It outraged tyrants, terrified theatre chains and knocked one of Hollywood's most powerful executives
UPDATE, Friday, November 10: The Killer screens in select cinemas from Thursday, October 26, and streams via Netflix from Friday, November 10. A methodical opening credits sequence that's all about the finer points, as seen in slivers and snippets, set to industrial strains that can only stem from Trent Reznor, with David Fincher and Andrew Kevin Walker's names adorning the frame, for a film about a murderer being chased. In 1995, Se7en began with that carefully and commandingly spliced-together mix — and magnificently. Fincher and Walker now reteam for the first time since for The Killer, another instantly gripping thriller that starts in the same fashion. It also unfurls as a cat-and-mouse game with a body count, while sporting an exceptional cast and splashing around (exactingly, of course) the full scope of Fincher's filmmaking mastery. This movie's protagonist is detail-obsessive to a calculating degree, and the director bringing him to cinematic life from Matz's graphic novels of the same name also keeps earning that description. The Fight Club, The Social Network and Mank helmer couldn't be more of a perfectionist about assembling The Killer just so, and the feature couldn't be more of a testament to his meticulousness. Fincher's love of crime and mysteries between Se7en and The Killer has gifted audiences The Game, Panic Room, Zodiac, The Girl with the Dragon Tattoo, Gone Girl and Mindhunter, which have always felt like different books from a series rather than a director flipping through the same tome over and over. So it is with Michael Fassbender's long-awaited return to the screen after a four-year absence — X-Men: Dark Phoenix was has his last credit before this — which sees Fincher and his star aping each other in an array of ways. As well as being oh-so-drawn to minutiae, as the eponymous character reinforces in his wry narration, this duo of filmmaker and fictional assassin-for-hire are precise and compulsive about refashioning something new with favourite tools. For The Killer, it's fresh avenues to fulfill his deadly occupation. For the man who kicked off his feature career with Alien³ and now collaborates with a Prometheus and Alien: Covenant alum, it's plying his own trade, too. As Le Samouraï and Haywire have before this — Fassbender also appeared in Haywire, aptly — plus the John Wick franchise, The Killer finds someone in a shadowy line of work getting even murkier folks literally gunning for their demise. But first The Killer meets its namesake in Paris, camping out in an abandoned WeWork office, sleeping, people-watching, working through complicated yoga poses and grabbing a meal from McDonalds while dressed to resemble a German tourist, who he's certain that the French will avoid. Also on his to-do list: listening to every well-known song by The Smiths there is throughout the course of the film, because heaven knows he'll be miserable when his City of Light gig goes awry. And, as he waits, he coolly and calmly talks viewers through his highly disciplined, runs-like-clockwork, empathy-free approach to both life and death. It all goes smoothly for the hitman until it doesn't, however. The Killer quotes Popeye to say "I am what I am" about his way of making a living and his penchant for it, but fellow tautophrase "it is what it is" also comes to mind when a painstakingly lined-up shot from afar doesn't hit its target. His reaction: "WWJWBD?" or "what would John Wilkes Booth do?", he opines. Really, the screen's latest contract killer hops continents, countries and cities in an existential and mortal bind not just because he's flubbed a job, but because he's soon tracking down the other villains who've made cleaning up his misfire brutally personal. So, while his first port of call from Paris is the Dominican Republic, New Orleans, Florida and just outside of New York are among the destinations that follow. Most folks that The Killer crosses paths with get a similarly succinct moniker, including The Lawyer (Charles Parnell, Mission: Impossible — Dead Reckoning Part One), The Brute (Sala Baker, Jungle Cruise), The Expert (Tilda Swinton, Asteroid City) and The Client (Arliss Howard, Mank). When Fassbender was once in everything everywhere for most of a decade, he too tinkered with many of the same traits that he's called upon to roll out in The Killer, from unrelenting in Hunger and single-minded in Shame to literally soulless in his Alien franchise stints and utterly consumed in Macbeth. His portrayal here is all killer, no throwbacks or filler, and it slays. He's as deadpan as he's ever been, as Fincher needs, but he's also exceptional as someone forced to realise that his rigid facade and detached air hides more than an all-business executioner inside. It's a mesmerisingly layered performance with fastidious subtleties, and that says as much without a word as all of those voiceover words. And, crucially, Fassbender knows and owns the tone: sardonic, and gleefully so. It isn't just the mix of Reznor and Atticus Ross' latest ominous Fincher score — their first, for The Social Network, won them an Oscar — with Morrissey, Johnny Marr, Andy Rourke and Mike Joyce's lyrical 80s yearning but anti-yearning that's funny in The Killer. And whether 'How Soon Is Now?', 'Bigmouth Strikes Again' or 'There Is a Light That Never Goes Out' is echoing, there's no doubting the humour behind the movie's main music choice as it helps bring viewers into the mercenary's mind (American Psycho's use of Huey Lewis and the News tapped its toes in the same territory, but The Killer isn't asking anyone if they like The Smiths). Fincher and Walker litter comedic touches everywhere, from aliases straight out of classic sitcoms to pointed statements about well-known brands. It's there in the sly internal monologue that their central figure keeps uttering around "stick to the plain", "anticipate, don't improvise" and other rules; the cycle of repetition that comes with it; altercations and their corresponding commentary; and, unshakeably and purposefully, the bigger picture. In look and efficiency, The Killer is also sharing what Swinton is selling in her scenes; both are icy, particular and sleek, with the film never wasting an emotion or moment. Fincher's frames glean as crisply as Swinton's blonde-topped David Bowie-channelling aesthetic, with help from Mank and Mindhunter cinematographer Erik Messerschmidt. The Killer is unsurprisingly rigorously pieced together as well, aided by the director's now six-time film editor Kirk Baxter (since The Curious Case of Benjamin Button). Welcomely stripped back, this a focused picture that's eager to be as streamlined as possible in a field, aka hired-gun flicks, where it's anything but a lone hand. Standing apart amid the murder-for-money masses is what The Killer wants, too, despite blending in being a professional must. As Fincher hones in on an assassin and the conscience that he says he doesn't have — including when noting that the amount of births and deaths each day means that his contribution to mortality rates barely registers — this riveting, reflective, slinkily engaging, expertly and finely pared thriller hits the bullseye in leaving an impression.
UPDATE, February, 5, 2021: Malcolm & Marie is available to stream via Netflix. Where everything from Blue Valentine and the Before trilogy to Marriage Story have previously gone, Malcolm & Marie follows: into the fiery heat and knotty struggles of a complicated relationship. Like the heartbreaking Blue Valentine, it charts ecstatic highs and agonising lows. As Before Sunrise, Before Sunset and Before Midnight did, it relies upon dialogue swapped frequently, passionately and with chemistry. And stepping in Marriage Story's territory, it follows a director and an actor as their career choices highlight issues they've plastered over with sex, smiles and their usual routine for far too long. Still, while assembled from familiar pieces — the aforementioned movies aren't alone in stripping bare complex amorous entanglements, as the likes of Who's Afraid of Virginia Woolf? and Scenes From a Marriage demonstrated first — Malcolm & Marie slinks into its niche. It's devastatingly stylish thanks to its black-and-white colour palette, elegant costuming and luxurious single-location setting. It glides by almost entirely on the strength of its ferocious performances. But it's also indulgent and obvious, as well as clumsy in its handling of many of its conversation topics. Like most relationships, it soars at times and sinks at others. Shot in quarantine in mid-2020, the romance drama meets its eponymous couple on a momentous night, with filmmaker Malcolm (John David Washington, Tenet) all abuzz after the premiere of his latest feature. The critics gushed to him in-person so, arriving back at the flashy house that's been rented for him, he's drunk on praise and eager to celebrate with Marie (Zendaya, Spider-Man: Far From Home). As she cooks him mac 'n' cheese, he pours drinks and relives the evening's highlights. But Marie isn't as enthusiastic, or as willing to cast everything about the premiere in a rosy glow. The catalyst for her simmering discontent, other than just the state of their relationship: as Malcolm & Marie writer/director Sam Levinson admits he did himself at the premiere of his 2017 movie Assassination Nation, Malcolm forgot to thank Marie. Levinson's wife only brought it up once, he has said; however, the moment the subject comes up on-screen, Marie isn't willing to accept Malcolm's claim that he simply forgot. Cue oh-so-much arguing, mixed in with cosier banter, broader chats about art and politics, Marie's frequent escapes outside to smoke and Malcolm's impatient waiting for the first reviews of his film to drop. Marie bathes, slipping out of her shimmering dress. Malcolm dances, and also thinks that playing the right song at the right time will patch over all of his girlfriend's worries. Again and again, their discussion circles back to their history. Malcolm's movie is about a 20-year-old addict, and Marie once was that woman. She feels as if her real and painful experiences have hoovered up by him, without any appreciation or recognition — without casting her in the role, too — a contention that his lack of public acknowledgement has only solidified. In response, he easily spits back all the ways he didn't raid her life, and all the other women from his past he also used for inspiration. It can get repetitive, as wars of words are known to in the intensity of the moment, and yet Malcolm & Marie is at its best when its characters fight specifically about their relationship. That's when the film stings with authenticity; Levinson's own situation mightn't have turned out the same way, but no one is a stranger to quarrelling with their nearest and dearest, and his script shows it. When Malcolm & Marie works other affairs into the back-and-forth, though, it overplays its hand. It threatens to forget that it's about people rather than about ideas. Levinson takes aim at the current state of cinema and the discourse it inspires — including increasing calls for authenticity in bringing stories to the screen, the response that it's the craft rather than the experience that truly makes filmic art, and the way movies by talent from marginalised backgrounds are viewed through that lens — but his navel-gazing feel muddled and hollow at best. Case in point: the feature also has Malcolm delight in being fawned over by critics, rage against writers he doesn't think understand his work and complain about anyone who reads his films in a way he doesn't approve. Thankfully, even in Malcolm & Marie's least necessary scenes, it boasts Zendaya and Washington. No one else is seen in the film, in fact. Zendaya won an Emmy in 2020 for TV series Euphoria — which Levinson created, writes and has directed the bulk of, and is also based on his own experiences — and she's in blistering form here as well. When Marie is still glammed up from the night's festivities, Zendaya wears a mask of composure and determination atop her flawless makeup. When the character changes, then pads around in her underwear, the exacting performer lets her facade drop in favour of a more relaxed but still just as raw brand of pain and fury. She's impossible to look away from, but Washington is no slouch. He's given the least sympathetic but also more overtly showy part, and wears it like a second skin. Indeed, he sells Malcolm's arrogance, privilege, never-wavering confidence and volatile anger that comes out in his rants as convincingly as he sold the ruse that was crucial to his role in BlacKkKlansman. Zendaya and Washington's performances are so strong and compelling — hers especially — that when the two-hander's material lets them down, it's noticeable. The screenplay's lack of resonance and texture, key traits evident in all the best relationship dramas, is evident, too. As a result, the film easily leaves viewers wondering what might've eventuated if it hadn't been cooked up in a pandemic, designed to work within COVID-19 restrictions and scripted in six days. Cracks in even the most blissful romances take time to expand. Malcolm and Marie's central love affair has clearly never been all sunshine and roses, but the movie they're in lacks the weightiness that might've come if it had been the product of a longer gestation process. Levinson's sultry and gorgeous visuals also call attention to the movie's hastiness. From leisurely tracking shots peering in at its key duo from outside their lush abode to the many exquisite-looking ways it frames Zendaya and Washington together, Malcolm & Marie is designed to look timeless, and yet the substance that's supposed to anchor that style continually feels rushed. https://www.youtube.com/watch?v=CGZmwsK58M8 Image: Netflix.
In news as certain as Han Solo's swagger, C-3P0's disapproval and Leia Organa proving the fiercest princess in the entire galaxy, another round of orchestra-scored Star Wars screenings is making its way across Australia — and this time, Star Wars: Episode VI — Return of the Jedi will be unleashing the force. What was originally the final flick in George Lucas' space saga is headed to Sydney's ICC Sydney Theatre on Saturday, September 7, 2019, and Melbourne's Hamer Hall on Friday, November 8 and Saturday, November 9, 2019. While Brisbane details have yet to be announced, we'd expect them to arrive soon. If you've been hiding out on Tattooine and aren't quite sure what's in store, this climactic instalment features a second Death Star, a tribe of Ewoks on Endor, Han Solo imprisoned by Jabba the Hutt, plenty of family baggage and one heck of a father-and-son battle — so, classic Star Wars thrills. And, it's all set to John Williams' iconic score, which each city's symphony orchestra will recreate right in front of attendees' eager eyes and ears. As always, we've got a good feeling about this mix of movies and music, which should help fill the gap between this year's Solo: A Star Wars Story and next year's Star Wars: Episode IX. Star Wars: Episode VI — Return of the Jedi will screen at Sydney's ICC Sydney Theatre on Saturday, September 7, 2019, with tickets now available — and Melbourne's Hamer Hall on Friday, November 8 and Saturday, November 9, 2019, with tickets on sale from Wednesday, September 26. Details of a Brisbane session have yet to be announced.
Not only pouring copious amounts of beer, but also making yeasty, boozy tipples, breweries are the kind of place where liquid usually flows freely. That's all well and good when it's in a pint, but it's obviously devastating when its from floodwaters — as a number of Brisbane joints have experienced in the past few weeks. Milton Common, Newstead Brewing Co, Range, Parched, Brewtide and Fonzie Abbott all sadly know this story, as does Granddad Jack's Distillery — because flooding doesn't care what kind of alcohol you prefer. So, to help raise money for the folks affected, Woolloongabba's Easy Times Brewing Company is putting on karma kegs and hosting a day-long fundraiser. It's your latest excuse to drink beer for a great cause, it's called The Great Brown LemonAID and it's happening from 11.30am on Saturday, March 12. Ten taps will be dedicated to the event, and there'll be kegs from each flooded brewery. Whatever you choose to drink, the funds will be pooled and split evenly, however. You can also nab limited-edition growlers designed by Thirsty Merchants, or one of ten numbered Golden Growlers — and there'll be an auction both online and live on the day, with prizes including Brisbane Lions VIP tickets, a stay in Maleny and winning your height in Stone & Wood beer. [caption id="attachment_833283" align="alignnone" width="1920"] Brewtide[/caption] Top image: Darren Ward.
The sophomore film from John Michael McDonagh, Calvary begins with a simple conversation that sets the scene for everything that's to come. As the camera holds on the face of the quiet Father James (Brendan Gleeson), we listen to a man give confession. A victim of childhood sexual assault, the unseen man outlines the horrors that were inflicted on him by one of James's fellow members of the clergy. Now an adult, the man wants justice, but his assailant has long since died. So he has decided to murder James instead, giving the priest until the following Sunday to get his affairs in order. There are certainly similarities between Calvary and McDonough's previous film, the potty-mouthed buddy-cop comedy The Guard. Both feature standout performances from Brendon Gleeson, both have a distinctively un-PC sense of humour, and both populate their rural Irish setting with a collection of colourful characters. Dylan Moran, Chris O'Dowd and Game of Thrones' Aidan Gillen play a few of the more memorable townsfolk, any one of whom could be the murderer in waiting. McDonagh's comic pen is incredibly sharp, mixing caustic wisecracks with bemused non sequiturs and moments of perfectly timed profanity. But much more so than in The Guard, the humour here is heavily shaded with melancholy. McDonagh downplays the mystery; there's a feeling that it doesn't really matter who is planning to kill Father James, who does little to avoid his preordained fate. He himself is innocent, but knows that others in his station were not. Perhaps he feels obligated to do penance on their behalf. Certainly, the Irish felt the shock of the Catholic sex abuse scandals more than most. As Father James visits his parishioners for what may be the very last time, he's witness to a community scarred by cynicism and mistrust. His sense of personal isolation is enhanced by the rocky coastal setting, as bleak and unforgiving as it is beautiful. Gleeson's performance is one of the best of his career, full of wit, weariness and dignity. Father James is a good man, and no fool. Yet he's increasingly out of place in a world that is rapidly losing its faith. McDonagh tackles big ideas, from the need (or lack thereof) for organised religion to questions of death, responsibility and forgiveness. Blessedly, whenever things threaten to become too heady, McDonagh grounds them with a moment of deadpan comic relief. It's an incredible tightrope act. Black comedies have a habit of descending into snark, but here the balance feels just right. Tonally, emotionally and spiritually complex, Calvary comes highly recommended. https://youtube.com/watch?v=JErdUGpSYqI
Sitting outside, eating tapas, drinking good wine: that's what summer in Brisbane is all about, isn't it? It's certainly what Quysine Bar and Restaurant is all about, and it has a great bayside location to prove it. You'll find the new addition to Cleveland just a street away from the shore, serving lunch and dinner six days a week. Ample outdoor seating takes care of the al fresco dining situation. The usual beer, wine, cider, cocktail and non-alcoholic beverage selection takes care of everyone's drinking needs. And, then there's Quysine's range of meals. Because sharing is caring, tapas is on the menu here, spanning smoked pork croquettes, ham and cheesy garlic bread, Portuguese peri peri chicken livers, and the chef-recommended likes of salt and pepper calamari, and tiger prawns. Those on the hungrier side might want to opt for the roasted pumpkin and haloumi salad, or a choice of two steaks, pasta, chicken or fish.
After introducing its cookie pies to the world earlier this year — and serving up an OTT red velvet version, a gooey choc-hazelnut-filled one and a peanut butter and jelly variety as well — Gelato Messina is bringing the decadent dessert back yet again. This time, though, it's quite the Frankenstein's monster of a dessert. If you like fairy bread, cookie pies and Messina's gelato, prepare to get excited. Hang on, a cookie pie? Yes, it's a pie, but a pie made of cookie dough. And it serves two-to-six people — or just you. You bake it yourself, too, so you get to enjoy that oh-so-amazing smell of freshly baked cookies wafting through your kitchen. Now that you're onboard with the overall cookie pie concept, the fairy bread version really is exactly what it sounds like. That crunchy, crumbly cookie dough is filled with vanilla custard, then topped with more 100s and 1000s than you've probably seen since your childhood birthday parties. On its own, the indulgent pie will cost $20. But to sweeten the deal, the cult ice creamery has created a few bundle options, should you want some of its famed gelato atop it (vanilla is recommended for this particular pie). You can add on a 500-millilitre tub for $28, a one-litre tub for $36 or a 1.5-litre tub for $39. If you're keen to get yourself a piece of the pie, they're available to preorder from Monday, July 27 — with pick up between Friday, July 31 and Sunday, August 2 from your chosen Messina store. Once you've got the pie safely home, you just need to whack it in the oven for 25–30 minutes at 165 degrees and voila. You can preorder a Messina fairy bread cookie pie from Monday, July 27, to pick up from all NSW, Vic and Queensland Gelato Messina stores (except The Star). Melburnians are currently instructed to only visit their local cafe or shop, with Messina's Melbourne stores located in Fitzroy, Richmond, Windsor and, as a pop-up, in Brunswick East.
UPDATE: April 28, 2020: Star Wars: Episode IX — The Rise of Skywalker is available to stream via Google Play, YouTube and iTunes — and via Disney+ from Monday, May 4. Pity the fool who directs a Star Wars movie these days, even if that fool is JJ Abrams. It feels like a long time ago, in a galaxy far, far away from the internet, when fans only interacted with films at the cinema and movies survived or died largely on merit alone. Back then, criticism and praise happened in private — between friends, colleagues and, occasionally, strangers at conventions. Now, films can fail before they're released. Emboldened by online anonymity and pocket-sized megaphones, devotees decry everything from casting choices to millisecond-long trailer grabs. To borrow from A New Hope, it's as if millions of voices suddenly cried out in terror that a woman was cast in the lead, or a stormtrooper was both black and friendly. "Thanks for ruining my childhood" became the catchcry for anyone who felt they didn't see the movie they wanted to and, unfortunately, studios started listening. It's in this context that the third and final film in Star Wars' sequels trilogy arrives. Reactions to Rian Johnson's The Last Jedi were as polarised as the entire franchise had seen — with some praising his efforts to reimagine swathes of lore and actually deliver something new for the first time in nearly 30 years, and others (most, even) tearing the film down. Cries of disrespect rang long and loudly as OG fans believed that their beloved characters had rejected everything they'd once stood for. Sure, Johnson dropped the ball on a number of fronts, but at least he tried something different. Star Wars: Episode IX — The Rise of Skywalker does not try anything different. It retreats to the safest possible territory, borrowing heavily from Return of the Jedi to round out a trilogy crippled by an absence of cohesion. Like 2018's Ready Player One, nostalgia is the film's oft-used trump card, relying almost entirely on familiar visual or musical moments to trick you into thinking you're watching something clever or special. The end result is a chaotic, inconsistently paced, 142-minute package of fan service that gets a few things deliciously right and a lot disappointingly wrong. The Rise of Skywalker's best parts, as has been the case across this trilogy, stem from the relationship between Rey (Daisy Ridley) and Ren (Adam Driver). As the only enduring, meaningful source of mystery, Ridley and Driver again deliver committed performances filled with emotion and raw physicality — and both deserved a far greater story. Here, they're after the same thing: the somehow-resurgent Emperor Palpatine. We say 'somehow', because at no point does the film substantially address this crucial point. At least soaps like Dynasty offered explanations when they pulled this narrative trick (it's his evil twin; he fell off a boat and had amnesia; he was in protective custody). For Abrams, Palpatine is just back. In fact, he never left. Still, it's a joy to see Ian McDiarmid reprise one of cinema's greatest villains, with his scenes among the movie's highlights. Another strength, of course, is The Rise of Skywalker's special effects. As always, they're dizzying and dazzling. The large-scale planets and battles are amazing because Industrial Light & Magic — the company that helped kick-start incredible SFX back in 1977 — continues to push new boundaries, but the imagery particularly impresses in smaller ways. The ongoing commitment to practical effects (those that actually happen live on-set), for example, and managing to not only keep Carrie Fisher on-screen two films after she died, but to ensure that Leia remains the franchise's best character. The wizardry behind these posthumous performances must give pause to all working actors; however credit also goes to the writers for holding true to everything that made Leia an iconic hero in the first place. Her lines are limited but her actions speak volumes, and the film's most emotional moments belong to her. Others don't fare nearly as well. Kelly Marie Tran's Rose, a major player in The Last Jedi, is sidelined, as are Domhnall Gleeson and Lupita Nyong'o's characters — while franchise newcomer Keri Russell scarcely appears before she's gone. Even C-3PO is on the outer, notwithstanding one touching moment. Richard E. Grant is an inspired addition, and his turn as a ruthless First Order general makes you wish he'd been there from the beginning. As for Billy Dee Williams' return as Lando Calrissian (as already spoiled in the trailers), it's among the better nostalgic flourishes. Returning to Star Wars after first directing The Force Awakens, that Abrams plays it safe is no surprise. Yes, it can be argued that a franchise this big needs to take fewer risks to ensure it resonates with the widest possible base. Just as true, though, is the fact that playing it safe is a gross disservice to a property worthy and capable of greatness. If this really is the end of this universe as we know it, then surely it would've been better for The Rise of Skywalker to try and fail than fail to try at all. https://www.youtube.com/watch?v=8Qn_spdM5Zg
Suncorp Stadium will always be home to one of the Matilda's most epic matches, after the Australian national women's soccer team defeated France in the 2023 FIFA Women's World Cup semi-finals at the Milton venue. For the squad's next game, they're off to Sydney for a semi-final clash with England to hopefully earn a berth in this year's ultimate decider — but if you're keen to watch all the action in a crowd here in Brisbane again, Sam Kerr and company are also taking over Riverstage. Add the riverside amphitheatre within the Brisbane City Botanic Gardens to your out-of-home viewing options at 8pm on Wednesday, August 16, with the Queensland Government and Brisbane City Council opening up the spot as a live screening site for the night. Riverstage joins King George Square and South Bank, in what's set to be a busy Ekka public holiday around the River City even if you're not hitting Brisbane Showground for a strawberry sundae. BREAKING: We're helping open the Riverstage so more Queenslanders can cheer on the @TheMatildas in their historic semi-final match against England tomorrow night. Thank you to the Brisbane City Council for their partnership in this. pic.twitter.com/2onGa8YLIt — Annastacia Palaszczuk (@AnnastaciaMP) August 15, 2023 "The Matildas have captured the hearts of Australia and I know all of Queensland is behind them as they head into Wednesday's semi-final. Almost half of the Matilda's side are from Queensland, so it's no wonder we are all getting behind them," said Acting Premier Steven Miles. "We want as many people as possible to cheer on the Tillies, which is why the Lord Mayor and I worked together to open up Riverstage as a screening location." [caption id="attachment_913019" align="alignnone" width="1920"] LittleBlinky via Wikimedia Commons.[/caption] "I'm so excited we've been able to work with Deputy Premier Steven Miles to open the Riverstage as an official live site for tomorrow's World Cup semi-final. This will be the biggest game of football in Australia's history," added Lord Mayor Adrian Schrinner. "Brisbane residents deserve to have every opportunity to come together and experience the incredible spectacle of our Matildas taking on England. Between the Riverstage, King George Square and the expanded South Bank fan festival, residents will be able to pick whatever venue works best for them to watch the action live and cheer on our incredible Tillies." View this post on Instagram A post shared by CommBank Matildas (@matildas) In total, Brisbane's live sites will be able to welcome in 23,000 soccer fans cheering on Kerr, Caitlin Foord, Ellie Carpenter, Katrina Gorry, Hayley Raso and the rest of the team — and hoping that Mackenzie Arnold doesn't have quite the tense end to the game after the last match's penalty kicks. Riverstage can accommodate 9000 people, while 2000 folks can crowd into King George Square. The existing South Bank Women's World Cup hub at the Riverside Green and South Bank Piazza can fit 5000 people — and the Rainforest Green (1500 football fans), Cultural Forecourt (2,000 viewers), Flowstate Precinct (1500 folks) and River Quay Green (2000 people) will also be used. Will this match beat the last one to become the nation's biggest TV sports event in a decade again? That looks as certain as Brisbane going all in for all things green and gold. The Matildas take on England at 8pm on Wednesday, August 16, with the match playing on the big screen at Brisbane Riverstage — and in King George Square, and also around South Bank. The FIFA Women's World Cup 2023 runs from Thursday, July 20–Sunday, August 20 across Australia and New Zealand, with tickets available from the FIFA website. Top image: LittleBlinky via Wikimedia Commons.
Two decades after Hae Min Lee's murder, the Baltimore high school student's horrific plight continues to dominate the true crime landscape. After featuring on the first season of Sarah Koenig's grimly addictive podcast Serial, it's now the basis for a new documentary series, The Case Against Adnan Syed. The four-part HBO series picks up where everyone's 2014 obsession left off — the trailers below promise to reveal 'a new chapter' — not only exploring 18-year-old Lee's death in 1999 and her ex-boyfriend Syed's conviction in 2000, but the latter's ongoing quest to have the extremely complex legal matter reassessed in the years since he was found guilty. Everything from Lee and Syed's relationship, to the original police investigation and trial, to the developments up until now will feature, with the film gaining exclusive access to Syed, his family and his lawyers. The series couldn't come at a more crucial time for Syed, who was convicted of first-degree murder, sentenced to life in prison, and continues to fight his case through the courts. While he was granted a new trial in 2016, that ruling was subsequently appealed by the State of Maryland — only for the Court of Special Appeals to agree to vacate Syed's conviction and finally give him that retrial last March. A date for the actual retrial hasn't yet been set, however. Splashed across the small screen, it's certain to make for compelling viewing — but if you think you've spent too much time mulling it all over across the past five years, filmmaker Amy Berg has you beat. Unsurprisingly given how complicated the matter is, the director has been working on the project since 2015. And, with her excellent doco background — with Berg helming 2006's Oscar-nominated 2006 Deliver Us from Evil, about molestation in the Catholic Church; examining the West Memphis Three's quest for freedom in 2012's West of Memphis; and tackling the sexual abuse of teenagers in the film industry in 2014's An Open Secret — her new venture is certain to be thorough. Mere weeks out from launching the series, which airs weekly on HBO from Sunday, March 10, US time, the network has dropped a full trailer. It comes hot on the heels on the first sneak peek earlier this month, which mentioned the investigation of other suspects and new evidence — saying, "the closer you look the more you see". Watch them both here: https://www.youtube.com/watch?v=OQaTa5eTxnk https://www.youtube.com/watch?v=VA1qzo2WEew As they did for West of Memphis, Nick Cave and Warren Ellis will provide the score. 'The Case Against Adnan Syed' will air on HBO from Sunday, March 10, US time — and then hit Foxtel for Australian viewers later this year. It's not clear yet if the show will air or stream in New Zealand. We'll update you as soon as further release dates have been announced. Image: Adnan Syed via Syed Family / Courtesy of HBO.
Faces carve deep impressions in Longlegs, in both their presence and their absence. As Agent Lee Harker, Maika Monroe (God Is a Bullet) does so with a clenched jaw, permanently on-edge eyes and mere bursts of words, aka the guise of a woman who'll never stop being vigilant in every moment but doesn't always know exactly why. As the movie's namesake, as announced in the opening credits, Nicolas Cage (Dream Scenario) has audiences straining to catch whatever glimpse they can whenever they can — and when a full look comes, it's scorching and haunting in tandem in the stare alone. Blair Underwood (Origin) gives Harker's boss Carter a weary gaze, but with fully rounded life experience beyond his FBI gig evident behind it. Alicia Witt (Switch Up) plays Ruth Harker, mother to Lee, as distance and struggle personified. As she relays a tale as survivor Carrie Anne Camera, Kiernan Shipka (Twisters) demonstrates how disconnected a grim reality can be from a dream. For his fourth feature following 2015's The Blackcoat's Daughter, 2016's I Am the Pretty Thing That Lives in the House and 2020's Gretel & Hansel — the first of which also starred Shipka — writer/director Osgood Perkins has clearly assembled an excellent cast for his unease-dripping, get-under-your-skin, torment-your-nightmares serial-killer thriller. Another face leaves an imprint beyond his actors, however. Bill Clinton's portrait assists with setting the scene as it adorns bureau offices, with the majority of the movie taking place in the 90s. Think the FBI and three decades back, and there's no lack of pop-culture touchstones. The Silence of the Lambs is one. Monroe's portrayal as a newly minted operative tracking a murderer is every bit as layered, complex and unforgettable — and awards-worthy — as Jodie Foster's (True Detective: Night Country) Oscar-winning performance was. Twin Peaks and The X-Files, Point Break, even Cage's own Face/Off: they all also hail from the 90s and spin stories around the Federal Bureau of Investigation. This lineage is impossible not to ponder every time that Perkins reminds Longlegs viewers of the period that he's working with via Clinton's likeness — and it's a bold move. Getting your audience recalling other films and TV shows can simply spark the wish that they were watching those titles instead, especially when the list is as glorious as the aforementioned flicks and series. But the filmmaker who first started out in horror as a child actor walking in his father's footsteps — Anthony Perkins played Norman Bates in Alfred Hitchcock's Psycho; Osgood was young Norman in Psycho II — makes good on the gambit. No one with their peepers glued to Longlegs would rather be ingesting anything else, no matter how equally exceptional, as it weaves its hypnotic spell. Longlegs bedevils and bewitches early, and earlier than its main era. The pristine snow that surrounds a young girl (Lauren Acala, Motherland: Port Salem) in her yard is a visual blank slate, soon darkened in shadow when Longlegs arrives with happy birthday wishes — and the mood, as thrumming through in feature first-timer Andres Arochi's cinematography, plus Graham Fortin (Ari's Theme) and Greg Ng's (Allegiance) editing, is as thick as the white blanket across the ground with apprehension and tension. When the movie hops forward, already festering is the feeling of an innocent state sullied. That's before learning about Harker and Carter's case, with a string of murder-suicides resembling each other garnering their attention. Families perish, fathers attacking before turning their violence upon themselves, which might be open and shut if there weren't a spate of such incidents over decades, if questions about motive weren't glaring, if a compulsive force — supernatural or otherwise — hadn't earned some thought and if letters in code signed by Longlegs weren't also found at the scenes. There's more than a tightly wound ball of anxiety to Harker, who sports a surname that brings being pursued and toyed with by Dracula — who Cage played in 2023's Renfield — to mind. (Longlegs is the second 2024 horror film to nod to Bram Stoker in its characters' monikers, after Ishana Night Shyamalan's The Watchers.) The movie's lead is also a source of intuition and perhaps clairvoyance, which the FBI is keen to capitalise upon. Indeed, that's why she's been assigned to the Longlegs investigation. She's as dedicated as dedicated comes when sifting through the analogue array of clues, too, with paper and tape amid dimly lit, cabin-esque interiors adding to the tactile sensation. As terse phone calls with her mum illustrate, there's nothing distracting her from her gig, either. Via framing, frequently with symmetry, Perkins conveys that Harker isn't just consumed by chasing down Longlegs — it might be the on-screen fate of ample detectives, including in Se7en and Zodiac, two David Fincher masterpieces that are also patent influences, but the hunt is consuming her back. With the fellow chillers that beat Longlegs to existence, and with elements as familiar in horror as serial killers, the occult, crime-solving procedural crusades, fixated sleuths and all-encompassing disquiet — to name just a few genre go-tos plastered across Perkins' cinematic mood board — the approach is fondness-meets-the filmmaker's own interpretation. That's the picture's guiding principle everywhere, including in Monroe and Cage's immense contributions, each of which is among their respective career highlights. All of Longlegs' key parties know that viewers have seen plenty of these same pieces before in a myriad of ways, and possess a single-minded resolve to avoiding serving up the same. Monroe does this with It Follows and The Guest on her filmography, the 2014 one-two punch about evil lurking among the ordinary and safe spaces terrorised. Cage does it with four decades of efforts that've solidified him as not just a singular actor but the singular actor, and ceaselessly able to surprise. Perkins crafts Longlegs as a dollmaker might, with the utmost of care apparent in each and every component, all building a creation that feels like it's staring piercingly back at you. He isn't afraid of a surreal Lynchian vibe, showing that waking life can immerse you in as much of a frightscape as the worst that your brain can conceive while slumbering — perhaps the most-alarming realisation that there is — but, again, as run through his own filter. He also isn't scared of using sound design to burrow that agitation deep into the audience's subconscious, so that Longlegs is distressing your soul before you, like Harker, are even aware. Chief among the film's strokes of genius is how inescapable its intense dread is, regardless of which traditional horror symbols taunt those watching or how much of Cage as Longlegs can be seen. In an instant classic, all of its pivotal faces are mirrors, then, reflecting the viewer's own.
A spoonful of sugar isn't needed to make this medicine go down: the Mary Poppins musical is coming to Brisbane. Umbrellas at the ready for the most supercalifragilisticexpialidocious news that you'll hear all day, and all year as well, with the tale of the singing nanny set to take over QPAC's Lyric Theatre from Saturday, October 22. Mary Poppins comes to Brissie fresh from its Australian-premiere Sydney season, and marks a homecoming for two if its stars. Brisbane performers Stefanie Jones and Jack Chambers, who've been acting together since childhood, play Mary Poppins and Bert, respectively. Hailing from Disney and theatre producer Cameron Mackintosh, this current version of the show tells the same enchanting tale that everyone knows from the hugely popular, five-time Oscar-winning 1964 film — which, as well as inspiring this stage adaptation, also gave rise to big-screen sequel Mary Poppins Returns in 2018. Everything to do with the English governess harks back to PL Travers' books about the character, of course, and pop culture has been thankful for and downright delighted with her stories for almost six decades now. When it soars through its Brisbane season between Saturday, October 22–Sunday, January 15, local theatre fans can look forward to a new version of the show that last graced Australia's stages — and won eight Helpmann Awards — back in 2011. Since Mackintosh first teamed up with writer Julian Fellowes (Downton Abbey) to bring Mary Poppins to the theatre in 2004, the production has won four Olivier Awards and a Tony as well. A Cinderella musical is coming the city's way this winter, too — and Frozen started off 2022 as well — so it's clearly a great year to love stage musicals based on beloved tales. If you'd been crossing your fingers that a date with Poppins, the Banks family and their Cherry Tree Lane abode might also come Brissie's way, consider that wish granted. Consider 'A Spoonful of Sugar', 'Supercalifragilisticexpialidocious', the Oscar-winning 'Chim Chim Cher-ee' and 'Let's Go Fly a Kite' stuck firmly in your head until October blows in, too. Images: Daniel Boud.
Roll up, roll up, laugh-loving folks — it's that time of year. Think there's not much in common between a circus and a comedy festival? Well, both throw a feast of different acts your way for you to have a fine night out. And both will make you marvel at just what's possible — in terms of clever gags and, in comedy's case, how much more hilarity your stomach can handlee. At this year's Brisbane Comedy Festival at Brisbane Powerhouse — the event's eighth and biggest yet — there will be more than 66 comedians performing over the course of four weeks. The best thing to do is clear your schedule, dive in and prepare to give your face a workout.
It doesn't matter if you're an OG yogi with your headstand, scorpion and advanced warrior poses down pat, or if you're still working on your savasana (you know, the one where you lie still on the ground for a bit), Yo! Yoga has got you covered. This New Farm yoga studio is the home of hip hop yoga in Brisbane, and is the perfect activity for shaking off some cobwebs mid-week no matter your level of yogi-ness. Book into a morning class and kickstart your Wednesday with a slow flow to smooth tunes.
With Good Food Month not too far off — it kicks off on July 1 — our tastebuds are already tingling at the thought of all the epic eats to come. There's the Night Noodle Markets, Brisbane's Young Chefs Lunch and the Laneway! Streetfood! Music! celebration — who doesn't love a good laneway bash, especially when it promises incredible street food matched to a variety of ice cold beers. In case those Night Noodle Markets weren't enough to look forward to, this laneway celebration of eats, beats and brews, presented by Beer The Beautiful Truth, is another thing to get excited about. Put aside July 28 to spend a cruisy evening at Fish Lane in Brisbane, listening to live beats while sipping brews from James Squire, XXXX, Hahn and Tooheys, and indulging in a selection of street eats cooked up fresh by some of Australia's best chefs. For $50 you'll be treated to four ice cold beers or ciders of your choice along with three substantial street food items — pretty great deal, we'd say.
Six decades after West Side Story first hit Broadway, the acclaimed musical returns to the Australian stage, set to play at both Arts Centre Melbourne and the Sydney Opera House next year. Headed up by two-time Tony Award nominated choreographer Joey McKneely, the award-winning production reimagines the famous tale of rival street gangs in 1950's New York City. It's a Romeo and Juliet-style classic, that's enchanted audiences in countless iterations over the years. And now it's set to be retold at two of the country's most iconic venues, the musical featuring all the hit songs — including 'I Feel Pretty', 'A Boy Like That', 'Something's Coming', 'America' and 'Maria' — along with Jerome Robbins' (the Broadway show's original creator) ground-breaking choreography. And, if you've always dreamt of being a West Side Story star, now's the time to start practicing those moves and warming up those vocal chords — audition submissions are now open, in the hunt to find the musical's leading talent. If you'd like to get a double dose of West Side Story, you can also attend an operatic production of the show in March next year, as it heads to Sydney's floating stage, Handa Opera. West Side Story will play at the Arts Centre Melbourne from April 6–28, 2019, and at the Sydney Opera House from August 16 to October 6, 2019. Head over to the website to jump on a waitlist for tickets. Image Credit: Nilz Boehme and Johan Persson
Back in the 2000s, if you weren't listing to Interpol and Bloc Party, were you really in the 2000s? No, no you weren't. The former arrived out of Manhattan in the late 90s, then helped define the city's turn-of-the-century indie music scene with The Strokes, Yeah Yeah Yeahs, TV on the Radio and The National. Hailing from Britain and also coming together just before Y2K, the latter initially scored some hefty approval in 2003 via Franz Ferdinand's lead singer Alex Kaprano. From those beginnings, both bands became indie rock greats. Next, they're heading to Australia to remind music lovers why. Busting out everything from 'Slow Hands' to 'She's Hearing Voices', the two groups will share the same bill on a co-headlining tour of the country's east coast in November, starting at the Sidney Myer Music Bowl in Melbourne, then hitting Sydney's Hordern Pavilion and finally playing the Brisbane Riverstage. For Interpol, it'll be their first visit Down Under since 2019, plus their debut chance to play 2022 album The Other Side of Make-Believe in Australia. Tracks from past records such as Turn on the Bright Lights, Antics and El Pintor will also feature. Bloc Party are making the trip after last rocking Aussie stages in 2018, and will perform songs from Silent Alarm, A Weekend in the City, Intimacy and 2022 LP Alpha Games. "We are so happy to be hitting the road with our friends Bloc Party in Australia. Come on down!" said Interpol, announcing the tour. "The histories of Bloc Party and Interpol are intertwined at various stages of our careers. It made perfect sense to us to solidify that by playing some massive shows together in one of our favourite countries on earth. We can't wait to get back to Australia in November," added Bloc Party's Kele Okereke. INTERPOL AND BLOC PARTY AUSTRALIAN CO-HEADLINE TOUR 2023: Thursday, November 16 — Sidney Myer Music Bowl, Melbourne Saturday, November 18 — Hordern Pavilion, Sydney Wednesday, November 22 — Riverstage, Brisbane Interpol and Bloc Party are touring Australia's east coast in November 2023, with presales from 9am on Wednesday, July 5 and general sales from 9am on Friday, July 7. Hit up the tour website for further details. Bloc Party images: James Kellegher. Interpol image: Ebru Yildiz.
Winter has well and truly settled in, and what better way to embrace it than with a trip to the snow? Not only do you get to try out your moves on the slopes, if you're at the winter haven of Thredbo, you can match it with time lounging about the fire or in the hot pools, watching your mate go for glory in a snowboarding comp and savouring a few delectable mulled ciders. Rekorderlig are offering you the chance to win this winter dream vacay — including flights, accommodation and ski hire — for a group of six, just by entering their Facebook comp. Sweetening your weekend away even more, the Swedish giants of cider have a little something extra and exclusive lined up. They're hosting an intimate winter forest picnic, Swedish style, on Thredbo's golf course on Saturday, September 13. What's 'Swedish style' you ask? Well it's not this. Rather, think an al fresco four-course meal of Swedish-inspired recipes (not this) eaten from beneath warm blankets while you overlook a striking skyline of snow stretching as far as the eye can see. Then add in a whole bunch of Rekorderlig to complete your magical Swedish stopover. Will there be reindeer? You'll have to enter via the Rekorderlig Facebook page to find out.
UPDATE, MAY 2, 2020: The Australian Lockdown Comedy Festival has announced its full lineup and its premiere date. This article has been updated to reflect these changes. When COVID-19 started having an impact on Australian events, the Melbourne International Comedy Festival was one of the first to scrap its plans for 2020. The Brisbane Comedy Festival, which was already underway, also cancelled its final week — and in New South Wales, the Sydney Comedy Festival completely shuttered its event for this year, too. That means that the country's funniest folks now have some extra time on their hands — indoors, while social distancing, of course. And, they still have plenty of jokes to tell, which is exactly what Stan's new Australian Lockdown Comedy Festival is aiming to capitalise upon. Heading to the platform weekly from 7pm on Saturday, May 9 — dropping four episodes in total — the streaming-only laughfest will feature lockdown sets from comedians such as Wil Anderson, Cal Wilson, Nazeem Hussain, Dave Hughes and Zoe Coombs Marr, who'll all share material from their planned 2020 gigs. Also on the lineup: Tommy Little, Geraldine Hickey, Dilruk Jayasinha, Steph Tisdell, Aaron Chen, Sam Campbell, Michelle Brasier and Nath Valvo, as well as Tom Ballard, Randy Feltface, Claire Hooper, Becky Lucas, Sam Taunton, Nikki Britton, Demi Lardner and Tom Walker. Yes, it's a hefty list, and also features Lauren Bonner, Oliver Twist, Blake Freeman and Bec Charlwood. Each comedian has recorded their set from their homes, so expect jokes told in their kitchens, bedrooms, lounge rooms and even bathrooms. They've also be handled all the tech requirements themselves, such as setting up and operating their own cameras, in order to abide by social-distancing requirements. That said, they did have access to a director via video conferencing. Every Australian Lockdown Comedy Festival episode will feature at least six different comedians performing short standup comedy spots — including one MCing the episode. And if you're looking for some local laughs before the fest starts streaming, Amazon Prime Video has just dropped ten comedy specials from MICF stars, too. The Australian Lockdown Comedy Festival hits Stan weekly for four weeks from 7pm on Saturday, May 9.
In response to a growing cluster of COVID-19 cases in Brisbane's west and the Ipswich area, as linked to an employee at the Brisbane Youth Detention Centre in Wacol, the Queensland Government has implemented changes to current gathering caps in parts of the Sunshine State. For residents in some areas in Queensland's southeast corner, limits have tightened for both groups inside the home and meetups outside of the house — with the new rules coming into effect immediately. Announced today, Saturday, August 22, by Premier Annastacia Palaszczuk, the restrictions apply to folks living in the Brisbane, Ipswich, Logan City, Scenic Rim, Somerset, Lockyer Valley, Moreton Bay and Redlands local government areas. In these regions, you can now only have ten visitors over to your home, while outdoor gatherings — in parks, for example — have also been capped at ten people. Yes, that means that house parties and mass hangouts both indoors and outside are off the cards again, and your weekend plans might now change. Revealing the new limits, Premier Palaszczuk advised that the government is "concerned about the now total of seven cases linked to the youth detention cluster. We're concerned about this cluster because people have been out and about in the community". https://twitter.com/AnnastaciaMP/status/1296944872914472960 For gatherings at home, you can have a maximum of ten people in your house — which spans people who don't normally live with you and residents. Visitors can come from different households, too. For gatherings in public, the maximum number of people that can be in one group is ten. That cap includes you, plus any other members of your household. As explained by Queensland Health Minister Steven Miles in today's press conference, the new public caps also apply to venues — but only those without COVIDSafe plans in place. "That is a limit of ten people at any venue without a COVIDSafe plan in those regions... Of course, community sport, pubs, clubs, cafes and restaurants have COVIDSafe plans, so they can continue to have gatherings greater than those numbers. But it is important that they strictly apply the plans particularly social distancing and the collection of contacts and contact details across this weekend". Also, hospitals in affected areas have been asked to restrict visitors, and all emergency departments, aged care facilities and disability accommodation facilities will use Personal Protective Equipment including face masks and gloves to treat all patients and residents. Across the rest of Queensland — so, everywhere outside of the Brisbane, Ipswich, Logan City, Scenic Rim, Somerset, Lockyer Valley, Moreton Bay and Redlands local government areas — new gathering caps have also been introduced. Residents in these areas will only be permitted to have 30 visitors over to their homes, and to gather in groups of 30 in public areas. The widespread changes come as Queensland announced nine new COVID-19 cases today, including six linked to the Brisbane Youth Detention Centre. As always, even with increased restrictions on gatherings, the usual advice applies. Queenslanders should maintain social distancing and hygiene measures, stay home where possible, and get tested at the first sign of even the most minor of coronavirus symptoms. For more information about southeast Queensland's new COVID-19 gathering restrictions — which have already come into effect, and apply in the Brisbane, Ipswich, Logan, the Scenic Rim, Lockyer Valley and Moreton Bay and Redlands local government areas — visit Queensland Health's latest COVID-19 update. For more information about the status of COVID-19 in Queensland, head to the QLD COVID-19 hub and the Queensland Health website.
Are you a big shot professional with no time for trams and trains? Do you scoff at the mere mention of Myki or cringe whenever a commoner has the audacity to breathe on your Armani suit? Well, you're in luck. Melbourne's first business-class commuting service is here. No longer will you have to associate with our city's unwashed riff raff. Officially launched yesterday, SuitJet is a startup bus service for white-collar workers to commute to and from the city. Set to start operating next month, SuitJet offers its users a seat on a customised Mercedes-Benz coach and allows them more space and comfort in which to complete their Very Important Work en route to the office. "[It's] a club for people who wish to leverage modern transport and technology to upgrade and simplify their weekday travel," their website reads. Importantly, "Membership is open to all corporate dress city commuters." With a return ticket to the city setting you back $30, riding with SuitJet will cost significantly more than any Myki fare. However, with roughly an hour more time to work on board per day, they claim the long-term benefits will greatly outweigh the initial expense. "That's an hour of work you don't have to do after having dinner with the kids and a cup of tea with your wife," SuitJet co-founder Darren Heiberg told The Age. Many of the finer details are yet to be decided, with the pick up and drop off points to be dictated by consumer demand. However, registrations so far have elucidated something unexpected. Most members seeking entry to this exclusive club are not disgruntled suits seeking respite from the perils of the train lines from Brighton or Toorak, but those who have been overlooked by the public transport system entirely. Most registrations have reportedly come from suburbs without train stations at all. Despite outwardly naming it a 'business class' service, founders of the company reportedly deny the accusation that their service would create a class divide. Though Mr Heiberg is apparently considering changing the name to something that doesn't include the word 'suit'. Good idea. Via The Age.
Sleeping Beauty is an iconic story of love triumphing over adversity and has been re-told countless times through different methods of interpretation. The Queensland Ballet are performing the epic tale of Princess Aurora and the curse that put her in a seemingly endless sleep at QPAC this week. The production, spearheaded by Francois Klaus, honours the style of Marius Pepita, with captivating examples of mesmerising classical ballet set sublimely to the iconic compositions of Tchaikovsky. If you are in the mood for a night of stunning ballet theatre, QPAC has you covered.
Lost Movements have set themselves atop the Brisbane art scene over the past two years thanks to their tireless work on expanding and promoting the work of Brisbane underground artists. Thanks also in part to their stroke-of-genius idea to combine it with music, dance and other fringe elements of Brisbane’s culture, the bi-monthly events have become a highlight on the Brisbane cultural calendar. For their December event, the Lost Movements gang have pulled out all the stops, gathering some of the brightest creative minds in Brisbane for a multi-dimensional display of artistic talent. Here is the entire list of artists, muso’s, body painters, writers and everything else on offer this Sunday. Bands: Dr Peppernickle's Orphanarium of Obese Aristocrats hazards of swimming naked + projection from Sloe Motion Jeremiah Hunter & the Preachermen Ashley Town Artists: Kira Crees Art Illma Gore Slightly Bruised Fruit Jessie Hughes Performers: Scott Wings Lucy Fox- Actor, multi-disciplinary artist + Laura Trenerry Pent Upglamour Jonathon Sri Writers: 9/8ths Evelyn Morataya Gabriel Morton Freya Wright-Brough Lost Movements VIII will take place at the Holloway Eyewear Warehouse in West End, not at the usual spot at Coniston Lane.
Do you ever bemoan the lack of serious theatre tackling hard-hitting topics of geopolitical import? This is not the play you're looking for. Psycho Beach Party is a tongue-in-cheek homage that lovingly mashes up surf and horror films and was originally called Gidget Goes Psychotic. The 1987 off-Broadway play starred playwright Charles Busch as the 16-year-old female lead, though the role was recast for the 2000 film. This version, playing at the Brisbane Festival, is directed by Stephen Nicolazzo (sex.violence.blood.gore) and stars Ash Flanders (who is half of Melburnian queer theatre heroes Sisters Grimm) in the role of Chicklet.
If you are ordering pizza for home delivery, there is generally one mood you are in: a lazy one. There's nothing like laying on the sofa after a hard day at work, turning on some trashy TV, and sinking your teeth into slice after slice of your favorite pizza. But, folks, pizza delivery just got better. Red Tomato Pizza in Dubai has introduced one-button pizza delivery. Simply press the button on your Red Tomato fridge magnet, and your favorite order will be delivered to your door. Impressed yet? Each magnet can be synced to your smartphone via Bluetooth and set up with your order. Every time you push the button, your phone will notify the pizza company. You do still have get up and answer the door when the delivery guy arrives, unfortunately. https://youtube.com/watch?v=AU0KYo8_9Zs [via Gizmodo]
Before the pandemic, the Treasury Casino regularly ended the working week with wine and cheese shindigs — and, this winter, it's bringing its dairy and drinks parties back again. On July 15, the CBD venue will be plating up samples, pouring tastings and jumping into the weekend in the best possible way. Cheese & Wine goes down between 5.30–7.30pm, and features wine from Wynns Coonawarra Estate's Reframed series. There'll also be other reds, whites and sparkling from international vino brands. And, of course, plenty of cheese will be waiting for your tastebuds at grazing stations. The tastiness takes place across the Treasury's ground floor, including its courtyard, so expect a starry backdrop and some live music as well. And, this night of drinking and eating is rather affordable as well, with the two-hour package costing $70 per person. [caption id="attachment_680931" align="alignnone" width="1920"] Grace Smith[/caption]
"Look, I don't want to take up a ton of your time, but I'm gonna kill myself," Nadine Franklin (Hailee Steinfeld) announces to her history teacher, Mr Bruner (Woody Harrelson), at the beginning of The Edge of Seventeen. Whether she's making over-dramatic statements in class or bickering with her mother (Kyra Sedgwick), a definite mood is established: Nadine is not only awkward, opinionated and sarcastic, but she's also bitterly unhappy. Actually, as flashbacks from her childhood show, she has always been less than content. Now that she's watching her best friend Krista (Haley Lu Richardson) hook up with her brother Darian (Blake Jenner), she's even more miserable than usual. First-time writer-director Kelly Fremon Craig charts the fallout as Nadine tries to cope with this change to her status quo, a development made all the more devastating given her outsider status and lack of other friends. The Edge of Seventeen is packaged as a peppy coming-of-age comedy with humorous yet realistic banter and a soundtrack full of new and retro tracks to match. But it's not just about relaying a story. As Nadine wallows, rebels, chases the hot older guy (Alexander Calvert) and is courted by the shy aspiring filmmaker (Hayden Szeto), the film also interrogates the narrative that Nadine keeps telling herself. Everyone watching should be able to relate, with even the most perky and positive among us telling themselves a tale about their existence as it is unfolding. Moreover, if you've ever felt like an outsider, the story you've spun probably hasn't always been all that positive. Thoughtful and wise, The Edge of Seventeen understands this. By the time it works through the usual checklist of adolescent antics — think boys in cars, drinking too much, fights between BFFs and run-ins with authority — the film won't just have imparted life lessons to the characters, but to everyone in the audience as well. That's one of the things that separates a great teen flick like this one from the pack. Even as it follows the same basic formula, Craig's film boasts an abundance of insight and genuine emotion. It also helps that Nadine defies easy categorisation, thanks to a savvy script and a raw yet robust performance from one-time Oscar nominee Steinfeld. She thinks she's a put-upon loser, but her loud-mouthed tantrums often paint Nadine as a petulant brat. If this was Mean Girls, she'd be both Lindsay Lohan's Cady Heron and Rachel McAdams' Regina George. Not everything about The Edge of Seventeen hits the mark. Some of its jokes try a little too hard, some of its performances fade into the background, and on the whole you shouldn't have much trouble guessing where the story is going. Even so, as you're laughing at Steinfeld and Harrelson's rapport, cheering for Szeto's wannabe love interest, and coming to the same realisations as Nadine, odds are these small issues won't bother you.
When Australian sporting history is being made, Brisbane turns out. It happened during the 2022 Men's World Cup. For a glorious winter month this year, it kept occurring during the Women's World Cup. And, with the Brisbane Lions into their first men's AFL Grand Final since 2004, it's happening again — with the River City splashing around plenty of maroon, blue and gold to celebrate. When the Lions beat Carlton in the preliminary final on Saturday, September 23, the Lachie Neale- and Harris Andrews-led team earned a spot in the AFL decider at the MCG on Saturday, September 30 — but, unsurprisingly, tickets to the Melbourne game aren't easy to get. So, for everyone staying in Brisbane, South Bank is hosting a free live viewing site, just as it did when soccer fever was sweeping the city. Thanks to AFL Queensland and the Brisbane Lions, the Grand Final festivities will feature a finals hub at South Bank's Riverside Green from Thursday, September 28–Saturday, September 30, complete with AFL clinics and other all-ages-friendly activities. Fancy seeing if you can hit an inflatable target with a handball? That's on the agenda as well, plus face painting for kids, merchandise stalls — slinging Lions gear, of course — and signups for both children and adults who are keen to play Aussie Rules footy themselves. Then, on Saturday, September 30, the big screens at South Bank Piazza and Streets Beach will show the big dance, with the Lions taking on Collingwood in the AFL Grand Final from 2.30pm. If you're an AFL fan, there's no better way to spend the last Saturday in September. And if it all sounds familiar, that's because the team's famous three-peat of premierships back in 2001–03 included wins over Collingwood in 2002 and 2003. The Brisbane Lions AFL Grand Final hub at South Bank will run from Thursday, September 28–Saturday, September 30 — head to the Lions website and AFL Queensland's website for more information Top image: Flickerd via Wikimedia Commons.
A menu of weapons of destruction, to be consumed to fill a hungry stomach, is one way to criticise violent solutions. The latest project from artist Kyle Bean called Soft Guerilla, a series of sculptures depicting weapons made out of harmless materials. Stage a war in the kitchen and attempt to replicate these deliciously evil masterpieces.
Last year, we scored a musical adaptation of Aussie flick Muriel's Wedding. Now, another classic 90s flick is getting the stage musical treatment and heading on down to Melbourne: Adam Sandler's smash-hit film The Wedding Singer. Hitting the Athenaeum Theatre from Friday, June 19, The Wedding Singer: The Musical Comedy is an all-singing, all-dancing stage show based on its hilarious namesake 90s flick. And it's from the same crew that propelled it to sell-out success on Broadway and across the UK, including the writer of the original movie, Tim Herlihy. This one promises to yank you right into The Wedding Singer's 1980s world of big hair and classic wedding bangers, thanks to a toe-tapping score that's sure to prompt a few hearty crowd singalongs. It retells the story of party-loving wedding singer and wannabe rock star Robbie Hart, who's left stranded at the altar at his own nuptials. Heartbroken, he sets out to destroy every other wedding he's a part of, until a chance encounter with a waitress: Drew Barrymore's character Julia. Now, he just has to win over the girl... and somehow put a stop to her own upcoming marriage along the way. The Wedding Singer: The Musical Comedy hasn't announced runs in any other Aussie cities just yet, but we're crossing our fingers and warming up the vocal cords in readiness. We'll keep you posted as soon as any news drops. In the meantime, you can watch the OG nostalgic film trailer: https://www.youtube.com/watch?v=8yjOXMTa6vA The Wedding Singer: The Musical Comedy shows from Friday, June 19, at the Athenaeum Theatre, 188 Collins Street, Melbourne. Join the ticket wait-list over at the website.
It's very easy being green at The Plant Market — and to pick up something green and find something green to put it in as well. Brisbane's latest botanical-focused pop-up, the event is taking over the Albion Peace Centre from 10am–2pm on Saturday, December 1, complete with stalls upon stalls of green wares. There'll be plants, obviously. Indoor, outdoor, small, established: they're all on offer, with cacti, fiddle leaf figs and rubber plants a highlight. There'll also be ceramics, plus brass pots and vases, vintage wall planters and plant stands. Or, pick up some botanical-themed acrylic earrings. When it comes to choosing a new green baby to take home with you, however, you have two options. You can buy something and re-home it on-site at the market's potting station, or you can nab a piece of plantlife for free. The latter option comes via the plant adoption centre, where you can bring in your not-so-loved plants, leave them for someone else to nurture and take home another one to give some tender loving care. Entry costs a gold coin donation, and bringing your own boxes and bags is recommended — or you can buy a tote bag at the market.
Since mid-October, New Zealanders have been able to visit some Australian states as part of a one-way travel bubble. In just a couple of months, Australians might also be able to hop across the Tasman, with New Zealand Prime Minister Jacinda Ardern announcing that the NZ Cabinet had agreed to establishing a two-way bubble from early 2021. At a post-Cabinet press conference today, Monday, December 14, the NZ Prime Minister said the Cabinet had agreed "in principle" to a travel bubble with Australia in the first quarter of 2021, pending confirmation from the Australian Government and "no significant changes in the circumstances of either country". Over the weekend, a quarantine-free travel bubble free between New Zealand and the Cook Islands was announced, which is set to come into place before the bubble with Australia. The NZ Prime Minister revealed a starting date for both would announced in the New Year "once remaining details are locked down". At present, New Zealand travellers are allowed to visit all Australian states and territories, apart from WA, without quarantining on arrival — but, because the bubble is only one way at present, they must enter 14 days of managed isolation on return to NZ and pay for it. While the details are yet to be finalised, it's great news for those who've been dreaming of overseas holidays since the pandemic began. You can start slowing planning your first international jaunt, too — we've rounded up some of our favourite glamping sites, wineries, sights and restaurants in NZ over here. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. To find out more about the virus and travel restrictions in New Zealand, head over to the NZ Government's COVID-19 hub.
The past 14 months or so haven't delivered many reasons to laugh. They haven't seen many big-name international comedians hit our stages to try to get us giggling and guffawing, either. But Bill Bailey is about to help end both of those unwanted streaks, with the British favourite bringing his En Route to Normal tour to our shores this October and November. It has been three years since Bailey last had the country chuckling back in 2018 — and then rewatching Black Books yet again and chuckling some more, naturally. This time, he's coming our way following a sold-our tour of New Zealand, where he also been filming a new trans-Tasman comedy panel series called Patriot Brains. So, if you need something to watch while you wait to see him live, consider this a hearty suggestion. Known for everything from Have I Got News for You and QI to Spaced, Hot Fuzz and Skins, Bailey will be pondering some of life's big questions during his En Route to Normal sets. And, while the pandemic is certain to get a mention, he actually named the show before lockdowns, social distancing and always knowing how many active cases are in your state became our current definition of normal. Bailey will kick off the tour in Queensland, before making his way — and taking his distinctive locks — to Western Australia, South Australia, Tasmania, Victoria, New South Wales and the Australian Capital Territory. Plus, in some states, he won't just be sticking to capital cities. BILL BAILEY EN ROUTE TO NORMAL TOUR 2021: October 23 — Empire Theatre , Toowoomba October 25 — QPAC Concert Hall, Brisbane October 28 — The Events Centre, Caloundra October 29 — Star Theatre, Gold Coast October 31 — Mandurah Performing Arts Centre, Mandurah November 1 — Riverside Theatre, Perth November 5 — Thebarton Theatre, Adelaide November 8 — Princess Theatre, Launceston November 8 — Wrest Point Entertainment Centre, Hobart November 12 — Ulumbarra Theatre, Bendigo November 13 — Costa Hall, Geelong November 14 — Civic Hall, Ballarat November 15 — Palais Theatre, Melbourne November 19 — Wollongong Town Hall, Wollongong November 21 — State Theatre, Sydney November 23 — Coliseum Theatre, Sydney November 27 — Royal Theatre, Canberra November 28 — Civic Theatre, Newcastle Bill Bailey's En Route to Normal tour will make its way around the country this October and November. For pre-sale tickets between 12pm Thursday, May 20–5pm, Sunday, May 23, for general ticket sales from 12pm Monday, May 24 and for further information, head to the tour website. Top image: Andy Hollingworth.
Cheated Hearts began as an alternative to the Brisbane queer club scene, for people looking for a place to be themselves and to have a good time; so far they have lived up to lofty expectations. Their third event is happening at AllOneWord and is looking like it will be a massive hit, following the trend of previous Cheated Hearts parties which were reportedly out-of-this world insane, in a good way. There is a great selection of DJ’s on hand to get everybody moving. Veterans like DJ Mikey and Heavy Leather will be getting things started, followed by what will be an entertaining battle between Cheated Hearts regulars Jane Doe and Frankie Trouble (pictured). This will be the spot to hear all the best indie, electro and hip-hop mash-ups in a free spirited environment where dancing is encouraged and fun is mandatory.
Have you ever stopped to consider what you are wearing? A lot of the time we tend to just throw something on and walk out the door! But, if you stop to think about how your attire expresses your personality, it becomes apparent there exists a relationship between our outfit choices and our self-representation. Fashioning Self: Artworks from the Collection is an exhibition conceived in response to this question. The exhibition, currently on show at the University of Queensland, demonstrates how bodies are fashioned through dress and adornment. The artworks encourage us to stop and think about how a hoodie or a pair of Louboutins can do everything from celebrating our cultural identities, to rebeling against national icons. All of the artworks focus on how fashion, costume and body marking form identity. Exhibition curators, Kath Kerswell and Samantha Littley have put together a thoughtful collection. Works from both international and local artists, such as Ray Cook, Alexander McKenzie and Fiona Foley (just to name-drop a few), grace the walls of the Art Museum. No longer will you get up in the morning and simply put on a pair of jeans – there is a lot more to it, identity-wise. Talk about taking the “Little Black Dress” to its theoretical roots!
At some point or another, we’ve all been guilty of wasting food and thinking "it's not that much, it'll be ok" — but did you know that up to 40 percent of the average household bin is comprised of edible items? To highlight this issue, OzHarvest and the UN have teamed up to present Think.Eat.Save, a series of national events that will aid you in doing your bit to combat food waste. Think.Eat.Save is part of a global campaign to increase awareness about food sustainability, so head along, pledge your commitment to #thinkeatsave and opt to reduce your 'foodprint'. You'll also be able to enjoy a free, delicious and hot meal made from rescued produce, and get tips on how to help our food system become more sustainable. Australia's top chefs, politicians and celebrities will unite to address the alarming amount of food wasted in Australia each year. Waste is a huge problem but it doesn't have to be. Image: Untitled via photopin (license).
UPDATE, September 30, 2021: Free Guy is still screening in Brisbane cinemas, and it's also available to stream via Disney+. If Free Guy was a piece of home decor, it'd be a throw pillow with a cliched self-empowerment slogan printed on the front. You know the type. It might catch your eye the first time you spotted it, but it'd look almost identical to plenty of other cushions you can buy at absolutely any department store. It'd make you think of other, nicer pillows, too, but its phrasing and design wouldn't be as resonant or appealing. And, while its attractive font would tell you to believe in yourself, stand out and make each moment count, it'd still simply spout the usual well-worn sentiments that keep being served up as store-bought tonics for weary souls. Yes, Free Guy is a big-budget, star-led movie that primarily exists to answer two not-at-all pressing questions: what would The Truman Show look like if it starred Ryan Reynolds, and how would that 1998 classic would fare if it was about massive online video games instead of TV? But it's firmly Hollywood's equivalent of mass-produced soft furnishings emblazoned with self-help platitudes and designed to sit on as many couches as possible. Clearly cast for his generically affable on-screen persona — you almost always know what you're going to get when he's leading a film, as the Deadpool and Hitman's Bodyguard franchises keep attempting to capitalise upon — Reynolds plays Free City bank teller Guy. His daily routine involves greeting the same goldfish upon waking, putting on the same blue shirt, picking up the same coffee en route to work, and having the same chat with his best friend Buddy (Lil Rel Howery, Judas and the Black Messiah) when their place of employment is held up multiple times each and every day. Guy is completely comfortable with his ordinary lot in life. He knows that things aren't like this for 'sunglasses people', the folks who tend to wreak havoc on his hometown, but he doesn't challenge the status quo until he decides that the shades-wearing Molotov Girl (Jodie Comer, Killing Eve) is the woman of his dreams. To have a chance with her, he's certain he needs sunglasses himself — and when he snatches a pair off the latest robber sticking up his bank, it's Guy's first step to realising that he's actually a non-playable character in a video game. Sporting an upbeat mood best captured by its frequent use of Mariah Carey's 'Fantasy', Free Guy enjoys its time in Free City — which is also the game's title. There's a story behind its NPC protagonist's story, however, with the movie splitting its focus between its Grand Theft Auto-esque virtual world and reality. In the latter, coder Millie uses the Molotov Girl avatar, which she needs to search for evidence for a lawsuit. Years earlier, alongside her pal Keys (Joe Keery, Stranger Things), she created an indie open-world game that was purchased by tech-bro hotshot Antwan (Taika Waititi, The Suicide Squad), then sidelined — and, while Keys now works for Antwan, Millie is certain that Free City rips off their game. Proving that will require Guy's help, especially as he starts breaking his programming, making his own decisions and becoming sentient. Something that Guy doesn't glean once he begins thinking for himself: that he's the protagonist in a derivative big-screen action-comedy. Free Guy also borrows from The Matrix, The Lego Movie, Groundhog Day, They Live!, Wreck-It Ralph and Black Mirror. Pilfering from terrible fare as well, it even cribs from the abysmal Ready Player One. And, in reminding viewers that Disney is behind this flick via its purchase of 20th Century Fox, and that the Mouse House also serves up all things Marvel and Star Wars — as if anyone had forgotten — it sits in the same space as the horrendous Space Jam: A New Legacy. There isn't a second of Free Guy that feels original or authentic, in fact, even as it keeps stressing the importance of taking your own route through life. Director Shawn Levy (the Night at the Museum franchise) and screenwriters Matt Lieberman (The Addams Family) and Zak Penn (a Ready Player One alum) are happy with their throw cushion-level message. They're just as content not to practice what they preach. Their villain even blatantly embodies the cash-hungry corporate mindset that thinks leveraging the same ideas is better than developing new ones — there's a whole monologue about it — and it'd be much too generous to think that's a tongue-in-cheek inclusion. There's a bit of winking and nodding in Reynolds' casting, though, and welcomely so. Again, viewers typically know what to expect when he's the star of the show — and as well as aggressively synthesising a heap of better movies into one script, Free Guy endeavours to forcefully coast by on its leading man's likeable presence. If it wasn't entertaining-enough to see him play this kind of part, Hollywood would've stopped doing it. That said, now three decades into his acting career, audiences can also spot the formula behind most of his roles. Free Guy wants you to do exactly that, and to know that Reynolds is putting his usual charm to work as a guy that's meant to be the epitome of usual, which is by far the smartest thing about the film. The man in the spotlight doesn't let anyone down in the process, but that's different to carrying a feature that's anything more than average. Indeed, other than Comer's naturalistic performance, nothing that's around Reynolds busts free of its usual bounds either, and that can't be by design. You can't print by-the-numbers romantic subplots and slick-but-standard action scenes on home furnishings, of course — and you definitely shouldn't do the same with buzzword-heavy dialogue — but that's always Free Guy's chosen level.
A couple of weeks back, in an attempt to stop the spread of COVID-19 in Queensland, the state closed its borders. Since midnight on Wednesday, March 25, travel in and out of the state has been limited to certain essential purposes — freight, travelling to and from work, compassionate grounds, medical treatment, court orders including family court, emergency vehicles and emergency workers — with police manning roadblocks to enforce the restrictions. The idea is that people should only be visiting Queensland, or leaving the state and returning, for a mighty good reason. "People should stay in their own state — and where, as far as possible, they should be staying in their suburbs and as much as possible staying at home," Queensland Premier Annastacia Palaszczuk said at the time. Since coming into effect, the lockdown has already been tightened once, completely blocking non-Queensland residents without an exemption from entering the state from Friday, April 3. Now, as the Easter long weekend approaches, further rules have been announced. As revealed by the Premier today, Queenslanders will now need to obtain a permit to cross back over the border if they're returning from interstate — even if they're a permanent Queensland resident. Previously, border passes were only required for people living outside of Queensland but providing critical services to Queensland; folks needing to enter Queensland to care for a relative, see a doctor or abide by a court order; or those living in a border community. If you were a Queenslander who lives in the state and drives a car with Queensland registration plates, you didn't need a permit. https://www.facebook.com/annastaciamp/videos/1178577669145309/?__xts__[0]=68.ARDZ86noMEjPzNqXeZZbw0v9iuBssyXkau-qj6qwwjFyYGY2AuUkV9UJenZT0YX9LP4YPm-q6S5JBBTf704L3Fb23aT-p0LGNg69BiIKqJMz8c1qrN1aQrzyLxR2mq5Pf7DU7WitpQUtsbNJGJ72dr4KwsjXSac8wVPsUSf0IxjtWZRT1ez_qBaAvDw2n2oG_unSQHu3vlG1xYzobN07i2oV--mIJ038Uw8_iOP0WxyHCts2-Fw_pIlXavlJHCFuEdnaDz3kQtQMgQhC2h3ASFqKl2o2UtpLNgfxWtFiM15fSGXuGLEZtewGfSrTL9FLyoJ9StWrO_N5miJIr8d8EbgDMqndfMkfNjIJCw&__tn__=-R The new pass requirements come into effect from midnight on Friday, April 10 — and those affected can apply for a permit online. Permanent Queensland residents returning to the state after visiting an area of Australia currently considered a hotspot, such as the greater Sydney area, will also now be required to quarantine for 14 days. As proved the case with the initial border closure, the rules cover all Queensland borders, including access via road, rail, sea and air. No one is allowed to come into Queensland that isn't a permanent resident, or doesn't have an essential purpose — regardless of whether they have symptoms of COVID-19. As of 6am on Thursday, April 9, 943 Queenslanders have tested positive for COVID-19. For further details about Queensland's border restrictions, visit the state government's Queensland border closure website — and for further information about the status of COVID-19 in Queensland, check out the state's dedicated COVID-19 site. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
In New York City the afterparty for the World's 50 Best Restaurants award ceremony is wrapping up. We can only imagine (and dream of) how delicious the canapés would have been, how many recipes were swapped with slurred handwriting, and how cheery (read: boozy) all those chefs are right now. But perhaps one of cheeriest is Ben Shewry — his restaurant Attica was just named a very respectable number 33 in the world. The ranking is pretty consistent with last year's results, with the Melbourne restaurant dropping only one spot from 2015. It's a very good position for an Australian restaurant to be — and perhaps why the awards yesterday announced they'll be holding the 2017 ceremony in its hometown. Brae, which is located in regional Victoria, moved up to number 65, while Sydney's Quay went from 58 to 98. Taking back the number one spot is Massimo Bottura's Osteria Francescana — and if you've watched Chef's Table, you'll be nothing but stoked for the guy. He's swapped places with last year's victor, Spain's El Celler de Can Roca, which has moved back into second place, while Noma has slipped from third down to number five. Probably because it's been on sabbatical in Sydney for the last few months.
With the number of new cases of COVID-19 in NSW increasing over recent days — with 21 recorded in the 24 hours leading up up to 8pm on Thursday, July 30 — Woolworths is "strongly encouraging" its customers and staff to wear masks in stores across NSW, the ACT and parts of Queensland. While the wearing of masks is only mandatory in Victoria, Woolworths says it hopes the recommendation will help reduce community transmission of COVID-19 in the other states. "As the largest private sector employer with stores in almost every community, we feel it's important we lead the way in helping reduce community transmission of COVID-19," Woolworths Group CEO Brad Banducci said in a statement. "Masks and face coverings are a highly visible symbol of the persistence of COVID-19. By encouraging and role modelling their use, it will further support the steps we need to collectively take to stop the spread of the virus and keep our team and customers safe." The retail group is encouraging all NSWand ACT residents to wear faces masks or coverings when visiting or working at Woolworths supermarkets, Big Ws, Dan Murphy's and BWS shops from Monday, August 3. It's also encouraging Brisbanites in hotspot areas to wear masks from tomorrow, Saturday, August 1. The decision comes as new COVID-19 clusters are recorded in suburbs across Sydney, with 94 cases linked to Thai Rock in Wetherill Park, 57 with Casula's Crossroads Hotel and 19 to Potts Point. Two of Brisbane's recent confirmed cases are also linked to Sydney's Potts Point cluster, but are both people in isolation. Queensland recorded just one new case in the past 24 hours, but Queensland Health sent out a public health alert on Wednesday, July 29 detailing places visited by two Queenslanders who returned from Melbourne via Sydney, failed to self-quarantine and tested positive to the coronavirus. These include restaurants, shops, school and medical centres in Brown Plains, Park Ridge, South Bank, Springfield, Springwood, Sunnybank and Woodridge. Queensland Health is continuing to update the list over here. Face masks will be strongly encouraged when visiting or working at Woolworths Group venues in NSW and ACT from Monday, August 3 and in Queensland hotspots from Saturday, August 1. You can find out more over here.
Since 1888, a pub has stood on the stretch of Fortitude Valley's Wickham Street approaching Brunswick Street, albeit under different names over the years. By the time October 2020 comes to an end, the space will be home to The Prince Consort — an eight-venue collective that's taking over the heritage-listed hotel currently known as The Elephant, and reinstating the site's 132-year-old original moniker in the process. Sparking the change is the pub's new owners, Tilley & Wills Hotels, which already boasts Sydney's Greenwood Hotel and Oxford Art Factory among its venues. It's giving the premises a thorough revamp, including the creation of different new spaces with varying themes and focuses. As incoming manager Jason Hirt explains, the result will allow Brisbanites "to choose between a heritage-style classic English pub, a luxe supper club, a Los Cabos-inspired taco and tequila adventure, a music-driven underground edge, a chilled garden bar and more". As live music venue The Foundry announced last week, it will no longer be part of the space, moving to a yet-to-be-revealed new Valley location by November instead. But The Prince Consort will remain home to Greaser, which was already part of The Elephant, as well as newcomers La La Land, The Garden Bar, 400 Rabbits Cantina, The Bowie Rooms, The Yorke Suites and The Naughty Corner. The Prince Consort itself will reside on the ground floor, in the parlour, and operate as a gastropub. La La Land, which will be located upstairs, will give venue a luxurious supper club-style bar with booth seating, VIP private rooms, a tapas-heavy menu and the ability to live-stream events from around the world — plus a dance floor beneath a crystal chandelier. Downstairs, The Garden Bar will claim the site's openair space, this time with plants, pastel hues and a stadium screen. [caption id="attachment_783851" align="aligncenter" width="1920"] JLL[/caption] As the name suggests, 400 Rabbits Cantina will be all about food, especially tacos, while The Bowie Rooms will live up to their theme and The Yorke Suites are designed for musicians and creatives. And, as for The Naughty Corner, few details have been revealed — but, among all of these venues-within-a-venue, fans of The Elephant's woodfired pizzas can rest assured that they'll still be on offer. Drinks-wise, folks can expect 89 beers on tap across the site, as well as sizeable cocktail list. And if you're wondering how the revamped space will look, the aim is to take The Prince Consort back to its roots, while also giving it a new feel. Find The Prince Consort at 230 Wickham Street, Fortitude Valley from late October 2020 — we'll update you with an exact opening date when one is announced. Top image: David Kelly.
Silver is everywhere. It’s in the coins we hold, the jewellery we wear and in your Grandmothers expensive tableware. Silver indicates wisdom; silver bullets kill werewolves, being called a Silverfox is a compliment to some and it is just a cool colour. But what else can silver represent? The Museum of Brisbane is hosting a brand new exhibition showcasing various artworks that use the precious metal in a way that expresses new and historical meanings of silver. Iconography, historical influence, cultural influence and social influence are all examined by six parings of individuals who work together on a piece of silver artwork. Each duo, comprised of a photographer and an artisan jeweller have crafted pieces out of silver for this exhibition which runs until April next year. That is plenty of time to examine these timeless works made out of a timeless and important metal.
If Brisbane sounds a little quieter than normal between Sunday, May 1–Sunday, May 29, you can thank (or blame) Dine BNE City. The noise you won't be hearing? The roar and grumble of hungry stomachs, with this food program serving up everything from cheap lunches and seasonal multi-course menus to wine walks and oyster trails. The idea behind the new event: to get everyone out and about — and eating and drinking — in this fair city of ours. And, it's a choose-your-own-adventure kind of lineup. You can treat yo'self to a special midday meal (and more than once), or decide that you'd rather hop between bars. It's all up to you, and there are plenty of options to choose from. From the lunch program within the broader program, you'll only be spending $25–35 for 12-hour pork belly and wine at Patina at Customs House, beer and wings at Winghaus, pasta and vino at Isles Lane, and tapas and a tipple at Rico Bar and Dining — among other specials. Or, the the after-work selection spans charcuterie and martinis at The Inchcolm, frites and fizz at Walter's Steakhouse and Wine Bar, oysters and champagne at Rothwell's Bar and Grill, and lobster tacos with sparkling at W Brisbane. Also on the menu: plenty of degustations and banquets, with 13 courses on offer at Harajuku Gyoza, 18 courses at Navala Churrascaria, seven at Sake, five at Jumbo Thai and ten at Olive & Angelo. And, events-wise, you can also take a cocktail-fuelled walk, hit up a pasta club and go all out at a gin-fuelled dinner. Top image: Naga Thai, Darcy Starr.
Plenty of bands go through break ups and member swaps, but none more so than The Ocean, who, like their moniker, are unpredictable and mysterious – the German group have gone through over 40 musicians. Thankfully, these switch-a-roos haven’t impacted on their interesting sound and have in fact helped them to find the perfect mix. They started out 12 years ago in Berlin and since then, The Ocean has ridden the tide to success, becoming a fan favourite for their eclectic musical style. They combine hardcore, prog-rock and metal, as well as other hybrid genres, to create a deep, intriguing symphony. As the band changes members, as too has the sound, making them every bit as their namesake. Signed by labels in Spain and LA, The Ocean certainly have been noticed by their musical peers. Hardcore and metal fans adore the noise and that they are well-ahead of the pack in terms of being a DIY group who stretch boundaries lyrically, as well as rhythmically. They’ve never toured here before, so what better chance than this to catch a unique arrangement of members? Who knows if they’ll be in the same room again?
It seems a pretty hard task to follow Hannah Gadsby's international smash-hit show, Nanette. After all, the one-woman stand-up performance copped serious praise on its 18-month travels across Australia and the UK, even scooping the top honours at both the Melbourne International Comedy Festival and Edinburgh Festival Fringe. It also spawned its very own Netflix special. And when Gadsby used the show to announce she was quitting comedy for good, we thought that was it. But indeed, the beloved Aussie comedian gave the follow-up a red hot crack when she returned to the stand-up stage with her latest work, Douglas, named after her own pet pooch. While Nanette pulled apart the concept of comedy itself, dishing up an insight into Gadsby's past, Douglas takes you on a "tour from the dog park to the renaissance and back". Gadsby took Douglas to stages across Australia and New Zealand in late 2019 and early 2020, and now, to the delight of house-bound people across the world, is bringing it to Netflix next month. Available to stream globally from Tuesday, May 26, the show will bring us all some much-needed comic relief. As Gadsby says: "mark it in your socially-distant calendars...then wash your hands". https://twitter.com/Hannahgadsby/status/1249668347693654019 Hannah Gadsby's 'Douglas' will be available to stream globally on Netflix from Tuesday, May 26.
When the Australian Government announced last week that pubs, bars and nightclubs would be closing the following day to help contain COVID-19, it led to the mass-buying of booze across the country. Bottle shops are not impacted by the closures, but it didn't stop Aussies stocking up just in case. Booze is just the latest item to be targeted by panic-buying, with toilet paper going first, then essential food items. Supermarkets across the country have since introduced strict two-pack-per-person limits on coveted items, such as eggs, sugar, white milk, frozen desserts and canned tomatoes, and now bottle shops are following suit. Australia's major bottle shops have today, Tuesday, March 31, introduced new temporary restrictions on alcohol. "In partnership with all major Australian alcohol retailers...we have applied moderate restrictions on the amount of produce customer can purchase," a statement on the BWS website reads. "Don't worry, supply isn't drying up, these changes have been made to ensure this is enough for everyone to responsibly enjoy their drink at the end of the day." Thankfully, the limits aren't quite as strict as those on food. In NSW, Vic, ACT, Qld, NT, SA and Tas, there are per person, per transaction limits on six categories, with customers able to buy from up to two different categories at a time: 12 bottles of wine two casks of wine (up to ten litres) two bottles of spirits (up to two litres) two cases of beer two cases of pre-mixed spirits/RTDs two cases of cider [caption id="attachment_766137" align="alignnone" width="1920"] Stephen Dann via Flickr[/caption] The above restrictions have been enforced at major stores around the country, both in-store and online, including Woolworths Group's BWS and Dan Murphy's; Aldi; and Coles's Liquorland, First Choice Liquor and Vintage Cellars. The new limits follow and supersede the restrictions introduced by the Woolworths Group last week. In WA, the purchase limits are stricter, to adhere to state regulations, with customers able to buy a maximum of two from the following categories: 11.25 litres of beer, cider or pre-mixed spirits; 2.25 litres of wine; one litre of spirits; and one litre of fortified wine. All the alcohol retailers are also encouraging social distancing, have introduced maximum capacities at their stores, and are offering pick-up, with some offering delivery. The temporary alcohol limits are now in place at stores across Australia. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
Music festival fans, where's your head at? We can tell you where it'll be if you're looking to send off the year with a stacked lineup of dance floor favourites: Glenworth Valley. The end-of-year staple Lost Paradise has just announced its return for 2023, and it's making a comeback with plenty of big names. Between Thursday, December 28–Monday, January 1, Lost Paradise will unleash a massive program of live music and DJ sets that include appearances from headliners Flume, Dom Dolla and Foals, plus Basement Jaxx, Bicep and Carl Cox on the decks. The Central Coast festival also shares some names with the recently announced Beyond the Valley lineup — namely Kelis, The Jungle Giants, Channel Tres, Cassian, Jayda G, DJ Heartstring, Overmono, Lastlings, BIG WETT and salute. Other notable names include local festival favourites like Lime Cordiale, PNAU, Winston Surfshirt, Royel Otis and Sycco; pop heavyweight Holly Humberstone; 'Afraid to Feel' hitmakers LF System; and international dance mainstays Kettama, Barry Can't Swim, Ewan McVicar and Yung Singh — the last of which has racked up nearly a million views on his Melbourne Boiler Room set from earlier in the year. https://www.youtube.com/watch?v=AWZ5F00eG_k Since first unleashing its specific flavour of festival fun back in 2014, Lost Paradise has become a go-to way to see out one year and welcome in another — and with its just-dropped roster of talent for 2023, that's set to be the case across its riverside setup again this time around. Also on the bill: wellness, art, sustainability, ideas and food, all as part of a four-day camping festival. So, there's plenty to get excited about and to tempt you to make the journey an hour out of Sydney. While the full rundown of activities hasn't been revealed as yet, the lineup hints at pottery sessions, workshops centred around First Nations culture and speed dating. And, camping-wise, options span everything from rent-a-tents to luxury glamping. This year, Lost Paradise is opting to steer away from a traditional first-, second- and third-release ticket strategy. Instead, ticket prices will gently increase in accordance with demand. Of course, it's the Lost Paradise lineup that'll get you to the festival in the first place. So, enough chatter; here it is: LOST PARADISE LINEUP 2023: Artist Lineup Flume Dom Dolla Foals Kelis Lime Cordiale Pnau The Jungle Giants Channel Tres Holly Humberstone Overmono Winston Surfshirt Lastlings Royel Otis Sycco Dice Haiku Hands Big Wett Skeleten Cat & Calmell Velvet Trip Sloan Peterson Pirra Jet City Sports Club Salarymen Birdee 王煒 Thunder Fox Sputnik Sweetheart DJ Lineup Bicep (DJ Set) Carl Cox (Hybrid Set) Jayda G Basement Jaxx (DJ Set) Kettama DJ Heartstring Cassian Ewan McVicar Lf System Barry Can't Swim Salute Stüm Sam Alfred Yung Singh Heidi Saorise c.frim Litmus (Live) Club Angel James Pepper Ayebatonye Elijah Something Mincy Caleb Jackson Crybaby Jacqui Cunningham Conspiracy Crew Caitlin Medclaf Troy Beman Shantan Wantan Ichiban Flexy Ferg Waxlily Cleo Sasha Milani Madami Lost Sundays Soundsystem Cricket Mash Anika Silly Lily Zach Williams Toaka Lost Paradise returns to Glenworth Valley from Wednesday, December 28–Sunday, January 1. Pre-sale tickets are available from Tuesday, August 29 with general tickets from Wednesday, August 30. For more information, head to the festival's website. Top image: Jordan Munns.
