wanted to be on that journey with them. So I didn't expect this, but I knew that I would be proud of the movie. Because when I saw Swiss Army Man and it was such an absurd premise, but they were able to move me to tears, keep me at the edge of my seat and have me totally immersed in the story — and I said 'oh my god, if they can do that with that, that's their promise, I cannot imagine what they could do with this incredible script'. And surely they did exactly that and more. And, of course, in the process they changed my life. I didn't expect them to change my life. I was just very grateful that they believed that I can act again after such a long hiatus." Love Hurts releases in cinemas Down Under on Thursday, February 6, 2025.
If you're a Queenslander or a Victorian with a trip to Sydney in your future — or vice versa — the pandemic has just interrupted your plans. Yes, again. With the New South Wales capital currently experiencing a new COVID-19 cluster, both its northern and southern neighbour states have declared parts of the city either hotspots or red zones, depending on their respective terminology. And, as a result, both Queensland and Victoria are shutting their borders to seven Sydney Local Government Areas. Victoria announced the news late on Tuesday, June 22, while Queensland did the same today, Wednesday, June 23 — and each state's border closures come into effect at different times, too. In Victoria, the change actually kicked in at 1am this morning. In Queensland, it'll apply from 1am on Thursday, June 24. https://twitter.com/VicGovDH/status/1407302855405363202 Accordingly, folks who've been in the City of Sydney, Waverley, Woollahra, Bayside, Canada Bay, Inner West and Randwick LGAS will no longer be permitted to enter either Victoria or Queensland, other than in a few circumstances. Victoria is allowing the state's own residents who've been in the identified LGAs, which are now classes as red zones under its traffic light-style permit system, to obtain permits to return home — but they'll then need to quarantine for 14 days. If you're not a Victorian resident and you've been in the seven Sydney regions, you can no longer enter Victoria. In Queensland, residents entering from the seven Sydney hotspots will need to go into hotel quarantine for 14 days — and non-residents will only be allowed to enter if they receive an exception, and will also need to go into hotel quarantine for a fortnight. Plus, everyone will need to complete one of the state's online travel declarations first, after that system was brought back into effect last week. https://twitter.com/AnnastaciaMP/status/1407478815853400064 Queensland actually already made a similar move on Saturday, June 19, but limited to Waverley local government area. So, when 1am hits on Thursday, June 24, it'll be joined by the City of Sydney, Woollahra, Bayside, Canada Bay, Inner West and Randwick under the state's hotspot declaration. For more information about southeast Queensland's COVID-19 border restrictions, or about the status of COVID-19 in the state, visit the Qld COVID-19 hub and the Queensland Health website. For more information about COVID-19 in Victoria and the state's current restrictions, head over to the Department of Health website.
If there's one thing summer has in abundance it's activities. Whether you're heading on a trip or staying local, there's always plenty to do, see and explore when the sun comes out to play. Yet, somehow, we still seem to always do the same old things: quick dips in the ocean and having mates round for a Sunday session in your backyard. Don't get us wrong, they're both great. But, after a pretty rough year, why not take things up a notch and make this one more memorable? We've partnered up with Bacardi to help you be a bit more unconventional over the warmer months. Here are seven ways you can make the most of the glorious weather, without resorting to the predictable. Think underwater art museums, camping with the crew, multi-venue festivals and cocktail parties in parks. TAKE A HIKE Sure, it might not be the most original summer activity on the list, but getting out into nature is rewarding at any time of year. You'll want to avoid heatstroke, so it's best to get going early or in the late arvo when the temperature starts to drop — which means you'll see some mighty fine sunrises and sunsets. So, put on your best outdoor shoes, slap on some sunscreen and ready yourself for an adventure. If you're in Sydney, you can cruise along one of the city's many coastal walks or hike in a national park, where you'll find some swimming holes to cool off in. In Brisbane, you can conquer epic mountains, check out rushing falls and look out over stunning vistas, without having to venture too far from the big smoke — check out five of the best walks here. Down south in Victoria, there's everything from out-of-town seaside strolls to epic multi-day hikes, boasting idyllic views of pristine beaches, sprawling countryside and serene vineyards, plus plenty of local wildlife. [caption id="attachment_784354" align="alignnone" width="1920"] Disney+ Drive-In[/caption] CATCH A FLICK AT A DRIVE-IN CINEMA Looking for an idea for a date or fun night out with mates? Forget the recliner, keep to social-distancing requirements and catch a movie under the stars, while keeping cool in your car at a drive-in cinema. Head to Skyline Drive-In in Blacktown, Sydney, where you can catch something on the big screen every night of the week, whether it's a new blockbuster or cult classic. If you grew up in Brissy, you've probably already been to old fave Yatala Dive-In and, with such a great rotating program, who could blame you? If you'd rather do something different, though, head to The Tivoli Drive-In on a Saturday. Melbourne locals, you're spoiled for choice with Dandenong Lunar Drive-In and Village Cinemas Coburg Drive-In and, come December, a pop-up Disney+ Drive-In. HOST A COCKTAIL PARTY IN A PARK Know a good patch of green near you? Then, take your next event to the park and impress your mates with an impromptu cocktail party — with a dress code encouraged, of course. Grab some picnic blankets, portable speakers and fun snacks, then get ready to whip up some next-level bevvies. For tropical tipples, you'll need a few bottles of Bacardi, then check out these four super-easy rum cocktails. We recommend batch-making some frozen strawberry daiquiris to keep things simple — just make sure your party guests know to arrive on time. And, because no good cocktail party is complete without snacks, head to a park with a barbecue so you can throw on some snags, too. [caption id="attachment_770817" align="alignnone" width="2000"] White Rabbit 'And Now' by Kimberley Low[/caption] STAY COOL AT A BLOCKBUSTER ART EXHIBITION While being outdoors when it's sunny is ace, sometimes you just want to kick back in air-conditioning. If that's the case, head to an indoor art exhibition where you can get your cultural kicks — and stay cool. Check out contemporary Chinese art at White Rabbit Gallery, the MCA's landmark summer exhibition Lindy Lee: Moon in a Dew Drop or head to Eveleigh arts and cultural institution Carriageworks. Or, step into Brisbane's Queensland Art Gallery (QAG) and Gallery of Modern Art (GOMA), with Unfinished Business: The Art of Gordon Bennett currently showing, or see some Bauhaus designs at the Museum of Brisbane. But, perhaps the most exciting of all is Victoria's NGV Triennial, running from December 19 till April next year. Expect to see marine monsters, giant mirrored sculptures by Jeff Koons and a multi-sensory walkway at this massive exhibition. The capital currently has a groundbreaking exhibition showing at the NGA, too, profiling prominent Aussie women artists. GO CAMPING WITH THE CREW No matter where you are in Australia, there's always a spot waiting nearby for you to set up camp. Whether your crew wants to be close to sandy shores or in a remote pocket of wilderness under luminous stars, camping is an awesome way to escape the daily grind. Because we're big fans of reconnecting with nature here at Concrete Playground, we've already sought out some of the top camping spots around the country, too. New South Wales has a bunch of free campgrounds — you can find our pick of the bunch over here, from riverside spots to mountainous getaways. If you're more into the high life, Queensland has plenty of luxe glaming stays. Otherwise, pitch your own tent in Lamington National Park or right by the beach at one of these ten spots. If you're keen to check out regional Victoria, there's beach camping galore as well as plenty of top-notch free grounds not too far from Melbourne. As most of us won't be travelling far this summer (or at least not overseas), many campgrounds are already starting to book out, so be sure to do your research before hitting the road. [caption id="attachment_792466" align="alignnone" width="1920"] Mushroom Creative House[/caption] SEE A LIVE GIG If there's one thing Australia does well across the country, it's live music — even now amid a global pandemic. After months of catching live tunes from our living rooms, it's time to chair-dance at IRL gigs once again. Sydney's Enmore Theatre, Mary's Underground, The Vanguard and Oxford Art Factory all have stellar lineups over the next few months and the annual Sydney Festival never disappoints. If you're in Queensland, or can make it up to the Sunshine State over summer, there are a bunch of COVID-Safe festivals going ahead, including To The Point Festival, This That, The Tivoli's Open Season and Mountain Goat Valley Crawl. Although Melbourne is still waiting for live gigs to come back, punters can see a live comedy show at The Catfish in Fitzroy and be sure to keep an eye out for gig announcements likely to come to a heap of Melbourne live music venues. HIT THE HIGH SEAS There's nothing like diving into the ocean when the mercury is rising. But, rather than just splash about by the shore, there are plenty of other ways you can hit the highs seas instead. Think paddleboarding, kayaking and surfing Sydney seas, or swimming with turtles and scuba diving with manta rays, which are particularly grand on the Queensland coast. While you're there, you should check out the southern hemisphere's first underwater art museum, too. Melbourne may not be known for its beaches, but you can chase plenty of nearby waterfalls instead, or take a windsurfing lesson at St Kilda Beach. Do what moves you this summer with Bacardi. Once you've ticked off all the above adventures, check out Bacardi's competition, where you and 20 mates could win the chance to attend Australia's smallest music festival. Top image: Bec Taylor
This review is based on the performance of The Little Mermaid at this year's Sydney Festival. It's hard to imagine a better show this year than Meow Meow's, in which cabaret's international woman of mystery sings about her quest for love while gabbing away like the third member of Ab Fab. Meow was created by Melissa Gray, one-time law student and graduate of WAAPA. She's appeared in the West End, at Bowie's High Line Festival, and on the ABC in their recent The Divorce. She co-starred in that made-for-TV opera with Katie Miller-Heidke, who has provided songs for The Little Mermaid, as have the likes of Megan Washington and Amanda Palmer. Meow is joined in The Little Mermaid by Australian actor Chris Ryan, who appears in hi-vis midway through, calling a halt to the show because the building is unstable. There's a clog, and in lieu of a plumber he must get up in there – cue all the requisite jokes. As a stand-up comedian, Meow has the audience in the palm of her hand from the beginning. The quality of her chat disarms you, making the power and pathos of her voice all the more arresting. Barry Humphries brought Meow out to Adelaide last year, and it almost felt like an anointment. I'd say she deserves to be better known in her own country if her unknowable-ness wasn't part of the point. Image: Prudence Upton.
It isn't just traffic that will bring Brisbane's Story Bridge to a standstill in October 2024. On one Sunday, the famed river crossing is closing to cars to become the site of a new nude photography work instead. Staging spectacular pieces filled with naked participants has long been Spencer Tunick's remit — and the New York-based artist's next River City installation is no different. Back on Saturday, November 18, 2023, Tunick took to numerous spots along the Brisbane River for a piece called TIDE, which formed part of that year's Melt Festival. Featuring around 150 people posing for the camera, the photography shoot was a prequel for Sunday, October 27, 2024, when the Story Bridge will welcome thousands of folks sans clothes. [caption id="attachment_874950" align="alignnone" width="1920"] Dublin, Spencer Tunick[/caption] Tunick initially turned his lens Australia's way in 2001 in Melbourne, when 4500 naked volunteers posed for a pic near Federation Square as part of the 2001 Fringe Festival. Since then, he's also photographed around 5000 nude people in front of the Sydney Opera House during the 2010 Mardi Gras, then returned to Victoria in 2018 shoot over 800 Melburnians in the rooftop carpark of a Prahran Woolworths — and he popped up in the Whitsundays with almost 100 Aussies in 2019, and briefly turned Bondi into a nude beach in 2022. Elsewhere, Tunick has photographed the public painted red and gold outside Munich's Bavarian State Opera, covered in veils in the Nevada desert and covered in blue in Hull in the UK. The list goes on, with more than 100 temporary installations on his resume since 1992. Brisbanites, or anyone who's keen to disrobe on the Story Bridge for a new piece of art, can put their hand up to join in — with the call for volunteers open now. And Tunick does indeed mean anyone, because there's no limit to the number of people who can take part. Successful applicants will be informed via email a few weeks prior to the shoot. [caption id="attachment_926442" align="alignnone" width="1920"] Jay Cull[/caption]
To celebrate a momentous 50 years since the very first appearance of LEGO bricks in Australia, the Danish toymaker is putting on a Festival of Play throughout the year. LEGO is the number one toy in Australia, with each Aussie owning an average of 70 LEGO bricks. This influential product has changed many of our childhoods and reconstructed our perceptions of inspiration, creativity and play. Keep your eyes peeled for upcoming competitions, like the 50 from 50, where your creativity is put to the test for brickvention, art displays like the one appearing at Sydney's Powerhouse Museum showcasing unique mosaics of Lego brick art, or the exciting new Build with Chrome innovation, which allows you to explore and build a world of 3D LEGO creations online anywhere in Australia or New Zealand. Here, we take a look at some of the most spectacular giant LEGO creations around the world in recent times. LEGO Colosseum, Nicholson Museum Tiny Romans and architecture at this exhibition on the ancient world at the University of Sydney, which runs until early 2013. LEGO Forest, Martin Place For those who missed this spectacular surprise forest appearing in Sydney's CBD, the set of 15 LEGO flower and pine tree structures are an exact replica of the original pieces, only 66 times bigger. LEGO Forest, Broken Hill Going on tour, the forest next appeared against the vibrant backdrop of outback Australia's red dust plains in Broken Hill. Who knows where the gigantic LEGO pieces will appear next? LEGO Staircase, New York This dazzling staircase and railing in a Chelsea Loft is fashioned from an enormous 20,000 LEGO bricks, designed by artist Melissa Marks and interface designer Vicente Caride. LEGO Skyscraper, Seoul This phenomenal structure, built solely out of LEGO bricks, set the new world record for the highest LEGO building ever. The Skyscraper took 4,000 children 5 days to construct using 50,000 bricks. LEGO House, Surrey 1,000 volunteers collaborated together for BBC 2 show, Toy Stories, to create this enormous 32-million brick, two-storey house. Despite designer James May's best attempts to sell the structure to Legoland in Windsor, the house was demolished in 2009. LEGO Furniture by Lunablocks Release your inner decorator and inner kid simultaneously with these soft and stackable LEGO furniture items. They come in an array of shapes and sizes that offer endless opportunities to design and reconfigure your lounge room. LEGO Dispatchwork Using LEGO as dispatchwork is a movement launched by German artist Jan Vormann a few years ago. What started as a fun, colourful and creative way to patch old walls at the contemporary art festival in Boccignano, Italy, has now become an ongoing project spreading worldwide. LEGO Church, The Netherlands The 20 metre Church of the Holy Brick, called Abondantus Gigantus, was built last year in the town of Enschede for the Grenswerk Festival. It was designed as a venue for town meetings, raves, LEGO building contests and even a mass at one stage. LEGO Bridge, Wuppertal It took German Street-artist Megz four weeks to transform this drab bridge into a wonderment of colour and vibrance, resembling giant LEGO bricks. LEGO Car, Munich 800 kids + four days + 165,000 Lego bricks + German Automakers = Life-size replica of a BMW X1 made out of lego.
As the months, weeks and days count down until SXSW Sydney 2025, the reasons to attend keep coming. First, the event confirmed that it is indeed returning this year, locking in its dates. Then, it revealed that there'll be more free programming. Next came an initial look at the speaker lineup, and now the first music acts for this year have been unveiled. With the latest announcement, you've got 14 new pieces of motivation to head along when Monday, October 13–Sunday, October 19, 2025 rolls around. The debut wave of talents for 2025's SXSW Sydney Music Festival spans both international and local acts. In the first camp: Jasmine 4.t, Freak Slug and Ristband + Pivots from the UK; Slowwves from Thailand; Japan's Suichu Spica 水中スピカ; New Zealand's Serebii and Tusekah; and Cardinals from Ireland. Flying the flag for Aussie acts to begin with: Jamaica Moana, JJ4K, RICEWINE, Sacred Hearts, Swapmeet and BADASSMUTHA. They'll all soon have plenty of company, given that this year's fest is due to feature more than 300 music performances. And, that's just the live tunes side of the event. Across its 1600-plus sessions, SXSW Sydney 2025 will also boast over 550 conference and professional development sessions, 90-plus movie screenings and over 150 games. In the past, the SXSW Sydney Music Festival alone has welcomed Jorja Smith, XG, Miss Kaninna, Nick Ward, Fcukers, ENNY, Mia Wray and Hockey Dad, to name a mere few acts that've graced its stages. As keynote speakers, the event has also hosted music stars Chance The Rapper and The Kid LAROI in previous years. As for the rest of SXSW Sydney 2025 for now, there aren't usually many events where you can learn about crowdfunding, press freedom, investing, acting, pro surfing, science, the future, robotics, astronaut diets and New Zealand tourism all from the same lineup — and also about neuroscience, cyber intelligence, ethical leadership and sustainable food as well, and more — but this is one of them. So far, its conference sessions also span topics such as quantum physics, the future of work and how the creative industries are evolving. GoFundMe CEO Tim Cadogan is one of the folks on the roster. So is former foreign correspondent Peter Greste, whose arrest and imprisonment in Egypt fuels new Australian film The Correspondent. Girls That Invest founder Simran Kaur, Crazy Rich Asians actor Remy Hii, former pro surfer and current World Surf League Commissioner Jessi Miley Dyer, Science Vs' Wendy Zukerman, Women's National Basketball League CEO Jennie Sager and Dr Karl Kruszelnicki are also among the names. There's more on the list already — ethical technologist Andi Mastrosavas, Silicon Valley Robotics' Andra Keay, neuroscientist Dr Ariel Zeleznikow-Johnston, space nutrition expert Flávia Fayet-Moore, Black Excellence Fund co-founder Kyah Bell, Tourism New Zealand Chief Executive René de Monchy, actor Shuang Hu (Future Date), filmmaker Neil Sharma (Heartbreak High), screen producer Julie Eckersley (Erotic Stories) and The Conversation CEO Lisa Watts, for example. SXSW Sydney 2025 Music Festival Lineup Jasmine 4.t Freak Slug Jamaica Moana JJ4K Serebii Slowwves Cardinals Tusekah Suichu Spica 水中スピカ RICEWINE Ristband + Pivots Sacred Hearts Swapmeet BADASSMUTHA SXSW Sydney 2025 runs from Monday, October 13–Sunday, October 19 at various Sydney venues. Head to the SXSW Sydney website for further details. Top image: Brendon Thorne/Getty Images for SXSW.
When Joaquin Phoenix first played the Joker, he became the second actor in just over a decade to win an Oscar for donning the Gotham City villain's exaggerated clown makeup and killer smile. Returning to the role in the sequel to 2019's Joker, he'll now be taking on the character in a film that's also a musical. That movie: Joker: Folie à Deux, which hits cinemas in October 2024 and also just dropped its first trailer. Phoenix (Napoleon) has big-name company this time around from someone similarly taking on a famed comic-book character: Lady Gaga (House of Gucci). Just as Phoenix follows in the footsteps of Cesar Romero (in the 60s Batman TV series), Jack Nicholson (in the 1989 Batman movie), Heath Ledger (in The Dark Knight) and Jared Leto (in Suicide Squad), the pop star and actor treads where Margot Robbie (in Suicide Squad, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) and The Suicide Squad) has most recently as Dr Harleen Quinzel, aka Harley Quinn. In this followup, the Joker and Harley Quinn meet at Arkham Asylum — and yes, romance blossoms. So, Arthur Fleck will no longer be alone. But everyone with even just a passing knowledge of the character knows that that still doesn't bode well for Gotham. Behind the lens, Todd Phillips (War Dogs) is back from the first film as both director and a co-writer, the latter with fellow returnee Scott Silver (The Finest Hours). On-screen, Phoenix and Lady Gaga are joined by Zazie Beetz (Full Circle), who was also in the initial flick — plus Joker newcomers Catherine Keener (The Adam Project), Brendan Gleeson (The Banshees of Inisherin) and Steve Coogan (The Reckoning). Wondering how much of a musical Joker: Folie à Deux will be? Variety reports that it includes at least 15 songs, all covers, and may also feature original tunes. Based on the first teaser trailer, 'What the World Needs Now Is Love' is among the familiar tracks. The first Joker wasn't just a hit — standing apart from the now-defunct DC Extended Universe, where Leto played the Clown Prince of Crime, it took over a billion dollars at the global box office. And, as well as Phoenix nabbing an Oscar, the film took home the Golden Lion at the Venice International Film Festival. Check out the first trailer for Joker: Folie à Deux below: Joker: Folie à Deux releases in cinemas Down Under on Thursday, October 3, 2024.
For TV fans, 2022 was the year of finally. After a couple of years of hefty pandemic delays, so many stellar television shows finally returned. In 2023 so far, it's been the year of farewells. Again, plenty of ace programs have added extra episodes — but some of them, such as Succession, Barry, The Other Two, Servant and The Marvelous Mrs Maisel, dropped back in for their final runs, then said goodbye. Revelling in the last glimpses of feuding families, actors-turned-hitmen, stardom-chasing siblings, eerie nannies and comedians — and maybe AFC Richmond, too — has only been part of the viewing landscape among returning TV shows this year, though. Thankfully, when our screens delivered more time with high schoolers lost in the woods, for instance, it did so with the promise of more to follow. Elsewhere, the lineup of already-great series offering more instalments spanned everything from decade-plus comebacks to ridiculously brilliant sketches — plus shows about comebacks, dinosaurs, twisted technology, being trapped in a musical and more. Now that 2023 has passed its halfway point, we've rounded up the 15 best TV series that released another season between January and June. Binge them now if you haven't already. SUCCESSION Endings have always been a part of Succession. Since it premiered in 2018, the bulk of the HBO drama's feuding figures have been waiting for a big farewell. The reason is right there in the title, because for any of the Roy clan's adult children to scale the family company's greatest heights and remain there — be it initial heir apparent Kendall (Jeremy Strong, Armageddon Time), his inappropriate photo-sending brother Roman (Kieran Culkin, No Sudden Move), their political-fixer sister Siobhan (Sarah Snook, Pieces of a Woman), or eldest sibling and now-presidential candidate Connor (Alan Ruck, The Dropout) — their father Logan's (Brian Cox, Remember Me) tenure needed to wrap up. The latter was always stubborn. Proud, too, of what he'd achieved and the power it's brought. And whenever Logan seemed nearly ready to leave the business behind, he held on. If he's challenged or threatened, as happened again and again in the Emmy-winning series, he fixed his grasp even tighter. Succession was always been waiting for Logan's last stint at global media outfit Waystar RoyCo, but it had never been about finales quite the way it was in its stunning fourth season. This time, there was ticking clock not just for the show's characters, but for the stellar series itself, given that this is its last go-around — and didn't it make the most of it. Nothing can last forever, not even widely acclaimed hit shows that are a rarity in today's TV climate: genuine appointment-viewing. So, this went out at the height of its greatness, complete with unhappy birthday parties, big business deals, plenty of scheming and backstabbing, and both Shiv's husband Tom Wambsgans (Matthew Macfadyen, Operation Mincemeat) and family cousin Greg (Nicholas Braun, Zola) in vintage form — plus an early shock, at least two of the best episodes of any show that've ever aired on television, one of the worst drinks, a phenomenal acting masterclass, a The Sopranos-level final shot and the reality that money really can't buy happiness. Succession streams via Binge. Read our full review. BARRY Since HBO first introduced the world to Barry Berkman, the contract killer played and co-created by Saturday Night Live great Bill Hader wanted to be something other than a gun for hire. An ex-military sniper, he was always skilled at his highly illicit post-service line of work; however, moving on from that past was a bubbling dream even before he found his way to a Los Angeles acting class while on a job. Barry laid bare its namesake's biggest wish in its 2018 premiere episode. Then, it kept unpacking his pursuit of a life less lethal across the show's Emmy-winning first and second seasons, plus its even-more-astounding third season in 2022. Season four, the series' final outing, was no anomaly, but it also realised that wanting to be someone different and genuinely overcoming your worst impulses aren't the same. Barry grappled with this fact since the beginning, of course, with the grim truth beating at the show's heart whether it's at its most darkly comedic, action-packed or dramatic — and, given that its namesake was surrounded by people who similarly yearn for an alternative to their current lot in life, yet also can't shake their most damaging behaviour, it did so beyond its antihero protagonist. Are Barry, his girlfriend Sally Reid (Sarah Goldberg, The Night House), acting teacher Gene Cousineau (Henry Winkler, Black Adam), handler Monroe Fuches (Stephen Root, Succession) and Chechen gangster NoHo Hank (Anthony Carrigan, Bill & Ted Face the Music) all that different from who they were when Barry started? Have they processed their troubles? Have they stopped taking out their struggles not just on themselves, but on those around them? Hader and his fellow Barry co-creator Alec Berg (Silicon Valley, Curb Your Enthusiasm) kept asking those questions in season four to marvellous results, including after making a massive jump, and right up to the jaw-dropping yet pitch-perfect finale. Barry being Barry, posing such queries and seeing its central figures for who they are was an ambitious, thrilling and risk-taking ride. When season three ended, it was with Barry behind bars, which is where he was when the show's new go-around kicked off. He wasn't coping, unsurprisingly, hallucinating Sally running lines in the prison yard and rejecting a guard's attempt to tell him that he's not a bad person. With the latter, there's a moment of clarity about what he's done and who he is, but Barry's key players have rarely been that honest with themselves for long. Barry streams via Binge. Read our full review. THE OTHER TWO Swapping Saturday Night Live for an entertainment-parodying sitcom worked swimmingly for Tina Fey. Since 2019, it also went hilariously for Chris Kelly and Sarah Schneider. Not just former SNL writers but the veteran sketch comedy's ex-head writers, Kelly and Schneider gave the world their own 30 Rock with the sharp, smart and sidesplitting The Other Two. Their angle: focusing on the adult siblings of a Justin Bieber-style teen popstar who've always had their own showbiz aspirations — he's an actor, she was a ballerina — who then find themselves the overlooked children of a momager-turned-daytime television host as well. Cary (Drew Tarver, History of the World: Part II) and Brooke (Heléne York, Katy Keene) Dubek were happy for Chase (Case Walker, Monster High: The Movie). And when their mother Pat (Molly Shannon, I Love That for You) gets her own time in the spotlight, becoming Oprah-level famous, they were equally thrilled for her. But ChaseDreams, their little brother's stage name, was always a constant reminder that their own ambitions keep being outshone. In a first season that proved one of the best new shows of 2019, a second season in 2021 that was just as much of a delight and now a stellar third go-around, Cary and Brooke were never above getting petty and messy about being the titular pair. In season three, however, they didn't just hang around with stars in their eyes and resentment in their hearts. How did they cope? They spent the past few years constantly comparing themselves to Chase, then to Pat, but then they were successful on their own — and still chaotic, and completely unable to change their engrained thinking. Forget the whole "the grass is always greener" adage. No matter if they were faking it or making it, nothing was ever perfectly verdant for this pair or anyone in their orbit. Still, as Brooke wondered whether her dream manager gig is trivial after living through a pandemic, she started contemplating if she should be doing more meaningful work like her fashion designer-turned-nurse boyfriend Lance (Josh Segarra, The Big Door Prize). And with Cary's big breaks never quite panning out as planned, he got envious of his fellow-actor BFF Curtis (Brandon Scott Jones, Ghosts). The Other Two streams via Binge. Read our full review. PARTY DOWN Sometimes, dreams do come true. More often than not, they don't. The bulk of life is what dwells in-between, as we all cope with the inescapable truth that we won't get everything that we've ever fantasised about, and we mightn't even score more than just a few things we want. This is the space that Party Down has always made its own, asking "are we having fun yet?" about life's disappointments while focusing on Los Angeles-based hopefuls played by Adam Scott (Severance), Ken Marino (The Other Two), Ryan Hansen (A Million Little Things), Martin Starr (Guillermo del Toro's Cabinet of Curiosities) and more. They'd all rather be doing something other than being cater waiters at an array of California functions, and most have stars in their eyes. In the cult comedy's first two seasons back in 2009–10, the majority of its characters had their sights set on show business, slinging hors d'oeuvres while trying to make acting, screenwriting or comedy happen. Bringing most of the original gang back together — including Jane Lynch (Only Murders in the Building) and Megan Mullally (Reservation Dogs) — Party Down keeps its shindig-by-shindig setup in its 13-years-later third season. Across its first 20 instalments as well as its new six, each episode sends the titular crew to a different soirée. This time, setting the scene for what's still one of the all-time comedy greats in its latest go-around, the opening get-together is thrown by one of their own. Kyle Bradway (Hansen) has just scored the lead part in a massive superhero franchise, and he's celebrating. Ex-actor Henry Pollard (Scott) is among the attendees, as are now-heiress Constance Carmell (Lynch) and perennial stage mum Lydia Dunfree (Mullally). Hard sci-fi obsessive Roman DeBeers (Starr) and the eager-to-please Ron Donald (Marino) are present as well, in a catering capacity. By the time episode two hits, then the rest of the season, more of the above will be donning pastel pink bow ties, the series keeps unpacking what it means to dream but never succeed, and the cast — especially Scott and the ever-committed Marino — are in their element. Party Down streams via Stan. Read our full review of season three. YELLOWJACKETS For Shauna (Melanie Lynskey, The Last of Us), Natalie (Juliette Lewis, Welcome to Chippendales), Taissa (Tawny Cypress, Billions), Misty (Christina Ricci, Wednesday), Lottie (Simone Kessell, Muru) and Van (Lauren Ambrose, Servant), 1996 will always be the year that their plane plunged into the Canadian wilderness, stranding them for 19 tough months — as season one of 2021–2022 standout Yellowjackets grippingly established. As teenagers (as played by The Kid Detective's Sophie Nélisse, The Boogeyman's Sophie Thatcher, Scream VI's Jasmin Savoy, Shameless' Samantha Hanratty, Mad Max: Fury Road's Courtney Eaton and Santa Clarita Diet's Liv Hewson), they were members of the show's titular high-school soccer squad, travelling from their New Jersey home town to Seattle for a national tournament, when the worst eventuated. Cue Lost-meets-Lord of the Flies with an Alive twist, as that first season was understandably pegged. All isn't always what it seems as Shauna and company endeavour to endure in the elements. Also, tearing into each other occurs more than just metaphorically. Plus, literally sinking one's teeth in was teased and flirted with since episode one, too. But Yellowjackets will always be about what it means to face something so difficult that it forever colours and changes who you are — and constantly leaves a reminder of who you might've been. So, when Yellowjackets ended its first season, it was with as many questions as answers. Naturally, it tore into season two in the same way. In the present, mere days have elapsed — and Shauna and her husband Jeff (Warren Kole, Shades of Blue) are trying to avoid drawing any attention over the disappearance of Shauna's artist lover Adam (Peter Gadiot, Queen of the South). Tai has been elected as a state senator, but her nocturnal activities have seen her wife Simone (Rukiya Bernard, Van Helsing) move out with their son Sammy (Aiden Stoxx, Supergirl). Thanks to purple-wearing kidnappers, Nat has been spirited off, leaving Misty desperate to find her — even enlisting fellow citizen detective Walter (Elijah Wood, Come to Daddy) to help. And, in the past, winter is setting in, making searching for food and staying warm an immense feat. Yellowjackets streams via Paramount+. Read our full review. I THINK YOU SHOULD LEAVE WITH TIM ROBINSON Eat-the-rich stories are delicious, and also everywhere; however, Succession, Triangle of Sadness and the like aren't the only on-screen sources of terrible but terribly entertaining people. I Think You Should Leave with Tim Robinson has been filling streaming queues with assholes since 2019, as usually played by the eponymous Detroiters star, and long may it continue. In season three, the show takes its premise literally in the most ridiculous and unexpected way, so much so that no one could ever dream of predicting what happens. That's still the sketch comedy's not-so-secret power. Each of its skits is about someone being the worst in some way, doubling down on being the worst and refusing to admit that they're the worst (or that they're wrong) — and while everyone around them might wish they'd leave, they're never going to, and nothing ever ends smoothly. In a show that's previously worked in hot dog costumes and reality TV series about bodies dropping out of coffins to hilarious effect, anything can genuinely happen to its gallery of the insufferable. In fact, the more absurd and chaotic I Think You Should Leave with Tim Robinson gets, the better. No description can do I Think You Should Leave with Tim Robinson's sketches justice, and almost every one is a comedic marvel, as again delivered in six 15-minute episodes in the series' third run. The usual complaint applies: for a show about people overstaying their welcome, the program itself flies by too quickly, always leaving viewers wanting more. Everything from dog doors and designated drivers to HR training and street parking is in Robinson's sights this time, and people who won't stop talking about their kids, wedding photos and group-think party behaviour as well. Game shows get parodied again and again, an I Think You Should Leave staple, and gloriously. More often than in past seasons, Robinson lets his guest stars play the asshole, too, including the returning Will Forte (Weird: The Al Yankovic Story), regular Sam Richardson (The Afterparty), and perennial pop-ups Fred Armisen (Barry) and Tim Meadows (Poker Face). And when Jason Schwartzman (I Love That for You) and Ayo Edebiri (The Bear) drop in, they're also on the pitch-perfect wavelength. I Think You Should Leave with Tim Robinson streams via Netflix. Read our full review. I HATE SUZIE TOO Watching I Hate Suzie Too isn't easy. Watching I Hate Suzie, the show's first season, wasn't either back in 2020. A warts-and-all dance through the chaotic life, emotions and mind of a celebrity, both instalments of this compelling British series have spun as far away from the glitz and glamour of being famous as possible. Capturing carefully constructed social-media content to sell the fiction of stardom's perfection is part of the story, as it has to be three decades into the 21st century; however, consider this show from Succession writer Lucy Prebble and actor/singer/co-creator Billie Piper, and its blood pressure-raising tension and stress, the anti-Instagram. The unfiltered focus: teen pop sensation-turned-actor Suzie Pickles, as played with a canny sense of knowing by Piper given that the 'Honey to the Bee' and Penny Dreadful talent has charted the same course. That said, the show's IRL star hasn't been the subject of a traumatic phone hack that exposed sensitive photos from an extramarital affair to the public, turning her existence and career upside down, as Suzie was in season one. Forget The Idol — this is the best show about being a famous singer that you can watch right now. In I Hate Suzie Too, plenty has changed for the series' namesake over a six-month period. She's no longer with her professor husband Cob (Daniel Ings, Sex Education), and is battling for custody of their young son Frank (debutant Matthew Jordan-Caws), who is deaf — and her manager and lifelong friend Naomi (Leila Farzad, Avenue 5) is off the books, replaced by the no-nonsense Sian (Anastasia Hille, A Spy Among Friends). Also, in a new chance to win back fans, Suzie has returned to reality TV after it helped thrust her into the spotlight as a child star to begin with. Dance Crazee Xmas is exactly what it sounds like, and sees her compete against soccer heroes (Blake Harrison, The Inbetweeners), musicians (Douglas Hodge, The Great) and more. But when I Hate Suzie Too kicks off with a ferocious, clearly cathartic solo dance in sad-clown getup, the viewers aren't charmed. Well, Dance Crazee Xmas' audience, that is — because anyone watching I Hate Suzie Too is in for another stunner that's fearless, audacious, honest, dripping with anxiety, staggering in its intensity, absolutely heart-wrenching and always unflinching. I Hate Suzie Too streams via Stan. Read our full review. THE GREAT Television perfection is watching Elle Fanning (The Girl From Plainville) and Nicholas Hoult (Renfield) trying to run 18th-century Russia while scheming, fighting and heatedly reuniting in a historical period comedy The Great. Since 2020, they've each been in career-best form — her as the series' ambitious namesake, him as the emperor who loses his throne to his wife — while turning in two of the best performances on streaming in one of the medium's most hilarious shows. Both former child actors now enjoying excellent careers as adults, they make such a marvellous pair that it's easy to imagine this series being built around them. It wasn't and, now three seasons, The Great has never thrived on their casting alone. Still, shouting "huzzah!" at the duo's bickering, burning passion and bloodshed-sparking feuding flows as freely as all the vodka downed in the Emmy-winner's frames under Australian creator Tony McNamara's watch (and after he initially unleashed its winning havoc upon Sydney Theatre Company in 2008, then adapted it for television following a BAFTA and an Oscar nomination for co-penning The Favourite). In this latest batch of instalments, all either written or co-written by McNamara, Catherine (Fanning) and Peter (Hoult) begin the third season sure about their love for each other, but just as flummoxed as ever about making their nuptials work. She's attempting to reform the nation, he's the primary caregiver to their infant son Paul, her efforts are meeting resistance, he's doting but also bored playing stay-out-of-politics dad, and couples counselling is called for. There's also the matter of the royal court's most prominent members, many of whom were rounded up and arrested under Catherine's orders at the end of season two. From Sweden, exiled King Hugo (Freddie Fox, House of the Dragon) and Queen Agnes (Grace Molony, Mary, Queen of Scots) are hanging around after being run out of their own country due to democracy's arrival. And, Peter's lookalike Pugachev (also Hoult) is agitating for a serf-powered revolution. The Great streams via Stan. Read our full review. PREHISTORIC PLANET When it initially arrived in 2022, becoming one of the year's best new shows and giving nature doco fans the five-episode series they didn't know they'd always wanted — and simultaneously couldn't believe hadn't been made until now — Prehistoric Planet followed the David Attenborough nature documentary formula perfectly. And it is a formula. In a genre that's frequently spying the wealth of patterns at the heart of the animal realm, docos such as The Living Planet, State of the Planet, Frozen Planet, Our Planet, Seven Worlds, One Planet, A Perfect Planet, Green Planet and the like all build from the same basic elements. Jumping back 66 million years, capitalising upon advancements in special effects but committing to making a program just like anything that peers at the earth today was never going to feel like the easy product of a template, though. Indeed, Prehistoric Planet's first season was stunning, and its second is just as staggering. The catch, in both season one and this return trip backwards: while breathtaking landscape footage brings the planet's terrain to the Prehistoric Planet series, the critters stalking, swimming, flying and tumbling across it are purely pixels. Filmmaker Jon Favreau remains among the show's executive producers, and the technology that brought his photorealistic versions of The Jungle Book and The Lion King to cinemas couldn't be more pivotal. Seeing needs to be believing while watching, because the big-screen gloss of the Jurassic Park and Jurassic World sagas, the puppets of 90s sitcom Dinosaurs, and the animatronics of Walking with Dinosaurs — or anything in-between — were never going to suit a program with Attenborough as a guide. Accordingly, to sit down to Prehistoric Planet is to experience cognitive dissonance: viewers are well-aware that what they're spying isn't real because the animals seen no longer exist, but it truly looks that authentic. Prehistoric Planet season streams via Apple TV+. Read our full review. SERVANT When M Night Shyamalan (Knock at the Cabin) earned global attention and two Oscar nominations back in 1999 for The Sixth Sense, it was with a film about a boy who sees dead people. After ten more features that include highs (the trilogy that is Unbreakable, Split and Glass) and lows (Lady in the Water and The Happening), in 2019 he turned his attention to a TV tale of a nanny who revives a dead baby. Or did he? That's how Servant commenced its first instantly eerie, anxious and dread-filled season, a storyline it has followed in its second season in 2021, third in 2022, and then fourth and final batch of episodes in 2023. But as with all Shyamalan works, this meticulously made series bubbles with the clear feeling that all isn't as it seems. What happens if a caregiver sweeps in exactly when needed and changes a family's life, Mary Poppins-style, but she's a teenager rather than a woman, disquieting instead of comforting, and accompanied by strange events, forceful cults and unsettlingly conspiracies rather than sweet songs, breezy winds and spoonfuls of sugar? That's Servant's basic premise. Set in Shyamalan's beloved Philadelphia, and created by Tony Basgallop (The Consultant), the puzzle-box series spends most of its time in a lavish brownstone inhabited by TV news reporter Dorothy Turner (Lauren Ambrose, Yellowjackets), her celebrity-chef husband Sean (Toby Kebbell, Bloodshot), their baby Jericho and 18-year-old nanny Leanne Grayson (Nell Tiger Free, Too Old to Die Young) — and where Dorothy's recovering-alcoholic brother Julian (Grint, Guillermo del Toro's Cabinet of Curiosities) is a frequent visitor. That's still the dynamic in season four, which slowly and powerfully moves towards its big farewell. Dorothy is more determined than ever to be rid of Leanne, Leanne is more sure of herself and her abilities than she's ever been — in childminding, and all the other spooky occurrences that've been haunting the family — and Sean and Julian are again caught in the middle. Wrapping up with one helluva ending, Servant has gifted viewers four seasons of spectacular duelling caregivers and gripping domestic tension, and one of streaming's horror greats. Servant streams via Apple TV+. Read our full review of season four. THE MARVELOUS MRS MAISEL Here's how The Marvelous Mrs Maisel started: in New York City in 1958, Miriam 'Midge' Maisel (Rachel Brosnahan, I'm Your Woman) had become accustomed to waiting in the wings while her husband Joel (Michael Zegen, The Stand In) tried his hand at stand-up comedy. Then she took to the stage herself, and this blend of comedy and drama followed the revolutionary aftermath. Sometimes, that's brought highlights, including having her talent recognised by Gaslight Cafe manager Susie Myerson (Alex Borstein, Family Guy), taking her sets on the road and working her way up the comedy ladder. Sometimes, there have been costs, especially in her relationships. And always, right up to the show's fifth and final season that featured jumps forward to the 21st century, there was a battle that still sadly remains oh-so-relevant IRL: for women in comedy to be treated and seen equally. Hailing from Gilmore Girls and Bunheads mastermind Amy Sherman-Palladino, The Marvelous Mrs Maisel's cast has always proven a dream — Tony Shalhoub (Flamin' Hot), Marin Hinkle (Jumanji: The Next Level), Kevin Pollak (Willow) and Caroline Aaron (Ghosts) also feature, and Jane Lynch (Party Down), Luke Kirby (Boston Strangler) and Stephanie Hsu (Joy Ride) as well — and, unsurprisingly, its writing, too. Indeed, there's nothing quite like Sherman-Palladino-penned dialogue, which Brosnahan especially is a natural at nailing its rhythms. The period detail has consistently been impeccable, but this wouldn't be the hit it is (or have Golden Globes and Emmys to its name) if it didn't also mean something. It should come as no astonishment that Joan Rivers was one of the inspirations for the series, and that it is equally hilarious, heartfelt and finely observed, with its guiding writer, director and producer's charms in abundance. The Marvelous Mrs Maisel streams via Prime Video. TED LASSO It wasn't simply debuting during the pandemic's first year, in a life-changing period when everyone was doing it tough, that made Ted Lasso's first season a hit in 2020. It wasn't just the Apple TV+ sitcom's unshakeable warmth, giving its characters and viewers alike a big warm hug episode after episode, either. Both play a key part, however, because this Jason Sudeikis (Saturday Night Live)-starring soccer series is about everyone pitching in and playing a part. It's a team endeavour that champions team endeavours — hailing from a quartet of creators (Sudeikis, co-star Brendan Hunt, Detroiters' Joe Kelly and Scrubs' Bill Lawrence), boasting a killer cast in both major and supporting roles, and understanding how important it is to support one another on- and off-screen (plus in the fictional world that the show has created, and while making that realm so beloved with audiences). Ted Lasso has always believed in the individual players as well as the team they're in, though. It is named after its eponymous American football coach-turned-inexperienced soccer manager, after all. But in building an entire sitcom around a character that started as a sketch in two popular US television ads for NBC's Premier League coverage — around two characters, because Hunt's (Bless This Mess) laconic Coach Beard began in those commercials as well — Ted Lasso has always understood that everyone is only a fraction of who they can be when they're alone. That's an idea that kept gathering momentum in the show's long-awaited third season, which gave much to engagingly dive into. It starts with Ted left solo when he desperately doesn't want to be, with AFC Richmond owner Rebecca Welton (Hannah Waddingham, Hocus Pocus 2) desperate to beat her ex Rupert Mannion (Buffy the Vampire Slayer's Anthony Stewart Head) new team, and with the Greyhounds' former assistant Nathan 'Nate' Shelley (Nick Mohammed, Intelligence) now coaching said opposition — and with changes galore around the club. It ends with more big moves after another astute look at the game of life, whether or not it returns for season four. Ted Lasso streams via Apple TV+. Read our full review. SCHMIGADOON! For fans of Key & Peele, the fact that Keegan-Michael Key can do anything won't come as a surprise. In 2023, proving that statement true has seen the comedian and actor voice Toad in The Super Mario Bros Movie, and also return to the realm of singing and dancing in Schmigadoon!. What would it be like to live in a musical? That's been this Apple TV+'s central question since it first premiered in 2021. Key stars opposite the also ever-versatile Cecily Strong (Saturday Night Live) as a couple, Josh Skinner and Melissa Gimble, who are simply backpacking when they suddenly find themselves in the wondrous titular town. The duo were hoping to fix their struggling relationship with a stint in nature, but instead step into a 24/7 Golden Age-style show — a parody of Brigadoon, clearly — that helps them work through their feelings, discover what they truly want and see a different side of life. That was season one. In season two, Josh and Melissa start back in the real world, married, in their medical jobs and going through the motions. In their malaise, a return trip to Schmigadoon! beckons; however, when they stumble upon it again, the place isn't quite the same. Instead, they're now in Schmicago. And, instead of 40s and 50s musicals, 60s and 70s shows are in the spotlight — including the razzle dazzle of Chicago, obviously. What a ball this series has, including with a jam-packed cast that includes Dove Cameron (Vengeance), Kristin Chenoweth (Bros), Alan Cumming (The Good Fight), Ariana DeBose (West Side Story), Jane Krakowski (Dickinson), Martin Short (Only Murders in the Building) and Tituss Burgess (Unbreakable Kimmy Schmidt) — and with ample thanks to creators Cinco Paul and Ken Daurio (the Despicable Me films). Schmigadoon! streams via Apple TV+. BLACK MIRROR When Ron Swanson discovered digital music, the tech-phobic Parks and Recreation favourite was uncharacteristically full of praise. Played by Nick Offerman (The Last of Us) at his most giddily exuberant, he badged the iPod filled with his favourite records an "excellent rectangle". In Black Mirror, the same shape is everywhere. The Netflix series' moniker even stems from the screens and gadgets that we all now filter life through daily and unthinkingly. In Charlie Brooker's (Cunk on Earth) eyes since 2011, however, those ever-present boxes and the technology behind them are far from ace. Instead, befitting a dystopian anthology show that has dripped with existential dread from episode one, and continues to do so in its long-awaited sixth season, those rectangles keep reflecting humanity at its bleakest. Black Mirror as a title has always been devastatingly astute: when we stare at a TV, smartphone, computer or tablet, we access the world yet also reveal ourselves. It might've taken four years to return after 2019's season five, but Brooker's hit still smartly and sharply focuses on the same concern. Indeed, this new must-binge batch of nightmares begins with exactly the satirical hellscape that today's times were bound to inspire. Opening chapter Joan Is Awful, with its AI- and deepfake-fuelled mining of everyday existence for content, almost feels too prescient — a charge a show that's dived into digital resurrections, social scoring systems, killer VR and constant surveillance knows well. Brooker isn't afraid to think bigger and probe deeper in season six, though; to eschew obvious targets like ChatGPT and the pandemic; and to see clearly and unflinchingly that our worst impulses aren't tied to the latest widgets. Black Mirror streams via Netflix. Read our full review. HUNTERS Call it a conspiracy thriller. Call it an alternative history. Call it a revenge fantasy. Call it another savage exploration of race relations with Jordan Peele's fingerprints all over it. When it comes to Hunters, they all fit. This 70s-set Nazi-slaying series first arrived in 2020, following a ragtag group determined to do two things: avenge the Holocaust, with many among their number Jewish survivors or relatives of survivors; and stop escaped Third Reich figures who've secretly slipped into the US from their plan of starting a Fourth Reich. The cast was stellar — Al Pacino (House of Gucci), Logan Lerman (Bullet Train), Tiffany Boone (Nine Perfect Strangers), Jeannie Berlin (Succession), Carol Kane (Unbreakable Kimmy Schmidt), Lena Olin (Mindhunter) and Australia's own Kate Mulvany (The Clearing) among them — and Get Out and Us filmmaker Peele executive produced a gem as he also did that same year with Lovecraft Country. And, when it wrapped up its first season, it did so with one mighty massive cliffhanger: the fact that Adolf Hitler (Udo Kier, Swan Song) was still alive in 1977. Returning for its second and final batch of episodes three years later, but largely moving its action to 1979, season two of Hunters sees its central gang initially doing their own things — but unsurprisingly reteaming to go after the obvious target. Jonah Heidelbaum (Lerman) is living a double life, with his new fiancee Clara (Emily Rudd, Fear Street) in the dark about his Nazi-hunting ways, but crossing paths with the ruthless and determined Chava Apfelbaum (Jennifer Jason Leigh, Possessor) ramps up his and the crew's efforts. Knowing this is the final go-around, the stylishly shot series wasn't afraid of embracing its OTT leanings, tonal jumps and frenetic camerawork, and always proved entertaining as it hurtles towards its last hurrah. The best episode of the season, however, is one that jumps back to World War II, doesn't focus on any of its main stars and is as clever, moving and well-executed as Hunters has ever been. If the show ever gets revived in the future, which it easily could, more of that would make a great series even better. Hunters streams via Prime Video. Looking for more viewing highlights? We picked the 15 best new TV shows of 2023, too. We also keep a running list of must-stream TV from across the year so far, complete with full reviews. And, you can check out our list of film and TV streaming recommendations, which is updated monthly.
A new name has joined Brisbane's ever-growing craft beer scene, but The Brew Baron Beer Co isn't exactly a new brewery. Instead, it's a fresh guise for West End's Parched Brewing. This is a case of new owners, new moniker and new fictional character to base the brand around, but the same brews and space on Montague Road. Brad Sayer, Rita Ferraro and Gibran Ferraro Firmo purchased Parched back in June, then set about giving it a revamp. That's where the changed title comes in for this husband, wife and stepson trio, as well as the baron figure. Sayer and Ferraro have overseen the fresh direction — including new additions to the brewery's home — while Gibran has deployed his skills as a chef to spearhead a food menu makeover. First, the space: if you're keen on whiling away an evening with a cue in your hand, you'll want to head straight to the pool room. On the way is a brand-new deck, too, for cruisy drinking sessions. And if you're eager to watch sports as you knock back a few cold ones, big-screen TVs have joined the site, while leather chesterfield couches will be in place by the time that September is out. Live music is also making a comeback at The Brew Baron Beer Co, echoing from the Brew Stage from 2–5pm every second Sunday. Prefer trivia over a tipple instead? That's now a Thursday-night staple from 6.30pm, and is free to enter. As for the food, Gibran has taken inspiration from his South American heritage, which comes through in both flavours and dishes among a heap of pub classics. Think: pork tacos with chipotle mayo and chilli con carne nachos, for starters. The menu also includes karaage chicken tacos, tempura prawns, five types of burger, seven styles of pizza, fish 'n' chips, and both schnitzels and parmigianas. Or, there's the birramisu pie, which pairs ten-hour braised beef cheek with peas and mashed potato. Drinks-wise, The Brew Baron Beer Co's sips include pale ale, lager, IPA and a hazy IPA, plus a peach and raspberry sour. Matt Wolfe remains as Head Brewer, with developing new brews part of his remit. View this post on Instagram A post shared by The Brew Baron Beer Co. (formerly Parched) (@brewbaronbeerco) "My wife, stepson and I have purchased the brewery, and made the changes that we think will improve things, for our customers" said Sayer, The Brew Baron Beer Co's Managing Director. "Gibran, is a qualified chef, and has led improvements to the food menu by using fresher ingredients, introducing his native South American flavours and adding more value-for-money pricing. In the brewhouse, we've been fortunate to keep long-standing great brewer Matt Wolfe, but given him greater autonomy to do what he does best — brew great beers." "And we've changed the customer area to provide a more engaging and comfortable experience. Finally, our customers will find Gibran and/or me onsite, at all times, so they can approach us and share their thoughts directly with us." "The brewery remains a small, West End family-owned and -operated business. With the support of the West End community, we'll continue operating and supporting it." Find The Brew Baron Beer Co at 391 Montague Road, West End from 12pm–late Wednesday–Sunday.
When it comes to history's legendary painters, Claude Monet's name stands out above most. Now, for the first time ever, Australian audiences are invited to experience the painting that the entire Impressionist movement was named after as the National Gallery of Australia exhibits Monet's world-famous masterpiece, Impression, sunrise. As well as a striking collection of other Monet paintings, the exhibition features works by an array of artists who inspired or followed Monet into leaving behind the studio and painting 'en plein air'. From JMW Turner to James McNeill Whistler and Eugène Boudin, other contemporaries of Monet featured at the NGA include Alfred Sisley and Berthe Morisot, one of the few female painters among the Parisian Impressionists. With their visible brush strokes and incredible depictions of light and its subtle changes, many of these works have been gathered from the Musée Marmottan Monet in Paris, which almost never loans its collection. Running until Sunday September 1, Monet: Impression Sunrise is undoubtedly worth taking a wintertime road trip to Canberra for, so grab your pals and hit the road. [caption id="attachment_697155" align="alignnone" width="1920"] Claude Monet, Impression, sunrise (1872), courtesy of the Musée Marmottan Monet, Paris and Christian Baraja SLB.[/caption] IMPRESSION, SUNRISE The masterpiece after which the Impressionist art movement was named, Impression, sunrise was finished in 1872 and showcases the early techniques of Monet who was in the midst of his creative development. Painted while he was looking out across the harbour in Le Havre from his hotel window, the piece is not particularly symbolic of Monet's later work, but still features some instantly recognisable attributes, such as how the water, sky and reflections all melt together. When it was displayed at an exhibition in Paris in 1874, art critic Louis Leroy famously borrowed the term "Impressionist" from the work's title for his review. And while it wasn't meant to be a compliment, the name stuck. [caption id="attachment_725378" align="alignnone" width="1920"] Waterlilies (1914–17), courtesy of the NGA.[/caption] WATERLILIES During the last 30 years of Monet's life, the 'Water Lilies' series became his obsession. Monumental in its scope, the series includes 250 works that capture Monet's beloved garden at his home in Giverny, France. The later years of Monet's life were perhaps his most prolific, but there could have been even more in the 'Water Lilies' series — in 1908 as he prepared for a new exhibition in Paris, Monet decided that 15 of the paintings failed to meet his expectations and chopped them in half. However, the many works that we still do have elegantly present the light and shadow that bounced across Monet's garden. [caption id="attachment_725140" align="alignnone" width="1920"] On the beach at Trouville (1870), courtesy of the Musée Marmottan Monet, Paris.[/caption] ON THE BEACH AT TROUVILLE Created during the summer of 1870, this work is one of five beach scenes that Monet painted during his stay at a popular beachside resort. Overlooking the English Channel, this work captures what is most likely Monet's wife Camille, while in the background scores of families from French high-society enjoy the bustling holiday destination. With grains of sand found still embedded in the paint, some of the paintings in this series are considered to be incomplete sketches for a larger body of work, while others were later finished to Monet's almost impossibly high standards. [caption id="attachment_725470" align="alignnone" width="1920"] Haystacks, midday (1890), courtesy of the NGA.[/caption] HAYSTACKS, MIDDAY Widely regarded by critics as possibly his most stunning series, Monet produced around 30 paintings between 1888 and 1891 showing haystacks at various times of the day and in different weather conditions. Considered by the artist himself to be some of the most challenging paintings he ever produced, these works depict a great sense of optimism as the verdant countryside was seen as a great hope compared to the failing French economy of the era. As with sand from the beaches of Normandy in his coastal paintings, you can still see fragments of grass hidden within the paint throughout the Haystacks series. One painting from 'Haystacks' recently sold for almost $160 million, which shows some people clearly can't get enough of its beauty. [caption id="attachment_725377" align="alignnone" width="1920"] Train in the snow, locomotive (1875), courtesy of the Musée Marmottan Monet, Paris.[/caption] TRAIN IN THE SNOW, LOCOMOTIVE This artwork was painted during Monet's time living in the small village of Argenteuil, which would soon rapidly grow in size as a new train line direct to Paris brought great interest to the area. Having stood out in the cold for hours for this work, Monet was well known to brave just about any weather condition to capture the perfect moment. Many of his later works featured aspects of technology, with modern bridges, trains and city life becoming common subjects. But, this earlier artwork from 1875 was created before Monet became increasingly experimental and as he sought to find a way to avoid the prevailing Western painterly perspective. Monet: Impression Sunrise is running until September 1 at the National Gallery of Australia, Canberra. Head to the website to purchase tickets and for more information.
Adelaide has been getting a major dose of cool as of late. Though the small bar scene may be a Melbournian namesake, this SA sister city is in the midst of a rebirth and has all of the makings to become its own small bar mecca. If you're headed to Adelaide, you'll want to check out the East End, along with Peel and Leigh streets, which house many of the city's newer bars — many of which only opened in 2015. From underground speakeasies and sake bars to American style dives and even a bar fitted out to resemble a log cabin, Adelaide has it all and in partnership with the Hahn Brewers we're bringing you the best of it. MAYBE MAE The concealed entrance to this 1950s cocktail lounge is not easy to find, but Maybe Mae is well worth the extra effort. Hidden in a tunnel beneath the Bread and Bone Wood Grill, the timber wall has no signage or even a door handle — this spot is as speakeasy as it gets. The space, inspired by movie star and sex symbol Mae West, is marked by a glamorous, Hollywood interior of green leather booths and large brass mirrors. It only opened last year, but this throwback of a bar is already a favourite stop on a night out. 15 Peel Street, Adelaide. PINK MOON SALOON Pink Moon Saloon is possibly the coolest-looking bar in the city. Located in the site of a former service laneway, the space best resembles a log cabin set in between two tall city buildings. Opened in 2015, this newcomer is a perfect addition to Adelaide's blooming small bar scene. The vibe itself is worth the visit alone. The drinks menu is inventive and playful (you can still grab a beer) while the small food menu is well designed for drink-induced nibbling. 21 Leigh Street, Adelaide. BANK STREET SOCIAL For a busy local hotspot, the Bank Street Social is your go-to. Get your boogie on to DJs spinning funk and disco, or relax on one of their luxe, golden-clad booths. On the food side of things, the regional pizza bar is focused on fresh, local ingredients and keeps the post-dance hanger at bay. 48 Hindley Street, Adelaide. MR. GOODBAR The vibe at Mr. Goodbar is best understood by their shrine to Saint Amand — that is, the patron saint of bartenders. The joint is dedicated to good times and, in their own words, to "the best kinds of sin". The waistcoat-wearing staff serve up their drinks alongside a simple food menu includes a daily cheese and charcuterie selection ($16-18) and blue swimmer crab cakes ($16). Overall, the space has a emphasises the old-world chic to it and is well-deserving of its name. 12 Union Street, Adelaide. [caption id="attachment_589691" align="alignnone" width="1280"] @jenjen_fifinha via Instagram[/caption] BADDOG BAR Baddog is a grunge-lovers haven, with an interior combination of leather, concrete and steel that just works. The well-lit bar boasts an impressive selection of small batch, local and international liquor, but is a great spot to settle down with a beer. Their in-house piano is the centre for which their blues and roots live acts congregate and play most nights until late. 63 Hyde Street, Adelaide. BRKLYN Housed upstairs at 260 Rundle Street, BRKLYN pays homage to New York's most loved borough. The entrance to this hidden gem is styled to look like a NYC subway — complete with subway-style mosaic tiling — and one half of the bar has even been made to look like a Brooklyn street, with various shopfronts and even an in-house barber. To cap it all off, their menu pays homage to the Jewish-owned delis of NYC, serving up the classic Reuben pastrami on rye with house-made pickles and Old Bay popcorn. 260A Rundle Street, Adelaide. 55ML 55ml is an intimate hole-in-the-wall with a simple but top-notch booze list, board games and tacos — need we say more? It has all the makings of great night out and is an ideal location for getting stuck in. Patrons easily lose time in this dimly-lit small bar, where the relaxed vibe is matched with pickleback specials — and they're just a few reasons to check this place out. We suggest you settle in with a beer and some chorizo tacos, grab the Jenga and let the hours fly by. 55 Mill Street, Adelaide. THE QUEEN'S HEAD This gem is the oldest licensed venue in its original location in the whole of South Australia, it's been sitting pretty on the corner of Kermode Street and Abbott Lane for 175 years. Not only a sunny spot for an afternoon beer, the kitchen at Queen's Head has award-winning pizza, burgers, steaks and sides and each weeknight has its own food special. 2KW BAR When you want to go somewhere a little bigger (and a little fancier) than the above, which also has incredible views of Adelaide and is cool in summer and warm in winter, then head to 2KW Bar. Sit back in the privacy of perfectly manicured hedges and enjoy a drink and some fancy food (try the crayfish). GONDOLA GONDOLA Gondola Gondola is an Asian-inspired bar and bistro that serves up sake, Japanese whiskies and craft beer. The food menu is also varied, from Vietnamese lamb shank stew and banh xeo (savoury pancake) to some Thai-flavoured sashimi and lemongrass beef. Despite this variety, the space has an authentic vibe and is a must do on any boozy (or foodie) visit to Adelaide. 1 Peel Street, Adelaide. Sign up to Hahn Brewers and use your weekend to take a trip to Adelaide.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=aSfX-nrg-lI MANK In 2010's The Social Network, David Fincher surveyed the story of an outsider and upstart who would become a business magnate, wield significant influence and have an immense impact upon the world. The applauded and astute film tells the tale of Mark Zuckerberg and of Facebook's development — but it's also the perfect precursor to Fincher's latest movie, Mank. This time around, the filmmaker focuses on a man who once spun a similar narrative. A drama critic turned screenwriter, Herman J Mankiewicz scored the gig of his lifetime when he was hired to pen Orson Welles' first feature, and he drew upon someone from his own life to do so. Citizen Kane is famous for many things, but its central character of Charles Foster Kane is also famously partially based on US media mogul William Randolph Hearst, who Mankiewicz knew personally. Accordingly, Mank sees Fincher step behind the scenes of an iconic movie that his own work has already paralleled — to ponder how fact influences fiction, how stories that blaze across screens silver and small respond to the world around them, and how one man's best-known achievement speaks volumes about both in a plethora of ways. Mank is a slice-of-life biopic about Mankiewicz's (Gary Oldman) time writing Citizen Kane's screenplay, as well as his career around it. It's catnip for the iconic feature's multitudes of fans, in fact. But it also peers at a bigger picture, because that's classic Fincher. When the film introduces its eponymous scribe, it's 1940, and he's recovering from a car accident. In a cast and confined to bed due to a broken leg, he has been dispatched to a Mojave Desert ranch by Welles (Tom Burke, The Souvenir) and his colleague John Houseman (Sam Troughton, Chernobyl), all so he can work his word-slinging mastery. As Mankiewicz toils, the movie wanders back to times, places and people that inspire his prose, especially from the decade prior. Dictating his text to British secretary Rita Alexander (Lily Collins), he draws upon his friendships with Hearst (Charles Dance, Game of Thrones) and the news baron's starlet mistress Marion Davies (Amanda Seyfried) in particular. And yes, as anyone who has seen Citizen Kane will spot, Mank's nonlinear structure apes the script that Mankiewicz pens. Many of the latter film's glimmering black-and-white shots do as well, although you won't spot a sled called Rosebud here. In a script by Jack Fincher — father of David, who wrote the screenplay in the 90s before passing away in 2003 — Mank suggests other factors that made Mankiewicz the person he was, and that shaped Citizen Kane's script as well. Combine all of the above, and a dense and detailed movie results. That's Fincher's wheelhouse, after all. Mank is also visually ravishing and textured, and tonally cutting and icy — which, along with weighty performances, are all Fincher hallmarks. But there's both depth and distance to Mank. It peers in and pokes about, but it never wholly lures the audience in. Watching Oldman and Seyfried's rich scenes together, viewers will wish it did, though. Read our full review. https://www.youtube.com/watch?v=ETK0fOKwJNQ MONSOON Home may mean different things to different people but, in Monsoon, Vietnam doesn't mean home to Kit (Henry Golding). He was born there, in the aftermath of the war. He spent his earliest years in the Asian nation, with his parents caught up in the aftermath of the conflict. But when he was still a child, his family left for a refugee camp in Hong Kong and then moved permanently to London. Now, as an adult who has lived the bulk of his existence far away, he returns for the first time to bring back his mother's and father's ashes. He's instantly thrown off balance upon his arrival, whether he's driving through moped-filled streets or walking around crowded markets. Little of what he remembers is the same — his old house and his neighbourhood stomping grounds, particularly — and he doesn't recall as much as his childhood best friend Lee (David Tran), who stayed behind, would clearly like. Of what he does recollect, some crucial details clash with Lee's versions, too. Consequently, as Kit roves around Saigon and then Hanoi (his place of birth and his parents' original home, respectively), he's searching for a connection. He'll make one, but not in the way he expects. Monsoon tells a noticeably slight tale, but Cambodian-born Chinese British writer/director Hong Khaou (Lilting) is keenly and overwhelmingly aware that a sense of belonging doesn't simply come with one's birth certificate. He's also a minimalistic filmmaker, in a sense. He delves into straightforward scenarios, and knows that he needn't layer them with too many external complicating factors. In other words, he's cognisant that merely examining how a person copes — even in a very commonplace situation — can deliver several lifetimes worth of complexity without a wealth of other narrative roadblocks or setbacks. As a result, both Khaou and Monsoon ask a significant amount of Golding; they demand more than his previous charisma-driven roles in Crazy Rich Asians, A Simple Favour and Last Christmas have combined, actually. Viewers of those three films already know that he can radiate charm like few other actors currently appearing on-screen, but Monsoon requires Golding's soulful best. At every moment, he's tasked with conveying the potent thoughts and jumbled emotions swelling inside Kit, and with doing so largely without dialogue. It's a quietly powerful performance, and it's one that the movie steadfastly needs. It's one that Monsoon depends upon, kin fact. Thanks in no small part to his efforts, Monsoon feels comfortable and intimate and eye-opening and new all at once — and proves immensely affecting viewing. Read our full review. https://www.youtube.com/watch?v=Xq1F1opr_FE&t=2s ELLIE AND ABBIE (AND ELLIE'S DEAD AUNT) As a teen rom-com about two high schoolers working through their attraction for each other as they're also trying to work out what to do with their lives and how to simply be themselves, there's a strong sense of familiarity about Ellie and Abbie (and Ellie's Dead Aunt). That isn't a sign of laziness, however, because first-time feature writer/director Monica Zanetti wants you to register how much her film resembles other entries in its genre — and to notice what it's doing differently. There's a purposeful sense of clumsiness about the Sydney-set movie, too. Again, that's by design. Studious school captain Ellie (Sophie Hawkshaw, Love Child) has a simmering crush on the far cooler, calmer and more collected Abbie (Zoe Terakes, Janet King), but is struggling to stump up the courage to ask her to the school formal. When the pair do slowly start becoming closer, Ellie doesn't know exactly what to do, or what's expected, or how to be the person she wants to be in her first relationship. Complicating matters is the distance she feels from her mother, Erica (Marta Dusseldorp, Stateless), as she navigates such new emotional terrain — oh, and the fact that, as the title gives away, Ellie's dead aunt Tara (Julia Billington) suddenly starts hovering around and dispensing advice about following her feelings. So far, so sweet. Of course, unfurling a queer romance within such well-worn confines shouldn't be such a remarkable act (and an Australian teen queer romance at that), but it still currently is. Ellie and Abbie (and Ellie's Dead Aunt) isn't just entertaining and understanding, cute and creative with its teen romance, and proudly celebratory of LGBTQIA+ perspectives, though. It's all those things, but Zanetti's decision to open the door to a deeper contemplation of Australia's historical treatment of the queer community gives considerable depth and weight to a movie that mightn't have earned those terms otherwise. The brightly shot feature has a strong sense of place, but without including all of the usual landmark shots that make many features feel like tourism campaigns. More importantly, it has a clear understanding of what LGBTQIA+ Sydneysiders have weathered in past decades. That activism is layered throughout the film in an overt subplot and, while it's hardly treated with nuance (an observation that applies to much of the picture), it's a powerful inclusion. Simply by reaching local cinema screens, Ellie and Abbie (and Ellie's Dead Aunt) makes a statement, but it also pays tribute to all the statements made in big and bold ways — and with tragic and painful outcomes, too — to get to this point in Australian queer history. Read our full review. https://www.youtube.com/watch?v=-rIcXgMx7hU PINOCCHIO It has been 80 years since Disney's Pinocchio unleashed a wooden puppet and the woodcarver who made him upon animation-loving audiences, adapting Carlo Collodi's 1883 Italian children's novel The Adventures of Pinocchio in the process. And, over that period, that film has remained the version of record. Indeed, it's the reason that generations of viewers are familiar with the story. Matteo Garrone's (Gomorrah) new live-action movie of the same name earns a place alongside it, however. It's one of three new and upcoming features tackling the narrative, ahead of a stop-motion flick co-directed by The Shape of Water's Guillermo del Toro that's due to hit Netflix next year and Disney's own flesh-and-blood iteration that's slated to be helmed by The Witches' Robert Zemeckis — and it serves up a tender and sumptuous take on the fairytale. In relaying how the kindly Geppetto (Life Is Beautiful Oscar-winner Roberto Benigni) shaped a lively log into a boy-sized puppet (Federico Ielapi), who then decides to see the world and strive to become a real child, it also hews far closer to the source material than its animated predecessor. This is a movie clearly made with an abundance of affection for its inspiration, too, and that love and devotion shines through in every frame. In fact, the feature's visuals prove its strongest element, including in bringing Pinocchio to life. He's a detailed marvel who appears oh-so realistic and yet also looks uncanny as well, as intended, and the decision to use a child actor wearing prosthetics rather than relying heavily upon CGI works a charm. The world that Garrone spins around the eponymous puppet is similarly rich and fantastical — and whimsical, although the latter is overdone. Pinocchio is far more resonant when it's letting its central figure discover that being human involves weathering all the cruelties that the earth's population has in store for each other, and watching him learn that Geppetto's unconditional fondness and acceptance is sadly rare. It's much less involving when it's leaning overtly into quirkiness, although that should probably be expected with Benigni involved. Where eccentricity is concerned, this tale already has plenty baked in, as the Fox (Massimo Ceccherini), the Cat (Rocco Papaleo) and the Fairy with Turquoise Hair (Marine Vacth, If You Saw His Heart) all make plain. But even if the whole movie is a little overstated, Garrone has still made a beautiful movie — and one that feels like the natural next step after 2015's Tale of Tales and even 2018's Dogman. https://www.youtube.com/watch?v=CxWfz5hRt94 MORGANA Many a big-screen drama has stepped through the plight of a middle-aged woman unhappy with the state of her life, constrained by the path she's been forced to take, and uncertain about her next steps or committed to do whatever it takes to leave the existence she hates behind. Indeed, it's a list too long to detail; however, the entire history of fiction on celluloid couldn't conjure up anything as distinctive, empowering and intriguing as Morgana Muses' tale — or the wealth of literary narratives about the same idea, either. After charting the course expected of her when she grew up, she found herself not just unhappily married, but despondent in her domestic trappings. Accordingly, the Albury housewife decided to leave her husband and the small town she called home, initially in a tragic fashion. But, as perceptive Australian documentary Morgana shows, Muses thankfully only achieved the first two parts of that equation in her quest to regain control and agency over her choices. From there, she decided to step into the world of feminist pornography, resulting in an acclaimed career that has earned her accolades, applause and attention from Melbourne to Berlin and back again (and, obviously, that has resulted in her journey being immortalised in this movie). It's no wonder that filmmakers Isabel Peppard and Josie Hess were eager to document Muses' story and share it with the world, because it's quite the tale. This isn't likely to be the last film made about Muses, actually, because she instantly screams for several documentaries dedicated to her exploits — and will likely one day inspire a fictionalised drama as well. There's much to unpack, including Muses' resolute determination to bravely put herself first, express her own desires, and create both sex-positive and age-positive erotica. Every one of those decisions isn't just revelatory, but also proves revolutionary in their own way. Candid and complex, Muses is the type of subject that all filmmakers wish they could stumble across, as Peppard and Hess continually show in their engaging film. Morgana isn't just a celebration, though, because even Muses' new life has had its ups, downs, highs and lows — all of which are captured with help from the documentary's willing point of focus, with the help of both talking-head interviews and fly-on-the-wall-style footage, and with glimpses of the work that's transformed Muses' existence. https://vimeo.com/469681168 LOVE OPERA Australia's performing arts scene has been shuttered for much of 2020 due to the COVID-19 pandemic. But documentary Love Opera lets viewers peer behind the scenes of a production that hit the stage long before anyone had ever heard of the novel coronavirus that changed life as we know it this year — and to spend time with the talented folks who toiled to make the show in question happen, too. The opera: Carmen. The bodies responsible: the Lisa Gasteen National Opera Program (LGNOP) and the Queensland Symphony Orchestra. The year: 2017. Established by internationally renowned Australian soprano Lisa Gasteen, the intensive program trains Australian and New Zealand opera singers, and has put on a semi-staged production at the end of each year since 2017. Accordingly, Love Opera follows LGNOP's first attempt to do just that, from the casting through until the final product. Gasteen features prominently, understandably, chatting not just about the show at hand and the process of bringing it to fruition, but also running through her career, its ups and downs, the reality of getting to the top of the industry and her decisions for embarking upon her current path. Also lending the film their thoughts, feelings and observations are the program's cofounder Nancy Underhill, plus conductors Alondra de la Parra and Simone Young, as well as singers such as Rachel Pines and Morgan England-Jones. There's much to cover, as filmmaker Liselle Mei recognises, with the film quickly flitting through a wealth of material — and touching upon a plethora of topics in the process. The physicality required to be an opera singer, the passion that drives it, the difficulty of being a younger talent when many roles are written for older characters, the way the art form has been changing over the years, the treatment of queer creatives: all of this earns the documentary's attention, and each could've received more screen time if there wasn't so much to cover. But Love Opera never feels slight on any area of interest. It doesn't break the behind-the-scenes doco mould, either, but it delivers a broad rather than shallow snapshot of everything required to make the LGNOP's version of Carmen happen. Brisbanites will notice all of the drone shots of the movie's setting, which can border on intrusive; however, both opera lovers and newcomers alike receive an insightful glimpse at the ins and outs of the medium, its homegrown stars both established and emerging, and the hard work behind crooning its tunes in such a resonant fashion. https://www.youtube.com/watch?v=sS9AYlUfp0A FATMAN When a film or TV show fills one of its roles in a gimmicky way that's obviously designed to garner publicity, it's called stunt casting. The term wholeheartedly applies to Fatman, a flimsy action-comedy that features Mel Gibson as Santa (and delivers his second big-screen release of 2020 after the abysmal Force of Nature). Even just reading about the premise, you can probably see the light bulbs going off in casting executives and other filmmaking powers-that-be's heads when they came up with the idea — because enlisting the American-born, Australian-raised actor as the symbol of all things wholesome and jolly sits in stark contrast to the far-from-jovial string of controversies that have popped up in his personal life, especially over the past decade. But a movie needs more than a blatant stunt to actually serve up something worth watching. And as far as shameless attempts to grab attention go, getting Gibson to play the red-suited figure just proves ill-advised and uncomfortable rather than provocative. Writer/directors Eshom Nelms and Ian Nelms (Small Town Crime) must feel otherwise, though, because there's very little else to this festive-themed movie. 'Tis the season for dull and muddled movies that aren't anywhere near as edgy as its makers think, and aren't funny or entertaining at all, it seems. Three male characters drive Fatman's narrative, starting with Chris Cringle (Gibson), who oversees a Canadian workshop that's forced to take a military contract to get by. Kids just aren't behaving themselves enough these days, so he's delivering more lumps of coal than presents — and the stipend he receives from the US government to cover the elf-made gifts has decreased as a result. One of those bratty children, 12-year-old rich kid Billy Wenan (Chance Hurstfield, Good Boys), decides he isn't happy with his haul one Christmas. His solution: enlisting an assassin to bump off Santa as payback. Said hitman, who is just called Skinny Man (Walton Goggins), has been harbouring a lifelong grudge against the titular character anyway and doesn't take much convincing. Ant-Man and the Wasp and Them That Follow star Goggins is the best thing about a movie that has very little going for it, which speaks volumes about the one-note plot points. But given the distinct lack of jokes, the clumsy attempts to satirise today's supposedly uncaring times and the routine feel that infuses even its frenzied scenes of violence, he can't turn the film into a gift for anyone. Fatman wants to be an action-packed take on a Bad Santa-esque comedy, but ends up faring even worse than that beloved movie's awful sequel Bad Santa 2. https://www.youtube.com/watch?v=Tdce40rfRbk ALL MY LIFE No one with cancer would wish for their experience with the horrific disease to be turned into a schmaltzy movie about how hard their illness was for their partner. Based on the true story of digital marketer-turned-chef Solomon Chau and his psychology masters student girlfriend and later wife Jennifer Carter, that's what All My Life serves up — and while it feigns to focus on both of them, this overt attempt at tugging on viewers' heartstrings makes it clear that it's really about the latter. The title refers to Jenn (Jessica Rothe, Happy Death Day) and the 'make every moment count' wisdom she discovers watching Sol (Harry Shum Jr, Crazy Rich Asians) battle liver cancer. Over and over again, especially in tough and devastating situations, the film's visuals focus on her rather than him, too. It cuts away from him when he's explaining how difficult it all is, to follow her anger about their changed wedding plans instead. It literally foregrounds her in a shot when he's just received a big blow, and is understandably failing to cope. And it gives her time to scream in anguish in her car after yet more unpleasant news comes his way, in case viewers weren't certain who the movie thinks is the real victim. All My Life may be shot in the soft and sunny hues of a trite Nicholas Sparks-penned romance — and clearly aspire to sit in their company — but it's insidious in the way it uses one real-life person's sickness to make its preferred protagonist seem more interesting. It's a gender-flipped, illness-driven variation on the dead wife trope, as seen in the likes of Inception and Shutter Island, where the male lead is given a sob story to make his tale more dramatic. It's firmly in line with the way that cinema routinely sidelines those dealing with cancer over those standing by their sides, as seen far too often (when a movie about cancer or featuring a cancer-stricken character doesn't stick to the template, such as Babyteeth earlier this year, it stands out). The narrative details that All My Life chronicles may stem from reality, but they're ground down to a formula: girl meets boy, sparks fly, their future sprawls out before them, then cancer gets in the way and she can't have her dream nuptials. There's also never any doubt that this movie wouldn't exist if the GoFundMe campaign set up for Sol and Jenn's initially postponed wedding didn't garner significant media attention, as if some level of fame makes one cancer story more important than the rest. But it's the choice of focus that transforms this film from an expectedly cliched addition to the weepie genre and into overt slush. Director Marc Meyers' My Friend Dahmer also struggled with a similar approach, also choosing to spin a story around someone other than the obvious point of interest — and the fact that Shum puts in All My Life's best performance makes the tactic all the more galling and grating here. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; September 3, September 10, September 17 and September 24; October 1, October 8, October 15, October 22 and October 29; and November 5 and November 12. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators, An American Pickle, The High Note, On the Rocks, The Trial of the Chicago 7, Antebellum, Miss Juneteenth, Savage, I Am Greta, Rebecca, Kajillionaire, Baby Done, Corpus Christi, Never Rarely Sometimes Always, The Craft: Legacy, Radioactive, Brazen Hussies and Freaky. Top image: Mank, Nikolai Loveikis/Netflix; Monsoon, Dat Vu.
Normal life can wait, there's movies to watch: in Sydney each June, that's the mantra. 2024's Sydney Film Festival has been unveiling its packed lineup since early April, including a Midnight Oil documentary to open this year's fest, a Bondi Icebergs doco, Hellraiser with a new live score and a retrospective that pays tribute to Senegalese filmmaker Ousmane Sembène. Now arrives the full program, from Yorgos Lanthimos' Poor Things follow-up Kinds of Kindness playing straight from Cannes in SFF's official competition — and yes, it stars Emma Stone (The Curse) — through to the usual latest and greatest in Australian and world cinema. "Usual" is never quite the word for a major film fest like Sydney's winter showcase, of course. As SFF will demonstrate from Wednesday, June 5–Sunday, June 16, every year's festival looks and feels different because variety is at the heart of its choices. And with a couple of hundred flicks always on the bill — 197 films is 2024's tally, hailing from 69 countries, with 92 narrative features and 54 documentaries, and also 28 world premieres and 133 Australian premieres — Sydney Film Festival's titles can boast a heap of well-known talents and still never resemble past fests. As he has every year that he's been at the helm since 2012, Festival Director Nashen Moodley has stuffed the event's 71st iteration with everything from Hunter Schafer (Euphoria)-starring thriller Cuckoo and Sundance hit I Saw the TV Glow from We're All Going to the World's Fair's Jane Schoenbrun — which is about two teens grappling with their favourite television show getting cancelled — through to Indigenous Aussie horror via The Moogai, which makes the leap from SFF-winning short to feature vying for the new $35,000 First Nations Award. Or, there's also Dahomey, which won this year's Berlinale Golden Bear; The Bikeriders, starring Jodie Comer (Killing Eve), Austin Butler (Dune: Part Two), Tom Hardy (Venom: Let There Be Carnage) and Mike Faist (Challengers); and Grand Tour, as directed by 2015 Sydney Film Prize-winner Miguel Gomes (Arabian Nights). Kinds of Kindness, an anthology effort from Lanthimos, is joined in SFF's official competition by not only Grand Tour and opening night's Midnight Oil: The Hardest Line, but also by titles from India, Germany, Ireland, France, Argentina, Mexico, Italy and Vietnam. They include All We Imagine as Light, the first Indian film playing in Cannes' competition in three decades; three IRL Belfast rappers starring as themselves — and co-starring with Michael Fassbender (Next Goal Wins) — in comedy Kneecap; a tribute to Italian acting great Marcello Mastroianni; Sujo, the cartel drama that won 2024's Sundance Grand Jury Prize; and September Says, the directorial debut of actor Ariane Labed (which means that she's competing against her Alps and The Lobster director Lanthimos). The highlights keep coming across the rest of the program. Aussie boxing drama Kid Snow with Phoebe Tonkin (Boy Swallows Universe), the Kate Winslet (The Regime)- and Alexander Skarsgård (Mr & Mrs Smith)-led Lee about WWII reporter Lee Miller, Armand starring The Worst Person in the World's Renate Reinsve, Saoirse Ronan (Foe) as a recovering addict in page-to-screen adaptation The Outrun, Australian surfing culture documentary You Should Have Been Here Yesterday: they're all on the list. Or, get excited about Aubrey Plaza's (Scott Pilgrim Takes Off) new comedy My Old Ass, which Margot Robbie (Barbie) produced; The Convert, which features Guy Pearce (The Clearing) and is directed by Once Were Warriors' Lee Tamahori; and Japan's My Sunshine, which follows a boy who learns to figure skate solely to get his crush's attention. Problemista, directed by and starring Los Espookys' Julio Torres opposite Tilda Swinton (The Killer), is one of the standout indies on the bill. So is Stress Positions, as led by John Early (The Afterparty) and set in New York City during lockdown. Also boasting familiar faces, The Dead Don't Hurt is a feminist western helmed by and starring Viggo Mortensen (Crimes of the Future), and also featuring Vicky Krieps (Corsage) — and A Different Man features Sebastian Stan (Dumb Money), Ghostlight has Triangle of Sadness' Dolly De Leon, and Peter Sarsgaard (The Batman) and Jessica Chastain (George & Tammy) are in Memory. Sasquatch Sunset, directed by the Zellner brothers (Damsel), also sees Riley Keough (Daisy Jones & the Six) and Jesse Eisenberg (Fleishman Is in Trouble) in front of the camera, but playing a sasquatch family. From acclaimed filmmakers, Radu Jude follows up Bad Luck Banging or Loony Porn with Do Not Expect Too Much From the End of the World, Lav Diaz (When the Waves Are Gone) is in police-procedural mode with Essential Truths of the Lake (which clocks in at almost four hours, which is short for the Filipino director), and About Dry Grasses is the newest drama from Winter Sleep and The Wild Pear Tree's Nuri Bilge Ceylan. Fancy two films from Korean action great Choi Dong-hoon (Assassination)? There's an Alienoid and Alienoid: The Return of the Future double. For feline fans, doco The Cats of Gokogu Shrine is about Japanese street cats. Still on documentaries, Untitled Blur Documentary goes to the British band's 2023 Wembley Stadium shows, Federer: Last Twelve Days hails from Asif Kapadia (Senna, Amy and Diego Maradona), Super/Man: The Christopher Reeve Story pays tribute to its namesake and Made in England: The Films of Powell and Pressburger steps through the titular pair's films with Martin Scorsese (Killers of the Flower Moon). The Bones digs into the fossil trade, while Occupied City marks the return of Steve McQueen's (Small Axe) work to SFF after he won the first-ever Sydney Film Prize with Hunger. Also, if you're keen for Skywalkers: A Love Story, catch it in IMAX — it's about a couple of daredevils climbing the planet's tallest structures. And in the Box Set box seat — aka the part of the fest that serves up a TV binge — is six episodes of mystery series Exposure, as led by Alice Englert (Bad Behaviour) and executive produced by Justin Kurzel (Snowtown, Nitram). Screening at The State Theatre, Event Cinemas George Street, Dendy Newtown, Hayden Orpheum Picture Palace Cremorne, Palace Central, Palace Norton Street, Ritz Cinemas Randwick, IMAX Sydney, the Art Gallery of NSW and the State Library of NSW, SFF's 2024 must-sees keep going — because if you've got enough holiday leave for it, dedicating the full 12 days to movies, movies and more movies is one of the ultimate cinephile experiences. "The 71st Sydney Film Festival unfurls a canvas of bold narratives and remarkable visions, mirroring the evolving dynamics of our world," said Moodley about the 2024 lineup. "This year, we are proud to present films that challenge, entertain, and provoke dialogue, from the sweeping landscapes of Australian dramas to the complex human stories from global cinema. The 2024 selection reinforces our commitment to fostering a diverse cinematic experience, spotlighting works that engage with pressing social issues, personal stories and transformative historical moments." "These films invite the audience to journey through myriad cultures and experiences, reflecting the rich complexity of the human condition." [caption id="attachment_954171" align="alignnone" width="1920"] David Dare Parker[/caption] Sydney Film Festival 2024 takes place from Wednesday, June 5–Sunday, June 16 at various cinemas and venues around Sydney. For more information — and for tickets from Wednesday, May 8, 2024 — head to the festival's website.
Catch iiiiiiiiit! If summer for you was all about hitting the crease and making sure you yelled "out" as loudly as possible, you'll want to stop hitting refresh on your email and take a little break to reminisce over the good times. Together with TikTok, who ran a summer-long activation called #ClassicCatch in Australia, we've picked out five TikTok videos that have us wishing we'd spent more time perfecting our bowl. Here are five legends who did just that, showing us how to land the perfect catch on the sand to hitting a six in the sweltering Aussie heat. [embed]https://www.tiktok.com/@fairmoodz/video/6785779214101630214?lang=en[/embed] According to TikTok maker and photographer Joel (@fairmoodz), old mate Doug here has never played cricket before, yet he smashes it — only to be caught out. What a catch. [embed]https://www.tiktok.com/@harlsmalone/video/6745028181704625413?lang=en[/embed] What can we say? Harley has clearly been smashing the Weet-Bix for brekkie. No, you didn't just flip the dial to Channel Nine, @harlsmalone has only gone and given his beach cricket match an upgrade to professional level with a little audio. And why the hell not? Did you see that catch? Right between his teeth. [embed]https://www.tiktok.com/@kaybawa/video/6716017780166102277[/embed] Melbourne-based TikToker Kaybawa has opted for some truly inspired slo-mo action to show off his sweet bowling skills. He's also paired it with R Nait's beats, a stormy looking sky and the facial expression of a master. What a ledge. [embed]https://www.tiktok.com/@cricketdistrict/video/6900918387866619138[/embed] Hear that encouraging clap? These cricktokkers are not messing around. Cricket District posts hours of spins, bowls and LOLs on its page. This mid-air catch is a classic. [embed]https://www.tiktok.com/@bigmads/video/6813258573473238277[/embed] One of our personal faves, AFLW player Maddi Newman isn't just an all-rounder on the sports field but she's also a fan of Lizzo. Here, she brings three loves together in one clip (her dad, cricket and Lizzo) to show it ain't just the fellas hitting it out of the backyard this summer. Onya, Maddi. Download TikTok to watch more #ClassicCatch videos and look for TikTok's cricket themed activations in your city. Top image: Lochie Blanch; Unsplash
When the Sydney Film Festival last happened in-person back in 2019, it awarded its annual prize to the movie that everyone had been talking about since its Cannes Film Festival Palme d'Or win a few weeks earlier: Bong Joon-ho's Parasite. Returning to Sydney's cinemas after a year's gap — longer, actually, after a few delays this year — SFF 2021 has declared another international festival favourite its latest Official Competition winner: Iranian drama There Is No Evil, which also nabbed Berlinale's Golden Bear in 2020. Receiving SFF's annual $60,000 award, the anthology film explores capital punishment and its impacts, with writer/director Mohammad Rasoulof examining the ripples that state-sanctioned killing has upon Iranian society. Pondering the threats and freedoms of life under an oppressive regime, it steps through the stories of a stressed husband and father (Ehsan Mirhosseini), a conscript (Kaveh Ahangar) who can't fathom ending someone's life, a soldier (Mohammad Valizadegan) whose compliance causes personal issues and a physician (Mohammad Seddighimehr) unable to practise his trade. Headed by Animal Kingdom, The Rover and The King filmmaker David Michôd, and also including actor Simon Baker (High Ground), NITV Head of Commissioning and Programming Kyas Hepworth, director and producer Maya Newell (Gayby Baby, In My Blood It Runs) and filmmaker Clara Law (Floating Life), the 2021 SFF Official Competition jury selected There Is No Evil "for its moving, multi-angled exploration of a singular theme, about the ways in which an entire culture can carry the burden of institutional cruelty." "Picking a winner from a collection of films as diverse as this one is never easy," said Michôd in a statement. "It's a movie adventurous with form and genre, beautifully performed and realised with a deft touch for simple, elegant filmmaking craft." Rasoulof has actually been banned from filmmaking in Iran, all for examining the reality of his homeland — and, after 2013's Manuscripts Don't Burn and 2017's A Man of Integrity, There Is No Evil continues the trend. "I want to thank the jury. I am really happy there is something more than a simple appreciation in this prize," the filmmaker said, accepting the award virtually from Tehran. "Being heard and understood is what keeps hope alive." In winning the Sydney Film Prize, Rasoulof's film follows in the footsteps of not only Parasite, but of other past winners The Heiresses (2018), On Body and Soul (2017), Aquarius (2016), Arabian Nights (2015), Two Days, One Night (2014), Only God Forgives (2013), Alps (2012), A Separation (2011), Heartbeats (2010), Bronson (2009) and Hunger (2008). SFF announced There Is No Evil's win at its closing night ceremony, as well as a Special Mention to fellow Official Competition title Limbo — and a number of other awards spanning the rest of the 2021 program. The $10,000 Documentary Australia Foundation Award for Australian Documentary went to I'm Wanita, a portrait of the self-described 'Australian queen of honky tonk', while producer and director Karina Holden received the $10,000 Sydney-UNESCO City of Film Award. In the Dendy Awards for Australian Short Films, Sophie Somerville's Peeps won the Dendy Live Action Short Award, Taylor Ferguson received the Rouben Mamoulian Award for Best Director for tough and Olivia Martin-McGuire's Freedom Swimmer nabbed the Yoram Gross Animation Award. As previously announced before and during the festival, filmmaker Darlene Johnson received the 2021 Deutsche Bank Fellowship for First Nations Film Creatives, while Australian documentary Burning, directed by Eva Orner, scored the first-ever Sustainable Future Award. The 2021 Sydney Film Festival ran in-person from November 3–14, with the festival's online program SFF On Demand now streaming until November 21.
Staircases are structures which most of us use everyday without a second thought. But like most pieces of design, a healthy dose of intelligence and inventiveness can always be injected. With a little creative flair, staircases can become the focal point of a room, a structure of dual purpose with storage capabilities, or even a type of artistic sculpture, which goes above and beyond and it's simple architectural function. Here are ten of the most innovative and incredible staircases in the world. Jagged Wooden Staircase This staggered staircase is a highly effective use of space as it not only includes storage areas within each step, but the size of the rise is also twice that of the run. Despite appearing somewhat dangerous, these stairs made by Swedish architects Gabriella Gustafson and Mattias Stahlbom are actually both comfortable and safe. Storybook Staircase Adding the spines of your favourite storybook classics to your household staircase is a fantastic and original way to add some flavour to an otherwise boring structure. Share your stair-climbing adventures with Tom Sawyer, Peter Pan or Mowgli to ensure you never have a dull ascent of the stairs again. Lello Bookshop Staircase This beautifully ornate staircase appears in the Lello Bookshop in Portugal. The smooth lines of the stairs and railings glide seamlessly over each other as they part and rejoin and fold over each other to create a magnificent grand staircase. Tate Modern Slide Staircase Carsten Höller is an incredibly unique designer who has undertaken many exciting and interactive projects such as flying machines, frisbee houses, and sliding staircases. The above photo depicts Höller's spiral staircase at the Tate Modern Exhibition in London as part of the Unilever series. Höller is interested in the spectacle of watching people spiral down these 'slides for adults', as well as the 'inner spectacle' one has as they hurtle down the delightful structures. Light Bulb Staircase Captured perfectly by Dennis Fischer, this staircase is a marvel of art, architecture and ingenuity. Bookshelf Staircase This white bookshelf staircase provides the perfect storage space for books and ornaments. Rather than having the awkwardly sized cupboard under the stairs or a wall of wasted space, this bookshelf is a much more effective and aesthetically pleasing solution of what to do with the area beneath a staircase. Void Staircase Chic, clean and seemingly floating in mid-air, this void staircase designed by Guido Ciompi provides a novel way for guests at The Gray Hotel in Milan to ascend and descend stairs. Whilst also providing its functional purpose, the staircase is a pioneering design that is becoming much more popular in residential settings. Spiral Staircase to Nowhere This spiral staircase in Munich goes exactly where its name suggests. Wall Stairs Not only an effective use of space, these wall spaces are also a clever way to block off upstairs areas from unwanted visitors. The disappearing staircase design from Aaron Tang arose when he was asked to 'define what a door was and could be'. Undulating Steel Staircase The fluid strips of hot-rolled steel in the flagship Longchamps store in New York City were designed by Thomas Heatherwick, who is renowned for his unorthodox solutions to architectural problems. Here, he aimed to attract shoppers to the above-street-level store through the striking steel strips flowing smoothly upstairs. Tansu Cabinet Staircase This organic staircase is a seamless integration of functional stairs with a wooden cabinet set. The structure assimilates perfectly to the warm decor of the room, thanks to the inspired design by Dan Morsheim from Dorset Custom Furniture. Flying Roller Coaster Staircase This roller coaster staircase is a a public art sculpture in Duisberg, Germany named 'Crouching Tiger and Turtle'. The intricate structure takes visitors on a wild spin - and pretty intense workout - over and around the steel and zinc construction to take in the sights of the surrounding area. We can thank Ulrich Genth and Heike Mutter for this innovative design, which took eight weeks to assemble.
A jaunt around Victorian-era Europe, a destination wedding in Sydney or hopping between Greek islands? Animated ducks or a kingdom based around wishes? An affecting true tale of heroism or superhero fare? Cinemagoers of Australia, they're among your choices on the annual movie calendar's release day to end all release days. That'd be Boxing Day, which always packs picture palaces with new flicks, plus eager audiences keen to see them. Indeed, along with hitting the sales, enjoying the beach and recovering from your Christmas food coma, seeing a movie on December 26 is a yearly tradition. Feel like you're spoiled for choice? Not sure which film should tempt you out of the summer sun and into an air-conditioned darkened room? Keen to see a few movies, but don't know where to start? Thanks to Boxing Day's hefty array of newcomers, plus Wonka still a fresh arrival on big screen, there's plenty of picks. We've watched them all — and here's our rundown. POOR THINGS Richly striking feats of cinema by Yorgos Lanthimos aren't scarce. Sublime performances by Emma Stone are hardly infrequent. Screen takes on Mary Shelley's Frankenstein couldn't be more constant. For Lanthimos, see: Dogtooth and Alps in the Greek Weird Wave filmmaker's native language, plus The Lobster, The Killing of a Sacred Deer and The Favourite since he started helming movies in English. With Stone, examples abound in her Best Actress Oscar for La La Land, supporting nominations before and after for Birdman or (The Unexpected Virtue of Ignorance) and Lanthimos' aforementioned regal satire, and twin 2024 Golden Globe nods nods for their latest collaboration as well as TV's The Curse. And as for the best gothic-horror story there is, not to mention one of the most influential sci-fi stories ever, the evidence is everywhere from traditional adaptations to debts owed as widely as The Rocky Horror Show and M3GAN. Combining the three results in a rarity, however: a jewel of a pastel-, jewel- and bodily fluid-toned feminist Frankenstein-esque fairy tale that's a stunning creation, as zapped to life with Lanthimos' inimitable flair, a mischievous air, Stone at her most extraordinary and empowerment blazing like a lightning bolt. With cascading black hair, an inquisitive stare, incessant frankness and jolting physical mannerisms, Poor Things' star is Bella Baxter in this suitably wondrous adaptation of Alasdair Grey's award-winning 1992 novel, as penned by Australian screenwriter Tony McNamara (The Great, and another Academy Award-nominee for The Favourite). Among the reasons that the movie and its lead portrayal are so singular: as a character with a woman's body revived with a baby's brain, Stone plays someone from infancy to adulthood, all with the astonishingly exact mindset and mannerisms to match, and while making every move, choice and feeling as organic as birth, living and death. In this fantastical steampunk vision of Victorian-era Europe, London-based Scottish doctor Godwin Baxter (Willem Dafoe, Asteroid City) is Bella's maker. Even if she didn't call him God, he's been playing it. But curiosity, the quest for agency and independence, horniness and a lust for adventure all beckon his creation on a radical, rebellious, gorgeously rendered, gloriously funny and generously insightful odyssey. So, Godwin tries to marry Bella off to medical student Max McCandles (Ramy Youssef, Ramy), only for her to discover "working on myself to get happiness" and "furious jumping" — masturbation and sex — and run off to the continent with caddish lawyer Duncan Wedderburn (Mark Ruffalo, She-Hulk: Attorney at Law) instead. Read our full review. ANYONE BUT YOU Greenlighting Anyone But You with Sydney Sweeney and Glen Powell as its leads must've been among Hollywood's easiest decisions. One of the rom-com's stars has been everywhere from Euphoria and The White Lotus to Reality of late, while the other is fresh off feeling the need for speed in Top Gun: Maverick. They both drip charisma. If this was the 80s, 90s or 00s, they each would have an entire segment of their filmographies dedicated to breezy romantic comedies like this Sydney-shot film, and probably more than a few together. Indeed, regardless of his gleaming casting, Anyone But You director and co-writer Will Gluck makes his first adult-oriented flick in 12 years — since Friends with Benefits, with Annie and the two Peter Rabbit movies since — as if it's still two, three or four decades back. The gimmick-fuelled plot, the scenic setting, swinging between stock-standard and OTT supporting characters: even amid overt riffs on Shakespeare's Much Ado About Nothing, they're all formulaically present and accounted for. So is the fact that Anyone But You's story always comes second to Sweeney and Powell's smouldering chemistry, and that most of its obvious jokes that only land because the pair sell them, as well as the whole movie. Bea (Sweeney) and Ben (Powell) meet-cute over a bathroom key in a busy cafe. That first dreamy day ends badly the next morning, however, with more pain in store when Bea's sister Halle (Hadley Robinson, Winning Time: The Rise of the Lakers Dynasty) gets engaged to Ben's best friend Pete's (GaTa, Dave) sister Claudia (Alexandra Shipp, Barbie). Cue their feud going international at the destination wedding in Australia, then getting a twist when Bea and Ben pretend that they're together. They're trying stop their fighting ruining the nuptials, get her parents to back off from pushing for a reunion with her ex (Darren Barnet, Gran Turismo: Based on a True Story) and make his own past love (model-turned-acting debutant Charlee Fraser) jealous. Every expected narrative beat is struck, then, while nodding to other rom-com wedding flicks — My Best Friend's Wedding co-stars Dermot Mulroney and Rachel Griffiths play Bea's mum and dad, with the latter also a Muriel's Wedding alum — and getting cheesily Aussie via koalas, endless shots of the Sydney Harbour Bridge and the Sydney Opera House, and Bryan Brown (Faraway Downs) and Joe Davidson (Neighbours) playing the stereotypical parts. And yet, Sweeney and Powell ace their performances and rapport, and also couldn't be more watchable. Read our full review. ONE LIFE Nicholas Winton's "British Schindler" label wasn't invented for One Life, the rousing biopic that tells his story; however, it's a handy two-word description that couldn't better fit both him and the film. In the late 1930s, when the then-Czechoslovakia's Sudetenland was occupied by Nazi Germany, the London-born banker spearheaded a rescue mission to get children — mostly Jewish — out of the country. After being encouraged to visit Prague in 1938 by friends assisting refugees, he was so moved to stop as many kids as possible from falling victim to the Holocaust that he and a group of fellow humanitarians arranged trains to take them to England. The immense effort was dubbed kindertransport, with Winton assisting in saving 669 children. Then, in the decades that followed, his heroic feat was almost lost to history. In fact, it only returned to public knowledge in 1988 when his wife Grete Gjelstrup encouraged him to show his scrapbook from the time to Holocaust researcher Elizabeth Maxwell, who was married to media mogul Robert Maxwell. Smartly, One Life captures both remarkable aspects to Winton's story, flitting between them as it tells its powerful and stirring true tale. The film's jumps backwards and forward also allow room for two excellent performances, enlisting Anthony Hopkins as the older Winton and Johnny Flynn (Operation Mincemeat) to do the honours in his younger years. With The Two Popes, his Oscar win for The Father, Armageddon Time and now this, Hopkins has been enjoying a stellar run in his 80s. If matching one of Hopkins' great portrayals in a period filled with them — a career, too, of course — was daunting for Flynn, he doesn't show it. As with Kurt and Wyatt Russell on the small screen's Monarch: Legacy of Monsters, they're playing the same man but also someone who changes, as everyone does, through his experiences. Accordingly, a lively Flynn captures Winton's zeal and determination, while a patient Hopkins wears the haunted disappointment of someone who has spent half of their life thinking that he hasn't done enough. When he finally realises the full impact of his efforts, it's a devastatingly touching moment in a potent feature that looks the standard sombre part, but also knows that flashiness isn't what leaves an imprint in a story as important as this. AQUAMAN AND THE LOST KINGDOM The DC Extended Universe is dead. With Aquaman and the Lost Kingdom, the comic book-to-screen franchise hardly swims out with a memorable farewell, hasn't washed up on a high and shouldn't have many tearful over its demise. More movies based on the company's superheroes are still on the way. They'll be badged the DC Universe instead, and start largely afresh; 2025's Superman: Legacy will be the first, with Pearl's David Corenswet as the eponymous figure, as directed by new DC Studios co-chairman and co-CEO James Gunn (The Suicide Squad). Aquaman and the Lost Kingdom ends up the old regime about as expected, however: soggily, unable to make the most of its star, and stuck treading water between what it really wants to be and box-ticking saga formula. Led by Jason Momoa (Fast X), the first Aquaman knew that it was goofy, playful fun. Its main man, plus filmmaker James Wan (Malignant), didn't splash around self-importance or sink into seriousness. Rather, they made a giddily irreverent underwater space opera — and, while it ebbed and flowed between colouring by numbers and getting entertainingly silly, the latter usually won out. Alas, exuberance loses the same battle in Aquaman and the Lost Kingdom. Having spent its existence playing catch-up with the Marvel Cinematic Universe, the DCEU does exactly that for a final time here. As with Ant-Man and the Wasp: Quantumania, there's such a large debt owed to Star Wars that elements seem to be lifted wholesale; just try not to laugh at Jabba the Hutt as a sea creature. 2018's initial Aquaman used past intergalactic flicks as a diving-off point, too, but with its own personality — no trace of which bobs up this time around. Wan helms again, switching to workman-like mode. He's co-credited on the story with returning screenwriter David Leslie Johnson-McGoldrick (Orphan: First Kill), Momoa and Thomas Pa'a Sibbett (The Last Manhunt), but there's little but being dragged out with the prevailing tide, tonal chaos and a CGI mess on show. Now king of Atlantis and a father, Arthur Curry has another tussle with Black Manta (Yahya Abdul-Mateen II, Ambulance) to face, with his enemy aided by dark magic and exacerbating climate change. Only Aquaman teaming up with his imprisoned half-brother Orm (Patrick Wilson, Insidious: The Red Door) will give the world a chance to survive. Even with an octopus spy and Nicole Kidman (Faraway Downs) riding a robot shark, a shipwreck results. Read our full review. MIGRATION It mightn't seem like Migration and Chicken Run: Dawn of the Nugget should be twin films. The first is Illumination's latest non-Minions effort. The second is the long-awaited sequel to 2000 claymation favourite Chicken Run. But this pair of animated movies is definitely the newest example of the long-running cinematic déjà vu trend. Past birds of a feather have included Antz and A Bug's Life, Deep Impact and Armageddon, Churchill and Darkest Hour, and Ben Is Back and Beautiful Boy — and oh-so-many more — aka pictures with similar plots releasing at around the same time. The current additions to the list both arrive in December 2023, focus on anthropomorphised poultry, and initially find their clucking and quacking critters happy in their own safe, insular idylls, only to be forced out into the scary wider world largely due to their kids. Chaos with humans in the food industry ensues, including a life-or-death quest to avoid being eaten, plus lessons about being willing to break out of your comfort zone/nest/pond. Famous voices help bring the avian protagonists to the screen, too — Elizabeth Banks (The Beanie Bubble) and Kumail Nanjiani (Welcome to Chippendales) are the parents in Migration, for instance, and Thandiwe Newton (Westworld) and Zachary Levi (Shazam! Fury of the Gods) in Dawn of the Nugget — although that's long been the industry standard in animation in general. If you've seen Chicken Run's return, then, Migration will instantly feel familiar. This is an instance of two studios hatching near-identical films that both have their own charms, however. With Migration, a voice cast that also spans Awkwafina (Quiz Lady), Keegan-Michael Key (Wonka), Danny DeVito (It's Always Sunny in Philadelphia) and Carol Kane (Hunters) brings plenty of energy. As the key behind-the-camera talents, director Benjamin Renner (Ernest & Celestine) and screenwriter Mike White (yes, The White Lotus' Mike White) know how to enliven the narrative. That tale tells of mallards Mack (Nanjiani) and Pam (Banks), one nervous and the other adventurous, who follow another family from New England to Jamaica via New York City with their eager ducklings Dax (Caspar Jennings, Operation Mincemeat) and Gwen (first-timer Tresi Gazal), and cantankerous uncle (DeVito). But the Big Apple brings a run-in which a chef, after initially falling afoul of a flock of pigeons, befriending their leader (Awkwafina) and endeavouring to rescue the homesick parrot (Key) who knows the way to their sunny winter getaway. WISH Arriving in the year that Walt Disney Animation Studios celebrates its 100th birthday shouldn't mean that Wish needs to live up to a century's worth of beloved classics. And it wouldn't for viewers, even with the Mouse House's anniversary celebrations everywhere, if the company's latest film didn't bluntly draw attention to Disney hits gone by. Parts are cobbled together from Cinderella, Snow White And The Seven Dwarfs and Pinocchio. Not just fellow animated efforts get referenced; alongside shoutouts to Bambi and Peter Pan, Mary Poppins earns the nod well. Overtly elbowing rather than winking, directors Chris Buck (Frozen and Frozen II) and Fawn Veerasunthorn (head of story on Raya and the Last Dragon) plus screenwriters Jennifer Lee (another Frozen alum) and Allison Moore (Beacon 23) ensure that their audience has the mega media corporation's other fare in their heads. It's a dangerous strategy, calling out other movies if the feature doing the calling out is by-the-numbers at best, and it does Wish no favours. No one might've been actively thinking "I wish I was watching a different Disney movie instead" if they weren't pushed in that direction by the flick itself, but once that idea sweeps in it never floats away. While the importance and power of dreams is Wish's main theme, the film forgot to have many itself. If it hoped to be a generic inspiration-touting fairy-tale musical, however, that fantasy was granted. Ariana DeBose (West Side Story) and Chris Pine (Dungeons & Dragons: Honour Among Thieves) star as teenager Asha and all-powerful sorcerer Magnifico, respectively. The latter created the kingdom of Rosas as a sanctuary to protect people's wishes, which hover in his castle — but he's stingy with granting them. When Asha discovers that the land's sovereign isn't as benevolent as he seems, then wishes on a star that becomes her beaming friend (and makes her goat Valentino talk, sporting the voice of Peter Pan & Wendy's Alan Tudyk), she decides to topple his rule and free the deepest desires of her fellow townsfolk. Oscar-winner DeBose brings her best to the movie's songs, which would've fallen flat and proven forgettable in anyone else's hands, but they're the most vivid part of a film that starts with the storybook cliche, leans too heavily on chattering critters and can't match its classic look with an instant-classic picture. TWO TICKETS TO GREECE Laure Calamy is heading away again. In Full Time, France's current go-to actor could only dream of a getaway. Around that career-best performance, however, she's trekked with a donkey in Antoinette in the Cévennes, enjoyed family reunions on Côte d'Azur island Porquerolles in The Origin of Evil and now holidays on the Balkan Peninsula in the likeable-enough Two Tickets to Greece. Her latest packs more than a few other familiar elements into its suitcase: chalk-and-cheese protagonists, midlife crises, confronting the past, seizing the future, reviving old friendships, making new pals and finding oneself. Writer/director Marc Fitoussi, who reteams with Calamy after Call My Agent!, knows that every trip swims or sinks based on the company, though. He explores that very idea in his narrative, and has the film live it via Calamy as the chaotic Magalie, Olivia Côte (The Rose Maker, and also in Antoinette in the Cévennes) as her strait-laced childhood bestie Blandine — who she hasn't seen for decades after a teenage falling out — and an against-type-and-loving-it Kristin Scott Thomas (Slow Horses) as the go-with-the-flow Bijou. Scott Thomas puts in such an earthy-yet-layered performance as Magalie's friend, who lives the island life in Mykonos with artist Dimitris (Panos Koronis, The Lost Daughter), that Two Tickets to Greece is a better movie once she's on-screen. It's a more-rounded film, relying less on an odd-couple dynamic — even though both Calamy and Côte perfect their parts. Fitoussi first introduces his main duo as high-schoolers (Les invisibles' Marie Mallia and Vise le coeur's Leelou Laridan) who obsessively adore 1988 diving drama The Big Blue. They only meet again as adults after Blandine's son Benjamin (Alexandre Desrousseaux, Standing Up) pushes them back into each other's lives out of worry for his divorced-and-unhappy-about-it mum. He's meant to be going to Greece with his mother, in fact, but soon the erratic and impulsive Magalie has his ticket. Their destination is Armogos, The Big Blue's setting, although every detour that can redirect the pair's sun-dappled path away from a stock-standard luxe hotel stay — ferry mishaps, cute surfers, dancing on restaurant tables, island-hopping, big fights, hard truths, health scares and the like — does. COUP DE CHANCE A stroke of luck starts Coup de Chance, befitting the name of this French-language romantic thriller-slash-farce from Woody Allen. On the streets of Paris, gallerist Fanny (Lou de Laâge, The Mad Women's Ball) is recognised by writer Alain (Niels Schneider, Spirit of Ecstasy), with the pair classmates during their school days abroad in New York. He had a hefty crush all those years back, he reminds her. Even in their first reacquainted encounter, it's plain to see that he still does now. Reminiscing leads to future plans to catch up, then to leisurely walks and sandwich-fuelled picnics in parks on her lunch breaks. And, with Fanny clearly unhappily married to flashy, self-made millionaire wealth manager Jean (Melvil Poupaud, One Fine Morning), who possessively and controllingly considers her a trophy more than a person, an affair springs, too. Cue the suspicions of Jean, complete with a private detective doing his snooping and a raging case of entitlement seeping from his pores. Cue Fanny's mother Camille (Valérie Lemercier, Aline) figuring out the situation, and getting involved as well. Also, cue Allen in familiar territory from 2005's Match Point, which was set in London rather than Paris. Only a non-French filmmaker would have his Parisian characters order foie gras and frogs' legs in a restaurant. Working in Europe almost by necessity, and a writer/director whose output will always lurk under a cloud, only Allen would make the movie's yearning romantic alternative a bookish sort called Alain that's his latest on-screen surrogate. But those cliches and box-ticking elements don't stop Coup de Chance from being his best film in some time — since 2013's Blue Jasmine, which won Cate Blanchett an Oscar — with considerable help from his cast. The helmer's 50th movie sports warm autumnal hues via cinematographer Vittorio Storaro (who also shot Cafe Society, Wonder Wheel and A Rainy Day in New York), a jazzy soundtrack, plus actors who can effortlessly ride the plot's conveniences, twists and constant musings on fate alike. That said, almost any filmmaker could point their lens de Laâge, Schneider, Poupaud and Lemercier's way with engaging results; however, Allen's first film in a language other than English is repeatedly buoyed by their presence.
Kangaroo Island is known for its spectacular coastal views, wildlife, wineries and pristine beaches. It's clear to see how it got on the New York Times list of the best places to visit in 2023 and our own list of the best islands to visit in Australia. To help travellers get the most out of a trip to Kangaroo Island, we decided to create this complete guide. It highlights the best places to stay, where to eat and drink and what special activities to book ahead of time — whether you're looking for adventure or a little bit of luxury. All you have to do is get yourselves there, either by ferry or plane from Adelaide. [caption id="attachment_759309" align="alignnone" width="1920"] Bay of Shoals Wine by Meaghan Coles[/caption] EAT AND DRINK Straight off the ferry? Head to Millie Mae's Pantry for a full brunch made with ingredients from the kitchen garden, or pick up something to take with you for lunch while you adventure through the island. If you've stayed in Kingscote, start the day off with coffee from Cactus. It's well worth coming back later in the day for dumplings, tacos or whatever is on the menu that night. A winery tour is a must while you're in town, so make sure to hit Bay of Shoals Wines, which boasts the closest vines to the sea in the southern hemisphere. Nearby, there's also The Islander Estate Vineyards for vino made by a renowned Bordeaux winemaker and, for balance, Kangaroo Island Brewery where you can stop for lunch and try a few local cold ones. Also worth checking out on the far east side of the island is False Cape Wines — known for its minimal intervention drops — and Dudley Wines, which has incredible views and live music on the first Sunday of the month. But if organising this alone seems like too much hassle or you'd rather someone else drive you around, then wine tours are the way to go. This full-day wine and nature tour starts from Kangaroo Island and this alternative food and wine tasting safari starts from Adelaide. On each of these Kangaroo Island day trips, you'll taste great local vinos, eat some tasty local produce and get up and close with friendly Aussie wildlife. [caption id="attachment_759308" align="alignnone" width="1920"] Penneshaw Hotel by Adam Bruzzone[/caption] For the island's best fish and chips, we have to recommend KI Fresh Seafood in Kingscote. It's attached to a petrol station, but don't let that put you off — take away and enjoy on the water's edge. For a finer affair, head to dinner at Sunset Food and Wine. The modern bistro looks out over American Beach and is owned by Jack Ingram, former executive chef of Southern Ocean Lodge, a Kangaroo Island favourite that was sadly destroyed in the bushfires of 2020. The menu is stacked with fresh local seafood and produce, including rock lobster, kingfish sashimi and Kangaroo Island honeycomb. Otherwise, the Penneshaw Hotel is perched on a clifftop and offers a decent pub feed overlooking the wide open sea. And lastly, you should check out the monthly farmers and community market day at Penneshaw Oval, which also happens on the first Sunday of the month (between October and April). [caption id="attachment_759315" align="alignnone" width="1920"] Chapman River[/caption] DO If you're arriving by ferry, you'll get into Penneshaw — and from there you can head straight to Kangaroo Island Ocean Safari to swim with dolphins. In Lashmar Conservation Park, you can also watch out for wildlife as you kayak along the Chapman River to Antechamber Bay, where you'll find a lovely private beach perfect for a dip. Making your way west, seafood lovers should spend an afternoon at American River, where The Oyster Farm Shop will sort you out with fresh local oysters, marron, abalone and King George whiting, before you explore the protected wetlands of Pelican Lagoon. Of course, one of the best things about Kangaroo Island is the beaches: crystal clear, blue waters, long stretches of glittery white sand and lazy days spent soaking it all in. The best ones? Emu Bay on the island's north coast, where you can drive your car right onto the four-kilometre stretch of white sand and spend a day in the tranquil waters, or — a little further west — Snelling Beach for an epic sunset. Spend a day exploring the shops and sights of Kingscote, the island's largest town, just south of Emu Bay. Stop in at the Spinners and Weavers Shop for handmade natural fibre treasures, take a tour of Island Beehive and pick up some local honey, shop art at Shep's Studio and Fine Art Kangaroo Island, and visit Emu Ridge Eucalyptus Oil distillery. Be sure to make time for a two-hour blend-your-own-gin experience at Kangaroo Island Spirits. Next, you should head southwest to Vivonne Bay for surf and to sandboard down Little Sahara with the help of Little Sahara Adventure Centre. Alternatively, you cab join a quad bike tour to explore the grass and bushland before heading to the Seal Bay Conservation Park for a guided tour of the sea lion colony. [caption id="attachment_759307" align="alignnone" width="1920"] Ecopia Retreat by Stirling West[/caption] STAY Kangaroo Island has lots of luxury accommodation and you can go off-grid in style at Stowaway Kangaroo Island. Imagine curling up in the window seat of a luxurious private cabin on the edge of Lathami Conservation Park and a privately owned sheep farm, soaking in views of the bush and ocean in the distance. Both of the cabins, aptly named The Nest and The Sleepy Hollow, come with a huge soaker bath with sweeping views, a hot tub out on the deck, a sauna and a local produce hamper. Otherwise, make yourself at home at Ecopia Villas on a vast property in the middle of the island, complete with exclusive access to the Eleanor River and hundreds of acres of wilderness. Or you can book an all-inclusive package with bespoke 4WD tours at the Sea Dragon Lodge and Villas, or fall asleep to the sound of waves crashing against the cliffs of the island's eastern-most point at Mercure Kangaroo Island Lodge within the Cape Willoughby Conservation Park. If you'd rather keep it simple (and cheap), pitch a tent at one of these gorgeous camping spots that are all mere steps from the beach and have their own toilets, barbecues and picnic facilities. These stunning sites help place Kangaroo Island on our list of the best camping spots in Australia, as voted by our readers. We aren't the only ones who love Kangaroo Island — you guys do, too. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world. All images courtesy of the South Australia Tourism Commission.
If the term "slow-cooked" gets your tastebuds tingling, then you're going to want to head to Wandering Cooks' latest food frenzy. By now, you should know that every event they host is certain to get your stomach rumbling; however this one will help you make one of your favourite types of meat at home. We're talking about smoked, slow-cooked beef and pork ribs, of course — i.e. the Brissie culinary trend that's not burgers or doughnuts. Local barbecue collective The Shank Brothers has become quite the experts at cooking slabs of flesh at a low temperature over a lengthy period of time, and now you can discover their secrets. Think of The Shank Brothers Rib-athon as a different kind of protein training, with your arms getting a gastronomic-based workout but the corresponding bulk — aka the ribs themselves — taking a little bit of time. The $60 per person class takes between 90 minutes and two hours, and also includes tasters and a drink on arrival, with dinner available to purchase afterwards.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this months latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from November's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW THE GREAT Huzzah! The best satirical comedy about Russian history there is has returned for another run, and proves as much of a delight this time around as it did in its first batch of episodes. The concept was already there — following the rise and reign of Catherine the Great, including her marriage to and overthrowing of Emperor Peter III, with only the slightest regard for the actual facts — but The Great definitely doesn't suffer from second-season syndrome. Indeed, while the series has always been supremely confident in its blend of handsome period staging, the loosest of historical realities and that savage sense of humour (it does spring from Oscar-nominated The Favourite screenwriter Tony McNamara, after all), this season it feels even more comfortable in its skin. Smoother, too, yet just as biting. In fact, its ability to seesaw tonally is as sharp as a shot of vodka — or several. Following the events of the first season, Catherine (Elle Fanning, Maleficent: Mistress of Evil) is still waging war with Peter (Nicholas Hoult, Those Who Wish Me Dead) — via soldiers on the battlefield to begin with, and then in the royal court in the aftermath of her bloody coup. Her pregnancy is also ticking along, the couple's various hangers-on have chosen sides, and changing Russia into a progressive nation isn't going to be an easy task. This time around, Gillian Anderson (The Crown) joins the cast as Catherine's acid-tongued mother, but both Fanning and Hoult continue to turn in the performances of their careers. Devastatingly witty and entertaining — and addictive — The Great has lived up to its name for two seasons now. Season two of The Great is available to stream via Stan. BURNING "This could be the new normal," a snippet from a news report comments early in Burning. The reason for the statement: Black Summer, the Australian bushfire season of 2019–20 that decimated large swathes of the country, sent smoke floating around the world and attracted international media attention. Australians don't need a documentary to confirm how horrific the situation was, and this is now the second in months — after the gripping first-person accounts in A Fire Inside — but this powerful film from Chasing Asylum's Eva Orner also lays bare all the factors that coalesced in the tragic events of just two years ago. Accordingly, this is a doco about inaction, government indifference to the point of failure, and the valuing of fossil fuels over their destruction of the environment. It's a movie about climate change as well, clearly, because any film telling this tale has to be. Orner, an Oscar-winner for producing 2007's Taxi to the Dark Side and an Emmy-winner for 2016's Out of Iraq, takes a three-pronged approach: providing context to the bushfires, including charting the Australian government's choices before and after; amassing expert and experienced testimonies, spanning activists and those on the ground alike; and bearing witness. Facts — such as the three billion animals killed — sit side by side with personal recollections and devastating images. The latter includes not only the fires and their ashy aftermath, but political arguing and Scott Morrison's Hawaiian holiday; all hit like a punch to the gut. The result is urgent, important and stunning — and absolutely essential viewing. Burning is available to stream via Amazon Prime Video. MR MAYOR Here are five of the most glorious words you're ever likely to read: Ted Danson plays the mayor. The sitcom stalwart (see also: Cheers, Becker, Bored to Death and Curb Your Enthusiasm) has hopped from The Good Place into Mr Mayor, actually, and into the latest TV comedy created and/or produced by Tina Fey. Fans of the latter's other shows — 30 Rock, obviously, and also Unbreakable Kimmy Schmidt, Great News and Girls5Eva — will know the sense of humour her series tend to work with, and it's a fabulous match for Danson. So too is Mr Mayor's setup, which sees a wealthy, clueless but amiable businessman decide he can improve a post-COVID-19 Los Angeles, and get elected. Firmly a workplace comedy, the series chronicles the ups and downs in the mayor's office as Danson's Neil Bremer tries to do a job he clearly isn't qualified for. Naturally, with the arrogance of a rich, white and otherwise successful man of a certain age, he believes otherwise. Mr Mayor is firmly an ensemble comedy as well, however, and both Holly Hunter (Succession) and Bobby Moynihan (Saturday Night Live) are comedic gems as Bremer's over-enthusiastic deputy mayor and bumbling communications director, respectively. The series is a tad less successful when it endeavours to be a family comedy, too, bringing the mayor's teenage daughter Orly (Kyla Kenedy, Speechless) into the mix. But when its gags land — and whenever Danson and Hunter share the screen, which is often — it's smart, hilarious and all-too-easy to binge. Season one of Mr Mayor is available to stream via 9Now. FINCH There's a sweetness to Finch that transcends its easy-sell concept — because tasking the always-likeable Tom Hanks with navigating a solar flare-ravaged earth was always going to be inherently watchable. Perhaps Turner and Hooch meets Cast Away meets Chappie meets The Road was the elevator pitch? Maybe seeing not just America's on-screen dad, but the world's, play father to a cute pooch and a teenager-like robot was the key selling point? Either way, filmmaker Miguel Sapochnik (Game of Thrones) and first-time feature screenwriters Craig Luck and Ivor Powell tap into a tender and selfless existential quest in their post-apocalyptic drama. The titular Finch isn't attempting to survive, but trying to ensure that the dog that's been his only flesh-and-blood companion for a decade or so can live on after he's gone. In Hanks' second protective father-figure role in as many features, following News of the World, he also plays Geppetto to a robot Pinocchio or Victor Frankenstein to a new mechanical life, too. Jeff, the wiry being born of his labour, is far from perfect — and Finch's slow, initially begrudging acceptance that he can't mould and control everything about his creation ranks chief among the movie's touching emotional journeys. The film's musings on mortality, leaving a legacy and being a better person are also layered and thoughtful, and never feel well-worn even though science-fiction can't stop pondering such ideas. In an excellent motion-capture performance, Caleb Landry Jones (Nitram) also leaves an imprint as Jeff. Unsurprisingly, however, Hanks is always Finch's key source of texture and empathy. Finch is available to stream via Apple TV+. COWBOY BEBOP A TV show can live or die based on its casting alone. With Netflix's live-action adaptation of Cowboy Bebop, it frequently seems as if it only exists because some immensely clever person had the stroke of genius to cast John Cho (The Grudge) as Spike Spiegel. While being the best thing about a series or a movie isn't always a good thing — on the big screen, both Jungle Cruise and Venom: Let There Be Carnage haven't managed to match their ace lead casting in recent months — Cho always makes Cowboy Bebop much more than watchable. Well, Cho, his effortless swagger, sleek costumes, and the film's overt eagerness to look and feel as much like anime come to life as it possibly can. It isn't on the same level as its source material, and it doesn't even try to improve it, but it's still an exuberant, stylish and frequently engaging piece of sci-fi television. As anyone familiar with the 90s anime will know, Spike is just one of Cowboy Bebop's bounty hunters on the spaceship Bebop. After a disaster has scattered humanity across the solar system, chasing down criminals is Spike and Jet Black's (Mustafa Shakir, The Deuce) way of making a living. That's true both before and after they cross paths with Fay Valentine (Daniella Pineda, Jurassic World: Fallen Kingdom), with the series as concerned with the sitcom-esque odd-threesome vibe between its key figures as it is with their quests. Everyone has their complications, but almost everything is madcap and manic here — and when it works it works, with particular thanks to Cho, naturally, as well as Shakir and Pineda. Season one of Cowboy Bebop is available to stream via Netflix. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK YELLOWJACKETS When Yellowjackets begins, it's with an intriguing mystery, a killer cast — led by the compulsively watchable Melanie Lynskey (Mrs America), Juliette Lewis (Breaking News in Yuba County) and Christina Ricci (Percy vs Goliath) — and a deep valley full of trauma. In their high-school years, Shauna Sheridan (Lynskey, and also The Kid Detective's Sophie Nélisse as a teenager) and Natalie (Lewis, plus The Tomorrow Man's Sophie Thatcher) were key players on the titular high-achieving New Jersey soccer team, while Misty (Ricci, as well as Shameless' Samantha Hanratty) was the squad's frequently bullied student manager. Then, en route to a big match in Seattle on a private plane in 1996, they entered Lost territory. That crash saw the survivors stranded in the wilderness for 19 months, and living their worst Lord of the Flies lives, too. As established in a tremendous first episode directed with the utmost precision by Destroyer's Karyn Kusama, Yellowjackets isn't simply interested in an inherently disturbing experience that'd change anyone's life. It's just as obsessed with that transformation itself — with how, after falling from the sky, learning to endure in such remote surroundings and plummeting into a horror movie, someone copes when normality supposedly comes calling afterwards. Flitting between the two 25-years-apart time periods, it's about tragedies endured, paths taken, necessities accepted and the echoes that linger from all three. Even just a handful of episodes in, this instant must-see is chilling, perceptive, resonant and potent. Yellowjackets is streaming via Paramount+, with new episodes dropping weekly. CURB YOUR ENTHUSIASM There's no one on television quite like Larry David. Famously, the Seinfeld creator was the inspiration for George Constanza, but that comparison will never do justice to the on-screen version of David himself. The writer and comedian has played that fictionalised, satirised version in Curb Your Enthusiasm for 11 seasons over the course of more than two decades now, and he's a character that overflows with complexities and contradictions. He's notoriously and excruciatingly petty. He has zero tact or sensitivity. He's constantly in everyday situations that seem him forced to navigate social codes and conventions, and he's always putting them to the test. When he's wrong, he's the king of cringe comedy. When he's right, he's the champion of everyday grievances. In this HBO comedy, they don't just get aired at Festivus around a pole. Setting up a spite store — opening a coffee shop next door to an identical cafe purely for malicious reasons — anchored Curb Your Enthusiasm's tenth series. In season 11, David is trying to make TV again. He has an idea for a Young Rock/Everybody Hates Chris-style show called Young Larry which he's shopping around to streaming platforms but, as always, he's his own worst enemy. The episode featuring the great Albert Brooks as himself is one of the show's best ever, and also a delightful tribute to the late Bob Einstein, a former CYE regular and Brooks' real-life brother. Watching David at his best and worst is always this discomfort-courting series' core, though, and he's as stellar as he's ever been. Season 11 of Curb Your Enthusiasm is streaming via Binge, with new episodes dropping weekly. HAWKEYE Another month, another reason to direct your eyeballs towards Marvel. 2021 hasn't quite played out like that, but only just — there's been three MCU movies so far (Black Widow, Shang-Chi and the Legend of the Ten Rings and Eternals), three streaming series before now (WandaVision, The Falcon and the Winter Soldier and Loki), and there's still Spider-Man: No Way Home to come. And, Hawkeye has just started bringing the franchise's arrow-slinging hero to the small-screen. Jeremy Renner (Mayor of Kingstown) returns to the eponymous character, aka Clint Barton, but he isn't actually the main attraction in this miniseries. That'd be Hailee Steinfeld (Dickinson) as Kate Bishop, who has taken inspiration from from Barton, is just as handy with a bow and arrow, and finds herself becoming his protege. There's a lot of scene-setting in the series' first episodes — establishing Bishop's story, including links back to The Avengers in 2012, and also stepping inside Barton's ordinary life with his family (the presence of which, even as just a background detail, has always made the character stand out). Nonetheless, Steinfeld's addition to Marvel's ever-growing on-screen realm provides just the spark that Hawkeye needs, and that the broader MCU could use as well. The fact that Florence Pugh is set to reprise her Black Widow favourite Yelena Belova in the show, too, firmly thrusts it towards the future — and hopefully, finally and welcomely sets the scene for a different generation of heroes. Hawkeye is streaming via Disney+, with new episodes dropping weekly. EXCELLENT RECENT CINEMA RELEASES TO CATCH UP WITH IMMEDIATELY NITRAM It's terrifying to contemplate something so gut-wrenchingly abominable as the bodies-in-barrels murders, which director Justin Kurzel and screenwriter Shaun Grant depicted in 2011's Snowtown, and to face the fact that people rather than evil were behind them. Nitram courts and provokes the same response. Exploring the events preceding the Port Arthur massacre, where 35 people were murdered and 23 others wounded in Tasmania in 1996, it focuses on something equally as ghastly, and similarly refuses to see the perpetrator as just a monster or a Hollywood horror movie-style foe. It too is difficult, distressing, disquieting and disturbing, understandably. In their third collaboration — with 2019's bold and blazing True History of the Kelly Gang in the middle — Kurzel and Grant create another tricky masterpiece, in fact. That Nitram is about a person is one key reason for its brilliance. The film's core off-screen duo don't excuse their protagonist. They don't justify the unjustifiable, explain it, exploit it, or provide neat answers to a near-unfathomable crime. Rather, they're careful in depicting the lone gunman responsible for Australia's worst single-shooter mass killing, right down to refusing to name him. In an exacting movie in every way possible, they also benefit from exceptional performances by Caleb Landry Jones (Finch) as the film's namesake, Judy Davis (Mystery Road) as his wearied mother, Anthony LaPaglia (Below) as his father and Essie Davis (The Justice of Bunny King) as his lottery heiress friend. Nitram is available to stream via Stan. Read our full review. BECOMING COUSTEAU He's been parodied in a Wes Anderson film and mentioned in a Flight of the Conchords song. His red beanie, and those worn by his fellow crew members on his research ship Calypso, are an enduring fashion symbol. He won the second-ever Cannes Film Festival Palme d'Or — becoming not only the first filmmaker to receive the prestigious prize for a documentary, but the only one to do so for almost half a century afterwards. When he started making television in the 60s, he turned his underwater-shot docos about the sea into truly must-see TV. He helped create undersea diving as we know it, and he's the most famous oceanographer that's ever lived. He was also one of the early voices who spoke out about climate change and humanity's impact upon the oceans. He's a rockstar in every field he dived into — and he's Jacques Cousteau, obviously. Becoming Cousteau touches on all of the above — except The Life Aquatic with Steve Zissou and Flight of the Conchords' 'Fou de Fafa', of course — and makes for a a riveting splash into its namesake's life and career. There's just so much to tell, to the point that it frequently feels as if director Liz Garbus (an Oscar-nominee for What Happened, Miss Simone?) could've filled an entire series instead. This isn't just an affectionate ode, though, even with ample praise floated Cousteau's way. Garbus knows that Cousteau's achievements, and the glorious archival footage that comes with it, elicit an awe-struck reaction, but doesn't shy away from thornier aspects, the tragedies and struggles among them. Becoming Cousteau is available to stream via Disney+. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September and October this year — and our top straight-to-streaming movies and specials from 2021 so far, and our list of the best new TV shows released this year so far as well.
Something delightful has been happening in cinemas across the country. After periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — at present, spanning both big chains and smaller independent sites in Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE SUICIDE SQUAD New decade, new director, new word in the title — and a mostly new cast, too. That's The Suicide Squad, the DC Extended Universe's new effort to keep viewers immersed in its sprawling superhero franchise, which keeps coming second in hearts, minds and box-office success to Marvel's counterpart. Revisiting a concept last seen in 2016's Suicide Squad, the new flick also tries to blast its unloved precursor's memory from everyone's brains. That three-letter addition to the title? It doesn't just ignore The Social Network's quote about the English language's most-used term, but also attempts to establish this film as the definitive vision of its ragtag supervillain crew. To help, Guardians of the Galaxy filmmaker James Gunn joins the fold, his Troma-honed penchant for horror, comedy and gore is let loose, and a devil-may-care attitude is thrust to the fore. But when your main aim is to one-up the derided last feature with basically the same name, hitting your target is easy — and fulfilling that mission, even with irreverence and flair, isn't the same as making a great or especially memorable movie. Indeed, a film can be funny and lively, use its main faces well, have a few nice moments with its supporting cast and improve on its predecessor, and yet still fall into a routine, unsuccessfully wade into murky politics, never capitalise upon its premise or promise, keep rehashing the same things, and just be average, too — and right now, that film is The Suicide Squad. Mischief abounds from the outset — mood-wise, at least — including when no-nonsense black-ops agent Amanda Waller (Viola Davis, Ma Rainey's Black Bottom) teams up Suicide Squad's Rick Flag (Joel Kinnaman, The Secrets We Keep), Captain Boomerang (Jai Courtney, Honest Thief) and Harley Quinn (Margot Robbie, Dreamland) with a few new felons for a trip to the fictional Corto Maltese. Because this movie has that extra word in its title, it soon switches to another troupe reluctantly led by mercenary Bloodsport (Idris Elba, Concrete Cowboy), with fellow trained killer Peacemaker (John Cena, Fast and Furious 9) and the aforementioned Polka-Dot Man (David Dastmalchian, Bird Box), Ratcatcher 2 (Daniela Melchior, Valor da Vida) and King Shark (Sylvester Stallone, Rambo: Last Blood) also present. Their task: to sneak into a tower on the South American island. Under the guidance of The Thinker (Peter Capaldi, The Personal History of David Copperfield), alien experiment Project Starfish has been underway there for decades (and yes, Gunn makes time for a butthole joke). In this movie about cartoonish incarcerated killers doing the US government's dirty work, Waller has charged her recruits to destroy the secret test, all to ensure it isn't used by the violent faction that's just taken over Corto Maltese via a bloody coup. The end result is silly and goofy, fittingly — and yet, even when a supersized space starfish gets stompy (think: SpongeBob SquarePants' best bud Patrick if he grew up and got power-hungry), this sequel-slash-do-over is never as gleefully absurd as it should be. Again and again, even when Gunn's gambit works in the moment, that's how The Suicide Squad keeps playing out. Read our full review. THE ROSE MAKER The scent of popcorn lingers in the air, and long-standing venues tend to have a particular aroma, but cinema isn't generally an olfactory medium. Smell-O-Vision pops up every now and then, using scratch-and-sniff cards to emit particular tangs tied to specific films; however, any whiffs tickling your nose while you're watching a movie usually have nothing to do what's on-screen. One of the joys of The Rose Maker is that it makes its audience feel like they're smelling the rows and bouquets of roses they're seeing, even though they obviously can't. Filmmaker Pierre Pinaud (On Air) arranges many of his frames with colourful blossoms, with his array of woody perennials in a rainbow's worth of hues basically becoming flower porn. The more these vibrant sights appear, the more your brain fills in the gaps — but that isn't this kind-hearted comedy's only source of charm. Based on the flicks releasing in Australian cinemas of late, the current state of French cinema is sweet, both scent- and sentiment-wise. Let's call it the fragrant French film universe: the realm in which The Rose Maker, which focuses on growing standout roses, and Perfumes, about a perfume-industry veteran with a particularly fine-tuned sense of smell, can co-exist. The two recent movies don't overlap in their narratives (although a pivotal plot point in the former could easily see one character step right into the latter), but as well as flowers and and scents, they do also share an underlying warmth, an interest in how the senses can bring people together platonically and professionally, and a blend of sincerity and insight layered over otherwise formulaic storylines. In The Rose Maker, Eve Vernet (Catherine Frot, The Midwife) has devoted her life to creating glorious new rose hybrids — and, ideally for her reputation and her business' bank balance, winning awards for them as well. Her dad did the same, and she's carried on the family trade in the 15 years since his death, even though it's becoming increasingly harder in the face of big, slick outfits that have hundreds of workers, spit out new varieties with frequency and don't care about the longevity of their creations. Indeed, when she's beaten at a prestigious annual rose contest by Lamarzelle (Vincent Dedienne, A Good Man), the owner of one such competitor, Eve fears for her future. Vernet Roses is already struggling financially and can't afford workers, and sales are down. Then her long-standing assistant Véra (Olivia Côte, Antoinette in the Cévennes) comes up with the idea of obtaining help through a rehabilitation program, which sees ex-thief Fred (Manel Foulgoc, Poètes), 50-year-old Samir (Fatsah Bouyahmed, Invisibles) and the highly strung Nadège (Marie Petiot, Hippocrate) begin to learn the rose game. Eve is initially skeptical, but more than roses start blossoming as she enlists her new offsiders' assistance with creating a particular hybrid to win next year's prize. There isn't much in the way of narrative surprises here, but the screenplay co-written by Pinaud, fellow filmmaker Philippe Le Guay (Normandy Nude) and three other scribes smartly uses its familiar plot to interrogate the tiers of French society. And, not only the always-excellent Frot but also relative newcomer Foulgoc turn in textured and moving performances. SOME KIND OF HEAVEN If you didn't know that Some Kind of Heaven was a documentary, you might think that it was a skit from I Think You Should Leave with Tim Robinson. The same kind of social awkwardness that makes the Netflix sketch comedy such an equally savage and hilarious watch is present in this factual look at the retirement community also dubbed "god's waiting room": The Villages, Florida, the world's largest master-planned, age-restricted locale of its kind, and home to more than 120,000 people. This is a place for folks aged over 55 to live in multiple senses of the world. Couples tend to move there, then sign up for some of the thousands of activities and clubs that get them out dancing, kayaking, cheerleading, swimming and more. If a resident happens to be on their own — usually after their partner's passing — they can get involved in the local singles club, too. Around since the early 80s, and also described as "Disney World for retirees", this community is meant to be a dream. It was specifically designed to resemble the kinds of small towns its inhabitants likely grew up in, right down to the shop-filled main street and the large town square, and locals aren't ever meant to want to leave. But as Some Kind of Heaven follows four folks who've made The Villages their home — including one ex-Californian import that's just squatting — it demonstrates the reality that lingers behind the busy facade and glossy sales pitch. Requiem for a Dream's Darren Aronofsky is one of the doco's producers and, while Mother!-style horrors never quite pop up, this isn't a portrait of bliss by any means. Many of The Villages' residents are clearly happy. In his first feature-lengthy documentary, filmmaker Lance Oppenheim trains his gaze at people who aren't likely to appear in any of the community's brochures, however. Every shot lensed by cinematographer David Bolen (1BR) and boxed into the film's square frame is scenic and striking — Some Kind of Heaven sports an exquisite eye for visual composition — but much of what the movie depicts feels like stepping into a surreal alternative realm. (In one sequence, the camera meets a room filled with women called Elaine, all of whom introduce themselves one after one — and it's a scene that could've come straight out of any one of David Lynch's visions of suburban horror.) Approaching their 47-year wedding anniversary, Reggie and Anne think they've found the place for them. That's what they're both saying, at least, but The Villages means different things for each of them. Reggie has used the move to embrace his love of drugs and doing whatever he wants, and Anne has once again been forced to stand by his side, including when he's sent to court and admonished for his rudeness while representing himself. Then there's Barbara, a widow from Boston who didn't ever plan to live in Florida alone. She still works full-time, a rarity among her fellow residents, and she yearns for the company she thinks a margarita-loving golf cart salesman might bring. Rounding out the interviewees is the sleazy Dennis, an 81-year-old living in his van until he can find an attractive and rich woman to marry. Some Kind of Heaven doesn't judge him, or anyone else in its frames, but it lets these stories speak volumes about a place positioned as a fantasy land and yet really just bringing out the chaotic teenager inside everyone. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; May 6, May 13, May 20 and May 27; June 3, June 10, June 17 and June 24; and July 1, July 8, July 15, July 22 and July 29. You can also read our full reviews of a heap of recent movies, such as Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella, My Name Is Gulpilil, Lapsis, The Conjuring: The Devil Made Me Do It, Fast and Furious 9, Valerie Taylor: Playing with Sharks, In the Heights, Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old and Jungle Cruise.
Summer in Brisbane is hot. There's no denying that. Other than taking a dip, what better way to take the heat off than with a (free) ice-cold beverage? Luckily, these bars and pubs around Brisbane are offering a complimentary Chandon Garden Spritz on arrival on Friday, February 28. Make a beeline to these beach clubs and inner city rooftops to enjoy a Chandon Spritz on the house to end your summer with a pick-me-up. Chandon's Garden Spritz is a natural, ready-to-serve blend of sparkling wine handcrafted with navel and blood oranges, dried orange peel and natural herbs and spices. All the way from the Yarra Valley, it's not too bitter, but not too sweet and has half the sugar of most spritzes thanks to its natural ingredients. For the perfect serve, just add ice and an orange slice, and top with a sprig of rosemary if you're feeling fancy. Juju Nobby Beach This Mermaid Beach hotspot is one of the best on Nobby's strip. A combination of fine dining and Gold Coast party vibes, Juju has space for 400, so it's always pumping, making it the perfect spot to cheers to the end of summer with a free Chandon Spritz. Little Miss Sunshine Nestled in the heart of Brisbane's CBD, Little Miss Sunshine is an ode to the sunny state. The bistro and brewery is one of a kind, with a huge space set across two levels (which sprawls out into the laneway), serving up brews and an Aussie-Mediterranean-style menu. And what better way to balance out all the beer-drinking than with a blood-orange-infused spritz? Isles Lane This inner-city dining haunt is an ideal spot to end your summer. The airy eatery is open for breakfast, lunch and dinner and is known for its delicious cocktails and refined take on classic pub food. The only thing that could make a long lunch (or early morning brekky) better is a complimentary spritz. Cali Beach Club We can't think of a more suitable place to indulge in a Chandon Spritz than Australia's largest rooftop beach club. With epic views, live music and the perfect dose of luxury, Cali Beach Club is the place to be on the last day of summer. Tetto Rooftop For the ultimate rooftop vibes, head to Tetto Rooftop in Everton Park. The coastal Italian-inspired hub hosts DJ's every Friday, Saturday and Sunday. The venue is also infamous for its bottomless weekends, which are always a good idea. If sipping an ice-cold Chandon Spritz on a rooftop bar with share plates and panoramic views is your idea of heaven, then you know what to do. The Beach Hotel Broadbeach This laid-back Gold Coast pub is a favourite among locals. The menu focuses on fresh seafood and elevated pub classics, with a fun cocktail menu, perfect for when you've finished your spritz and are looking to keep the party going. Head into these venues around Australia on the last day of summer to receive a complimentary Chandon Spritz on arrival. First in best dressed and T&C's apply. Enjoy Chandon Responsibly. Images: Supplied.
When The Triffid starts welcoming patrons at 11am at Saturday, January 25, 2025, here's a tip: rush through the door, find your favourite spot and settle in for the long haul. Trust the Newstead venue to have all your plans covered. Want to listen to the nation's biggest countdown? Have a few brews? Play bingo? Consider it all sorted. On the agenda: Triffid J's Hottest 100 Party, which boasts not only free entry but also drinks specials. And, you'll be in a place that exists thanks to someone who knows a thing or two about the triple j Hottest 100: Powderfinger's John Collins. The Triffid's shindig will make the most of the venue's leafy beer garden, where burgers, cheese and bacon fries, salt and pepper squid, and sweet potato croquettes are among the options to help line your stomach. The usual drinks list also includes spicy passionfruit margaritas, cherry whisky sours, lychee martinis and strawberry watermelon daiquiris — summery drinks if ever we heard of them. And as for the festivities, countdown bingo is on the agenda, as are beer pong and a jug-holding competition. Or, show off your skills in the handball arena. And yes, there's prizes to be won — other the prize of a great day.
Snow place like home, right? Here at CP, we're excited for winter playtime. Whether you can't wait to hit the slopes again or you're a curious first-timer, we know just the snow-covered playground that will hit the spot: Thredbo. Just a 5 and a 1/2 hour drive from Sydney, winter holiday goers congregate to the alpine village in their masses for the longest ski runs in Australia (when the mountain is fully covered in snow). And we've got the lowdown: where to stay, where to re-fuel, and where to party in your snow boots. Athol Got a lot of friends? This cosy, rustic self-contained chalet sleeps up to 12 people with a perfect communal layout for a big group. Gather round the open fire, sprawl out on the balcony and dig in to some hearty food at the canteen-style dining table. Diggings Terrance, Thredbo Village; Athol website Banjo Townhouses Each townhouse is a modern apartment with one or two bedrooms and beautiful views of the mountains. Loft units have their own slow-burning wood fire: lush! Banjo Drive, Thredbo Village; stayz.com.au/93085 Bernti’s Mountain Inn Bernti's is restaurant, hotel and nightlife all rolled into one. This European-style boutique inn has 30 rooms (and a rather entertaining host in Donna), gourmet food and a popular al fresco deck. Why would you ever leave? 4 Mowamba Place, Thredbo Village; (02) 6457 6332; berntis.com.au Black Bear Inn In the heart of Thredbo, and at the centre of all the action, this traditional lodge and restaurant has rooms to rent from single to family-sized. It’s a stone’s throw from the shuttle stop, plus never-ending German beer at the Inn. 30 Diggins Terrace, Thredbo Village; (02) 6457 6216; blackbearinn.com.au Thredbo Alpine Hotel Thredbo Alpine Hotel is boutique accommodation with the pick of rooms or chalets for an easy, comfortable stay at the base of the Kosciuszko chairlift. Thredbo Resort Centre, Thredbo Village; 1300 020 589; Thredbo Alpine Hotel Moonbah Hut A short 30 minute drive from Thredbo, and 15 minutes from Jindabyne town, Moonbah Hut is in a whole world of its own. This completely isolated, unique stone hut is fully equipped with underfloor heating, a rocking chair and fluffy robes for a romantic getaway. Jindabyne; (02) 6457 8311; moonbahhut.com Paringa Self contained, all the mod-cons and a shuttle bus on your doorstep, Paringa apartments are two bed units plus loft space, the obligatory balcony BBQ and a Swedish sauna. (02) 6457 7030; skiinskiout.com.au River Inn Priding itself on being a ski-in, ski-out hotel, River Inn has modern rooms and suites with plenty of extras, like wireless, a heated indoor pool and laundry service. 4 Friday Drive, Thredbo Alpine Village; (02) 9369 3010; riverinn.com.au Rockpool Lodge Like a little luxe? When only 5 star will do, Rockpool Lodge is a good pick. It’s got the spa, faux fur throws, sauna and champagne on chill (okay, we can’t guarantee the last one, but you get the picture). (02) 6457 7132; rockpoollodge.com.au Kareela Hutte Breakfast, coffee, champagne or cellar door, Kareela Hutte is a well-loved haunt for skiers and boarders on their up or down the mountain. On the Supertrail at 1810m altitude; (02) 6457 6099; kareelahutte.com.au Merritts Mountain House On-slope marketplace dining, from fresh juices and salads to stews, soups and strudel. Merritts uses artisan produce to create lovingly homemade food, conveniently located between slopes. Top of Merritts chairlift at 1660m altitude; (02) 6457 6084; merritts.com.au Black Sallee's Nestled amongst the gum trees off Crackenback Supertrail, Black Sallee's is famous for its hot chocolate, European beer selection (try the Maisel's Weisse) and schnapps. The service is quick, so you’ll be shoop shooping again in no time. At the top of Snowgums chairlift; (02) 6457 6439; Black Sallee's Bullwheel Bar & Bistro Laying claim to being Australia’s highest bar and bistro, Bullwheel has quick snacks and warming drinks, as well as German wheat beers, gluhwein and schnapps. At the top of Kosciuszko chairlift at 1937m altitude; (02) 6457 6019; Bullwheel Bar & Bistro Bernti’s Tapas Bar Serving a gourmet selection of international tapas, from smoked trout bruschetta to veal schnitzel, Bernti’s has al fresco dining and plenty of wine and beer to wash it down with. 4 Mowamba Place, Thredbo Village; (02) 6457 6332; berntis.com.au/tapas-bar The Knickerbocker Pan fried market fish, duck confit, spinach and ricotta dumplings... Yum! Riverside Cabins, Diggings Terrace, Thredbo; (02) 6457 6844; theknickerbocker.com.au The Terrace Relaxed fine dining: head chef Karen Forsstrom, formerly of Sydney’s Kingsleys restaurant, cooks up the finest ingredients to serve up her handcrafted menu. The Denman Hotel, 21 Diggings Terrace, Thredbo; (02) 6457 6222; thedenman.com.au The Wildbrumby Open daily for breakfast and lunch, the kitchen at Wildbrumby schnapps distillery door has a hearty selection of soups, pates, sandwiches and burgers - all created using local produce. Cnr of Wollondibby Rd and Alpine Way, Jindabyne; (02) 6457 1447; wildbrumby.com Apres Bar For a sophisticated start to the night, head to Apres Bar at The Denman. Cocktails, retro decor and tapas. The Denman, 21 Diggins Terrace, Thredbo Village; (02) 6457 6222; thedenman.com.au/bar Schuss Bar A little more laid-back, the Schuss Bar has live music and entertainment every night throughout winter. Threadbo Village Resort, Alpine Way; (02) 6459 4200. Thredbo Alpine Lounge Bar From 12 noon to midnight, the Alpine Lounge Bar is the place to kick-back and enjoy a coffee (or something stronger) beside the fire. Relaxed vibe, live music and great views. Thredbo Village Resort, Alpine Way; (02) 6459 4200. The Keller Looking to party late into the night? Revellers migrate to Thredbo’s famous nightclub. Thredbo Village Resort, Alpine Way; (02) 6459 4200.
Keeping track of the pooch-friendly events around Brisbane almost requires a separate calendar — a doggo diary if you like. If taking your pet pupper to all the places you can is your idea of a great time, here's the latest thing to add to your schedule: The Prince Consort's Paws and Pints session. All throughout August, the venue is celebrating Pawgust — and this Sunday session, taking place from 11.30am on Sunday, August 14, is one of the star attractions. Yes, it's a chance to take your furry best friend for a few brews. Plus, if Max or Frankie is judged the cutest canine there, you'll also get some time in the pupper photo booth. Entry is free and, to get your dog's tail wagging, treats and bowls will be available for the barking attendees — and the usual bar menu will be on offer for two-legged patrons. Sip Stone & Wood pints and you'll be helping a great cause, too, with proceeds being donated to the Animal Welfare League Queensland. As for the soundtrack, you can expect 'Who Let the Dogs Out?', 'Hound Dog', 'Black Dog' and more appropriately themed tracks to get a whirl.
Just over 12 months ago, in January 2023, Danny and Michael Philippou's Talk to Me screened at the Sundance Film Festival. From there, it was picked up by A24, released to hefty crowds and fanfare midyear, and collected 11 nominations from the Australian Academy of Cinema and Television Arts Awards. Now, at the Aussie organisation's night of nights, the homegrown horror hit has won eight accolades, the most of any movie — including Best Film of 2023, plus Best Director for the RackaRacka YouTubers-turned-filmmakers. It's official: Talk to Me is the top Australian flick of the past year, a huge feat not only for a horror movie but for the Philippou brothers' first feature. In the film categories, it had company from Warwick Thornton's The New Boy, which picked up four awards from 12 nominations. A heap of other pictures collected a prize each: Noora Niasari's Shayda, with one win from nine nods; The Rooster, with one from four; Ivan Sen's Limbo, Carmen and John Farnham: Finding the Voice, each with one from three; and Ego: The Michael Gudinski Story and The Giants, with one from two apiece. That's an impressive spread, including the Best Actress accolade going to Talk to Me's Sophie Wilde, Best Actor to The New Boy's Aswan Reid, Best Supporting Actress to Deborah Mailman for the latter film and Best Supporting Actor to The Rooster's Hugo Weaving. The AACTAs aren't just about the big screen, however, also rewarding the year's best TV efforts. There, The Newsreader and Deadloch each picked up five awards — including Kate McCartney and Kate McLennan nabbing Best Screenplay in Television for writing Deadloch. Across the small-screen fields, they were joined by fellow big winners Colin From Accounts, The Lost Flowers of Alice Hart and Love Me. The hefty affair, which was held on Saturday, February 10 on the Gold Coast for the first time amid a four-day AACTA Festival, also found more than one way to give Margot Robbie and Barbie some love. Cue Robbie receiving the annual Trailblazer Award, plus the Audience Choice Award for Favourite Actress. Also among the public's picks was Barbie for Favourite Film. And, the list of gongs goes on — for Robbie and Barbie, and in general, with International Awards also handed out. Succession, The Bear, Oppenheimer, Poor Things: they all earned a shiny trophy or two as well. Here's the full rundown: AACTA Nominees and Winners 2024: Film Awards: Best Film Of an Age Shayda Sweet As Talk to Me — WINNER The New Boy The Royal Hotel Best Indie Film A Savage Christmas Limbo — WINNER Monolith Streets of Colour The Rooster The Survival of Kindness Best Direction Jub Clerc, Sweet As Kitty Green, The Royal Hotel Noora Niasari, Shayda, Danny Philippou, Michael Philippou, Talk to Me — WINNER Goran Stolevski, Of an Age Warwick Thornton, The New Boy Best Lead Actress Zar Amir Ebrahimi, Shayda Shantae Barnes-Cowan, Sweet As Cate Blanchett, The New Boy Julia Garner, The Royal Hotel Sarah Snook, Run Rabbit Run Sophie Wilde, Talk to Me — WINNER Best Lead Actor Elias Anton, Of an Age Simon Baker, Limbo Thom Green, Of an Age Phoenix Raei, The Rooster Aswan Reid, The New Boy — WINNER Osamah Sami, Shayda Best Supporting Actress Alex Jensen, Talk to Me Deborah Mailman, The New Boy — WINNER Tasma Walton, Sweet As Mia Wasikowska, Blueback Ursula Yovich, The Royal Hotel Selina Zahednia, Shayda Best Supporting Actor Mojean Aria, Shayda Eric Bana, Blueback Wayne Blair, The New Boy Rob Collins, Limbo Zoe Terakes, Talk to Me Hugo Weaving, The Rooster — WINNER Best Screenplay Kitty Green, Oscar Redding, The Royal Hotel Noora Niasari, Shayda Danny Philippou, Bill Hinzman, Talk to Me — WINNER Goran Stolevski, Of an Age Warwick Thornton, The New Boy Best Cinematography Carl Allison, Godless: The Eastfield Exorcism Sherwin Akbarzadeh, Shayda Aaron McLisky, Talk to Me Katie Milwright, Sweet As Warwick Thornton, The New Boy — WINNER Best Editing Dany Cooper, Carmen Katie Flaxman, Sweet As Geoff Lamb, Talk to Me — WINNER Michelle McGilvray, Matt Villa, Courtney Teixera, Scarygirl Nick Meyers, The New Boy Best Casting in Film Run Rabbit Run Shayda — WINNER Sweet As The New Boy The Royal Hotel Best Costume Design Blueback Carmen — WINNER Seriously Red The New Boy The Rooster Best Original Score Blueback Godless: The Eastfield Exorcism Suka Talk to Me — WINNER The Big Dog Best Production Design Carmen Scarygirl The New Boy — WINNER The Portable Door True Spirit Best Sound Godless: The Eastfield Exorcism Scarygirl Seriously Red Talk to Me — WINNER Three Chords and the Truth Best Short Film An Ostrich Told Me the World is Fake and I Think I Believe It Ashes Finding Addison — WINNER Jia Mud Crab Not Dark Yet Documentary Awards: Best Documentary Ego: The Michael Gudinski Story Harley & Katya John Farnham: Finding the Voice — WINNER The Dark Emu Story The Giants The Last Daughter This Is Going to Be Big To Never Forget Best Cinematography in a Documentary Australia's Wild Odyssey Shackleton: The Greatest Story of Survival The Dark Emu Story The Giants — WINNER This Is Going To Be Big Best Editing in a Documentary Because We Have Each Other Folau Harley & Katya Queerstralia The Australian Wars — WINNER Best Original Score in a Documentary John Farnham: Finding The Voice Kindred Splice Here: A Projected Odyssey The Dark Emu Story — WINNER Under Cover Best Sound in a Documentary Ego: The Michael Gudinski Story — WINNER John Farnham: Finding The Voice Kindred Memory Film — A Filmmaker's Diary The Dark Emu Story Television Awards: Best Drama Series Bay of Fires Black Snow Bump Erotic Stories Love Me The Newsreader — WINNER Best Narrative Comedy Colin From Accounts — WINNER Deadloch Fisk Gold Diggers Upright Utopia Best Miniseries Bad Behaviour In Our Blood Safe Home The Clearing The Lost Flowers of Alice Hart — WINNER While The Men Are Away Best Lead Actor in a Television Drama Tim Draxl, In Our Blood Travis Fimmel, Black Snow Joel Lago, Erotic Stories Sam Reid, The Newsreader Richard Roxburgh, Bali 2002 Hugo Weaving, Love Me — WINNER Best Lead Actress in a Television Drama Kate Box, Erotic Stories Aisha Dee, Safe Home Bojana Novakovic, Love Me Teresa Palmer, The Clearing Anna Torv, The Newsreader — WINNER Sigourney Weaver, The Lost Flowers of Alice Hart Best Acting in a Comedy Celeste Barber, Wellmania Kate Box, Deadloch — WINNER Patrick Brammall, Colin From Accounts Harriet Dyer, Colin From Accounts Kitty Flanagan, Fisk Nina Oyama, Deadloch Helen Thomson, Colin From Accounts Julia Zemiro, Fisk Best Comedy Performer Tom Gleeson, Hard Quiz Jim Jefferies, The 1% Club Luke McGregor, Taskmaster Australia Rhys Nicholson, RuPaul's Drag Race Down Under Nina Oyama, Taskmaster Australia Charlie Pickering, The Weekly with Charlie Pickering Natalie Tran, The Great Australian Bake Off Cal Wilson, The Great Australian Bake Off — WINNER Best Supporting Actress in a Television Drama Alycia Debnam-Carey, The Lost Flowers of Alice Hart Marg Downey, The Newsreader Michelle Lim Davidson, The Newsreader Heather Mitchell, Love Me — WINNER Leah Purcell, The Lost Flowers of Alice Hart Brooke Satchwell, Black Snow Best Supporting Actor in a Television Drama Tim Draxl, Erotic Stories Alexander England, Black Snow William McInnes, The Newsreader Bob Morley, Love Me Hunter Page-Lochard, The Newsreader — WINNER Guy Pearce, The Clearing Best Direction in a Drama or Comedy Ben Chessell, Deadloch (episode one) Emma Freeman, The Newsreader (episode four) — WINNER Glendyn Ivin, The Lost Flowers of Alice Hart (episode one) Matt Moore, Colin From Accounts (episode six) Trent O'Donnell, Colin From Accounts (episode three) Best Direction in Non-Fiction Television Katie Bender Wynn, Matildas: The World at Our Feet (episode two) Stamatia Maroupas, Queerstralia (episode one) Josh Martin, Adam and Poh's Great Australian Bites (episode one) Rachel Perkins, Dylan River, Tov Belling, The Australian Wars (episode one) — WINNER Henry Stone, Aaron Chen: If Weren't Filmed, Nobody Would Believe Best Screenplay in Television Patrick Brammall, Colin From Accounts (episode six) Harriet Dyer, Colin From Accounts (episode three) Kate McCartney, Kate McLennan, Deadloch (episode one) — WINNER Adrian Russell Wills, The Newsreader (episode four) Lucas Taylor, Black Snow (episode one) Best Cinematography in Television Sam Chiplin, The Lost Flowers of Alice Hart (episode one) — WINNER Earle Dresner, The Newsreader (episode four) Aaron Farrugia, Aunty Donna's Coffee Cafe (episode one) Tania Lambert, Erotic Stories (episode two) Katie Milwright, Deadloch (episode one) Best Editing in Television Peter Bennett, Aunty Donna's Coffee Cafe (episode one) Danielle Boesenberg, Colin From Accounts (episode three) Angie Higgins, Deadloch (episode one) — WINNER Angie Higgins, The Newsreader (episode four) Deborah Peart, The Lost Flowers of Alice Hart (episode one) Deborah Peart, Dany Cooper, The Lost Flowers of Alice Hart (episode six) Best Entertainment Program Dancing with the Stars Eurovision Song Contest 2023 — WINNER Lego Masters: Grand Masters Mastermind The 1% Club The Amazing Race Australia: Celebrity Edition Best Comedy Entertainment Program Hard Quiz — WINNER RocKwiz Taskmaster Australia Thank God You're Here The Cheap Seats The Weekly with Charlie Pickering Best Factual Entertainment Program Alone Australia Gogglebox Australia Kitchen Cabinet Old People's Home for Teenagers — WINNER Take 5 with Zan Rowe Who The Bloody Hell Are We? Best Documentary or Factual Program Matildas: The World at Our Feet Ningaloo Nyinggulu Queerstralia The Australian Wars — WINNER War on Waste Who Do You Think You Are Best Children's Program Barrumbi Kids Beep and Mort Bluey — WINNER Crazy Fun Park The PM's Daughter Turn Up the Volume Best Standup Special Aaron Chen: If Weren't Filmed, Nobody Would Believe Celeste Barber: Fine, thanks Hannah Gadsby: Something Special — WINNER Jim Jefferies: High & Dry Lizzy Hoo: Hoo Cares!? Rhys Nicholson's Big Queer Comedy Concert Best Lifestyle Program Adam and Poh's Great Australian Bites Gardening Australia — WINNER Grand Designs Australia Love It or List It Australia Selling Houses Australia The Great Australian Bake Off Best Reality Program Australian Survivor: Heroes v Villains FBOY Island Australia Hunted Australia MasterChef Australia — WINNER Real Housewives of Sydney RuPaul's Drag Race Down Under Best Casting in Television Colin From Accounts Deadloch — WINNER Safe Home The Lost Flowers of Alice Hart The Newsreader Best Costume Design in Television Ten Pound Poms (episode one) The Claremont Murders (episode one) The Clearing (episode one) The Newsreader (episode four) — WINNER While the Men Are Away (episode two) Best Original Score in Television Bad Behaviour (episode one) Deadloch (episode one) — WINNER Fisk (episode four) In Limbo (episode one) RFDS (episode five) Best Production Design in Television Beep and Mort (episode two) Black Snow (episode one) Deadloch (episode one) Gold Diggers (episode three) The Lost Flowers of Alice Hart (episode one) — WINNER The Newsreader (episode four) Best Sound in Television Black Snow (episode six) Last King of the Cross (episode four) The Clearing (episode one) The Lost Flowers of Alice Hart (episode six) — WINNER The Newsreader (episode six) Best Online Drama or Comedy Appetite Latecomers — WINNER Me & Her(pes) Monologue The Disposables The Future of Everything AACTA Audience Awards: Audience Choice Award for Favourite TV Show Ginny & Georgia — WINNER My Life with the Walter Boys Outer Banks The Kardashians The Summer I Turned Pretty Young Sheldon Audience Choice Award for Favourite Film Barbie — WINNER Mean Girls Saltburn Taylor Swift: The Eras Tour The Hunger Games: The Ballad of Songbirds & Snakes Wonka Audience Choice Award for Favourite Actress Jenna Ortega Jennifer Aniston Jennifer Lawrence Margot Robbie — WINNER Millie Bobby Brown Sydney Sweeney Audience Choice Award for Favourite Actor Adam Sandler — WINNER Chris Hemsworth Jacob Elordi Ryan Gosling Timothėe Chalamet Vin Diesel Audience Choice Award for Favourite Australian Media Personality Abbie Chatfield Chloe Hayden Em Rusciano Jimmy Rees Shameless Podcast Sophie Monk — WINNER Audience Choice Award for Favourite Australian Digital Creator Anna Paul @anna..paull Bridey Drake @brideydrake Georgia Productions @georgia Indy Clinton @indyclinton Kat Clark and family @katclark — WINNER Luke and Sassy Scott @lukeandsassyscott Maddy MacRae @maddy_macrae_ Sofia Ligeros @sofialigeros Audience Choice Award for Favourite Australian Sporting Moment AFL: Carlton reach the finals AFL: Grand Final Collingwood vs Brisbane F1: Daniel Ricciardo returns to F1 Netball: Australian Diamonds win Netball World Cup NRL: Grand Final Panthers vs Broncos Soccer: Matilda's World Cup run — WINNER AACTA International Awards: AACTA International Award for Best Drama Series Beef Succession — WINNER The Crown The Last of Us Yellowjackets AACTA International Award for Best Comedy Series Only Murders in the Building Sex Education Ted Lasso The Bear — WINNER The Marvellous Mrs Maisel AACTA International Award for Best Actor in a Series Kieran Culkin, Succession Matthew Macfadyen, Succession Pedro Pascal, The Last of Us Jeremy Strong, Succession Jeremy Allen White, The Bear — WINNER AACTA International Award for Best Actress in a Series Elizabeth Debicki, The Crown Helen Mirren, 1923 Bella Ramsey, The Last of Us Sarah Snook, Succession — WINNER Ali Wong, Beef AACTA International Award for Best Film American Fiction Barbie — WINNER Killers of the Flower Moon Oppenheimer Poor Things AACTA International Award for Best Direction in Film Greta Gerwig, Barbie Martin Scorsese, Killers of the Flower Moon Bradley Cooper, Maestro Christopher Nolan, Oppenheimer — WINNER Yorgos Lanthimos, Poor Things AACTA International Award for Best Lead Actor in Film Bradley Cooper, Maestro Leonardo DiCaprio, Killers of the Flower Moon Cillian Murphy, Oppenheimer — WINNER Andrew Scott, All of Us Strangers Jeffrey Wright, American Fiction AACTA International Award for Best Lead Actress in Film Cate Blanchett, The New Boy Lily Gladstone, Killers of the Flower Moon Carey Mulligan, Maestro Margot Robbie, Barbie — WINNER Emma Stone, Poor Things AACTA International Award for Best Supporting Actor in Film Matt Damon, Oppenheimer Robert De Niro, Killers of the Flower Moon Robert Downey Jr, Oppenheimer Jacob Elordi, Saltburn Ryan Gosling, Barbie — WINNER AACTA International Award for Best Supporting Actress in Film Penélope Cruz, Ferrari Vanessa Kirby, Napoleon — WINNER Julianne Moore, May December Rosamund Pike, Saltburn Da'Vine Joy Randolph, The Holdovers AACTA International Award for Best Screenplay in Film Cord Jefferson, American Fiction Greta Gerwig and Noah Baumbach, Barbie Bradley Cooper and Josh Singer, Maestro Christopher Nolan, Oppenheimer Tony McNamara, Poor Things — WINNER The 2024 AACTA Awards were announced on Saturday, February 10. For further details, head to the awards' website.
If you're reading this article, you almost certainly know about food and craft beer matching and you may know about locations and craft beer matching, but have you heard of (or tried) books and craft beer matching? There are a number of elements to this growing trend. In the US, for example, book bars are becoming part of the urban landscape. Operating on the same principle as book cafes, only with craft beer instead of coffee, these establishments have a strong craft element. The books stocked are often non-mainstream, much like the beers served to accompany them. Elsewhere in North America — Canada, to be precise — beer and book clubs are being formed "for those who like to read a good book, drink a good beer, and maybe combine the two once in a while". Meeting at various pubs within a certain area, these gatherings bring a craft beer twist to the traditional book club. And then, of course, there’s the internet — where all manner of unlikely combinations get together. You'll find blogs about the right beer to drink while following the adventures of your favourite comic book hero, or about craft beers to match to certain authors. But in sites like Book and Beer, you'll also find recommendations for a particular beer to enjoy with a particular book. (For the record, the author — Jason Hensel, a writer, musician and comedian living in Dallas — reckons American Gods by Neil Gaiman is best enjoyed with a glass of James Squire Jack of Spades Porter.) So which book (or series of books) is best suited to the various beers in the James Squire craft beer range? Get reading and sipping this summer, there's Kerouac-paired beers afoot. F. Scott Fitzgerald: The Great Gatsby "It’s a great advantage not to drink among hard drinking people." Pair with James Squire The Chancer Golden Ale. Joseph Heller: Catch-22 "He knew everything there was to know about literature, except how to enjoy it." Pair with James Squire Jack of Spades Porter. Ian Fleming: The James Bond series "You only live twice: Once when you're born. And once when you look death in the face." Pair with James Squire Four 'Wives' Pilsener. J.R.R. Tolkien: The Lord of the Rings "Ho! Ho! Ho! to the bottle I go, to heal my heart and drown my woe." Pair with James Squire Nine Tales Amber Ale. Fyodor Dostoyevsky: Crime and Punishment "The darker the night, the brighter the stars." Pair with James Squire One Fifty Lashes Pale Ale. Alexandre Dumas: The Count of Monte Cristo "All human wisdom is contained in these two words: wait and hope." Pair with James Squire Stowaway IPA. Jack Kerouac: On the Road "The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars." Pair with James Squire Orchard Crush Cider. Ian Rankin: The Inspector Rebus series "Rebus drank his coffee and felt his head spin. He was feeling like the detective in a cheap thriller, and wished that he could turn to the last page and stop all his confusion, all the death and the madness and the spinning in his ears." Pair with James Squire The Constable Copper Ale. Ali Baba and the 40 Thieves "Open Sesame!" Pair with James Squire Hop Thief American-style Pale Ale. Jon Cleary: The Sundowners "Do me a favour, will you? If you're gonna be a drover, look like a drover. Get rid of that silly flaming hat." Pair with James Squire Sundown Australian Lager (what else?).
When it comes to exploring Broome (Rubibi) and the Kimberley, we recommend packing your sense of adventure. This vast, varied stretch of country holds some of the most breathtaking landscapes and unique experiences in the world. There's ocean wilderness and colourful coral wonderlands, Aboriginal cultural sites and places of ancient, enduring story and significance. You'll see otherworldly rock forms, lush greenery and sprawling lakes, optical lunar illusions and sideways — yes, sideways — waterfalls. There's nowhere like it, and there are so many ways you can explore. Whatever way you want to adventure, we've got a standout spread of activities here to choose from — and a few ready-to-go trips if you're already packed and ready. It's time to choose your own quest out west.
Ten-year anniversaries are traditionally celebrated with tin, but fantastic NZ designer Karen Walker has no time for such banalities. To mark ten unconventional years in the eyewear game, she has released the 'Celebrate' collection, entirely done in gold. If they look like lavish versions of what's come before, well, that's exactly what they are. Each style is an iconic favourite from a previous year's collection. So there's 2005's Annie, earlier seen on this vampire; 2013's Northern Lights, earlier seen on this grande dame; and 2012's Number One, earlier seen on this balloon. The metal frames have been encased in a clear epoxy resin, making them look like solid gold. But you'll be looking more Greek island hopper, less Daft Punk member thanks to the warm, amber-brown mirrored lenses, which is what's really elevating these golden oldies to the next level. Here's to another ten years of taking loud, playful and sometimes silly risks on our faces, and another ten years of waiting to see who/what will model Karen Walker's designs next. Check out the festive campaign for Celebrate, shot by Derek Kettela, below. To see out the full collection or just dive in and buy, head to the Karen Walker Eyewear website. Each style is priced at NZ$399 ($358) and is in store from October 9.
"I do love this film." So advises Bob Odenkirk, exclaiming his fondness for Nobody 2 as soon as he starts chatting with Concrete Playground. As evident to everyone who sees the sequel to Nobody, that affection is already splashed across the screen. The same proved true in 2021, too, when the franchise's first movie initially gave its star a chance to switch up from leading one of TV's greatest-ever tragedies and series overall, aka Better Call Saul, with a jump into action mode. His task: playing Hutch Mansell, a seemingly ordinary suburban dad with a past that meant that he was never going to let gun-wielding thieves break into his home and upset his family life with his wife Becca (Connie Nielsen, Gladiator II) and their two children (Law & Order Toronto: Criminal Intent's Gage Munroe and Harland Manor's Paisley Cadorath) without making those responsible pay for it. The debut picture set Hutch against the Russian mafia, all to take care of his loved ones. That isn't Mr Show with Bob and David and Breaking Bad alum Odenkirk's IRL path at all, but elements of Nobody were indeed personal. The idea to begin with started with him in his prime Saul Goodman/Jimmy McGill/Gene Takovic days. And, as the Nobody 2 director Timo Tjahjanto (The Shadow Strays) explained back when the sequel's initial trailer dropped, "the first film is also sort of based on what happened to Bob in real life — the whole idea that he was confronting this thing that happened in his house, when somebody broke into his house. So he exorcised that sort of, I guess, trauma, by writing a script or writing a story." Four years later, with a movie that follows the Mansells on vacation to Plummerville — Hutch's dad David (Christopher Lloyd, Wednesday) included — this is still a action-flick saga with IRL connectioms for its lead. In his childhood, Odenkirk once went on a similar getaway. Again, the exact scenario that awaits Hutch isn't how its star's real life panned out; however, links to reality remain, including in exploring Plummerville's criminal element. Getting personal and relatable has always been baked into the Nobody films as well in a broader sense, given that both hone in on someone trying to do the best for their nearest and dearest. That's Hutch's emotional journey. Crucially for Nielsen, she tells us, the same applies to Becca. Nobody 2 kicks off pre-holiday, with Hutch working off his $30-million mob debt from the feature's predecessor, and barely spending time at home as a result. Becca isn't thrilled. Cue the trip, at Hutch's suggestion, to Plummerville's Wild Bill's Majestic Midway and Waterpark — a place with youthful memories for the film's protagonist. Of course, running afoul of the corrupt owner of the local theme park (John Ortiz, The Madness), a take-no-prisoners crime boss (Sharon Stone, The Flight Attendant) and underhanded law enforcement (with And Mrs' Colin Hanks as the sheriff) wasn't on anyone's dream vacation itinerary. Writing for Saturday Night Live, plus featuring in everything from Nebraska, Fargo, Little Women, Undone and Lucky Hank to The Bear and Glengarry Glen Ross on Broadway, are all on multiple Emmy-nominee Odenkirk's resume. Whether as Hutch in the Nobody films or as Jimmy-slash-Saul, he's been especially focused on bringing to life figures who refuse to get knocked down and stay down for over 15 years now, though — but that's a trait that he stresses he believes applies to everyone. Indeed, there's always a relatability-meets-wish fulfilment mix to Hutch, Becca and the situations they're in. Who can't relate to struggling with work-life balance, or their partner's lack thereof? Or a holiday not quite panning out the way you'd hoped and wanting to set that right? Or protecting those most important to you? Nobody 2 sees Nielsen on-trend in her own career. For the second time in less than a year, she's returning to a big-screen part. First came Lucilla in Gladiator II; now follows Becca. While both are formidable women, as she has played repeatedly across a career that started with screen roles in the 80s and also spans The Devil's Advocate, Rushmore, Brothers, Wonder Woman, Origin and plenty beyond, it is particularly satisfying and gratifying to portray someone who is meant to be an everywoman — as Hutch is an everyman — and who demonstrates that she too, like all women, can hold her own, she notes. Alongside digging into why Nobody 2 is personal, and its focus on family as well as everyday woes — amid and sometimes through the action setpieces — Odenkirk and Nielsen also chatted with us about the origins of all things Nobody, further fleshing out Becca's story in the sequel, tenacity and more. On Whether Odenkirk Was Keen to Find His Next Recurring Character Beyond Better Call Saul and Breaking Bad — and What He Was Looking For Bob: "I didn't really think on the grand scale that you've described to me. I was really thinking about how Better Call Saul, to my surprise, was pleasing people in countries around the world. I really was mystified initially that Better Call Saul played so well in Italy and Romania and Russia and even England — and everywhere. I actually asked a journalist in Europe 'how do you understand the show? Do you have lawyers like this?'. And they said 'well, we've seen a lot of American entertainment and we understand enough about American culture to understand who Saul is in his community, in his world'. And then I saw that it played in China, and it gave me the thought 'well, if I did an action film, that could play around the world, too' — because action is fairly simple and easy to follow. And the value or the kind of drive of the film is easy to relate to. So I asked my manager 'what about an action film?' — and I thought he'd laugh me off the phone, but he did not. He said 'I get what you're saying. That could work'." On Nielsen's Opportunity to Further Build and Flesh Out Becca Mansell in Nobody 2 Connie: "I think Bob is just such a generous writer. He just writes all these situations where the humanity of his wife is just so clear. There is a wisdom that he builds into Becca — and a zenness, like a knowingness, that I find so attractive about Becca. Becca is patient, but she's not long-suffering. The difference is huge. And she is critical but never blames, never uses blame. She holds him accountable for the sake of the family, for what's best for all of them, but not to control. So there's this wonderful way you can build a character, and I think that Bob just really writes that into Becca since day one. I remember the first time when I read the first script and the reason why I decided I wanted to do it, even though I knew that they wouldn't be developing Becca until the second installation — I just knew that I wanted to do it because there was this sensitive, beautiful scene of two people sleeping with a pillow in-between them. And they're both awake, and they just can't figure out how to how to ford that river between them. And I just thought that I've never seen that in an action movie, something as sensitive as that. And I just love that." On Nobody 2's Personal Ties for Odenkirk, as the First Nobody Also Sported Bob: "Nobody 2 is about a family going on vacation. When I was a kid, we went on two vacations: one to the Illinois State Fair and one to the Wisconsin Dells. And the Wisconsin Dells are just like Plummerville — or at least they were 35, well 45 years ago, when I went on vacation to them. They're mostly water-based. There's duck boats. There's a guy who owns all the attractions in town — just like Wyatt Martin, played by John Ortiz. Wisconsin is where Al Capone ran his booze through. He actually had a home there, in Lake Geneva, I believe. So all that stuff that The Barber [Colin Salmon, EastEnders] says to Hutch, 'used to be a bootlegging route' — that's true of this place where I used to go. All of that is true. The backroads of Wisconsin was where they ran alcohol up to Canada during prohibition, ran it out to the other states, ran it through to Wisconsin. So all that stuff is based on my memories of childhood — and also Derek Kolstad [John Wick], who wrote the movie, his memories. He grew up in Madison, Wisconsin, very close to the Wisconsin Dells. So yes, this movie too is connected to my personal experience." On Doing What's Best for Your Family Always Being at the Heart of the Nobody Films, Even as Action Movies Filled with Violence and Vengeance Connie: "It really is, and I think that that's what attracted me to the story — is that it always stays grounded in something real. There's a real family there, kids, and the real community as well. So I love it when you see writing that just makes the small things come alive, because they are the ones that we just inherently use to create reference points to who we are all the time, and I love that kind of writing." On What Appeals to Odenkirk About Playing Characters Who Refuse to Get Knocked Down and Stay Down, and Are Determined to Bounce Back Up However They Can Bob: "Well, you can say that they're special people or they're indefatigable spirits, but I actually think that's actually pretty common. Most people I know don't quit until they're forced to. They kind of just don't quit. People don't quit. Sometimes I think people are limited by what they imagine they'd be capable of. And that limits them more than their spirit of fighting. I think most people fight pretty hard." On What's Satisfying and Gratifying for Nielsen About Portraying Formidable But Also Relatable Women Connie: "I think the most important thing is really showing normal people trying to address the enormous difficulties of living. There's just so much stuff that's hard to do. Family is hard. Relationships are hard. Jobs are hard. And just showing that, I think, at the same time as you're also entertaining, I think that makes people feel like they're seen — that their lives make sense, because everybody is going through that. So I think I really respond to writing where I see a real human struggle, and I also see indicators for where it becomes meaningful — like, that struggle has meaning." Nobody 2 opened in cinemas Down Under on Thursday, August 14, 2025.
The Market Folk has been bringing a heap of stalls to Newstead's Gasometer for some time now, and it's clearly a smart move. Browsing and buying beneath one of inner-city Brisbane's most striking sights, including at night — what's not to love? In 2021, this winning combination is making a comeback. And, it's next unleashing it wares for a certain February date worth celebrating. Yes, you'll be shopping for fashion, art, homewares, plants and ceramics in the lead up to the romantic occasion that is Valentine's Day. Taking place from 5–9pm on Friday, February 12, the Gasworks Valentine's Market will feature plenty of artisanal goodies to tempt your wallet — and a heap of perfect gift ideas for your special someone, too. As always, Brisbane creatives will be in the spotlight, so you'll also be showing them some love as well. [caption id="attachment_758933" align="aligncenter" width="1920"] The Market Folk[/caption] Top image: Andrew S via Flickr.
Good morning to 2022's newly minted batch of Academy Awards nominees, and to fantastic news for the past year's very best film. The Power of the Dog leads this year's list of contenders with 12 nods, including three for filmmaker Jane Campion — who is now the first woman in history to receive two nominations for Best Director (after also being nominated for The Piano back in 1993), and could become the second female filmmaker in a row to win the coveted field (after Chloé Zhao's 2021 win for Nomadland). The Power of Dog's cinematographer Ari Wegner is also just the second woman to be nominated in her category, while the film's main cast all scored nods — including a Best Actor nomination for Benedict Cumberbatch, a Best Supporting Actress nom for Kirsten Dunst, and Best Supporting Actor nods for both Jesse Plemons and Australian talent Kodi Smit-McPhee. For real-life couple Dunst and Plemons, they nabbed their first-ever Oscar nominations together. For Smit-McPhee, if he wins, he'll become the second-youngest actor to score the shiny statuette in his category. That's the power of The Power of the Dog, clearly. Following Campion's exceptional New Zealand-shot western at the top of the 2022 Oscar nominations list is Dune with ten, including for Best Picture — although the film must've directed itself, with Denis Villeneuve missing out. After the sci-fi epic sits Steven Spielberg's new version of West Side Story and Kenneth Branagh's black-and-white memoir Belfast with seven apiece, also including Best Picture slots in a field that spans The Power of the Dog (obviously), CODA, Don't Look Up, Drive My Car, King Richard, Licorice Pizza and Nightmare Alley as well. Inspired by Haruki Murakami's short story of the same name, Drive My Car is now the most-nominated Japanese film in history, thanks to its Best Director and Best Adapted Screenplay nods for filmmaker Ryûsuke Hamaguchi, and its spot in the Best International Feature and Best Picture categories. Also making history: astonishing animated documentary Flee, which became the first movie to nab a spot in the Best International Feature, Best Animated Feature and Best Documentary Feature fields. Other standouts nods: Kristen Stewart's Best Actress nomination for playing Princess Diana in Spencer; Penélope Cruz's place in the same field for Parallel Mothers; Troy Kotsur's nod for CODA, becoming just the second actor who is deaf to be recognised by the Academy; both Olivia Colman (Best Actress) and Jesse Buckley (Best Supporting Actress) getting nods for sharing the same part in The Lost Daughter; Questlove earning some love for Best Documentary Feature for Summer of Soul (…Or, When the Revolution Could Not Be Televised); and The Worst Person in the World picking up places in the Best International Feature and Best Original Screenplay fields. Licorice Pizza's strong showing — including a Best Director spot for Paul Thomas Anderson — is also well-deserved, although the Oscars couldn't find room for Alana Haim's glorious lead performance. Oddities and omissions come with the territory every year, of course. The Academy went big for the average-at-best Being the Ricardos performance-wise, including nominating Nicole Kidman for Best Actress — and Don't Look Up's Best Picture nod probably at least means that filmmaker Adam McKay won't make a followup about how people ignored a movie that riffs on the response to climate change because they were more interested in better features. Also, despite a big public campaign, Spider-Man: No Way Home was only recognised in the Best Visual Effects category. That's a reflection of the film itself, though, and not of any supposed anti-superhero/supervillain flick bias, given that Black Panther scored seven nominations in 2019 and Joker picked up 11 in 2020. From all of this year's nominations, movie lovers will learn who'll emerge victorious on Monday, March 28, Australian and New Zealand time. And if it feels like we just went through all of this, that's because 2021's awards were held a little later than usual due to the pandemic — and because chatter about who's won Oscars and who'll win next, aka the sport of the film world, has become a year-round affair. The 94th Academy Awards will take place on Monday, March 28, Australian and New Zealand time. Here's the full list of nominations: OSCAR NOMINEES 2022 BEST MOTION PICTURE The Power of the Dog West Side Story Belfast Dune Licorice Pizza King Richard CODA Don't Look Up Drive My Car Nightmare Alley BEST DIRECTOR Jane Campion, The Power of the Dog Paul Thomas Anderson, Licorice Pizza Steven Spielberg, West Side Story Kenneth Branagh, Belfast Ryusuke Hamaguchi, Drive My Car PERFORMANCE BY AN ACTRESS IN A LEADING ROLE Olivia Colman, The Lost Daughter Nicole Kidman, Being the Ricardos Jessica Chastain, The Eyes of Tammy Faye Kristen Stewart, Spencer Penélope Cruz, Parallel Mothers PERFORMANCE BY AN ACTOR IN A LEADING ROLE Will Smith, King Richard Benedict Cumberbatch, The Power of the Dog Andrew Garfield, Tick, Tick... Boom! Denzel Washington, The Tragedy of Macbeth Javier Bardem, Being the Ricardos PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE Ariana DeBose, West Side Story Kirsten Dunst, The Power of the Dog Aunjanue Ellis, King Richard Judi Dench, Belfast Jessie Buckley, The Lost Daughter PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE Kodi Smit-McPhee, The Power of the Dog Ciarán Hinds, Belfast Troy Kotsur, CODA Jesse Plemons, The Power of the Dog JK Simmons, Being the Ricardos BEST ORIGINAL SCREENPLAY Licorice Pizza, Paul Thomas Anderson Belfast, Kenneth Branagh King Richard, Zach Baylin Don't Look Up, Adam McKay (story by McKay and David Sirota) The Worst Person in the World, Joachim Trier and Eskil Vogt BEST ADAPTED SCREENPLAY The Power of the Dog, Jane Campion The Lost Daughter, Maggie Gyllenhaal CODA, Sian Heder Dune, Jon Spaihts, Denis Villeneuve and Eric Roth Drive My Car, Ryusuke Hamaguchi and Takamasa Oe BEST INTERNATIONAL FEATURE FILM Drive My Car (Japan) The Worst Person in the World (Norway) Flee (Denmark) The Hand of God (Italy) Lunana: A Yak in the Classroom (Bhutan) BEST ANIMATED FEATURE Encanto Luca The Mitchells vs the Machines Flee Raya and the Last Dragon BEST DOCUMENTARY FEATURE Summer of Soul (…Or, When the Revolution Could Not Be Televised) Flee Ascension Attica Writing with Fire BEST ORIGINAL SCORE The Power of the Dog, Jonny Greenwood Dune, Hans Zimmer Don't Look Up, Nicholas Britell Encanto, Germaine Franco Parallel Mothers, Alberto Iglesias BEST ORIGINAL SONG 'No Time to Die', No Time to Die (Billie Eilish and Finneas O'Connell) 'Dos Oruguitas', Encanto (Lin-Manuel Miranda) 'Be Alive', King Richard (Beyoncé Knowles-Carter and Dixson) 'Down to Joy' Belfast (Van Morrison) 'Somehow You Do', Four Good Days (Diane Warren) BEST CINEMATOGRAPHY Dune, Greig Fraser The Power of the Dog, Ari Wegner The Tragedy of Macbeth, Bruno Delbonnel Nightmare Alley, Dan Laustsen West Side Story, Janusz Kaminski BEST FILM EDITING Dune, Joe Walker The Power of the Dog, Peter Sciberras Don't Look Up, Hank Corwin King Richard, Pamela Martin Tick, Tick... Boom!, Myron Kerstein and Andrew Weisblum BEST PRODUCTION DESIGN Dune, Patrice Vermette and Zsuzsanna Sipos Nightmare Alley, Tamara Deverell and Shane Vieau West Side Story, Adam Stockhausen and Rena DeAngelo The Tragedy of Macbeth, Stefan Dechant and Nancy Haigh The Power of the Dog, Grant Major and Amber Richards BEST VISUAL EFFECTS Dune, Paul Lambert, Tristan Myles, Brian Connor, Gerd Nefzer Free Guy, Swen Gillberg, Bryan Grill, Nikos Kalaitzidis, Dan Sudick Spider-Man: No Way Home, Kelly Port, Chris Waegner, Scott Edelstein and Dan Sudick Shang-Chi and the Legend of the Ten Rings, Christopher Townsend, Joe Farrell, Sean Noel Walker and Dan Oliver No Time to Die, Charlie Noble, Joel Green, Jonathan Fawkner, Chris Corbould BEST COSTUME DESIGN Cruella, Jenny Beavan Dune, Jacqueline West and Bob Morgan West Side Story, Paul Tazewell Nightmare Alley, Luis Sequeira Cyrano, Massimo Cantini Parrini and Jacqueline Durran BEST MAKEUP AND HAIRSTYLING The Eyes of Tammy Faye, Linda Dowds, Stephanie Ingram and Justin Raleigh Dune, Donald Mowat, Love Larson and Eva von Bahr Cruella, Nadia Stacey, Naomi Donne and Julia Vernon Coming 2 America, Mike Marino, Stacey Morris and Carla Farmer House of Gucci, Goran Lundstrom, Anna Carin Lock and Frederic Aspiras BEST SOUND Dune, Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett West Side Story, Tod A Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy No Time to Die, Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor Belfast, Denise Yarde, Simon Chase, James Mather and Niv Adiri The Power of the Dog, Richard Flynn, Robert Mackenzie and Tara Webb BEST DOCUMENTARY SHORT SUBJECT Audible Lead Me Home The Queen of Basketball Three Songs for Benazir When We Were Bullies BEST ANIMATED SHORT FILM Affairs of the Art Bestia Boxballet Robin Robin The Windshield Wiper BEST LIVE ACTION SHORT FILM Ala Kachuu — Take and Run The Dress The Long Goodbye On My Mind Please Hold Top image: Netflix.
