You're in the supermarket, everyone's preoccupied with getting their shopping and getting out. You walk up to the avocados, not wanting to waste your hard-earned cash on something that's more rock than fruit. So, what do you do? You pick one up and give it a quick squeeze. It's okay, you can admit it — you're certainly not the only one. But it's time to change these habits. According to Australian Avocados, more than half of Aussies admit to squeezing the middle of the avocado to test ripeness. At the same time, two in three say they'll handle up to three avocados every shop. It might seem like no big deal, but all these squeezed, bruised avocados that no one wants add to the huge amount of food waste in Australia. While your everyday awareness campaign was an option, the team at Australian Avocados have come up with something slightly different to get people to stop squeezing the good stuff. Joining forces with two-time Australian Strongman champion Eddie Williams, also known for his soulful appearance on Australia's Got Talent, a new jingle is helping educate the masses. Titled "Are You Bruisin' While Choosin'?" Williams has taken a break from pulling monster trucks and lifting gigantic rocks to deliver this crucial message on the mic. And it comes with a little advice too, perfect for when you're next tempted to squeeze an avo in the supermarket. Just remember this one simple rule: "don't squeeze the middle, the neck is where to check." "I spend my time competing all over the world, lifting hundreds of kilos, so I know what real strength is. But avocados don't need that kind of force. Squeezing the middle of the fruit is actually what can bruise them before they're even eaten. It's a simple mistake, but an easy one to fix," says Williams. Who are we to keep up our bad habits? And let's be honest, you wouldn't want to let Eddie catch you squeezing one, either. Instead, the correct way to pick an avocado that's ripe to eat is to gently press the neck near the stem. This is where the fruit naturally softens first, with ready-to-eat fruit yielding slightly under gentle pressure. Better avos and less food waste. What's not to love? Head to the website for more information. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox. Images: Supplied.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from July's haul. Brand-New Stuff You Can Watch From Start to Finish Now Fake A drive to the airport in a rideshare is one of life's mundane experiences, whether or not you're en route to a wedding, and also regardless of if you're meant to be collecting your partner and their dry-cleaned suit along the way. In Fake, this routine journey on an average Melbourne day is a masterclass in tension, a portrait of an unravelling and an unwanted realisation unfurling with no escape. With journalist Birdie Bell (Asher Keddie, The Lost Flowers of Alice Hart) sitting in the backseat as much that she's trusted melts down, it's a stunning episode of television, arriving five instalments into this eight-part Australian thriller that tells a page-to-screen and reality-to-fiction tale. Viewers spend the preceding four episodes of Fake waiting for a moment like this. For those who haven't read Stephanie Wood's memoir of the same name, charting her time dating a former architect-turned-grazier who pairs his grand romantic gestures with erratic behaviour, there's still no doubt that it's coming. It has to, and not just because series creator Anya Beyersdorf (The Twelve) and her co-scribes Jessica Tuckwell (Year Of) and Hyun Lee (Born to Spy) have Birdie's beau Joe Burt (David Wenham, Elvis) note in voiceover that she was onto him from the get-go. While Fake is a love- and lies-fuelled saga, it's also about how someone gets taken in not by the kind of narratives that Joe spins but by the emotions that they prey upon, even when their intuition tingles at the outset — and how deceptions like this, from someone manipulating others and someone fooling themselves alike, always shatter. The words "Joe, 51, grazier" on a dating app introduce the ex-property big shot to Birdie; however, everything that he utters on their first date almost halts their romance there. When the pair meet at a sleek bar, he has a business acquaintance (Yuchen Wang, White Fever) in tow and talks only of himself, grandstanding with the recognisable arrogance of someone who refuses to believe (or simply hasn't stopped once to consider) that they aren't the most-interesting person in the room. She cuts and leaves quickly, despite his insistence to the waitstaff that they'll share more wine. Then she ignores his persistent follow-ups afterwards, until she doesn't — but really should've. Fake streams via Paramount+. Read our full review. The Devil's Bath Suspense and tension, how to cultivate such a strong atmosphere of unease that it feels as if it drips from the screen, the darker side of human nature, sheer existential exasperation: writer/directors Veronika Franz and Severin Fiala know these things. The Austrian filmmakers are just as well-aware of how to make movies that crawl under your skin as much as distress does with their characters. For that sensation at its very best, see: Goodnight Mommy, their Oscar-submitted 2014 debut (which was then remade in America in 2022). The Devil's Bath earns the same description, too. The duo's first feature since 2019's Riley Keough (Under the Bridge)-starring English-language horror flick The Lodge, it needles deep as it follows new bride Agnes (Anja Plaschg, Axolotl Overkill), who is thrilled to be starting her married life to Wolf (David Scheig, Heribet), even if that joy doesn't seem completely reciprocated. Relationship disharmony bubbles at the heart of this 18th century-set film, but that's not the only force bearing down on a woman that no longer has any agency — and, soon, little hope left simmering as well. Franz and Fiala begin The Devil's Bath with a different scene of domestic struggle. They haunt their viewers from the outset, too. First up, a woman throws a baby over a waterfall, then turns herself in for punishment, knowing that she'll meet her end via decapitation. With that scene as a prologue, it hardly appears strange that Agnes is thrilled to receive a severed finger as a wedding gift — a digit that's meant to bring luck for starting a family. But nothing in the way of good fortunes spring when she's soon away from her other loved ones, left alone in a woodland cottage as Wolf works by day, stuck navigating his disinterest in the bedroom each evening and frowned upon constantly by her new mother-in-law (Maria Hofstätter, Andrea Gets a Divorce). There's history to Franz and Fiala's screenplay, which draws upon real events, and the mood of despair that seeps from returning Goodnight Mommy cinematographer Martin Gschlacht's grey-toned frames sports a can-only-be-true bite to it. There's little sunshine shed on the imagery, or on the way that people treat each other — and there's even more terror in realising that the lines between this arresting picture's vision of the past, even as set within a deeply superstitious and puritanical community, and today are far from faint. The Devil's Bath streams via Shudder and AMC+. The Imaginary Since Studio Ponoc made its feature debut in 2017 with Mary and the Witch's Flower, a question has remained: when is its next film coming? That query was answered in 2023 in Japan, and has now arrived in 2024 on streaming — and The Imaginary is a delight worth the wait. If you didn't know when sitting down to either of the company's movies that they hailed from an animation house founded by a Studio Ghibli alum, you'd guess while watching. A producer on The Tale of the Princess Kaguya and When Marnie Was There — and also The Boy and the Heron since — Yoshiaki Nishimura scripted Studio Ponoc's second picture, too. His source material is the AF Harrold-penned, Emily Gravett-illustrated British children's book that gives The Imaginary its name, just as Mary and the Witch's Flower found its story on the page as well. Prepare to be enchanted, even as viewers beyond the film's homeland get their third flick this year about imaginary friends. Not just Blumhouse horror movie Imaginary but the John Krasinski (A Quiet Place Part II)-directed IF have nothing on this, though, despite sharing more than a few plot details. This'll sound familiar, then: imaginary friends exist, but can't always be seen as children grow up and forget about their buddies. When they're no longer a kid's best friend, they dwell in their own space, eager to have a flesh-and-blood pal again. So discovers Rudger (Kokoro Terada, Tokyo Poltergeist), companion to Amanda (Rio Suzuki, Yu-Gi-Oh! Go Rush!!). He's been dreamed up, she's human, and they spend every moment of her spare time in the attic above her home — which is itself above her widowed mother's (Sakura Andô, Godzilla Minus One) closing-down bookshop — going everywhere that she can conjure up. Alas, thanks to the sinister Mr Bunting (Issei Ogata, Kotaro Lives Alone), the one exception to spying imaginaries as an adult, they're torn from each other's side. Bringing Nishimura's screenplay to life with vivid and gorgeous hand-drawn visuals, director Yoshiyuki Momose's (Ni no Kuni) feature doesn't just cast aside the other recent pictures that served up spins on a similar situation. He does that as well, of course, but also achieves what Japanese animation manages so splendidly and consistently: dives into the fantastical with a wellspring of genuine emotions. The Imaginary streams via Netflix. Omnivore What does it take to get a world-famous chef out of their kitchen? Every time that a new culinary series reaches the screen, that should be the audience's question. Why has someone so skilled in the art of cooking — a talent that they've meticulously and passionately honed for years, to great success and also to the immense benefit of grateful diners — stepped out of their favourite place and in front of the camera? In plenty of such instances, chefs remain chefs on-screen. They talk. They cook. They give viewers the lowdown on how to prepare their dishes at home. Getting René Redzepi out of Noma and onto streaming wasn't about following that well-thumbed recipe, however. Rather, in the David Attenborough- and Planet Earth-inspired Omnivore, he branches beyond the three-Michelin-starred Copenhagen eatery that's been voted the planet's best by The World's 50 Best Restaurants a whopping five times — from 2010–12, and also in 2014 and 2021 — to instead tell the tale of some of the staple ingredients that humanity wouldn't and couldn't exist without. Eight types of foodstuffs receive Omnivore's attention in its first season, starting with chilli, then moving onto tuna, salt, bananas, pigs, rice, coffee and corn. A certainty while watching, and listening to Redzepi narrate the journey: never thinking about any of these ingredients the same way again. Expect to yearn to taste different spicy meals, to visit Japan's tuna markets, to cook with the best of the best salt and to try kinds of bananas that you didn't previously know existed. Expect to gain a greater appreciation of the entire ecosystem that gets each one of the show's chosen foods to your plate — and the impact of the world's ecosystem upon them, and vice versa. Alongside Redzepi and Anthony Bourdain: Explore Parts Unknown alum Matt Goulding, filmmaker Cary Joji Fukunaga (No Time to Die, Beasts of No Nation, True Detective season one) is one of Omnivore's driving forces, and it shows visually. Also evident: the care and dedication that Redzepi has put into sharing the series' slices of life, including the intimate portraits of those involved in the production of everything from pork products to corn's many edible uses. Omnivore streams via Apple TV+. Read our interview with René Redzepi and Ben Liebmann. Abbott Elementary The Parks and Recreation comparisons were there from the start with Abbott Elementary. This Emmy- and Golden Globe-winning comedy charts the hustle and bustle at the titular underfunded school in Philadelphia, rather than a government department in Pawnee, but the similarities have always been glaring. Janine Teagues (Quinta Brunson, Miracle Workers) is the eager-beaver second-grade teacher keen to do everything she can for her students. Ava Coleman (Janelle James, Monsters at Work) is the principal content with coasting by on the bare minimum. There's even a newcomer in substitute Gregory Eddie (Tyler James Williams, The United States vs Billie Holiday), with whom sparks fly on Janine's part. It might seem a bold move to use one of the greatest-ever — warmest-ever, too — sitcoms as a template, or even just follow closely in its footsteps, but Abbott Elementary is up to the task. Those awards, which Parks and Recreation also deserved but rarely received, are well-earned by a series that is all heart, kindness and affection for one of the most-important careers there is, as well as appreciation for the obstacles facing US public-school teachers today. In its third season, Abbott Elementary knows that even a winning formula that's been proven elsewhere needs shaking up. So, it does the equivalent of Parks and Recreation sending Leslie Knope (Amy Poehler, Inside Out 2) to Washington by having Janine work for the school district to attempt to bring about change for her pupils at a higher level. It's a move that brings in the always-welcome Josh Segarra (The Big Door Prize) as her new boss, and also Keegan-Michael Key (IF) as the Superintendent that's his boss — and disrupts the status quo at the educational institution that she adores, including for her idol Barbara Howard (Sheryl Lee Ralph, Ray Donovan), plus colleagues Melissa Schemmenti (Lisa Ann Walter, The Right Mom) and Jacob Hill (Chris Perfetti, Sound of Metal). The idea that one person can and does make a difference, no matter the recognition they do or don't receive, beats strongly in this good-natured series, which Brunson created and co-writes. So does a sense of humour about grappling with whatever the day throws your way, be it professional or personal chaos. Abbott Elementary streams via Disney+. Arcadian Filmmakers love imagining the world once life as we currently know it ceases to be. Even if some scenarios no longer play like hypotheticals — anything about pandemics, obviously, a realm that Contagion perfected with prophetic skill years in advance of COVID-19 — post-apocalyptic stories help us sift through the what ifs that plague our worst nightmares about humanity's possible unravelling. Accordingly, Arcadian doesn't unfurl a unique scenario, as a family endeavours to endure 15 years after the bulk of civilisation has been eradicated. But as it fill its duration with a father and his teenage boys as they eke out as happy a life as anyone can under such circumstances, or attempt to, all while needing to avoid monsters that strike by night and fear the light, this film has a few key components that make it stand out. Director Benjamin Brewer (The Trust) taunts his characters with foes that prove a striking feat of creature design, instantly carving their own place apart from the hordes of prior movie monsters. Also, the patriarch doing whatever it takes to protect his sons is played the one and only Nicolas Cage, who continues to hop between vastly dissimilar roles in the same month in Australia that's also delivered Longlegs to cinemas. Cage's Paul could be pals with John Krasinski's Lee from A Quiet Place, although he's parenting solo in Arcadian. Giving his kids as normal a routine as one can in the circumstances is his aim. The script by producer Mike Nilon (Braven) also gives him offspring curious about their reality, and insistent critters who aren't going to leave anyone alone. While there's a little convenience to parts of the plot, Cage, plus Jaeden Martell (Barry) and Maxwell Jenkins (Dear Edward) as Paul's sons Joseph and Thomas — and also Sadie Soverall (Saltburn) as a survivor from a nearby farm that isn't fond of outsiders — all give weighty performances that convey the emotional toll of fighting for every second and deeply realising that you'll never know if your next moment will be your last. And don't discount what affecting portrayals and unnerving beasts can do when combined. It isn't easy to craft creatures that not just startle but surprise as much as Arcadian's do. Trust Cage's latest genre effort, which also brings his work in Mandy, Color Out of Space and Pig to mind, to achieve that feat. Arcadian streams via Stan. Skywalkers: A Love Story When it comes to scaling great heights on-screen, viewers often fall into two camps if they're not real-life daredevils themselves. Some appreciate the spectacular sights and stunning feats safe in the knowledge that all that they're viewing is filmed footage, even in a documentary. Some still feel the need to virtually peer through their fingers, riding the same nerve-shredding fear that'd rush over them if they were confronted with the scene IRL. Whichever is your go-to, expect one of those reactions to arise while sitting down to Skywalkers: A Love Story. The movie played Sydney Film Festival 2024 in IMAX, but seeing it on a small screen doesn't rob it of its visual impact. Russian couple Ivan Beerkus and Angela Nikolau are rooftoppers, starting out solo, first joining forces when he asked her to collaborate on a sponsored trip, then climbing higher and higher around the world — and the recordings of their gravity-defying ascents up buildings, along sky-high ledges, onto cranes on towering building sites and wherever else they can clamber up to is jaw-on-the-floor material for those who'd much rather remain on the ground. With 2018 documentary Momentum Generation about the era of surfers that Kelly Slater came up in, director Jeff Zimbalist unpacked an insular world for the masses with its main players as guides. Sharing the same credit with producer and first-time helmer Maria Bukhonina on Skywalkers: A Love Story, he takes the same approach with a different pastime. As a subtitle, A Love Story doesn't merely describe Beerkus and Nikolau's fixation with rooftopping, though, with Skywalkers laying bare their relationship from its beginning to the climb that threatens to send them on their separate ways: making it to the the tip of Merdeka 118, the Kuala Lumpur structure that reaches 678.9 metres into the heavens, ranking second on the world's largest skyscrapers list only to Dubai's Burj Khalifa. Nikolau doesn't just stand atop lofty properties, either, but busts out gymnastic and acrobatic poses, adding even more peril to their endeavours. Folks with a need to conquer such buildings aren't always worried about the legalities of their feats, making such a mission doubly tense — and giving this doco a heist-film feel as well. Beerkus and Nikolau smartly earmark the date of the 2022 World Cup final, when Argentina beat France on penalties, as their moment to go where no one had before on the just-built structure. Watching the outcome is nail-bitingly riveting. Skywalkers: A Love Story streams via Netflix. New and Returning Shows to Check Out Week by Week Sunny It doesn't matter what the weather holds for Suzie Sakamoto: with her husband and son missing when Sunny begins, the series' titular term can't apply to her days. An American in Kyoto (Rashida Jones, Silo), she's filled with grief over the potential loss of her Japanese family, anxiously awaiting any news that her spouse Masa (Hidetoshi Nishijima, Drive My Car) and their boy Zen (debutant Fares Belkheir) might've survived a plane crash. She'd prefer to do nothing except sit at home in case word comes; however, that's not considered to be mourning in the right way according to custom and also isn't appeasing her mother-in-law (Judy Ongg, Kaseifu no Mitazono). When Suzie soon has a robot for company — a homebot, an artificial-intelligence domestic helper that's an unexpected gift from Masa in this ten-part series, which adapts Colin O'Sullivan's 2018 novel The Dark Manual for the small screen — dwelling in her sorrow doesn't appear to be what he'd want in his absence, either. In this near-future vision of Japan, homebots are everywhere, aiding their humans with chores, organising tasks and plenty more — everywhere other than the Sakamoto house with its firmly anti-robot perspective, that is. Amid asking why her husband has not only sent the eponymous Sunny her way, but also why it's customised specifically to her, questions unsurprisingly spring about his true line of work. Has Suzie been married to a secret roboticist, rather than someone who designs refrigerators? What link does his job have with his disappearance? How does someone cope in such an already-traumatic situation when the person that they're possibly grieving mightn't be who they've said they are? Often with a science fiction twist, Apple TV+ can't get enough of mysteries. That truth is as engrained as the service's fondness for big-name talent, including across Severance, The Big Door Prize, Hello Tomorrow!, Silo, Monarch: Legacy of Monsters, Constellation, Sugar and Dark Matter. Thankfully, there's no content-factory feel to this lineup of shows. Sunny's closest equivalent hails from beyond the brand, bringing Charlie Brooker's Channel 4-started, now Netflix-made Black Mirror to mind, but even then it's far more interested in its characters than their relationship to technology. That said, that people and how they use tech remain the real enemy, not gadgets and advancements themselves, hums at the core of both series. Sunny streams via Apple TV+. Read our full review. Futurama Good news, everyone — yet again. Futurama keeps returning, following an initial 1999–2003 run, then another from 2008–13, with a new comeback that began in 2023 and has not just this 2024 season locked in but also two more in years to come. Across the quarter of a century so far that Matt Groening's iconic show that's not The Simpsons has been on and off the air, much has changed about life off-screen. As a result, the details that it can project onto 31st-century existence have evolved as well. Squid Game parodies and NFTs would've made zero sense during the animated comedy's past stints, for instance. But whether satirising Y2K or chatbots, Futurama has almost felt adrift from time, blowing its own TV bubble to spoof the specifics of the day in its far-flung setting while consistently retaining the same vibe. Watch an early 00s-era episode, then one from the new batch, and it seems like nothing has passed between them. That's a skill that deserves all of the appreciation. For many other series, including ones that've existed for a far shorter duration, it's the stuff that dreams are made of — and, if he were real, that only someone like Professor Hubert J Farnsworth (Billy West, Spitting Image) could've managed. Futurama's longevity is a testament to its smart writing, sharp sense of humour and a setup that can keep pinballing in all directions. Where former 20th-century pizza delivery guy Philip J Fry (also voiced by West) can venture with the Professor and the crew of the latter's Planet Express cargo company — so, also with ship captain Turanga Leela (Katey Sagal, Dead to Me); robot Bender Bending Rodríguez (John DiMaggio, Transformers: Rise of the Beasts); and fellow employees Hermes Conrad (Phil LaMarr, Craig of the Creek), Amy Wong (Lauren Tom, Dragons: The Nine Realms) and Zoidberg (also West agin) — is limited only by Groening, fellow guiding hand David X Cohen (Disenchantment) and their team's imaginations. In the latest episodes, sometimes art heists come their way. Sometimes book clubs beckon. Bender's ancestry and the Martian equivalent of bullfighting all pop up, too. Layered in each is a mile-a-minute feast of jokes and a reflection of humanity's chaos today through a highly fictitious future. Long may it continue. Futurama streams via Disney+. Time Bandits If you're a history-loving kid who adores learning about existence before you popped into the world, doesn't fit in at home or at school thanks to that fascination, and regularly has your nose buried in a book, what's your ultimate fantasy? Time Bandits first explored that idea back in 1981, and now it's back to do it again in 2024. It takes bravery to go where Monty Python members Terry Gilliam and Michael Palin first did, remaking the pair's beloved movie — which The Man Who Killed Don Quixote's Gilliam directed and The New Incomplete and Utter History of Everything's Palin co-wrote with him — decades later. Taika Waititi, Jemaine Clement and Iain Morris are three such courageous folks. Together, the trio add a television take on the family-friendly flick to TV resumes that already include Wellington Paranormal, What We Do in the Shadows, Reservation Dogs, Our Flag Means Death, Flight of the Conchords and The Inbetweeners, and do so while giving audiences a gloriously entertaining time. Forget wondering if this second spin was necessary, aka the usual line of thinking when anything earns a new look; instead, the question is why didn't it happen earlier? Again, the focus is a boy called Kevin (Kal-El Tuck, Andy and the Band). Again, his parents (Wakefield's Felicity Ward and Deadpool & Wolverine's James Dryden) don't appreciate him or his interests. And again, the past demands even more of his attention when it suddenly and unexpectedly bursts out of his wardrobe. Cue zipping between different chapters of times gone by, via a scenario that the Bill & Ted franchise clearly owes a debt to, with the eponymous group (Better Nate Than Ever's Lisa Kudrow, Shardlake's Tadhg Murphy, You Don't Know Me's Roger Jean Nsengiyumva, The Riot's Rune Temte and Guillermo del Toro's Cabinet of Curiosities' Charlyne Yi) reluctantly taking Kevin in. Waititi (Next Goal Wins) directs a few episodes, too, and appears on-screen. Clement (Avatar: The Way of Water) also does the latter. They're having a ball both in front of and behind the lens, a sense of fun that infuses every episode whether it's taking a trip to Troy, making a visit to the Mayans or dwelling in medieval times. Cue spotting more familiar faces along the way, such as Waititi regular Rachel House (Heartbreak High), Wellington Paranormal's Mike Minogue and Karen O'Leary, Next Goal Wins' Oscar Kightley, the What We Do in the Shadows movie's Jonny Brugh, Our Flag Means Death's Con O'Neill, plus Shaun Micallef (Aunty Donna's Coffee Cafe) and Ross Noble. Time Bandits streams via Apple TV+. Recent Big-Screen Gems to Watch (or Rewatch) Now That They're Streaming Perfect Days When Lou Reed's 'Perfect Day' enjoyed its initial sublime movie moment in Trainspotting, it soundtracked a descent into heroin's depths, including literally via the film's visual choices. For three decades since, that's been the tune's definitive on-screen use. Now drifts in Perfect Days, the Oscar-nominated Japan-set drama from German filmmaker Wim Wenders (Submergence). This slice-of-life movie takes its name from the song. It also places the iconic David Bowie-produced classic among the tracks listened to by toilet cleaner Hirayama (Kôji Yakusho, Vivant) as he goes about his daily routine. Fond of 60s- and 70s-era music, the Tokyo native's picks say everything about his mindset, both day by day and in his zen approach to his modest existence. 'Perfect Day' and Nina Simone's 'Feeling Good' each also sum up the feeling of watching this gorgeous ode to making the most of what you have, seeing beauty in the everyday and being in the moment. Not every tune that Hirayama pops into his van's tape deck — cassettes are still his format of choice — has the same type of title. Patti Smith's 'Redondo Beach', The Animals' 'The House of the Rising Sun', Otis Redding's '(Sittin' on) The Dock of the Bay' and The Rolling Stones' '(Walkin' Thru the) Sleepy City' also rank among his go-tos, all reflecting his mood in their own ways. If there's a wistfulness to Hirayama's music selections, it's in the manner that comes over all of us when we hark back to something that we first loved when we were younger. Perfect Days' protagonist is at peace with his life, however. Subtly layered into the film is the idea that things were once far different and more-conventionally successful, but Hirayama wasn't as content as he now is doing the rounds of the Japanese capital's public bathrooms, blasting his favourite songs between stops, eating lunch in a leafy park and photographing trees with an analogue camera. Perfect Days streams via Stan. Read our full review. Love Lies Bleeding In Love Lies Bleeding, a craggy ravine just outside a dusty New Mexico town beckons, ready to swallow sordid secrets in the dark of the desert's starry night. Tumbling into it, a car explodes in flames partway through the movie, exactly as the person pushing it in wants it to. There's the experience of watching Rose Glass' sophomore film emblazoned across the feature's very frames. After the expertly unsettling Saint Maud, the British writer/director returns with a second psychological horror, this time starring Kristen Stewart in the latest of her exceptionally chosen post-Twilight roles (see: Crimes of the Future, Spencer, Happiest Season, Lizzie, Personal Shopper, Certain Women and Clouds of Sils Maria). An 80s-set queer and sensual tale of love, lust, blood and violence, Love Lies Bleeding is as inkily alluring as the gorge that's pivotal to its plot, and as fiery as the inferno that swells from the canyon's depths. This neon-lit, synth-scored neo-noir thriller scorches, too — and burns so brightly that there's no escaping its glow. When the words "you have to see it to believe it" also grace Love Lies Bleeding — diving into gyms and in the bodybuilding world, it's no stranger to motivational statements such as "no pain no gain", "destiny is a decision" and "the body achieves what the mind believes" — they help sum up this wild cinematic ride as well. Glass co-scripts here with Weronika Tofilska (they each previously penned and helmed segments of 2015's A Moment in Horror), but her features feel like the result of specific, singular and searing visions that aren't afraid to swerve and veer boldly and committedly to weave their stories and leave an imprint. Accordingly, Love Lies Bleeding is indeed a romance, a crime flick and a revenge quest. It's about lovers on the run (Ant-Man and the Wasp: Quantumania's Katy O'Brian pairs with Stewart) and intergenerational griminess. It rages against the machine. It's erotic, a road trip and unashamedly pulpy. It also takes the concept of strong female leads to a place that nothing else has, and you do need to witness it to fathom it. Love Lies Bleeding streams via Prime Video. Read our full review, and our interview with Rose Glass. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May and June this year — and our best 15 new TV shows, returning TV shows and straight-to-streaming films of 2024's first six months. There's also our highlights from January, February, March, April, May, June, July, August, September, October, November and December 2023. And, you can also scope out our running list of standout must-stream shows from last year as well — and our best 15 new shows of 2023, 15 newcomers you might've missed, top 15 returning shows of the year, 15 best films, 15 top movies you likely didn't see, 15 best straight-to-streaming flicks and 30 movies worth catching up on over the summer. Top image: Apple TV+.
American food has experienced a surge in popularity in Brisbane in the past year or so, but the Smoke BBQ (formerly Blue Smoke) is far from a mere bandwagon jumper, having been around since 2004. The interior does not call to mind the stereotypical American diner or food hall, instead it’s all rather understated and a bit chic. Though it does display its roots through a few decorative touches – an American flag plaque hangs behind the cow hide upholstered bar, and gridiron matches are screened on the television. If you’ve ever spent time wistfully watching Travel Channel shows where fortunate hosts travel the US, indulging in all manner of comfort food along the way, then you will be very happy to read the Smoke BBQ menu. So many speciality items that at one time Brisbanites may have had a hard time getting their mitts on: North Carolina pulled pork, cheese steak subs, fried shrimp po’ boy sandwiches, hickory chicken, beef brisket, buffalo wings with blue cheese dipping sauce and banana cream pie. It’s hard not to get excited. If you’re going to make the effort of going out for American smoked BBQ, then you really should be getting some ribs. The Big Rib Combo (Texas beef short rib, Memphis pork belly & North Carolina pulled pork for $50) and the ‘New’ Signature Rib Combo (Texas beef ribs, Bourbon lamb ribs & thick cut pork ribs for $65) are designed for sharing and come with basic accompaniments. If for some reason ribs just aren’t for you, then the Pork & Chicken Platter will do (Memphis pork belly with a side of Memphis sauce, North Carolina pulled pork & a half hickory chicken with a side of Memphis BBQ for $50). The ribs are tender, with distinctive smoke rings – a result of quality time in the restaurant’s in-house smoker. With a Sam Adams or Brooklyn Lager it goes down very nicely. You may be expecting huge platters overladen with smoky bounty, however, portions are definitely on the small side, especially for the price. That said, you won’t leave hungry, but if you plan to go all out, prepare to spend some money.
There's no denying that the United Kingdom has given the world a lot in the way of music. The nation is steeped in musical culture, from The Beatles to Bonobo; Oasis to One Direction; Elvis Costello to Elton John. It's given us The Spice Girls and 'Careless Whisper'. In short, its veins run thick with musical wealth — but there's more to it than just strolling through The Beatles museum in Liverpool. With the European summer just around the corner, we've been thinking about seminal musical experiences you can tick off your bucket list in the UK. And luckily, Contiki has launched a tour that covers exactly that. Dubbed Contiki Sounds, this ten-day journey includes stops in England's major cities — London, York, Manchester, Birmingham and Liverpool— and culminates in a VIP experience at long-running rock and pop extravaganza Reading Festival. This Aussie winter, pack your guitar (probably sacrificing some undies for space), head over the water to (somewhat) sunnier plains and prepare to pay homage to some legends. Tell your mum you love her and let her know you're off to find your inner John Lennon. ABBEY ROAD CROSSING, LONDON There's no getting around the Fab Four's reputation as paving the way for modern pop music and music fandom. Speaking of paving the way, the Abbey Road crossing in London's St John's Wood neighbourhood is certainly one of the enduring symbols of the band. The crosswalk is traipsed by countless fans of The Beatles daily in a bid to recreate the iconic Abbey Road album cover — undoubtedly frustrating traffic to no end. You can join the crowds and stroll your way across the road in tribute to the fallen members, John and George, and enduring larrikins Ringo and Paul. Sneak a peek at the current musical talent who might be ensconced inside the famous Abbey Road Studios across the way, where many of The Beatles' hits were recorded. [caption id="attachment_717739" align="aligncenter" width="1920"] Image: David Dixon via Wikipedia Commons.[/caption] DENMARK STREET, LONDON Another London road worth a visit is Denmark Street. Traipsing this patch of pavement will have you walking in the boots of the ghosts of the London music scene founders. Somewhat of a musical mecca in the mid-20th century, the street is even referenced in a song of the same name by The Kinks. Here, many bands quintessential to the British music world either rehearsed or recorded, and David Bowie even lived on the street in a campervan. Bowie has passed but the street's resonance lives on. Today it's a hotspot for musical instrument sales and repairs, as well as being home to famous grungy livemusic venue Crobar. READING FESTIVAL, READING There's no greater musical experience than packing up a tent, dancing to live music in your gumboots with your best friends for a few days and coming back having had the time of your life. If you're seeking a definitive musical experience and are up for a good time, an all-in UK music festival is a must — and this is one of the best. Reading is the longest-running pop music festival in existence and serves up a jampacked lineup of pop, rock and alternative heavyweights each year in conjunction with its partner festival in Leeds. It also boasts a number of important moments in musical history, including Nirvana's first ever UK show and Arctic Monkey's launch into superstardom in 2005. And if you're going tick this musical mecca off your bucket list, you'll want to do it in style. If you hop on board the Contiki Sounds trip, the on-site crew will take care of all the logistics — from setting up your tent and mattress to making sure you've got brekkie every day — so you can concentrate on donning your boots and moshing in front of the main stage. [caption id="attachment_717914" align="alignnone" width="1920"] Image: travelmag.com via Flickr.[/caption] SALFORD LADS CLUB, MANCHESTER Made famous by the sleeve art of The Smiths 1986 album The Queen Is Dead, Salford Lads Club has been on the scene since 1903, when it was still a boys club. Over 100 years later, the club has had a whole fleet of musical legends as members (The Hollies also used to practise there). A decade or so ago saw some necessary refurbs, partly financed by Morrissey himself. These days, it's often used as a film and TV location for the likes of British series Coronation Street and hosts a variety of sports and talks geared towards young people. While that might sound like a far cry from The Smiths posing moodily outside, true fans need not fear — there's still an entire room dedicated to the band inside. The Salford Lads Club's musical pedigree is impossible not to acknowledge. [caption id="attachment_717753" align="aligncenter" width="1920"] Image by Hens Zimmerman via Wiki Commons[/caption] CAVERN CLUB, LIVERPOOL A guide to the British music scene wouldn't be complete without Liverpool — the epicentre of a huge part of the UK's music roots. And yep, it's generally down to The Beatles. Every year thousands of people flock to the harbourside town, many wanting to explore The Beatles Story museum. The Cavern Club is equally as important and just as drenched in musical history. Step inside and take a deep breath — you'll be inhaling the atmosphere of years of musical history (along with beer). Still an important live music venue to the town, The Beatles made a name for themselves here, playing their first gig in 1961. Over the years, countless other British bands have followed suit, including The Wombats and The Rolling Stones. Pay your respects to this holy stage. Travel around the best spots in the UK with Contiki at Reading Festival. Unearth the UK's musical heritage, then experience an unforgettable party at one of the world's best and biggest music festivals. Contiki wants to take you there — all you have to do is choose from the 7- or 10-day trip. Plus, if you bring a mate, it'll give you both $200 off. Find out more here.
They like jumpsuits, one name and living in the same suburb. That's The Kates' quick description of themselves, and of their fame as The Kates, as they've been known ever since The Katering Show proved the funniest thing on the small screen in 2015. Kate McLennan and Kate McCartney didn't start their careers together, but they've become Australia's comedy queens by proving a razor-sharp, whip-smart duo — first while satirising cooking shows in a webseries that was picked up by the ABC for its second season; then by taking on morning television with fellow pitch-perfect two-season parody Get Krack!n; and now with Prime Video's Deadloch, which started streaming its Tasmania-set comedic murder-mystery on Friday, June 2. "There were so many Kates in the show," McCartney notes of their latest project, which The Kates originally gave the working title Funny Broadchurch. One such Kate: Wentworth and Rake's Kate Box, who plays one half of reluctant detective duo in Deadloch's titular small town opposite The Breaker Upperers' Madeleine Sami. "Kate Anderson was our special makeup effects artist. Katie Robertson, Katie Milwright — Katie Robertson is on the show, Kate Milwright was one of the cinematographers — and we had another Kate, Kate Fox, doing locations," McCartney continues. "It was basically if your name was Kate…" adds McLennan, "then you got a job," finishes McCartney. Sami "is in the process of getting her name changed to Kate," McCartney keeps joking. "She hasn't started the paperwork yet," pipes in McLennan. No matter how many other Kates had a hand in Deadloch, the series is instantly recognisable as the work of The Kates. Within seconds of a man being found dead on a beach in the first episode's opening moments, the corpse's penis is on fire. When Box's small-town sergeant Dulcie Collins informs the next of kin, he bellows that he loved him like a brother — but has to be reminded that, yes, the deceased was his actual brother. And when Sami's Eddie Redcliffe blows in like a whirlwind of swearing and Hawaiian shirts, she's the stereotypical arrogant outsider cop, but satirically so. Indeed, with their male victim and female investigators, The Kates gleefully riff on the cop-genre status quo, flip the script to focus on the characters usually robbed of a voice and, although it wasn't originally their aim, balance sidesplitting laughs with making an excellent crime procedural. Deadloch is also an inescapably Australian murder-mystery series in its Tasmanian gothic look, its excavation of the nation's treatment of its First Peoples and, as frequently dropping from Sami's mouth, its love of cursing. The latter gave rise to The Cunt Essay, The Kates explain, to justify why its use of language couldn't be more ordinary on an Aussie-set show. From responding to the standard treatment of women in dead-girl crime thrillers to getting that homegrown vernacular over the line — and scrapping their own filmed cameo in the series, too — we chatted with McLennan and McCartney about all things Deadloch. ON THE NUMBER OF DEAD-WOMAN CRIME SHOWS SOMEONE NEEDS TO WATCH BEFORE THEY DECIDE TO RESPOND McCartney: "Roughly 800, I reckon. I just don't know if there is a single crime show that — if it's not in the first two minutes of a murder show, then you will still eventually see a dead woman." McLennan: "And once you're aware of it as well, you'd watch them and, sure, they're showing you the body of a dead woman, but they would always show a gratuitous shot of her boob. You would always see a nipple. You've got these very serious detectives standing over a body, and you just don't need to see a blue nipple. You don't need to see it." McCartney: "There's always that one at the crime scene. But then you go to the morgue and they have another conversation with the forensic pathologist, and rather than putting a sheet up, they're always completely nude on the slab as well." McLennan: "So we just thought what would be really interesting is if you actually gave those victims a voice. To us, we wanted to know about the backstories of these people that would normally be portrayed as victims in these types of shows. Also, we're just terrible at writing men, so it was easier just to have a dead one instead of writing dialogue for him." ON DEADLOCH'S STARTING POINT AS "FUNNY BROADCHURCH" McCartney: "We thought of the idea in about 2015, when we had just had kids, and the kids were newborns. So we were at home at 3am, in that witching hour of not quite knowing if you exist — and sort of knowing, 'well, I think I do exist because I have a Twitter profile, but I think that's the only thing that tethers me to this realm now because it's so late and I have spent so much time by myself as a tit machine with the baby'. During that time, we both, for whatever reason — and I don't really know what this says about our mental health at the time — but we just gravitated towards crime shows. There was a lot at that point as well, there was a bit of an explosion of Scandi noir. You know, like.. I can't think of a single one. What's that one with jumpers? What's the jumpers? You know, jumpers?" McLennan: "The jumpers?" McCartney: "Jumpers. The Scandi jumpers one." McLennan: "Do you mean The Bridge?" McCartney: "No, The Killing." McLennan: "The Killing." McCartney: "And then The Bridge, and then there was…" In unison: "The Return." McCartney: "And then there was…" In unison: "The Fall." McCartney: "The Fall. Yeah, silk shirts. Gillian Anderson. Silk shirts." McLennan: "And you told me to watch Broadchurch, and I thought it was a comedy because Olivia Colman was in it and I knew her from comedy. So I'm like 'oh, it's a comedy'. So I strapped myself in to watch this funny comedy show. And I'm like 'yeah, this is not a comedy'. But we thought 'what if we did take a show that had that small town, lots of secrets, lots of characters, and you just nudge the comedy". You just nudge the needle up a little bit. We had the idea just after we made The Katering Show. We were pitching Get Krack!n overseas, and we would do the spiel about Get Krack!n and then people would sometimes say 'do you have any other ideas?'. We'd just throw in the Deadloch idea as this last-minute 'we've also got this other show with the working title Funny Broadchurch'. And people just really grabbed onto it. McCartney: "Like, they got it." McLennan: "So we knew that it had legs. We made Get Krack!n and then we thought we'd pitch this other show, and luckily Amazon Prime were ready to jump on board with this." ON MAKING A COMEDIC MURDER-MYSTERY THAT ALSO WORKS AS A MURDER-MYSTERY McCartney: "It wasn't actually [the initial plan]. When we first conceived of it, this was at The Katering Show, that's where we were at in terms of what we were working on. And we did originally conceive of it as being a 30-minute show. And then, we just grew in confidence and ambition as we got into Get Krack!n — and then by the final season of Get Krack!n, we started to really experiment with using that interplay of something dark, then something funny. I think that informed us and bolstered us — that may not be a word — in our confidence and our ability to to be able to pull off something like this. And also having that experience. We'd done a few series. And the things we're trying to emulate, they are a lot longer because of the moodiness and the cinematic quality of it — and you just need more time. And because we're not in it — personally, I'm a terrible actor, so there's only so much I can do — but if you get someone like Kate Box or Madeleine Sami or Alicia Gardner, or anyone like that in your show, you can ask them to do a lot more with the characters. You can actually have proper characters." McLennan: "We wanted the space to tell the story and to do it justice, and to do in a way that felt like it was a rich, rewarding experience for the audience. I think around the time that we going through this creative process with it, Killing Eve had just come out — and I don't know if it did necessarily break the mould, but it made it pretty clear to us that you could tell a story that was longer than half an hour and there was an appetite for that from the streaming services as well." McCartney: "It was the appetite, really. Because we'd already thought about it, we'd already gone 'oh, I think I think this is how it needs to be, this is the kind of show we're looking at, I think we want it to be a proper show'. But the fact that people were watching it and responding to it, there was a precedent that we could go 'people will hang in there'." McLennan: "It certainly made us — when we knew that we had the hour up our sleeve, it's like 'well, we'd better made this crime story really good'." McCartney: "It's a lot. It has to be interesting. Because people aren't going to watch something for an hour if they don't care about the characters, if there aren't actual stakes. You can't just do cop jokes. You can't sit above it and laugh, going 'aren't we clever'." McLennan: "You've got to be invested in it. And play the stakes of the crime." ON DECIDING NOT TO APPEAR ON-SCREEN McCartney: "With Get Krack!n, by the end it was a challenge to have the kind of control over what we were doing that that we like to have, and to make sure that our voice is all-encompassing, and also be on screen. It's a very different brain, and you necessarily have to kind of let things go by the wayside if you're in that role — if you're trying to do those two roles together." McLennan: "I remember being on the couch when we were filming Get Krack!n, and I had my phone and I was answering emails, and then we'd have to go for a take and I'd shove the phone under…" McCartney: "Always shoving it under our legs." McLennan: "And it just felt like the acting was getting in the way of the other job." McCartney: "And we wanted to do the other other job more, because we were pretty done with being on camera as it was." McLennan: "I think audiences were pretty…" McCartney: "They were probably pretty done with us as well." McLennan: "But we did cast ourselves in a cameo in the show. And we filmed that cameo." McCartney: "Probably about half a day, I'd say. So not only did we spend half a day on it, like the production spent half a day filming our cameo, but we also took time out of our personal, very busy showrunner schedule, to do it. So it was like a loss in two ways." McLennan: "Because we were watching rushes, and assembly edits were happening as we're going, we got to see that scene pretty quickly in the edit — and we were so bad that we cut ourselves and recast." McCartney: "So it does exist, but it's in the vault. It's in the Amazon vault. It's in one of those seed things that are in Antartica." ON CASTING KATE BOX AND MADELEINE SAMI McCartney: "Mads was actually a writer on the show. We knew her from quite a way back. We knew she's an extremely funny physical comedian and we've been fans of hers for ages, and obviously we've been massive fans of Kate Box as well." McLennan: "The whole casting process was done over Zoom. I mean, interestingly, we were working with Mads writing scripts with her when the audition process was happening, but we pretended that we didn't know that we were getting her into this." McCartney: "We were secretly in love with her and really hoped that she would play this part." McLennan: "We wanted to keep things very separate, because obviously if we didn't cast her, then that would maybe be a little bit awkward. So we're like 'let's just keep this as two separate streams'. She's like 'guys, did you know I've got an audition?', 'And we're like 'great!'. And the more we worked with Mads, the more that we could see that she was a pretty good fit." McCartney: "In fairness, she was a perfect fit. Setting down a self tape at the best of times is the pits, and really one of the key reasons why I stopped being a performer — but, but, doing it via Zoom, auditioning over zoom…" McLennan: "So Mads and Boxy had both done their separate reads of their characters, and then we got them to do a chemistry test — which again, you can imagine how we that is over Zoom." McCartney: " Zoom chemistry, just you can feel it pinging off the screen, can't you?" McLennan: "But you kind of could with those two." McCartney: "You could, yeah." McLennan: "I remember that day of getting them to do the callback, and to do these scenes together. It was like this immediate calm came over us, like 'this is going to be okay'." McCartney: "Yeah, this is going to be really good." McLennan: "Yeah, they're really good." McCartney: "Boxy is so fucking smart — not the Mads isn't — but Boxy is so smart, and so good at her job. On the page, you don't necessarily see that Dulcie is as funny as she is. And she just got it. So it was the moment she started saying those words, we were like 'not only is this what we hoped the character would be, but it's so much more'. She can do anything, so it seems a bit cheeky to be like 'hey, in this comedy, can you be the straight woman?'. But we needed someone that good at comedy and drama to play that part because everyone else can be a bit silly, but we needed someone to have the stakes all the time, because the audience needs that person." ON KEEPING DEADLOCH'S DIALOGUE UNIQUELY AUSTRALIAN McLennan: "To be honest, we wrote all of the scripts and we did not receive a note on the language in the scripts. And then, just as we're going through the process of getting the show happening — you go through this process where people look over everything, just to make sure that everything's okay — there was just a question on the the volume of swearing. And there is a lot. It opened up a conversation, so we responded to that with what's now known as The Cunt Essay. Our setup director Ben Chessell wrote a thesis essentially on Australians' relationship to the word cunt and other swearing." McCartney: "The local usage of it, and how that differs from overseas usage of it. And how, within this context, it's actually not really even a swear word — in fact, it can be a very nice term. And it's used in advertising campaigns! So we just talked about it in its context in the Australian vernacular, and its cultural context. And also, I think he talked about how it speaks to Australianness as well, that we've taken this word — there's no hierarchy, there aren't bad words, we're not as puritanical because we don't have that secretly underpinning our constitution and our heads of government. He also then tied it into something else, he was talking about reclaiming it — which was a bit more of a stretch, I would say, if we're honest about it, and I think he knew it was a bit of a stretch. But it was very wordy. It was about seven or eight pages." ON MAKING MORE SEASONS OF DEADLOCH McCartney: "You always think about things being more than one series, but we'd always thought of it as being an anthology series. So, retaining some of the characters and moving them to a different location, probably — it was always going to be set around Australia. So, that's the hope. That's the plan. That's the secret mutterings between us." Deadloch streams via Prime Video. Read our full review of season one.
Lunar New Year is famously a food-focused holiday. With celebrations traditionally stretching over about a two-week period, Lunar New Year dinner is one of the holiday's highlights. The dinner, which typically happens on the eve of Lunar New Year, is more accurately described as a feast — one where families gather, and the table teems with mouth-watering, home-cooked dishes. [caption id="attachment_987282" align="alignnone" width="1920"] Josh Mullins[/caption] We love a celebration at home centred around good food, so, in partnership with Oriental Merchant, we sought out expert advice from chef Jason Chan on what essentials to stock our pantries with for Lunar New Year and beyond. Not only is Chan the owner of Rice Kid, a newly opened pan-Asian restaurant inspired by the flavours of Southeast Asian cuisine, but he's also clocked up well over a decade as a chef in leading Chinese restaurants in Sydney. He snuck us into his pantry to show us exactly what he'll be cooking with come this Lunar New Year. Our best discovery? His go-to essentials aren't reserved exclusively for Lunar New Year — they're versatile ingredients that are just as invaluable for special celebrations as they are for midweek meals. [caption id="attachment_987274" align="alignnone" width="1920"] Josh Mullins[/caption] Surprisingly, Chan reveals that despite going all out on premium ingredients for Lunar New Year, he'll season them during the cooking process with everyday pantry staples. "Lunar New Year is more about the family gathering. You'll splurge and have things you don't normally have everyday, I think that's what makes it special. For our Lunar New Year feast, we usually have e-fu noodles, mudcrab, pipis — we go all out." On Capturing the Essence of Asian Cuisine The flavours of Asian cuisine though, are achieved with familiar products like "soy sauce, oyster sauce, sesame oil, Shaoxing [wine]." "Asian — Chinese — flavours [are] bold. I wouldn't use the word heavy, but it's flavoursome. It's every bite that you take. There's sweet, sour, bitter, salty, umami, you get the taste of all that." "I think that's what Asian cooking is all about, especially Chinese cooking, where there are so many different ingredients and so much variety [to choose between]. It's just packed with flavour." "In my pantry at the moment, I've got the Lee Kum Kee Panda Brand Oyster Sauce, the Lee Kum Kee Dark Soy Sauce, the Lee Kum Kee Premium Soy Sauce." [caption id="attachment_987275" align="alignnone" width="1920"] Josh Mullins[/caption] He also showed us his stash of Hakubaku noodles and Lee Kum Kee Chiu Chow Chilli Oil. "It's about what you can do with the ingredients out of the pantry to create something amazing," explains Chan. Some staples are genuine must-haves for Chan. "You can't cook without soy sauce, that's what I say. I think every household should have [it]." Meanwhile, others he believes are slept on. "I think oyster sauce is amazing ... it gives more body and more depth [to dishes]." [caption id="attachment_987280" align="alignnone" width="1920"] Josh Mullins[/caption] Ultimately though, it's not about a single ingredient. "It's more about how you incorporate everything together. I think every dish has a different element to it and every ingredient in our pantry, I think, works with a certain dish to enhance its flavour." On Making the Most of Pantry Essentials Chan says the special dishes of Lunar New Year can easily be translated into everyday dishes too." Let's say we did a lobster, for example, for Lunar New Year. How do you tone it down and still use all the pantry ingredients that you have? You choose a different protein. You might use fish, you might use prawns." The same applies to the e-fu Lunar New Year noodles he calls out. [caption id="attachment_987276" align="alignnone" width="1920"] Josh Mullins[/caption] "[You could substitute] egg noodles — thin egg noodles, thick egg noodles. If you're [feeling] brave, you can use ramen noodles, soba noodles, udon noodles. It's how far you want to explore, but they're all good." Experience the flavours of Lunar New Year everyday with Oriental Merchant authentic Asian ingredients.
These days, many of us remember to grab our reusable coffee cup or water bottle before heading to our local cafe or gym. While there's lots more work to do, reducing our dependence on single-use items can only be a good thing. However, a new and improved collaboration between frozen yoghurt legends Yo-Chi and Melbourne-born reusable drinkware pioneer KeepCup is working to make reusables an increasingly ordinary part of our daily lives. Enter the Yo-Chi x KeepCup Icy Go Bowl. Strictly limited in numbers, this newfangled reusable creation is designed to keep cold things cold and hot things hot. Made from 90% recycled double-walled stainless steel for top-notch temperature performance, it also comes with a 50% recycled Tritan spill-proof vacuum seal lid that keeps your meal locked in. Plus, at 550 millilitres, you'll have plenty of space to pack in more froyo. What's more, the design is stackable, so keeping bowls neat in your kitchen cupboard or tucked away in your fridge is easy. BPA/BPS-free and non-toxic, you can also choose from four Yo-Chi-inspired colourways: Strawberry Mochi, Choccy, Acai and Black Sesame. For those familiar with KeepCup's Go Bowl Luxe, this special edition — exclusively available at Yo-Chi stores nationwide — is made just a little bit more special with Yo-Chi branding. Of course, having a reusable bowl that seamlessly slots into everyday life is a big part of the waste-free equation. But this collab goes a step further by incentivising you to make the most of it. Take it along to any Yo-Chi store around Australia to score ten percent off your order every time you use it. What's more, every purchase comes with a $10 Yo-Chi voucher, so you have the perfect excuse to take your new bowl for a test run with a sweet, frozen treat. "We know reusing a bowl isn't the most convenient thing in the world," says Yo-Chi Brand Director Oliver Allis. "But we're trying to make it as enticing as possible with ten percent discount every time you reuse, beautiful yet functional bowls, and even giving people a free $10 Yo-Chi voucher that they need to use with the Go Bowl, to help create that habit change." When you're done scooping up that last spoonful of froyo, you're also welcome to hand your bowl to a staff member to give a quick rinse, ensuring it's good as new for whatever on-the-go meal comes next. And you're helping Yo-Chi achieve its sustainability goals, now on a mission to elevate its reuse rate from one to three percent. "These are genuine attempts to make reusing at Yo-Chi as normal as reusing at a coffee shop," says Allis. The Yo-Chi x KeepCup Go Bowl Luxe is available for a limited time for $35 at Yo-Chi stores nationwide and via the online store. Head to the website for more information. Like what you see? Subscribe to the Concrete Playground newsletter to get stories just like these straight to your inbox. Images: Supplied.
To say 2021 was a massive year is a bit of an understatement. But with the the new year in full swing, it's officially time to let go of the trials that last year brought and start afresh with a relaxing holiday. If you, like us, are keen to extend your summer this year, consider locking in a trip to Tropical North Queensland to enjoy some much-needed time in this balmy paradise. From private island retreats wreathed in the Great Barrier Reef to secluded treehouses poised in World Heritage-listed rainforest, we've uncovered ten luxury stays to check out. These spots are not only champions of ecotourism, with initiatives like water recycling and single-use plastic and amenities bans evident across most properties, but will also tick the box if you want to wake up immersed in nature. [caption id="attachment_827699" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] BEDARRA ISLAND If you're looking for somewhere to truly disappear to, put Bedarra Island at the top of your list. The secluded tropical haven is part of the Family Islands National Park, approximately two hours drive south of Cairns. To get to the island, you can take a helicopter transfer from Cairns Airport or a 30-minute boat ride across the Coral Sea from the idyllic coastal village, Mission Beach. With just 11 private villas on the island (all with ocean views), Bedarra is ideal for travellers looking for secluded, laidback luxury. The island is totally off-grid and uses solar power for energy. The best part? It's an all-inclusive experience. Here, you'll have unlimited access to snorkelling gear, sea kayaks, motorised dinghies, stand-up paddleboards, tennis equipment and stunning rainforest walks. Plus, all your meals, snacks, cocktails and celebratory champagne will be organised for you. Want to take a gourmet picnic on your personal dinghy to a deserted island? How about enjoying a candlelit dinner on your private deck? At Bedarra, you can have both. [caption id="attachment_828271" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] SILKY OAKS LODGE If you've ever wondered what it's like to live in a treehouse, just like Brendan Fraser in George of the Jungle, Silky Oaks Lodge in Mossman is the place to bring that foliage fantasy to life. Wedged between the breathtaking Daintree Rainforest and peaceful Mossman River, Silky Oaks Lodge has six treehouse-inspired stays to choose from so you can sleep among the treetops of the tropics. Each accomodation option has been designed to embrace the property's natural surrounds and will indulge your senses in the lush rainforest when it comes alive in autumn. If you want to wash off under an outdoor shower, wake up to floor-to-ceiling rainforest views and relax in a bath on your very own private deck while overlooking a cascading river, look sharp to Silky Oaks Lodge. THE REEF HOUSE BOUTIQUE HOTEL AND SPA If spending your holiday lazing opposite a palm tree-lined beach sounds like something you have to go overseas to do, guess again. The Reef House Boutique Hotel and Spa is an award-winning luxury beachfront stay in Palm Cove where you can experience that balmy (and palmy) escape without needing to dig out your now dusty passport. Your stay here includes a drink on arrival, complimentary twilight refreshments, poolside cocktail service and access to the fully stocked Honesty Bar where you can help yourself to your favourite drinks. The adults-only retreat also offers cocktail classes, wine tasting, beachfront yoga, a tranquility pool, jacuzzi, day spa, unlimited bicycle use and a library to keep you occupied in case you get tired of oscillating between the pool and the impressive Reef House Restaurant. [caption id="attachment_827698" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] THE CANOPY TREEHOUSES If you're planning a tropical holiday with a group, look no further than The Canopy Treehouses. Set on a lush 100-acre property, this place is ideal if you want to steer clear of other holidaymakers as you venture — quite literally — off the beaten track. The two-bedroom Riverfront Treehouses sleep six guests and, as the name suggests, are built on the banks of the river surrounded by ancient rainforest. Or, if you're after something a little larger, the three-bedroom Bower House can accommodate up to eight guests and overlooks the rollings hills of the Atherton Tablelands. Both are fully self-contained and come equipped with barbecue facilities, spa baths and, most importantly, rainforest views. [caption id="attachment_827697" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] LIZARD ISLAND RESORT If you want to see the Great Barrier Reef without spending hours on a boat, Lizard Island Resort is the ideal place to base yourself. This luxury lodge is quite literally surrounded by the reef meaning you can roll out of bed and right into one of the world's natural wonders in minutes. But it's not just its proximity to the reef that lures people to the island. The all-inclusive accomodation helps take the guesswork out of holiday planning with meals, drinks, snorkelling gear, paddleboards, sea kayaks and more included in your stay. The toughest choice you'll make during your trip will be deciding which of the opulent day spa treatments will make you feel the most relaxed. If you do want to explore a little further, the resort has an on-site naturalist that hosts guided walks to share the island's cultural heritage, particularly that of the Traditional Land Owners, Jiogurru of the Dingaal Aboriginal people. [caption id="attachment_827693" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] CRYSTALBROOK RILEY If you want floor-to-ceiling ocean views at a centrally located hotel, Crystalbrook Riley is for you. This five-star luxury resort is perched on the Cairns Esplanade, placing you within walking distance of many of the tour operators, restaurants and bars that Cairns has to offer. For a picturesque waterfront wake up, check in to a Panoramic Sea room or Riley's Suite and you'll awaken to uninterrupted views of the Coral Sea and beyond. There's a lush pool that wraps around the entire resort, a day spa to destress at and two in-house restaurants to try — Paper Crane and rooftop bar Rocco. The resort makes an effort to reduce food miles by sourcing 80 percent of ingredients from within a 3.5-hour radius of Cairns, including all of its beef products which come from Crystalbrook's own 85,000-acre cattle station. [caption id="attachment_828717" align="alignnone" width="1920"] Wilson Archer[/caption] MT MULLIGAN LODGE When you think of Tropical North Queensland, the outback probably doesn't come to mind. But if you drive 160 kilometres northwest of Cairns to Mt Mulligan Lodge, that's exactly what you'll find. As the name suggests, this boutique accomodation overlooks the immense tabletop mountain that is Mount Mulligan. Here, you can experience an all-inclusive luxury outback stay featuring hikes, all-terrain vehicle adventures, barramundi fishing, stargazing and more. The sprawling 28,000-hectare property ensures all 20 guests it can accommodate have ample privacy during their stay. Plus, each guest room gets a buggy to buzz around the property on, so you can get from your bed to sunset drinks at the bar with ease. Mt Mulligan Lodge has lots of worthy initiatives in place, too, from a waste minimisation program to a partnership with Ganbina to help local Indigenous students secure employment after school. NIRAMAYA VILLAS AND SPA Port Douglas is a favourite for folks travelling to Tropical North Queensland. If you want to find out what all the fuss is about, take a scenic one-hour drive north of Cairns and stay at Niramaya Villas and Spa to experience the laidback coastal town for yourself. This luxury accommodation features a number of rooms that vary in size from couple-friendly one-bedroom villas to much larger options that can cater to groups of ten. Regardless of the size you need, the soaring ceilings will make you feel like rainforest royalty. Throughout the property, you'll have access to a fully equipped gym, day spa, tennis court, bike hire, saunas, pools and a restaurant and bar to keep you refreshed. [caption id="attachment_828743" align="alignnone" width="1920"] Liam Brennan, Tourism and Events Queensland[/caption] DAINTREE ECOLODGE Situated in the heart of the World Heritage-listed Daintree Rainforest, about 90 minutes north of Cairns, is Daintree Ecolodge — boutique accommodation with just 15 bayans (treehouses) perched beneath lush tropical canopies. For the adventurous traveller, this secluded rainforest retreat has its own dedicated walks and a private waterfall to explore. And for those needing something more relaxing, the on-site bar, swimming pool, wellness spa and rainforest restaurant overlooking the lagoon will provide ample opportunity to unwind and disconnect. If you want to discover more about the First Nations people in the area — the Kuku Yalanji people — book into the Culturally Curious package which includes your accommodation, a full-day Walkabout Cultural Tour, a Daintree River cruise and more. The property also assists in the reforestation of the area through a partnership with Rainforest Rescue. [caption id="attachment_828745" align="alignnone" width="1920"] Philip Waring, Tourism and Events Queensland[/caption] MT QUINCAN CRATER RETREAT If you're seeking somewhere romantic for your next holiday, check out the couples-only luxury accommodation on offer at Mt Quincan Crater Retreat. Elevated 2500 feet above sea level on the edge of an extinct volcano in the Atherton Tablelands, this award-winning escape boasts breathtaking views that look over the volcanic crater and beyond. Each treehouse has its own private spa that captures these vistas. and some even have an al fresco shower for you to enjoy under the stars. Plus, there are in-room dining options available for fuss-free cook ups and tailored packages to help you celebrate special occasions. Ready to book your tropical escape? For more information and to discover more about extending your summer in Tropical North Queensland, visit the website. Image: Lizard Island, Tourism Tropical North Queensland
The storied Mansfield Tavern has recently reopened following a major spruce-up, bringing this local icon up to standard with a refreshed bistro, beer garden and sports bar. Yet the other space looking better than ever is the pub's famed entertainment space — The Arena. This historic music venue has experienced its fair share of raucous nights over the last 50 years, with the likes of Midnight Oil, INXS and Joan Jett shaking the structure from wall to rafter. However, the much-loved spot has just revealed a modernised look, bringing about new entertainment possibilities beyond local and international rock gods. While sporting events have certainly played a role in The Arena's past — the venue has routinely been reconfigured for boxing bouts — guests can now expect a broader range of events on the schedule. For instance, local and touring comedians will now have a better space to get behind the mic, while family-friendly entertainers won't have a problem keeping kids enthralled. There are even more possibilities for live sports, with Muay Thai events bound to attract a crowd. "We are thrilled to be welcoming our community back to their new-look local!" said Venue Manager Claire Maskill. "We've completely spruced up the pub and the amazing entertainment venue, it feels like a whole new chapter." Making the most of its new vibe, the Mansfield Tavern hasn't wasted time locking in plenty of gigs to showcase the new-look music venue. Metalheads can catch the Necrosonic Festival on Saturday, August 23, featuring 30 bands across three stages, while former INXS frontman JD Fortune will also take to the stage, playing the band's biggest hits on Friday, October 31. The Arena at the Mansfield Tavern is now open. Head to the website for more information and upcoming events.
Anyday is not a group that does things by halves. The powerhouse hospo group — responsible for game-changing venues including Agnes, sAme sAme and Honto — is going all in on Golden Avenue, which brings rhythm, smoke and fire-kissed Levantine fare guided by a trio of experienced chefs to Edward Street. At the helm of the group's first CBD venture is Ben Williamson — Anyday Co-Owner and Culinary Director — who returns to his culinary roots after years spent shaping Brisbane dining through woodfired cooking at Agnes and contemporary Middle Eastern at Gerard's Bistro, as well as stints at kitchens in the Middle East. He's joined by Executive Chef Adam Wolfers — who worked at Sydney fine diners Est, Monopole and Yellow before replacing Williamson at Gerard's — and Head Chef Tim Yates, most recently Head Chef of the opening team at London fine-diner Scully. [caption id="attachment_1018207" align="alignnone" width="1920"] Jessie Prince[/caption] The menu is built around charcoal grills and wood ovens, creating smoky aromas that drift out of the open kitchen and through the dining space. The menu might include meze like kibbeh nayyeh with urfa chilli and sheep curd or fried quail with house chilli oil, carob molasses and za'atar. Those wood ovens also turn out larger plates like whole john dory with preserved lemon and a 700g mechoui lamb shoulder finished with fermented daikon ajvar, mint and black cardamom salt, while grill selections include king prawns with black lime and ghormeh sabzi and fenugreek-basted chicken thigh with soured onion, toum and a salad of fines herbes. There's a generous selection of sides to choose from, too, as well as creative desserts like a frozen yoghurt parfait with Iranian pistachios and rose and a sultry Turkish coffee ice cream lifted with cocoa nibs, EVOO and smoked sea salt. The venue is designed by J.AR OFFICE, the Fortitude Valley studio that's been on a tear of late, culminating in winning top honours at the Australian Interior Design Awards for its work on nearby restaurant Central. The 500-square-metre Golden Avenue space blends brutalist form with Moroccan riad influences across its interconnected, multi-level shared and private dining areas. Far from stark concrete, the design is softened with skylights, tiled surfaces and textured render, cloistered by a perforated shade sail that rests on a peristyle. Granite, off-form concrete, stainless steel and plenty of greenery create a breezy, light-filled setting that feels worlds away from Edward Street, with seven retractable roofs opening to the sky above. Adjacent to the restaurant, GA is Golden Avenue's bar that offers a more casual drop-in option. Open daily until midnight and with its own entrance, GA will have a separate snack menu and a back bar with more than 130 bottles. [caption id="attachment_1018208" align="alignnone" width="1920"] Jessie Prince[/caption] Images: Jessie Prince.
A Gold Coast getaway often means sun-soaked beaches, surf breaks and seaside cocktails. But just a short drive inland lies an entirely different world, one of ancient rainforests, misty waterfalls, boutique wineries and luxurious accommodation that will reshape how you holiday. If the Hinterland's on your radar, now's the time to Get Up and Gold Coast, with exclusive accommodation and experience deals to help you plan your trip. Waterfalls and Walks Worth the Drive If your idea of a holiday is getting out into nature and stretching your legs, the Gold Coast Hinterland has a number of UNESCO-listed rainforests and parks for you to enjoy. Twin Falls and Purlingbrook Falls in Springbrook National Park are must-do walks, offering dramatic waterfalls and shaded paths that feel worlds away from the coast. For those craving grand scenery, Lamington National Park delivers on all fronts. Think ancient trees, panoramic lookouts and natural beauty that make this Gondwana Rainforests of Australia World Heritage Area a must-do. [caption id="attachment_1069322" align="alignnone" width="1920"] Purlingbrook Falls[/caption] If you'd rather leave the logistics to someone else, Paradise Tours offers 10% off its Springbrook day tour, complete with free professional photos, when you book with the code GOLDCOAST2026. Southern Cross Tours also sweetens the deal, with $50 off a Scenic Rainforest & Vineyard Escape for Two using the code GETUP. Adventure Time The Hinterland caters just as well to thrill-seekers as it does to slow travellers. Soar through the rainforest canopy on Australia's largest guided zipline tour at Canyon Flyer in Mount Tamborine, or tackle the aerial challenges at Happitat, a world-first cliff park where high ropes and ziplines are set against jaw-dropping scenery. Both adventure tours will get your heart pumping whilst you enjoy the stunning scenery of the Scenic Rim surrounds. Meanwhile, the Tamborine Rainforest Skywalk offers an elevated perspective of the forest, with steel bridges suspended high above the canopy. Perfect for those who like a little adventure without the need to abseil. [caption id="attachment_1066281" align="alignnone" width="1920"] Happitat[/caption] If you're planning a romantic adventure, the Historic Rivermill's private, scenic horse ride for two lets you slow down and take in the Hinterland's scenery. Book the Historic Rivermill private scenic horse ride with the code FREEPICNIC, and you'll receive a complimentary riverside picnic. Or use code GETUPGC to enjoy 10% off at Happitat. Where to Stay While the Gold Coast's beaches have holiday apartments and five-star hotels, luxury in the Hinterland means quiet mornings surrounded by nature. There are a number of boutique accommodation options for you to indulge in. The Beechmont Estate is a boutique country retreat with five-star luxury accommodation and a hatted on-site restaurant, The Paddock, while The Tamborine offers a boutique hotel experience perched above the escarpment of Tamborine Mountain. If you love to glamp in style, Tamborine Mountain Glades is a five-star glamping experience that's set within the surrounds of Thunderbird Park, offering you a chance to rest and reconnect among the greenery. [caption id="attachment_1066289" align="alignnone" width="1920"] Tamborine Mountain Glades[/caption] For a luxe stay, Verandah House Country Estate lets you create your very own wellness retreat on Mount Tamborine. Relax among the trees in a barrel steam sauna and magnesium hot baths. And for a truly immersive nature stay, O'Reilly's Rainforest Retreat features views overlooking the western McPherson Ranges, architecturally designed villas, walks (both guided and solo), and waterfalls on your doorstep. Book Tamborine Mountain Glades with the code EGC2026, and you can receive a late checkout and breakfast for two included. O'Reilly's Rainforest Retreat's Best of O'Reilly's package includes two nights' accommodation, daily breakfast, dinner and afternoon tea. Where to Eat Food is a major drawcard in the Hinterland thanks to paddock-to-plate dining, boutique distilleries and cellar doors dotted throughout the region. Start your day at Franquette Bakery, where flaky pastries and excellent coffee are king. From there, head deeper into the Hinterland to Cauldron Distillery and try their award-winning gin range that's inspired by the Gold Coast's native botanicals. Bring along a picnic rug or camp chairs and sprawl amongst the vineyards with friends. [caption id="attachment_1066288" align="alignnone" width="1920"] Cauldron Distillery[/caption] For lunch, Canungra Valley Vineyards delivers the full slow-afternoon experience. It's perfect for a long lunch featuring wine tastings and strolls through the cellar door to try local produce. Canungra Valley's Homestead Picnic Basket experience is a great option for a romantic date in the Hinterland. [caption id="attachment_1066282" align="alignnone" width="1920"] Peddly Picnics[/caption] For laidback afternoons, Peddly Picnics (where your electric bike hire is paired with a bespoke hamper) creates curated picnic experiences that turn any scenic spot into a long lunch. There's even the option to bring your dog along for the ride with Peddly Picnics' dog carrier. Enjoy the perfect day at O'Reilly's Canungra Valley Vineyards with a Homestead Picnic Basket for two with any bottle of wine for only $120. So jump in the car and enjoy a short drive away from the coastline to experience the Gold Coast unlike ever before. Whether you're chasing waterfalls, sipping wine among rolling hills or unwinding in a rainforest retreat, these hinterland experiences are waiting for you to experience them. Image credit: Supplied
Bar Francine looks like it should be a secret, but it's long since become a West End institution. Housed in a weatherboard cottage that's been standing for close to 70 years, the venue was once a neighbourhood milk bar. During the fit-out, original tiles were uncovered beneath layers of concrete, then carefully chiselled back by hand, setting the tone for a space that feels lived-in, personal and deeply local. Inside, timber floors, simple furniture and a compact bar create a room that rewards sitting close, talking longer and letting the evening unfold. Windows swing open to the laneway, music hums softly, and the atmosphere feels more like being welcomed into a friend's place than stepping into a restaurant. The food offering is deliberately fluid. The menu changes as it needs to, shaped by season, instinct and what the kitchen is excited about cooking. Influences lean European without being rigid or nostalgic, with dishes moving easily between small plates and more substantial options. Wednesdays are reserved for "Neighbourhood Night", a set menu that shifts in style and influence, while the rest of the week runs à la carte, built for sharing and lingering. On Fridays and Saturdays, Golden Hour brings bar snacks and simple cocktails into the mix, setting the tone for an easy start to the evening. Wine plays a central role, with an all-Australian list built around small producers and genuine relationships. The focus is on people as much as place, with particular support for women-led wineries and independent makers. Wines are poured at the table, encouraging conversation and discovery, and the list rotates frequently to reflect season, availability and what's tasting best right now. Bar Francine succeeds because it's confident in its scale, relaxed in its service and thoughtful in everything it does. Come for a casual drink, stay for dinner, or do both. Either way, it's proof that great dining doesn't need spectacle – just care, intention and a room that feels right.
Every year, no matter which movies earn Oscars — regardless of what and who is nominated, the titles and talents that miss out, the fun of the ceremony and the scandals that pop up beforehand — the best way to celebrate a great 12 months in cinema is also the easiest. Films are made to be watched, be they blockbuster musicals, deeply personal documentaries, gorgeous animation, sci-fi spectacles, top-notch dramas or anything and everything in-between. If you hadn't seen 2025's newly anointed Academy Award-winners in advance, now's the time to change that. Almost every feature that picked up a gong on Monday, March 3, Down Under time is available to watch this second. Put Flow on your list for later, when it releases mid-March — but check out these other ten winners now. Need the full list of 2025's Oscar recipients? The nominees? Our pre-ceremony predictions regarding what would and should win? A rundown of where the rest of 2025's contenders are screening in Australia? Consider that pre-movie reading, then get comfy at your favourite picture palace or on your couch. Anora Along with playfulness, empathy, and an eagerness to look beyond the usual characters and pockets of America that tend to grace narrative cinema, tenderness is one Sean Baker's special skills, as splashed across the New Jersey-born talent's filmography for more than two decades now. It's in Tangerine, The Florida Project and Red Rocket, for instance, all three of which are stunning feats. It also couldn't be more evident in his Cannes Palme d'Or-recipient and now five-time Oscar-winner Anora. The writer/director's work has always been as clear-eyed as movies get, unflinchingly seeing the struggles that his protagonists go through, though — but their troubles are never the be-all and end-all for anyone in front of his lens. No one should be defined by their circumstances, their misfortunes, their unlucky lots in life, their woes, their mistakes, their missed chances, or how their existence does or doesn't measure up to anyone else's, and no one is in Baker's features. He pens, helms and edits with a wholehearted commitment to seeing people who they are. The fact that he undertakes all three roles on his films, each of which earned him an Academy Award here, means that the credit is almost all his, too; it isn't just the use of his beloved Aguafina Script Pro font that signifies a Baker flick. Spotting Cinderella elements and riffs on Pretty Woman isn't hard in Anora, as the picture's eponymous Brooklyn erotic dancer (Mikey Madison, Lady in the Lake) meets, dances for, hangs out with and is soon wed to Vanya, the son (Mark Eydelshteyn, Zhar-ptitsa) of a wealthy Russian oligarch (Aleksey Serebryakov, Lotereya). But just as Ani is always her own person, the magnificent Anora is always a Baker film. Fairytale experiences in life don't always come with a happy ending. Failures aren't always the worst options. Following your heart or whims is rarely either solely sublime or awful. Baker knows this, and so does this feature. Assured yet vulnerable, playing a woman capable of holding her own against mobsters — and standing up to almost anything else that comes her way — but not immune to sadness and disappointment, Madison is hypnotic as Ani. Eydelshteyn, Compartment No 6's Yura Borisov as one of the henchmen tasked with babysitting Vanya: they're mesmerising as well. The spirt of Anora — the vivid and audacious way that it bounds from start to finish, the grit and heart that it sports — is equally as pitch-perfect. Oscars: Won: Best Picture, Best Director (Sean Baker), Best Actress (Mikey Madison), Best Original Screenplay, Best Editing Other nominations: Best Supporting Actor (Yura Borisov) Where to watch: In Australian cinemas, and via Apple TV and Prime Video. A Real Pain He didn't feature on-screen in his first film as a writer/director, but 2022's When You Finish Saving the World couldn't have sprung from anyone but Jesse Eisenberg. Neither could've 2024's A Real Pain. In the latter, the Fleishman Is in Trouble actor plays the anxious part, and literally. He's David Kaplan, with his character a bundle of nerves about and during his trip to Poland with his cousin Benji (Kieran Culkin, Succession) — a pilgrimage that they're making in honour of their grandmother, who survived the Second World War, started a new life for their family in the US in the process and has recently passed away. David is highly strung anyway, though. One source of his woes: the ease with which Benji seems to move through his days, whether he's making new friends in their tour group within seconds of being introduced or securing a stash of weed for the journey. With A Real Pain as with When You Finish Saving the World, Eisenberg is shrewdly and committedly examining an inescapable question: what is real pain, and who feels it? Are David's always-evident neuroses more worthy of worry than the despondency that Benji shuttles behind his carefree facade, and is it okay for either to feel the way they do, with their comfortable lives otherwise, in the shadow of such horrors such as the Holocaust? As a filmmaker, Eisenberg keeps interrogating what he knows: A Real Pain's main train of thought, which was When You Finish Saving the World's as well, is one that he ponders himself. Although he's not penning and helming strictly autobiographical movies, his latest does crib some details from reality, swapping out an IRL aunt for a fictional grandmother, as well as a trip that Eisenberg took with his wife for a cousins' act of tribute. It's no wonder, then, that he keeps crafting deeply felt features that resound with raw emotion, and that leave viewers feeling like they could walk right into them. With A Real Pain, he also turns in a stellar performance of his own and directs another from Culkin, who steps into Benji's shoes like he wears them himself everyday (and takes on a part that his director originally had earmarked for himself). Thrumming at the heart of the dramedy, and in its two main players, is a notion that demands facing head-on, too: that experiencing our own pain, whether big or small, world-shattering or seemingly trivial, or personal or existential, is never a minor matter. Oscars: Won: Best Performance by an Actor in a Supporting Role (Kieran Culkin) Other nominations: Best Original Screenplay Where to watch: in Australian cinemas, and via Disney+, Apple TV and Prime Video. Read our full review and our interview with Jesse Eisenberg. The Brutalist Since switching from acting to writing and directing — in his on-screen days, Thirteen, Mysterious Skin, Funny Games, Martha Marcy May Marlene, Melancholia, Force Majeure, Clouds of Sils Maria, Eden and While We're Young were among his credits, spanning works by quite the array of excellent fellow filmmakers — Brady Corbet hasn't lacked in ambition for a second. Still, as excellent as both Childhood of a Leader and Vox Lux are, and they are, his third feature towers above them. With Adrien Brody (Winning Time: The Rise of the Lakers Dynasty) as Hungarian Jewish architect László Toth, The Brutalist is as epic as a three-and-a-half-hour drama about trying to escape life's horrors, including those of the Holocaust, by chasing the American dream can be. The buildings designed by its protagonist aren't the only things that are monumental here, career-best turns by Guy Pearce (Inside) and Felicity Jones (Dead Shot) among them. The Brutalist is a vision, too, with Corbet's ambition apparent in ever millimetre of every frame. (Shooting in VistaVision, a format used for Alfred Hitchcock's North by Northwest and Vertigo, but last deployed in the US for an entire movie with 1961's One-Eyed Jacks: yes, that's bold as well). Crossing the world is meant to bring the Toth family a new beginning. Waiting for his wife Erzsébet (Jones) to follow, and their young niece (Raffey Cassidy, a Vox Lux alum) with her, László arrives in New York and then Philadelphia solo, however — and etching out a fresh start with help from his cousin Attila (Alessandro Nivola, The Room Next Door) doesn't pan out the way he hopes. Neither does scoring a job revamping the personal library of the wealthy Harrison Lee Van Buren (Pearce), even when it seems to, then doesn't, then sparks the opportunity of László's dreams. Given everything that its protagonist needs to wade through, as does Corbet thematically, it's no wonder that The Brutalist clocks in at three-and-a-half hours with its intermission. Not a moment is wasted, that mid-movie pause included. As it muses on what it means to leave a legacy, this is a film to sit with. It's filled with performances that demand the same. Brody, Pearce, Jones: what a haunting trio. Oscars: Won: Best Actor (Adrien Brody), Best Cinematography, Best Original Score, Other nominations: Best Picture, Best Director (Brady Corbet), Best Supporting Actor (Guy Pearce), Best Supporting Actress (Felicity Jones), Best Original Screenplay, Best Film Editing, Best Production Design Where to watch: In Australian cinemas. Read our interview with Adrien Brody, Guy Pearce, Felicity Jones and Brady Corbet. Conclave Who knew that papal succession would become a film and TV trend? Fights for supremacy have driven three of the biggest television shows of the past 15 years, of course — Game of Thrones, Succession and Shogun — so repeatedly bringing the battle for the head Catholic Church job to the screen shouldn't come as a surprise. The Young Pope, The New Pope, The Two Popes, Conclave: they've all headed to the Vatican. The latter is quite the entertaining thriller, too. The idea behind this page-to-screen delight, as based on the 2016 novel by Robert Harris: cardinals, they're just like everyone else seeking power, aka bickering, gossiping, scheming, feuding and trying to find their way to the top by any means possible. Here, when the pope passes, Canadian cardinal Joseph Tremblay (John Lithgow, The Old Man), American cardinal Aldo Bellini (Stanley Tucci, Citadel), Nigerian cardinal Joshua Adeyemi (Lucian Msamati, A Gentleman in Moscow) and Mexican cardinal Vincent Benitez (feature first-timer Carlos Diehz) are among the contenders vying to step into their religion's ultimate position — all with differing views on social issues, ranging from liberal to conservative leanings. Voting for a new pope is a ceremony that lends itself to theatricality on-screen, which Conclave eagerly captures. The manoeuvring guiding the College of Cardinals' various rounds of choices is the movie's focus; trying to win support is an election campaign, and a heated one. At the heart of the drama is Britain's cardinal Thomas Lawrence (Ralph Fiennes, The Return), Dean of the College, and also responsible for ascertaining the complete circumstances surrounding the last pope's death. Aided by a stellar cast that's answering viewers' prayers (also outstanding: Spaceman's Isabella Rossellini as Head Caterer Sister Agnes), filmmaker Edward Berger swaps World War I's horrors in fellow Oscar-winner All Quiet on the Western Front for a pulpy and twisty but smart affair. He hasn't completely switched thematically, though: how tradition and modernity butt against each other also remains in the director's view amid Conclave's many secrets and scandals. Oscars: Won: Best Adapted Screenplay Other nominations: Best Picture, Best Actor (Ralph Fiennes), Best Supporting Actress (Isabella Rossellini), Best Costume Design, Best Film Editing, Best Original Score, Best Production Design Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Dune: Part Two Revenge is a dish best served sandy in Dune: Part Two. On the desert planet of Arrakis, where golden hills as far as the eye can see are shaped from the most-coveted and -psychedelic substance in author Frank Herbert's estimation, there's no other way. Vengeance is just one course on Paul Atreides' (Timothée Chalamet, Wonka) menu, however. Pop culture's supreme spice boy, heir to the stewardship of his adopted realm, has a prophecy to fulfil whether he likes it or not; propaganda to navigate, especially about him being the messiah; and an Indigenous population, the Fremen, to prove himself to. So mines Denis Villeneuve's soaring sequel to 2021's Dune, which continues exploring the costs and consequences of relentless quests for power — plus the justifications, compromises, tragedies and narratives that are inescapable in such pursuits. The filmmaker crafts his fourth contemplative and breathtaking sci-fi movie in a row, then, after Arrival and Blade Runner 2049 as well. The vast arid expanse that constantly pervades the frames in Dune: Part Two isn't solely a stunning sight. It looks spectacular, as the entire feature does, with Australian cinematographer Greig Fraser (The Creator) back after winning an Oscar for the first Dune; but as Paul, his widowed mother Lady Jessica (Rebecca Ferguson, Silo), and Fremen Stilgar (Javier Bardem, The Little Mermaid) and Chani (Zendaya, Euphoria) traverse it, it helps carve in some of this page-to-screen saga's fundamental ideas. So does the stark monochrome when the film jumps to Giedi Prime, home world to House Harkonnen, House Atreides' enemy, plus Arrakis' ruler both before and after Paul's dad Duke Leto (Oscar Isaac, Spider-Man: Across the Spider-Verse) got the gig in Villeneuve's initial Dune. People here are dwarfed not only by their mammoth surroundings, but by the bigger, broader, non-stop push for supremacy. While there's no shortage of detail in both Part One and Part Two — emotional, thematic and visual alike — there's also no avoiding that battling against being mere pawns in an intergalactic game of chess is another of its characters' complicated fights. Oscars: Won: Best Sound, Best Visual Effects Other nominations: Best Picture, Best, Cinematography, Best Production Design, Where to watch: Via Netflix, Binge, Apple TV and Prime Video. Read our full review and our interview with Greig Fraser. Emilia Pérez As it follows its namesake character's (Karla Sofía Gascón, Harina) identity-swapping journey from cartel leader to trying to live her authentic life, Emilia Pérez isn't just a musical and a crime drama rolled into one. It's also happily and devotedly a melodrama — and French filmmaker Jacques Audiard (Paris, 13th District) goes bold in leaning in, and in embracing the juxtapositions of the movie's three main genres as they jostle against each other. That audacity; that willingness to be both spectacular and messy again and again; the feature's three key performances, including from Zoe Saldaña (Special Ops: Lioness) and Selena Gomez (Only Murders in the Building): they all assist in making this vivid viewing. Also pivotal: the clear cues that A Prophet and Rust and Bone writer and helmer Audiard has taken from the work of Spanish great Pedro Almodóvar. The Room Next Door, the latter's latest, was completely overlooked by this year's Oscars, but it's easy to connect the dots between Almodóvar's immense filmography over four decades now and the look, feel and themes of Emilia Pérez. In Mexico City, defence attorney Rita Mora Castro (Saldaña) begins the film languishing in her job and its grey areas. She wins a high-profile case, but knows that she shouldn't have. Then comes a proposition delivered via an unexpected phone call, plus a secret meeting that she's whisked off to blindfolded: a job to assist a drug kingpin with transitioning from Juan 'Manitas' Del Monte to Emilia Pérez. Making that mission happen isn't simple. Everyone connected to Manitas' old life, wife (Gomez), children and colleagues alike: none of them can know. As it unfurls its story largely through exuberantly staged songs, the film is still really just kicking off when it then hops forward in time, diving into what comes next when Emilia is living her new life and Rita has been well-compensated for her efforts — and, in the process, exploring the consequences of getting what you want, or seeming to. The entire female cast won Cannes Best Actress prize but, after years spent on-screen tinted green (in the Guardians of the Galaxy films) and blue (in the Avatar flicks) in big-budget fare, this is Saldaña's moment to shine. Oscars: Won: Best Supporting Actress (Zoe Saldaña), Best Original Song — 'El Mal' by Clément Ducol, Camille and Jacques Audiard Other nominations: Best Picture, Best Director (Jacques Audiard), Best Actress (Karla Sofía Gascón), Best International Feature Film, Best Adapted Screenplay, Best Cinematography, Best Film Editing, Best Makeup and Hairstyling, Best Original Score, Best Sound, Best Original Song — 'Mi Camino' by Camille and Clément Ducol Where to watch: In Australian cinemas. I'm Still Here It came as no surprise when Fernanda Torres (Fim) won a Golden Globe for her portrayal of Eunice Paiva in Walter Salles' (On the Road) deeply moving political and personal drama. Her understated yet also expressive performance as the real-life wife of Rubens Paiva (Selton Mello, Bury Your Dead), who was taken away by Brazil's military dictatorship in 1971 and never seen again, is that powerful. I'm Still Here poignantly charts the task of endeavouring to endure under such heartbreaking circumstances — under oppressive rule, when your existence crumbles, when your family is fraying courtesy of the trauma and when fighting back is the only choice, too. The film sees the early happy times for the Paivas, even as uncertainty lingers. It watches their lives by the beach, where Eunice, Rubens and their five children fill busy days. It then looks on as the military raids their home, as more than one Paiva is imprisoned and interrogated, and as the husband and father who was previously a congressman doesn't return. Also, it stares solidly as the quest for answers and justice never fades among Rubens' loved ones. Conveying the pain, the fortitude, the grief and the despair of someone in Eunice's situation might seem easy, not that relaying those emotions ever is; who wouldn't feel that way in these circumstances, or understand how someone would? It isn't a straightforward ask, though, giving a part the complexity that every role should demand when much about a character's inner life appears obvious — because the job is to dig far deeper than that, and to unpack what that natural reaction means for this person and this person only. Torres perfects the task. As a director, working with a screenplay that Murilo Hauser and Heitor Lorega (also collaborators on Mariner of the Mountains) based on Eunice and Rubens' son Marcelo's memoir, Salles is in superb form as well. Teaming up with the filmmaker keeps turning out exceptionally for Torres and her IRL family, with her mother Fernanda Montenegro also Oscar-nominated for Salles' Central Station back in 1999, long before featuring here as the elder Eunice. Oscars: Won: Best International Feature Film Other nominations: Picture, Best Actress (Fernanda Torres) Where to watch: In Australian cinemas. No Other Land In No Other Land, Basel Adra films what he knows but wishes that he doesn't — and what he knows that the world needs to see. Co-directing with Israeli investigative journalist Yuval Abraham, plus farmer and photographer Hamdan Ballal and cinematographer Rachel Szor, the Palestinian activist chronicles the takeover of the West Bank region of Masafer Yatta, purportedly for an Israeli military base. As a result of the latter, families with generations and centuries of ties to the land are forced to dwell in caves, battle soldiers and fight to survive. Their possessions, their homes, their lives: none seem to mean anything to those displacing the area's villagers. The suffering, the deaths, the grief, the children growing up knowing nothing but a literally underground existence: that doesn't resonate with the occupation, either, or with the trigger-happy soldiers patrolling in its name. Also falling on deaf ears: the please that gives this documentary its title, from a woman understandably asking where else these communities are meant to go. The apathy and worse that's directed towards Adra's family and other Palestinians in No Other Land, as captured in footage spanning from 2019–2023, could never be shared by this film's audience. As is plain to see by everyone watching, making this doco is an act of bravery of the highest order. It's also a downright daring feat — not only to record its contents in the most difficult of circumstances, at a potentially fatal cost, but with two Palestinians and two Israelis coming together to make the movie happen. Viewing No Other Land, and bearing witness as Adra demands, couldn't be more essential. It's as distressing as cinema gets, too, especially as the campaign of destruction against Masafer Yatta's residents just keeps repeating within its frames. While the urgency of Adra, Abraham, Ballal and Szor's film is inherent, thrumming from start to finish, so too is the thought and care that's gone into its construction. As with 2024 Oscar-winner 20 Days in Mariupol , this is truly unforgettable cinema. Oscars: Won: Best Documentary Feature Other nominations: NA Where to watch: Via DocPlay. ano The Substance If you suddenly looked like society's ideal, how would it change your life? The Substance asks this. In a completely different way, so does fellow Golden Globe-winner A Different Man (see: below), too — but when Revenge's Coralie Fargeat is leading the charge on her long-awaited sophomore feature and earning Cannes' Best Screenplay Award for her troubles, the result is a new body-horror masterpiece. Pump it up: the sci-fi concept; the stunning command of sound, vision and tone; the savagery and smarts; the gonzo willingness to keep pushing and parodying; the gore (and there's gore); and the career-reviving performance from Demi Moore (Landman). The Substance's star has popped up in Feud, The Unbearable Weight of Massive Talent, Please Baby Please and Brave New World in recent years, but her work as Elisabeth Sparkle not only defines this period of her life as an actor; even with an on-screen resume dating back to 1981, and with the 80s- and 90s-era likes of St Elmo's Fire, Ghost, A Few Good Men, Indecent Proposal and Disclosure to her name, she'll always be known for this from this point onwards, regardless of whether awards keep rolling in. Turning 50 isn't cause for celebration for Elisabeth. She's already seen film roles pass her by over the years; on her birthday, she's now pushed out of her long-running gig hosting an aerobics show. Enter a solution, as well as another 'what if?' question: if you could reclaim your youth by injecting yourself with a mysterious liquid, would you? Here, The Substance's protagonist takes the curious serum. Enter Sue (Margaret Qualley, Drive-Away Dolls), who helps Elisabeth wind back time — and soon wants Elisabeth's time as her own. Just like someone seeking the glory days that she thinks are behind her via any means possible, Fargeat isn't being subtle with The Substance, not for a second. She goes big and brutal instead, and audacious and morbid as well, and this is the unforgettable picture it is because of it. No one holds back — not Elisabeth, not Sue, not Moore, not the also-fantastic Qualley, not Dennis Quaid (Lawman: Bass Reeves) eating shrimp, not Fargeat, and definitely not cinematographer Benjamin Kracun (Promising Young Woman) or composer Raffertie (99). Oscars: Won: Best Makeup and Hairstyling Other nominations: Best Picture, Best Director (Coralie Fargeat), Best Actress (Demi Moore), Best Original Screenplay, Where to watch: Via Stan, Apple TV and Prime Video. Read our full review. Wicked The colour scheme was always a given. "Pink goes good with green," Galinda (Ariana Grande, Don't Look Up) tells Elphaba (Cynthia Erivo, Luther: The Fallen Sun). "It goes well with green," the grammar-correcting reply bounces back. The songs, beloved echoing from the stage since 2003, were never in doubt, either, as both centrepieces and a soundtrack. As a theatre-kid obsession for decades, it was also long likely that the big-screen adaptation of Wicked — a movie based on an immensely popular and successful musical springing from a book that offered a prequel to a film that walked the celluloid road 85 years ago, itself jumping from the page to the screen — would have big theatre-kid energy as it attempted to ensure that its magic enchants across mediums. Enough such buzz and verve to fill every theatre on Broadway radiates from Grande alone in the two-part franchise's first instalment, beaming from someone who, as a kid, won an auction to meet the OG Wicked good witch Kristin Chenoweth (Our Little Secret) backstage. For audiences watching on, that enthusiasm is impossible not to feel. No one would ever want a muted Wicked, where the hues, in yellow bricks and emerald cities and more (rainbows of tulips and sprawling university campuses, too) weren't trying to compete with Technicolor — and where the tunes, with Chenoweth and Idina Menzel's (You Are So Not Invited to My Bat Mitzvah) voices previously behind them in such full force, weren't belted to the rafters. Jon M Chu has a knack as a filmmaker of stage hits reaching cinemas: matching the vibe of the show that he's taking on expertly. It was true of his version of In the Heights, which is no small matter given that it's a Lin-Manuel Miranda musical. It now proves the case in its own different way with Wicked. Achieving such a feat isn't always a given; sometimes, even when it does happen, and blatantly, any stage spark can be lost in translation (see: Cats). Again, movie viewers can feel that synergy with Wicked's first part, and also feel how much it means to everyone involved. Oscars: Won: Best Costume Design, Best Production Design Other nominations: Best Picture, Best Actress (Cynthia Erivo), Best Supporting Actress (Ariana Grande), Best Film Editing, Best Makeup and Hairstyling, Best Original Score, Best Sound, Best Visual Effects Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our full review and our interview with Nathan Crowley. Looking for more Oscar-nominees to watch? You can also check out our full rundown of where almost all of this year's contenders are screening or streaming in Australia.
Those hobbits will go on. In JRR Tolkien's pages, they went on perilous Middle-earth adventures. On screens big and small for decades so far (and into the future, with more TV episodes and movies on the way), they've trekked, ate second breakfasts and attempted to project precious jewellery. Onstage in Australia in 2025, they'll also be marking an eleventy-first birthday, receiving a gold ring, taking a quest to Mordor and attempting to fight evil, all in The Lord of the Rings — A Musical Tale. Dating back to 2006, just after the original live-action movie trilogy, this stage musical was revived in the UK in 2023, opened in the US in July 2024 and will hit New Zealand this November. After that, it'll then take the hobbits to Australia from January 2025. First stop: Sydney's State Theatre. The Market Street venue will host the only Aussie season announced so far, kicking off on Tuesday, January 7, with how long it'll be playing yet to be revealed. Lord of the Rings fans elsewhere across the country, take note, too: you might need to go there and back again to discover what happens when Middle-earth gets melodic. Your guides for the show are the hobbits, of course, as Frodo and company celebrate Bilbo Baggins, then depart The Shire upon a life-changing journey. Thanks to Tolkien, what occurs from there has enthralled audiences for 70 years now, with The Fellowship of the Ring and The Two Towers initially hitting bookshelves in 1954. There's been no shortage of ways to indulge your Lord of the Rings love since Peter Jackson's features — including his Hobbit trilogy — helped fan the flames of pop culture's affection for Frodo, Samwise, Pippin, Merry and the franchise's many non-underground-dwelling characters. Cinema marathons, visiting the Hobbiton movie set, staying there overnight, hitting up pop-up hobbit houses, sipping hobbit-themed beer: they've all been on the agenda. Only The Lord of the Rings — A Musical Tale is combining all things LoTR with tunes and dancing, however, in a show that sports a book and lyrics by from Shaun McKenna (Maddie, La Cava) and Matthew Warchus (Matilda the Musical, Groundhog Day the Musical), plus original music by Slumdog Millionaire Oscar-winner AR Rahman, folk band Värttinä from Finland and Matilda the Musical alum Christopher Nightingale. The Lord of the Rings — A Musical Tale will make its Australian premiere at the State Theatre, 49 Market Street, Sydney, from Tuesday, January 7, 2025. Head to the production's website for further details and to sign up for the ticket waitlist. Images: Liz Lauren.
In 2020, despite the pandemic being in full swing, Shannon and Claire Kellam's French hospitality sphere expanded a little further. Mica, a patisserie, boulangerie and bistro was designed to complement its fine-dining counterpart, Montrachet, and expand on the vision for King Street Bakery. Bringing new, carb-loaded life to the promenade of Breakfast Creek Lifestyle Centre, the waterside venue has deck chairs lining the breezy outdoor area where locals can sit and enjoy their decadent purchases. Carefully crafted croissants, cakes and sandwiches fill up the cabinet with freshly baked sourdough and baguettes available to take away. Mica Brasserie's close proximity to the Hamilton and Newstead river walks makes Mica a perfect post-walk, -run or -ride visit. However, if you're after something a bit more special, you'll be feeling just as at home in your best linen as you would in your lycra. While the pastries are the most coveted things on the menu at the moment, breakfast and lunch are also served a la carte in the bright alfresco deck and light-filled dining room inside. French fine dining influences make breakfast and lunch here feel extra special and well worth a dine-in with dishes like the croque monsieur with béchamel, smoked ham, dijon and grilled gruyere — best enjoyed with a crisp glass of white if you ask us.
After a year full of lockdowns and restrictions, travelling around Australia is finally possible again. Now, the bumper-to-bumper summer season of the country's top galleries is within reach to out-of-town art lovers too. We've pulled together a taster of major exhibitions that span both new and recognisable art and will encourage reflection on this crazy year. Each state is offering something unique, from an expansive all-women artist exhibition in Canberra to shows revealing the diversity of contemporary Aboriginal and Torres Strait Islander art from across the country. Join us in celebrating culture and open borders with an Australian summer full of art, performance, community talks and tours.
Parts of a Lady, Gronk, Day Planner and Ali G Goes to Chicago aren't going to win any shiny trophies this year, because none of them exist. But, after getting a shoutout in Amy Poehler and Tina Fey's very amusing opening monologue at the 2021 Golden Globes, you'll wish these fictional flicks were either showing at a cinema near you or streaming on your platform of choice. They might be an improvement on some of the movies and TV shows that were nominated this year, after all. Poehler and Fey noted that "a lot of flashy garbage" was vying for a gong and, well, they're not wrong. It's always best to remember two things whenever entertainment awards roll around. Firstly, great movies and television shows, and the talents behind them, always remain that way whether they have the silverware to go with it or not. Secondly, finally valuing the exceptional work of women and people of colour in the entertainment industry after so long spent focusing on white men will always remain important. And, while the Golden Globes ceremony this year looked a little different to usual — it was held across both Los Angeles and New York, with Poehler and Fey split across the two cities; nominees called in via video from home in all their finery, rather than attending in person; and winners didn't physically put their hands on a statuette — it did give a heap of recognition to some very deserving folks. Seeing three women contending for Best Director, with Chloe Zhao emerging victorious for Nomadland, really was something special. So was the fact that the first two gongs of the night went to Daniel Kaluuya and John Boyega, two of the best actors working today. Chadwick Boseman's posthumous award was always going to be an emotional moment and, winning special accolades, both Norman Lear and Jane Fonda made moving speeches about their careers and the current state of the industry. Plenty of top-notch talents missed out as well, though, because that's the way these congratulatory proceedings always go — but from everything that emerged victorious, we've picked 12 films and TV shows for you to feast your eyes on as soon as possible. MOVIE MUST-SEES https://www.youtube.com/watch?v=DSFpK34lfv0&feature=youtu.be NOMADLAND Frances McDormand is a gift of an actor. Point a camera her way, and a performance so rich that it feels not just believable but tangible floats across the screen. That's the case in Nomadland, which will earn her another Oscar nomination and could even see her win a third shiny statuette just three years after she nabbed her last for Three Billboards Outside Ebbing, Missouri. Here, leading a cast that also includes real people experiencing the existence that's fictionalised within the narrative, she plays the widowed, van-dwelling Fern — a woman who takes to the road, and to the nomad life, after the small middle-America spot she spent her married life in turns into a ghost town when the local mine is shuttered due to the global financial crisis. Following her travels over the course of more than a year, this humanist drama serves up an observational portrait of those that society happily overlooks. It's both deeply intimate and almost disarmingly empathetic in the process, as every movie made by Chloe Zhao is. This is only the writer/director's third, slotting in after 2015's Songs My Brothers Taught Me and 2017's The Rider but before 2021's Marvel flick Eternals, but it's a feature of contemplative and authentic insights into the concepts of home, identity and community. Meticulously crafted, shot and performed, it's also Zhao's best work yet, and the best film of 2020 as well. GLOBES Won: Best Motion Picture — Drama, Best Director — Motion Picture (Chloe Zhao) Nominated: Best Performance by an Actress in a Motion Picture — Drama (Frances McDormand), Best Screenplay — Motion Picture (Chloe Zhao) Nomadland returns to cinemas from March 4, after a sneak preview season in late December and early January. Read our full review. https://www.youtube.com/watch?v=NbE96sCJEjo MINARI Remember the name Lee Isaac Chung. Minari isn't the writer/director's first feature — with 2007's Munyurangabo, 2010's Lucky Life and 2012's Abigail Harm already on his resume — but it's the kind of intimate, heartfelt and resonant movie that cements its filmmaker as a top cinematic talent to watch. Remember the name Alan S Kim, too. The child actor makes his film debut here, but he steals every scene he's in. Considering that he's acting opposite Steven Yeun (Burning), who turns in his latest excellent performance and will hopefully nab an Oscar nomination for his efforts, that's no minor feat. Remembering Minari in general is a given, actually. It's so detailed, vivid and honest, and yet also so universal at the same time. Based on Chung's own upbringing, this tender drama follows the Yi family (which also includes My Unfamiliar Family's Yeri Han and first-timer Noel Cho) as they move to Arkansas to start their own farm. It's a movie about chasing the American Dream, but don't go thinking that you've seen this tale before, or seen any similar story told with such feeling either. The film's overall story can be summarised neatly, but Minari's many deep and thoughtful charms and triumphs aren't ever simplistic. Indeed, as features influenced by personal real-life tales can be at their best, this is a gorgeously and thoughtfully detailed picture, with Chung realising that trading in specific minutiae is far more compelling and relatable than opting for sweeping generalisations. GLOBES Won: Best Motion Picture — Foreign Language Minari is currently screening in cinemas. Read our full review. https://www.youtube.com/watch?v=sSjtGqRXQ9Y JUDAS AND THE BLACK MESSIAH The last time that Daniel Kaluuya and LaKeith Stanfield appeared in the same film, Get Out was the end result. Their shared scene in Jordan Peele's Oscar-winning horror movie isn't easily forgotten — if you've seen the feature, it will have instantly popped into your head while you're reading this — and neither is Judas and the Black Messiah, their next collaboration. With Kaluuya starring as the Black Panther Party's Illinois Chairman Fred Hampton and Stanfield playing William O'Neal, the man who infiltrated his inner circle as an informer for the FBI, the pair is still tackling race relations. Here, though, the duo does so in a ferocious historical drama set in the late 60s. The fact that O'Neal betrays Hampton definitely isn't a spoiler here; it's a matter of fact, and the lens through which writer/director Shaka King (Newlyweeds) and his co-scribes Kenneth Lucas, Keith Lucas (actors on Lady Dynamite) and Will Berson (Scrubs) view the last period of Hampton's life. Anchored by two fierce performances that stand out in their own ways — with Kaluuya commanding the screen during every single one of his real-life character's speeches, and Stanfield playing conflicted with a raw, nervy air — Judas and the Black Messiah does what only the best movies that look back at the past and its many problems manage. It roves its eyes over events gone by, shines a spotlight the rampant oppression and the struggle against it, and condenses a wealth of information into a gripping feature. GLOBES Won: Best Performance by an Actor in a Supporting Role in a Motion Picture (Daniel Kaluuya) Nominated: Best Original Song — Motion Picture (Tiara Thomas, HER and D'Mile, 'Fight for You') Judas and the Black Messiah opens in cinemas on March 11 — check back for our full review then. https://www.youtube.com/watch?v=ord7gP151vk MA RAINEY'S BLACK BOTTOM Chadwick Boseman, Oscar-winner. That combination of words is very likely to become a posthumous reality for the late, great actor, thanks to his last screen role. Boseman is just that phenomenal in Ma Rainey's Black Bottom. He has earned that term before in Get on Up, Black Panther and Da 5 Bloods, but his performance in this stage-to-screen production is such a powerhouse effort that it's like watching a cascading waterfall drown out almost everything around it. He plays trumpeter Levee Green, who is part of the eponymous Ma Rainey's (Viola Davis, Widows) band. On a 1920s day, the always-nattering, big-dreaming musician joins Ma — who isn't just a fictional character, and was known as the Mother of Blues — and the rest of his colleagues for a recording session. Temperatures and tempers rise in tandem in the Chicago studio, with Levee and Ma rarely seeing eye to eye on any topic. Davis is in thundering, hot-blooded form, while Colman Domingo (If Beale Street Could Talk) and Glynn Turman (Fargo) also leave a firm impression. It's impossible take your eyes off of the slinkily magnetic Boseman though, as would prove the case even if he was still alive to see the film's release. Adapting the play of the same name by August Wilson (Fences), director George C Wolfe (The Immortal Life of Henrietta Lacks) lets Boseman farewell the screen with one helluva bang. GLOBES Won: Best Performance by an Actor in a Motion Picture — Drama (Chadwick Boseman) Nominated: Best Performance by an Actress in a Motion Picture — Drama (Viola Davis) Ma Rainey's Black Bottom is available to stream via Netflix. https://www.youtube.com/watch?v=Gs--6c7Hn_A SOUL Released early in 2020, Onward definitely wasn't Pixar's best film — but Soul, its straight-to-streaming latest movie that capped off the past year, instantly contends for the title. The beloved animation studio has always excelled when it takes big leaps. Especially now, a quarter-century into its filmmaking tenure, its features prove particularly enchanting when they're filled with surprises (viewers have become accustomed to seeing toys, fish, rats and robots have feelings, after all). On paper, Soul initially seems similar to Inside Out, but switching in souls for emotions. It swaps in voice work by Tina Fey for Amy Poehler, too, and both movies are helmed by director Peter Docter, so there's more than one reason for the comparison. But to the delight of viewers of all ages, Soul is a smart, tender and contemplative piece of stunning filmmaking all on its own terms. It's Pixar at its most existential, and with a strikingly percussive score by Trent Reznor and Atticus Ross to further help it stand out. At its centre sits aspiring jazz musician-turned-music teacher Joe (Jamie Foxx, Just Mercy). Just as he's about to get his big break, he falls down a manhole, his soul leaves his body, and he's desperate to get back to chase his dreams. Alas, that's not how things work, and he's saddled with mentoring apathetic and cynical soul 22 (the always hilarious Fey) in his quest to reclaim his life. GLOBES Won: Best Motion Picture — Animated, Best Original Score — Motion Picture (Trent Reznor, Atticus Ross and Jon Batiste) Soul is available to stream via Disney+. https://www.youtube.com/watch?v=4lkCCo63nhM I CARE A LOT Last month, we said that Rosamund Pike may not end up with many shiny statuettes for her efforts in I Care a Lot. We also said that her Golden Globe nomination was thoroughly well-deserved. The Radioactive and Gone Girl star is stellar in a tricky part in a thorny film — because this dark comic-thriller isn't here to play nice. Pike plays Marla Grayson, a legal guardian to as many elderly Americans as she can convince the courts to send her way. She's more interested in the cash that comes with the job, however, rather than actually looking after her charges. Indeed, with her girlfriend and business partner Fran (Eiza González, Bloodshot), plus an unscrupulous doctor on her payroll, she specifically targets wealthy senior citizens with no family, gets them committed to her care, packs them off to retirement facilities and plunders their bank accounts. Then one such ploy catches the attention of gangster Roman Lunyov (Peter Dinklage, Game of Thrones), who dispatches his minions to nudge Marla in a different direction. She isn't willing to acquiesce, though, sparking both a game of cat and mouse and a showdown. Dinklage makes the most of his role, too, but I Care a Lot is always the icy Pike's movie. Well, hers and writer/director J Blakeson's (The Disappearance of Alice Creed), with the latter crafting a takedown of capitalism that's savagely blunt but also viciously entertaining. GLOBES Won: Best Performance by an Actress in a Motion Picture — Musical or Comedy (Rosamund Pike) I Care a Lot is available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=0Rsa4U8mqkw BORAT SUBSEQUENT MOVIEFILM Of all the twists and turns that 2020 delivered, the arrival of a new Borat movie ranked among the most unexpected. Watching Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan, however, it's obvious why the famed fictional Kazakh journalist made a comeback at that very moment — that is, just before the US election. Once again, Borat travels to America. Once again, he traverses the country, interviewing everyday people and exposing the abhorrent views that have become engrained in US society. Where its 2006 predecessor had everyone laughing along with it, though, there's also an uneasy and even angry undercurrent to Borat Subsequent Moviefilm that's reflective of these especially polarised times. It's worth noting that Sacha Baron Cohen's last project, 2018 TV series Who Is America?, also used the comedian's usual interview technique to paint a picture of the US today, and the results were as astute as they were horrifying. There are plenty of jokes in Borat Subsequent Moviefilm, which bases its narrative around Borat's attempt to gift his 15-year-old daughter (instant scene-stealer Maria Bakalova) to Vice President Mike Pence and then ex-New York mayor Rudy Giuliani to help get Kazakhstan's own leader into President Donald Trump's good graces, but this is the unflinching work of a star passionate about making a statement. GLOBES Won: Best Motion Picture — Musical or Comedy, Best Performance by an Actor in a Motion Picture — Musical or Comedy (Sacha Baron Cohen) Nominated: Best Performance by an Actress in a Motion Picture — Musical or Comedy (Maria Bakalova) Borat Subsequent Moviefilm is available to stream now via Amazon Prime Video. SMALL SCREEN BINGES https://www.youtube.com/watch?v=vcqItifbNUA SMALL AXE British filmmaker Steve McQueen hasn't directed a bad movie — and, even after dropping five new features as part of the Small Axe anthology, that hasn't changed. The director of Hunger, Shame, 12 Years a Slave and Widows gifts viewers a quintet of films that are as exceptional as anything he's ever made, with every entry in this new series taking place in England, in the 60s, 70s and 80s, with London's West Indian community at its centre. The first, Mangrove, tells an infuriating true tale about a police campaign to target a Caribbean restaurant in Notting Hill. From there, Lovers Rock spends time at a house party as two attendees dance into each other's orbits, and Red, White and Blue follows a young forensic scientist who decides to join the force to change from the inside. Next, Alex Wheatle explores the life of the award-winning writer of the same name, while Education unpacks unofficial moves to segregate children of colour in schools. There's no weak link here — only stunning, stirring, standout cinema that tells blistering tales about Black London residents doing everything it takes to resist their racist treatment. Every film is sumptuously shot, too, thanks to cinematographer Shabier Kirchner (Bull), and the cast spans everyone from Lost in Space's Shaun Parkes and Black Panther's Letitia Wright to Star Wars' John Boyega. GLOBES Won: Best Performance by an Actor in a Television Supporting Role (John Boyega) Nominated: Best Television Limited Series, Anthology Series or Motion Picture Made for Television All five Small Axe films are available to stream via Binge. It's streaming soon in NZ. Read our full review. https://www.youtube.com/watch?v=3u7EIiohs6U TED LASSO What do Parks and Recreation, Wellington Paranormal and Ted Lasso all have in common? They're all stellar examples of kind-hearted TV sitcoms that are an absolute delight to watch. By now, the first two aforementioned shows have already established a legion of fans, but the third series listed above — a 2020 newcomer — definitely belongs in the same company even just based on its ten episodes so far. Starring a gloriously optimistic Jason Sudeikis as the titular character, the comedy follows its main figure during a period of transition. A college-level American football coach, he's just been hired by struggling English Premier League team AFC Richmond, despite having zero knowledge of soccer. He's actually been recruited for the role by the club's new owner, Rebecca Welton (Hannah Waddingham, Game of Thrones), who received the organisation as part of her divorce settlement and is determined to tank it to spite her slimy ex (Buffy the Vampire Slayer's Anthony Stewart Head). For much of his career, Sudeikis has excelled at playing thorny, jerkish characters (see: the terrific Colossal) who initially seem likeable. And yet, he's pitch-perfect here, and Ted Lasso as a whole proves just as spot-on. Also featuring excellent work from Brett Goldstein (Doctor Who) and Juno Temple (Maleficent: Mistress of Evil) as an ageing player and a young hotshot's girlfriend, this is a smart, funny and warm gem. GLOBES Won: Best Performance by an Actor in a Television Series — Musical or Comedy (Jason Sudeikis) Nominated: Best Television Series — Musical or Comedy Ted Lasso is available to stream via Apple TV+. https://www.youtube.com/watch?v=W0uWS6CnC2o SCHITT'S CREEK The idea behind Schitt's Creek is immensely straightforward, and also incredibly obvious. If one of the obscenely wealthy families that monopolises all those trashy reality TV shows was suddenly forced to live without their money, like the rest of us, how would they cope? If you're thinking "not well", you're right. If you're certain that seeing the results would be amusing, you're on the money again. As envisaged by father-son duo — and the program's stars — Eugene and Daniel Levy, that's the scenario the Rose crew finds itself in, including moving to the titular town that it happens to own as a last resort. Yes, as the name gives away, they're in a sticky situation. The adjustment process isn't easy, but it is very, very funny, and remained that way for the show's entire six-season run before wrapping up in 2020. And, although plenty of other credits on her resume have made this plain (such as Best in Show, A Mighty Wind, Waiting for Guffman and For Your Consideration, all also with Eugene Levy), the great Catherine O'Hara is an absolute comedy powerhouse as the Rose family matriarch. She now has both an Emmy and a Golden Globe for her performance here, too. GLOBES Won: Best Television Series — Musical or Comedy, Best Performance by an Actress in a Television Series — Musical or Comedy (Catherine O'Hara) Nominated: Best Performance by an Actor in a Television Series — Musical or Comedy (Eugene Levy), Best Performance by an Actor in a Television Supporting Role (Dan Levy), Best Performance by an Actress in a Television Supporting Role (Annie Murphy) Schitt's Creek is available to stream via Netflix. https://www.youtube.com/watch?v=OiXEpminPms THE CROWN When we say that fans of The Crown had been particularly looking forward to the show's fourth season, that isn't meant as a criticism of anything that preceded it. No disrespect is directed towards the regal drama's previous episodes, or to the past cast that took on the program's main roles before an age-appropriate switch was made at the beginning of season three. But, now more than halfway through the program's planned six-season run, this latest chapter focuses on two big showdowns that changed the shape of the royal family in the 80s. Firstly, Queen Elizabeth II (Oscar-winner Olivia Colman) and British Prime Minister Margaret Thatcher (The X-Files icon Gillian Anderson) don't quite see eye to eye, to put it mildly. Also, with Prince Charles' (God's Own Country's Josh O'Connor) marriage to Lady Diana Spencer (Pennyworth's Emma Corrin) a big plot point, the latter clashes with the entire royal establishment. Among a cast that also includes Helena Bonham Carter (Enola Holmes) and Tobias Menzies (Outlander), Colman, Anderson, O'Connor and Corrin are all exceptional — and in a show that's always been buoyed by its performances, that's saying something. GLOBES Won: Best Television Series — Drama, Best Performance by an Actress in a Television Series — Drama (Emma Corrin), Best Performance by an Actor in a Television Series — Drama (Josh O'Connor), Best Performance by an Actress in a Television Supporting Role (Gillian Anderson) Nominated: Best Performance by an Actress in a Television Series — Drama (Olivia Colman), Best Performance by an Actress in a Television Supporting Role (Helena Bonham Carter) The Crown is available to stream via Netflix. https://www.youtube.com/watch?v=CDrieqwSdgI THE QUEEN'S GAMBIT In much of The Queen's Gambit, Beth Harmon sits at a chessboard. As a child (Isla Johnston), she demands that orphanage janitor Mr Shaibel (Bill Camp, The Outsider) teach her the game. As a teenager (Anya Taylor-Joy, Radioactive), she earns a reputation as a chess prodigy. As her confidence and fame grows, she demonstrates her prowess at tournaments around America and the globe, while also spending her spare time hunched over knights, rooks, bishops and pawns studying moves and tactics. None of the above sounds like innately thrilling television unless you're a chess grandmaster, but this seven-part miniseries proves that you should never judge a show by its brief description. Based on the novel of the same name by Walter Tevis, written and directed by Oscar-nominee Scott Frank (Out of Sight, Logan), and dripping with lavish 50s and 60s decor and costuming to reflect its period setting, The Queen's Gambit doesn't expect that all its viewers will be chess aficionados; however, it's made with a canny awareness that anything can be tense, suspenseful and involving — and that every different type of game there is says much about its players and devotees. The series doesn't lack in creative and inventive ways to depict chess on-screen. It knows when to hang on every single move of a pivotal game, and when to focus on the bigger story surrounding a particular match or Beth path through the chess world in general. And it's especially astute at illustrating how a pastime based on precision and strategy offers an orphaned girl a way to control one lone aspect of her tumultuous and constantly changing life. GLOBES Won: Best Television Limited Series, Anthology Series or Motion Picture Made for Television, Best Performance by an Actress in a Limited Series, Anthology Series or a Motion Picture Made for Television (Anya Taylor-Joy) The Queen's Gambit is available to stream via Netflix. Read our full review.
Usually, heading to Bondi Beach means keeping your kit on. Visitors can expect to see swimwear as far as the eye can see, but no stark-naked bodies. The morning of Saturday, November 26 wasn't a usual morning at the famous Sydney spot, however, with more than 2500 folks baring all — for art, and for an excellent cause. Back in October, acclaimed New York artist and photographer Spencer Tunick announced that he'd be staging another of his mass nude shoots in Australia, this time heading to a Harbour City beach. That destination: Bondi, which has welcomed everything from a Stranger Things rift to a WorldPride rainbow already this year, and now went naked ever so fleetingly. Kicking off before sunrise and snapping to capture the early-morning light, the art installation marked the first and only time that Bondi has become a nude beach. That said, getting starkers was only permitted for the shoot. Dubbed Strip Off for Skin Cancer, Tunick's latest work was timed to coincide with National Skin Cancer Action Week, which started on Monday, November 21 and runs till Sunday, November 27. More than making history, raising awareness about — and funds for — fighting the disease was the main aim. "Skin unites us and protects us. It's an honour to be a part of an art mission to raise awareness of the importance of skin checks. I use the amazing array of body types and skin tones to create my work, so it feels perfectly appropriate to take part in this effort in that my medium is the nude human form," said Tunick back in October, when the installation was announced. "It is only fitting that I use my platform to urge people to get regular check-ups to prevent skin cancer. I have not had a skin check in ten years, so I am one of the many who have wrongly ignored getting them regularly. One can say I am traveling all the way to Australia to get one!", Tunick continued at the time. For more than two decades, Tunick has been staging mass nude photographs in Australia. In fact, it's been 21 years since the country's first taste of the internationally famed talent's work, when 4500 naked volunteers posed for a snap near Federation Square in Melbourne as part of the 2001 Fringe Festival. Tunick then photographed around 5000 nude people in front of the Sydney Opera House during the 2010 Mardi Gras, headed back to Victoria in 2018 shoot over 800 Melburnians in the rooftop carpark of a Prahran Woolworths, and went to the Whitsundays with almost 100 Aussies in 2019. Elsewhere, he's photographed the public painted red and gold outside Munich's Bavarian State Opera, covered in veils in the Nevada desert and covered in blue in Hull in the UK. The list goes on. Wondering why Tunick amassed at least 2500 volunteers this time? That exact number of participants reflects the 2500-plus Aussies who pass away each year due to skin cancer. "With Australia recording the highest number of deadly skin cancers in the world every year, it made sense to host this monumental public awareness campaign in a city that has so many people at risk," said Scott Maggs, CEO and founder of Skin Check Champions. "Beach life is synonymous with Australian culture, but it's also where a lot of skin cancers can start... We need to send a clear message that skin cancer is real, and it can be stopped in its tracks if more people get their skin checked." Strip Off for Skin Cancer took place on Saturday, November 26 at Bondi Beach. Head to the installation's website for further information. Images: Drew Lambert.
Talk about going out on top: Sky Safari, a mainstay of Sydney's Taronga Zoo since 1987, is saying farewell. The sky-high cable car — the Harbour City's only cable car, in fact — has been a beloved part of a trip to the animal-filled tourist attraction for a huge 35 years. But, once February 2023 arrives, it's retiring in its current guise. That means that Sydney locals and visitors alike have until Tuesday, January 31 to go for a last spin, which includes views of the Sydney Harbour, peering down at Taronga's Asian elephants as they play and attempting to see squirrel monkeys. But, hopefully, this is just a goodbye-for-now situation, with an upgrade already planned — pending final approval. View this post on Instagram A post shared by Taronga Zoo (@tarongazoo) "The current Sky Safari is an ageing asset and has reached the end of its workable life with Taronga," explained the zoo's team announcing the news. "Plans are underway for an exciting new experience. While we are in early stages of planning, the revitalised Sky Safari will feature additional larger and accessible gondolas, extend along an expanded route, and provide greater access to the zoo for guests of all ages and abilities," the statement continues. [caption id="attachment_830238" align="alignnone" width="1920"] Destination NSW[/caption] Last upgraded in 2000, and even carrying the Olympic Torch for the Sydney Olympics that same year, the Sky Safari has carried more than 20 million passengers over its lifetime, helping ferry zoo-goers around the 28-hectare site. In its absence, there'll be extra buses in holiday and peak periods to move patrons to Taronga's top entrance. When 2025 hits, that's when the new Sky Safari is aiming to start operating, as part of a major investment by the New South Wales Government that'll also help future-proof it as much as possible — and Taronga itself. Announced back in April 2022, Sky Safari 2.0 is set to gain more gondolas than the 21 currently used, and larger and more accessible ones at that. At the moment, it can't accommodate guests in bigger wheelchairs, which is something that's set to be addressed The revamped Sky Safari will also head along an expanded route, complete with new terminals. That'll connect to fellow upgrades that are in the works at the Taronga Zoo Wharf — and, thanks to those extra gondolas, increase Sky Safari's daily capacity. And, Taronga visitors will also gain additional ways to view the venue's inhabitants from a lofty perch. At the time of writing, the makeover proposal is still in the planning stage, and accepting community feedback. Ideally, a development application will be lodged in 2023, with construction starting before the year is out. Taronga Zoo's Sky Safari will take its last ride in its current form on Tuesday, January 31, 2023. Head to the zoo's website for further details, and for bookings before the end of the month.
After what feels like decades of being stuck within the four-wall confines of our homes during lockdowns, domestic flights and holidays seem firmly back on the cards. So, it's no wonder we're all craving a little something extra to scratch the travel itch. When it comes to your next big vacay, consider adding Central Australia to the mix. This desert paradise has spectacular experiences on offer — things that are worlds away from your everyday life. We're talking red desert dance floors under sparkling stars, helicopter tours of Uluru and festivals that rival Burning Man. We've teamed up with Tourism Central Australia to showcase some of the more unexpected experiences the Red Centre has to offer. Want to plan your very own adventure to the Red Centre? Take a look at our handy trip builder to start building your custom itinerary now.
Cafe Disco is a tempting beacon of late mornings done right. The cheery yellow exterior of this 40-seater mingles with retro touches such as bottle-green finishings and striking red houndstooth booths. A cacophony of sizzle and spice wafts from the kitchen, mixing in with a vinyl soundtrack. The brunch menu is imbued with the flavours of owner Tasfeen Hassan's Bangladeshi heritage. Every item is inspired primarily by Hassan's memories of his grandma's cooking. Gloriously messy, the veggie brekkie roll comes with fiery kecap manis (Indonesian soy sauce) and a refreshing raita, while the chilli scramble is topped with a gremolata of Thai green chillies. The diner is vegetarian-friendly, but omnivores can indulge in the lamb meatball congee and some fresh kofta in house-baked pita. A revolving line-up of sweets includes pandan and coconut cream puffs — an ideal sidecar for Northgate's Passport Coffee brews. Cafe Disco only opens until 2pm, but the drinks are flowing. The short and sweet list of Aussie wines — plus four cocktails — makes the diner a top-shelf stop on an afternoon bar crawl in the West End.
A 275-square-metre hotel suite is bigger than the average new Australian home — and Australia builds larger-than-average new homes — let alone a standard apartment. Splash some cash to stay on the Gold Coast from 2026 onwards, and that massive space could be yours for a night or several. Its home: the Glitter Strip's just-announced new Ritz-Carlton hotel, which will join a $480-million waterfront development at Mariner's Cove in Main Beach. If that expansive — and clearly pricey — suite won't fit your budget, the swanky spot will feature 149 other rooms, plus a range of eating, drinking and hangout options. Expect to still treat yo'self cost-wise, however. A signature restaurant will serve bites to eat, as will a cafe, while there'll be three bars: a lobby lounge, a destination bar and a poolside bar. Speaking of swims, the Gold Coast's Ritz-Carlton will boast an outdoor rooftop pool, too, so just think of the views while you're taking a dip. Boasting the signature Ritz-Carlton Spa for pampering sessions, too, plus a 512-square-metre ballroom for functions and parties, the Mariner's Cove site will mark the hotel chain's third in Australian when it opens. At present, it operates in Perth, and will also open an outpost in Melbourne in 2023. Next stop from there: the Goldie. While the Sunshine State tourist spot doesn't lack in hotels near the ocean, the Ritz-Carlton's waterfront location is still set to be a huge drawcard — alongside the luxury the brand is known for. Given the spot, it'll also be in close vicinity to a heap of waterfront restaurants and bars, the Broadwater and beaches. "Once opened, the resort expects to set a new benchmark for luxury on Australia's Gold Coast with the property's enviable waterfront location," said Richard Crawford, Vice President of Hotel Development, Australia, New Zealand and Pacific at Marriott International, which owns the Ritz-Carlton. It's a booming time for big-name hotels either heading to or spreading through Australia, with The Langham launching on the Gold Coast earlier in 2022, Ace Hotels launching its first Down Under site this year and The Waldorf Astoria on its way to Sydney in 2025. You can never have too many staycation/vacation options, though. The Ritz-Carlton is set to open in 2026 in Mariner's Cove, 60–70 Seaworld Drive, Main Beach. We'll update you with an exact launch date when one is announced. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Since 2019, IKEA shoppers have been able to offload their no-longer-needed furniture and do the environment a solid, all thanks to the Swedish retailer's buy-back service. And, if you've been keen to add some pre-loved wares to your home in return, you've been able to purchase other folks' unwanted goods in-person at the chain's As-Is sections. Been spending too much of the last couple of years at home, browsing online for new pieces to deck out your digs — because we've all filled plenty of time in our houses, staring at our same-old couches and rugs, during the pandemic? Still keen to opt for secondhand furniture, rather than new? From Monday, July 11, IKEA has launched its new As-Is Online Australian marketplace, letting you buy its discontinued, ex-display and pre-loved items from home. The platform has been trialled in Queensland since April, and now reaches stores nationwide. And yes, it's still linked to individual IKEA outposts, because that's where you'll need to head to collect whichever secondhand pieces you decide to buy. Here's how it works: shoppers hit up the As-Is Online platform, then scroll their way through the list of discontinued items, used wares, ex-showroom displays and products returned via IKEA's buy-back service. Once you've found something you like at a reduced amount — between 20–75 percent off the original product price — you can reserve it with a few clicks. After that, you just need to head to your selected store to complete the purchase, including picking up your new-to-you items from the brand's As-Is area. That's located just before the checkouts, which probably does mean you'll still wander the length of IKEA anyway — but at least the things you've made the trip for already have your name on them. IKEA is promoting the service as a way to save cash — which is rather handy right now thanks to inflation — and also as part of its efforts to become climate positive by 2030. Back when the buy-back regime was implemented, it was initially inspired by IKEA's findings that Aussies threw away up to 13.5 million pieces of furniture that could have been recycled, reused or repaired. To check out IKEA's new As-Is Online marketplace from Monday, July 11, head to the chain's website.
Picture this: you're eating something delicious and your adorable doggo wants some, but it's just not good for them. Everyone who shares their life with a barking four-legged best friend has experienced this scenario — sadly, while cute pooches love the sight and smell of plenty of human treats, they just can't stomach some foodstuffs. Chocolate is a culprit, as everyone remembers come Easter. Thanks to its milk and sugar content, ice cream is another. If your pet pooch goes yapping mad over heaped ice cream cones, here's the good news: Gelatissimo is releasing a new limited-edition flavour that's both human and dog-friendly. We're not saying that you and your fluffball should share the same cone of the frosty dessert, but you definitely could. Made fresh in-store, the new scoop is called Pawesome Peanut Butter. As the name suggests, it's a peanut butter gelato — and to make it suitable for dogs, it's made from soy, so it's also vegan. Obviously, if you're a human or canine that's allergic to nuts or soy, this isn't for you. Puppers with a history of pancreatitis also need to steer clear. Those who can tuck into a tub will find it at Gelatissimo outlets around the country from Friday, May 3. And if you're in Sydney on Saturday, May 18, you can also to Cook & Philip Park between 9.30–11.30am. The gelato chain is hosting a dog brunch with vegan yum cha, vegan dog treats and Pawesome Peanut Butter gelato to finish, with tickets costing $60 (which includes food for one human and one dog). Pawesome Peanut Butter gelato is available at all 46 Australian Gelatissimo stores for a limited time from Friday, May 3. For more information and to find your nearest store, visit Gelatissimo's website.
Whether you love it or hate it, have flung cutlery at it or only first heard about it thanks to The Disaster Artist, The Room will always retain a unique spot in popular culture. Writer, director, producer, star and all-round enigma Tommy Wiseau might have other projects on his resume — including this year's Best F(r)iends: Volume One with The Room's Greg Sestero — but there's truly nothing like his debut movie. Telling the tale of a banker called Johnny (Wiseau), his fiancée Lisa (Juliette Danielle) and his best friend Mark (Sestero), the film refuses to adhere to any filmmaking rules, conventions or just general common sense, with random images of spoons, men playing football in tuxedos and unnecessary sex scenes all part of the package. And, for reasons only known to Wiseau, it's now available in 1080p high-definition — and for free — on YouTube thanks to the man himself. Wiseau has uploaded the movie to his own YouTube channel, and it's all there — the "oh hi, doggy" moment, the cancer subplot that's brought up out out the blue and dropped just as suddenly, and Wiseau screaming "you're tearing me apart, Lisa!" all included. That's your viewing sorted, well, forever — but don't go throwing spoons at your own screen. https://www.youtube.com/watch?v=-htzzL-JOUg&feature=youtu.be
One of Brisbane's, if not Australia's, most dynamic drinking, dining and shopping precincts, James Street, has welcomed a new family member, Aunty. Taking over the sprawling space at 11 Wandoo Street, which previously housed City Winery and Campos Coffee, the 400-square-metre space can accommodate up to 100 guests. Aunty is the next venture from Brisbane hospitality stalwart The Tassis Group, marking their 12th venue. "Aunty is elegant, but she's not precious. This is a venue that's polished and considered, but still warm. It's about confidence…knowing exactly who you are and doing it well," says Michael Tassis, founder of Tassis Group. The menu showcases modern Asian cuisine rooted in traditional techniques. The woodfire grill is at the heart of the kitchen, bringing an intensity and smokiness to dishes such as pressed wagyu skewers, charred lamb ribs, char siu pork neck an fermented chilli chicken. "The grill gives the food a sense of gravitas. It's not showy. It's purposeful," says Tassis. The generous menu lends itself to sharing amongst the table. Signature dishes include a whole chilli mud crab, cooked to order and served live from the tank, and duck served two ways with spiced fig jus. There are also plenty of fresh and light entrees, including Sichuan cucumber salad and raw kingfish with charred citrus soy, as well as a range of moreish dim sum, such as chicken xiao long bao, Moreton Bay Bug siu mai, and cauliflower and mushroom spring rolls. Aunty is keeping everyone happy with a special lunch menu priced at $24 and a daily happy hour from 3 to 5pm, featuring $8 wines, $12 spritzes, and $12 lobster rolls. If you're settling in for the evening, make your way through the extensive wine list, featuring approximately 250 labels, carefully curated to complement the menu's flavours. Images: Markus Ravik.
New year, new adventures. It's time to start planning trips to hidden beaches while summer's still kicking, city breaks during quieter months of the year, and regional desert getaways when the temperature drops down south. And we get the "I'll put off travelling around Australia till I'm older" mentality. But enough of that. There's so much greatness in our own backyard that we shouldn't keep pushing local trips further down the line of must-visit places. So, read on to find a few Aussie destinations that should be added to your 2023 travel bucket list. Then go ahead and book a few trips before the opportunity passes. TASMANIA [caption id="attachment_883574" align="alignnone" width="1920"] Zachary Ferguson (Unsplash)[/caption] BRUNY ISLAND Tassie's Bruny Island feels totally remote but it's a short ferry ride from the coast and, including driving time, is just 50-minutes from Hobart. The beauty of this proximity to the city is that, despite all the rugged wilderness, you can still find luxury accommodation, amazing food and all kinds of local produce (think fine cheese and whisky). But consider Bruny Island a destination for when nature is calling. You'll find white wallabies at Inala Nature Reserve, windswept headlands at Cape Bruny Lighthouse and head-clearing watery views at Cloudy Bay. A trip to Bruny Island should be an essential addition to any Tasmanian vacation along the state's south-eastern coast. If you're a serious gourmand, you can experience all the island's finest delights in style with a gourmet tasting and sightseeing day trip from Hobart which includes award-winning cheeses, premium wines and beer, freshly shucked oysters, handcrafted fudge and mead, local honey and a lunch at Pennicott's beachside restaurant with sweeping views of Adventure Bay. Book it now at Concrete Playground Trips. [caption id="attachment_728931" align="alignnone" width="1920"] Lisa Kuilenburg, Tourism Tasmania[/caption] BAY OF FIRES This region is ripe for exploring and one of the most photogenic regions in Tassie. There are hiking trails through bushland full of native Australian wildlife as well as pristine white sand beaches with orange-hued granite boulders that the Bay of Fires is renowned for. Come any time of year to enjoy the area, staying for a few days at one of our favourite glamping sites in Australia or simply pass through while road tripping around Tasmania's North East region. [caption id="attachment_718786" align="alignnone" width="1920"] Tourism Australia and Graham Freeman[/caption] HOBART Hobart is booming. Increasingly, Australian travellers and international folk are taking the trip down south to Tasmania's seaside city. The city's brilliant food scene (which has totally transformed in the past ten years) draws visitors, as well as the city's singular cultural institution MONA. This museum is home to world-class art and installations from owner/mastermind David Walsh's private collection of works that are anything but stuffy. The art is served alongside a fabulous selection of locally-focused food and wine. And then there is the Mona Foma music and arts festival. The dates of this year's festival are Friday, February 17–Sunday, February 19, 2023 in Launceston, then the weekend of Friday, February 24–Sunday, February 26, 2023 in Hobart, and both weekends boast cracking lineups. If you haven't secured your tickets, you can still book one of our exclusive Mona Foma travel packages which includes Posh Pit ferry pass to the museum, tickets to see Peaches return to the Mona stage on Friday, 24 February, plus two nights in a luxe hotel. VICTORIA [caption id="attachment_883577" align="alignnone" width="1920"] Weyne Yew (Unsplash)[/caption] THE WYE RIVER Victoria's Great Ocean Road is always worth travelling down — but finding places to stop for a few nights can be a much harder task. The classics of Torquay, Lorne and Apollo Bay are always great options, but we prefer the sleepier town of Wye River. The small regional town has its own beachside caravan park, an absolute stunner of a general store as well as plenty of beaches for surfing and swimming. Get away from the crowds down here. If you're keen to explore this area in style, book our Great Ocean Road road-tripping holiday here (which includes car rental and accommodation so all you need to do is get behind the wheel and enjoy the iconic views). [caption id="attachment_755967" align="alignnone" width="1920"] Mark Watson and Visit Victoria[/caption] WILSON'S PROMONTORY No matter how popular Wilson's Prom gets, you can always find your own private cove or headland. Either stay at a nearby town and then drive to a beach or hiking trail or get even further off the beaten path by camping, taking your time to go on long treks that'll distance you from the hustle of metropolitan civilisation. It's hard to find more stunning surrounds in Victoria, let alone Australia. You have tree-covered mountains that roll down to small coastal inlets where you can truly escape the outside world. [caption id="attachment_831273" align="alignnone" width="1920"] Robert Blackburn, Visit Victoria[/caption] BALLARAT This regional Victorian city was booming back in the Gold Rush era and has recently had another renaissance of sorts — brilliant restaurants, bars, galleries and hotels are the new gold. These treasures, paired with its proximity to Melbourne (it's about an hour and a half drive or train ride away), help make Ballarat an even greater travel destination for 2023. QUEENSLAND [caption id="attachment_874908" align="alignnone" width="1920"] Guillaume Marques (Unsplash)[/caption] THE WHITSUNDAYS This may just be Australia's most up-market national park in the country. Luxury adult's only resorts and eco retreats are scattered all over the Whitsunday islands. This tropical paradise is where the rich and famous go to treat themselves to exclusive trips around the Great Barrier Reef and beyond. But you don't have to break the bank to enjoy these waters and beaches — so much of the area is considered a national park so you can go camping right up on many of the shorelines. Whitsunday Island, Hook Island and Henning Island all have campsites for those who want to properly get in touch with nature. Just make sure you book your campsite ahead of time because numbers are capped. If you are into a more luxurious stay, you can currently get 20% off the ultimate Whitsundays experience (think sunset sailing, scenic flights and a luxury resort stay) on this exclusive trip which you can book now. [caption id="attachment_876264" align="alignnone" width="1920"] Simon Maisch (Unsplash)[/caption] MUNGA THIRRI NATIONAL PARK Now off to somewhere entirely more remote. Munga Thirri is country that belongs to the Wangkangurru and Yarluyandi people, formerly known as the Simpson Desert National Park. It is the largest national park in Queensland and is also one of the toughest to explore. This is proper Australian outback territory. You'll see sand dunes stretching for kilometres (rising as high as 90 metres) and experience some of the best stargazing in your life. But, if you're not an experienced outback traveller without a decent haul of gear it can be a challenging area for camping. So, in light of that, if you lack the more hardcore camping chops it's best to book stay somewhere like The Birdsville Hotel which will organise tours into the desert. They'll take you on scenic flights, show you epic 4WD tracks and help you organise other local adventures. Just be aware that Munga Thirri is closed for a decent chunk of time in summer due to extreme heat — so be sure to check out the park's opening times on the Queensland national parks website. NEW SOUTH WALES [caption id="attachment_771536" align="alignnone" width="1920"] Destination NSW[/caption] NEWCASTLE Newcastle has undergone a huge cultural transformation in the past 15 years. Sydney's sister city hasn't always been a getaway destination, but we have been won over by its newfound charm. It has terrific beaches, an impressive street art scene that rivals Melbourne (well, don't say this around Melburnians), microbreweries, galleries, small bars, cafes aplenty and several good boutique hotels including a flashy new QT that opened in mid-2022. It really deserves to be added to your 2023 Australia travel bucket list. [caption id="attachment_773788" align="alignnone" width="1920"] Tom Archer, Destination NSW[/caption] LORD HOWE ISLAND Just 11 kilometres long and two kilometres wide, Lord Howe, is fully explorable within a few days. And thanks to visitor limits (only 400 people are permitted at any one time), it's one of Australia's best islands to visit when you want to get off the mainland. Prepare to have these long beaches, idyllic diving sites and rugged terrain all to yourselves. It's also just a short two-hour flight east of Sydney or, if you have the means, you can access the island by your personal yacht. [caption id="attachment_882177" align="alignnone" width="1920"] Courtesy of Novotel Wollongong Northbeach[/caption] WOLLONGONG You'll find some of the most stunning beaches along this part of the south coast including Bulli and Austinmer. But this isn't your average sleepy beach town. The city of Wollongong has undergone its own transformation over the past few years, becoming a hub for great food and drink and cultural activities. After a day of swimming or hiking, either hit up the Illawarra Performing Arts Centre or the Wollongong Art Gallery before dining at some of the excellent restaurants in the area. This little city has a lot going for it. This year, Wollongong will also host the For The Love music festival on Sunday, February 24 with headliners Charli XCX and Duke Dumont. Concrete Playground has teamed up For The Love on curated one-of-a-kind VIP packages for those wanting the ultimate experience. Book your package here — it includes two VIP festival tickets, two nights stay at Novotel Wollongong Northbeach, a Grey Goose gift pack in your hotel room and late check-out so you can sleep in after the party. [caption id="attachment_883578" align="alignnone" width="1920"] Jake Charles (Unsplash)[/caption] BYRON BAY Byron Bay is a classic Australian travel destination, much loved for its bohemian beach culture and world class yoga and wellness retreats scattered about the region. Nature lovers can also go sea kayaking around some of the most breathtaking beaches or hike within the national parks. And the foodies must experience Byron Bay's diverse grassroots drinking and dining scene that is growing impressively every year. And who knows, you might just run into one of the Hemsworth brothers while you're there. Book a four-day wellness holiday for under $400 through Concrete Playground Trips here (including accommodation, yoga classes and two seperate sea kayaking and snorkelling tours). WESTERN AUSTRALIA [caption id="attachment_683983" align="alignnone" width="1920"] Tourism Western Australia[/caption] ROTTNEST ISLAND If you want to take a selfie with a quokka then Rottnest Island is the only place to do it. These amusing little mounds of joy wander all over the island, ready for locals to respectfully stop for a snap. But that's not the only reason to visit this Australian island, located just a short 90-minute ferry ride from Perth. Come to these parts for pristinely kept beaches, shallow shores that are perfect for snorkelling in and plenty of great places to stay for a range of budgets (from high-end hotels to well-appointed campsites). A trip to Rottnest Island is a must for anyone making their way to Perth for a few days. If you're wanting to get the most out of your next jaunt to Perth, book our five-day Perth holiday here (including your accommodation, a day trip to Rottnest Island and visit to the Pinnacles). [caption id="attachment_883580" align="alignnone" width="1920"] Isabelle Truong (Unsplash)[/caption] THE KIMBERLEY This remote region in Western Australia is one of Australia's most impressive natural landscapes. It's known for its abundance of local wildlife that roams the rugged mountain ranges, dramatic gorges with hidden swimming holes and the semi-arid desert planes. It's a Tourism Australia ad everywhere you go. It's also one of the best places to visit when you want to keep the summer dream alive — boasting wonderfully warm weather throughout the colder months of the year. [caption id="attachment_807814" align="alignnone" width="1920"] Sal Salis, Tourism Western Australia[/caption] NINGALOO REEF Fun fact: Ningaloo Reef is the only large reef in the world that you can access right off the shore. Unlike the Great Barrier Reef, you don't need to book a spot on a large boat that takes you out to the reef with a bunch of other tourists. Here, you simply park by the beach and get straight to snorkelling around vibrant coral gardens, dolphins, turtles and manta rays. You'll find the UNESCO heritage-listed wonder 1,200 kilometres north of Perth, from where it runs north along the coast for 260 kilometres, between North West Cape and Red Bluff. Pick a point to explore on your own or hit up local guides who will show you the best parts. SOUTH AUSTRALIA [caption id="attachment_664008" align="alignnone" width="1920"] John Kruger[/caption] ADELAIDE HILLS South Australia is famous for its many wine regions that pump out case after case of spectacular vino. You've got McLaren Vale, the Barossa and Clare Valley, but we are all about the Adelaide Hills in 2023. First off, this is one of the easiest wine regions to reach — located just a 30-minute drive away from the centre of Adelaide. It's also home to some of our favourite cellar doors. We suggest you start in Woodside, where you'll find stunning cellar doors from Bird in Hand, Petaluma, Barristers Block and Golding Wines. And while you're there, don't miss Lost in a Forest which serves up woodfired pizzas and natural wine from local label Ochota Barrels in a 130-year-old church. Get the most out of your trip to this region by booking our Adelaide Hills escape here including two nights' accommodation, transport around local wineries, daily yoga classes and most of your meals. [caption id="attachment_883581" align="alignnone" width="1920"] Michael Skopal (Unsplash)[/caption] WILPENA POUND Wilpena Pound is the holy grail of the Flinders Ranges National Park, characterised by its dramatic rocky mountains. The entire region is vast and truly remote, located about a five-hour drive from Adelaide. But don't let the distance scare you off. There's much to see and do here. Go on 4WD treks through the bush, take scenic flights over the mountain ranges and go on guided hikes to see some of the best-preserved Aboriginal rock art while learning of the local Adnyamathanha people's rich history. [caption id="attachment_883583" align="alignnone" width="1920"] Luisa Denu (Unsplash)[/caption] EYRE PENINSULA This coastal region in South Australia is foolishly overlooked by both Aussies and international travellers. It is the state's own version of Victoria's Great Ocean Road, and it might just give that famous stretch of coast a run for its money. Head to Eyre Peninsula to swim with dolphins and sea lions or simply relax on long sand beaches backed by rugged cliffs as you look out for passing whales. Dreamy stuff. Then you can hit up any of the local townships to try Eyre Peninsula's legendary oysters and freshly caught seafood or head inland to do some winery hopping. You'll quickly discover why it's one of our favourite stretches of coast in Australia. NORTHERN TERRITORY [caption id="attachment_826027" align="alignnone" width="1920"] Tourism NT[/caption] KAKADU NATIONAL PARK Kakadu is an unmissable Australian travel destination, but its perceived remoteness seems to put a lot of travellers off. Don't let it. Kakadu is only a three-hour drive from Darwin and it's well and truly worth the journey. Once you're there, you have an enormous natural playground to explore and some genuinely life-changing scenery and experiences ahead of you. We recommend hiring a 4WD with a pop-top tent or camper for the week and see where the road takes you. Organise an itinerary to hidden swimming holes and incredible rainwater waterfalls, epic mountain ranges or local wildlife sanctuaries and cultural experiences with the local Indigenous people to learn the ancient history and dreaming stories of the area. [caption id="attachment_883588" align="alignnone" width="1920"] Banubanu, Tourism Australia[/caption] BREMER ISLAND Run away to the Northern Territory's fairly unknown Bremer Island for a super chill tropical island holiday. It's well and truly off the beaten path, so you'll be away from the crowds, surrounded only by well-preserved wilderness. There aren't many places to stay on the island, but we are big fans of Banubanu Beach Retreat — a glamping site located right on the water. Spend your days kayaking along the coast or snorkelling in the warm waters before eating some fresh-caught seafood. It's a really laid-back place to visit, away from the crowds and influencers. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world. Top images: Sal Salis on Ningaloo Reef
2024 was a year of heartbreaking cancellations in the Australian music scene. Not every festival that took some time out has returned a year later, but 2025 has thankfully seen more than a few comebacks. Here's the latest: Harvest Rock, the Adelaide event that cemented itself as a fest worth travelling to in its 2022 debut and 2023's second spin, has locked in a two-day 2025 instalment in October. It was in August 2024 that Harvest Rock revealed that just two years after initially popping up, the decision had been made to postpone that year's event. The news came after Splendour in the Grass announced its 2024 dates and lineup, then ditched its plans — and following Groovin the Moo going through the same cycle of reveals and cancellations. Spilt Milk, Summergrounds Music Festival and Dark Mofo also sat the year out or said goodbye permanently. Dark Mofo returned for 2025, as is Spilt Milk — and now Harvest Rock is joining them. Only Teenage Joans have been named on the lineup for this year's stint at Rymill Park / Murlawirrapurka and King Rodney Park / Ityamai-itpina so far, but you can pop Tuesday, August 12 in your diary, as that's when the full roster of acts that'll be taking to the stage will be unveiled. Also crucial, dates-wise: Saturday, October 25–Sunday, October 26, when the festival is taking place. When Harvest Rock was first born, hailing from the Secret Sounds crew — who were also behind Splendour in the Grass — it aimed to get everyone dancing in a park in Adelaide each spring, including interstaters heading to South Australia to enjoy the fest's visitworthy lineups. The first year welcomed Jack White, Groove Armada, The Avalanches, Crowded House and Courtney Barnett, for starters. 2023 backed that up with Jamiroquai and Beck doing Australian-exclusive shows, plus everyone from Sparks and Nile Rogers & Chic to Bright Eyes and Paul Kelly. A two-day blend of music, food and wine — well, it is in SA — Harvest Rock also spans Adelaide's top restaurants and eateries serving up dishes, a culinary-focused stage and wine tastings. 2025's iteration will include Wildwoods & Cellar Door by Duncan Welgemoed and Nick Stock, for starters. "We're thrilled to see Harvest Rock return to its Adelaide home to deliver a festival that brings global stadium-sized artists to South Australia, while also championing the region's world-class food, wine and culture for interstate guests. Harvest Rock not only drives tourism and benefits local businesses, but offers a unique festival experience for all ages across the local community and beyond," advised Festival Director of Harvest Rock Ryan Sabet. "Music to the ears of festival lovers and our hospitality and tourism operators, Harvest Rock will return to Adelaide this October. The beauty of this festival is that it combines what we do best in South Australia — offering premium food and beverages and delivering memorable events," said SA Minister for Tourism Zoe Bettison about Harvest Rock's comeback. "Held in 2022 and 2023, Harvest Rock has contributed a combined $34.5 million to the state's economy. We continue to see the impact major events like this deliver to our economy, while reinforcing our state's reputation as the ultimate destination for bucket-list events — whether you are a sports fan, art lover, foodie or just enjoy a good festival." Harvest Rock 2025 is set to take place across Saturday, October 25–Sunday, October 26 at Rymill Park / Murlawirrapurka and King Rodney Park / Ityamai-itpina, Adelaide. Head to the festival's website for further details — with presale tickets available from Tuesday, August 19 and general sales from Wednesday, August 20. And check back here on Tuesday, August 12 for the lineup. Image: Ian Laidlaw / Mitch Lowe / Zennieshia Butts.
The patch of land at 458 Brunswick Street is no longer just an empty old Blockbuster store, or even a vacant lot where said video shop used to be — and it's giving Brisbanites plenty of reasons to drop by. First, Hotel X opened its doors and treated the city to a new staycation spot. Then, the building welcomed lavish restaurant Bisou Bisou, complete with an oyster and caviar bar. Now, bar and restaurant Iris has joined the party, setting up shop by the pool on the building's rooftop. While its downstairs sibling has opted for a French theme, Iris takes its cues from the Mediterranean coast, including everywhere from Beirut to Barcelona. Design-wise, that translates through the exposed stonework entranceway, wisteria and olive trees, and the fairy lights twinkling above. Visitors will also find themselves surrounded by plum, rose and indigo hues accented with gold finishings, plus marble touches. The 200-person venue pairs its luxe decor with quite the view — including of the adjacent water, Fortitude Valley, New Farm, the Story Bridge and the city skyline — as well as poolside bungalows, and a private dining room that can seat 14. Once evening approaches, there's also a dance floor that'll get you cutting shapes to DJs as the sun sets. Overseen by Ghanem Group Executive Chef Jake Nicolson and Head Chef Lloyd Evans (ex-Blackbird), the food menu is filled with Greek and Spanish-style share plate options. Start off with an antipasto platter ($45), then pick your way through anchovy ($19), prawn ($21) and fish taco ($17) tapas. Larger options include barbecue pork rib pinchos ($28), salmon crudo with shiraz gin caviar ($24), spicy lamb and chorizo albondigas ($18), and spiced wagyu picanha with chimichurri rojo ($44). And, for dessert, the list spans a fig-focused take on tiramisu ($14), Persian pistachio and olive oil cake ($12), and a toffee apple churro tart ($16). On the drinks menu: red, white and rosé sangrias made with organic wines, four types of boozy sodas, seven signature cocktails, three mocktails and kombucha. There's also an extensive range of tap and bottled beers, as well as hard seltzers, sherry, wines by the glass and bottle, and spirits. Or, you can opt for bottle service.
Across four seasons of Stranger Things so far, entering a rift to the Upside Down hasn't transported anyone Down Under. But jumping into the hit Netflix series' world keeps proving a reality in Australia — first via one of those portals popping up in Bondi back in 2022, and next courtesy of Stranger Things: The Experience, which has just locked in its Aussie debut at Luna Park Sydney as part of Vivid's 2025 program. Luna Park Sydney and immersive experiences based on Netflix shows keep going hand in hand of late; from the end of 2024, the Harbour City tourist attraction also hosted Squid Game: The Experience, letting small-screen fans dive into another streaming smash. Stranger Things: The Experience will run from Friday, May 23–Saturday, June 14. The must-attend event falls into the Ideas portion of Vivid's lineup. Get ready to visit 1986 — and also Hawkins, Indiana, of course — in what promises to be an interactive stint of Stranger Things-loving fun. Locations from the show are part of the setup, as is a supernatural mystery. And yes, you can expect to feel nostalgic, even if you don't have your own memories of the 80s because you hadn't been born yet. Stranger Things: The Experience isn't just about visiting recreations of settings that you've seen while watching Eleven (Millie Bobby Brown, The Electric State) and the gang. The installation features its own storyline, where playing along means trying to save Hawkins from yet another threat. And yes, you will take a trip to the Upside Down. You'll also be able to drink themed cocktails. Based on its time in other cities, Demogorgons and/or Vecna might await, too, along with Christmas lights, Scoops Ahoy and Surfer Boy Pizza. The experience initially opened in New York in 2022, and has enjoyed dates with Los Angeles, San Francisco, Atlanta, Seattle, Toronto, London, Paris and São Paulo since, with a Rio de Janeiro stint also on the way. Hanging out for new Stranger Things back in your Netflix queue? That's due to happen in 2025, when the show's fifth and final series arrives — although there's no exact release date as yet.
Death & Taxes doesn't try to reinvent itself, and that's exactly why it works. Hidden down Burnett Lane, the bar announces its presence with a blackened façade, carved wooden doors and a looming mural of the grim reaper, setting the tone before you've even stepped inside. Once indoors, the mood shifts into something warm, familiar and deliberately old-school. Leather armchairs, padded green booths, mosaic tiles and flickering candles fill the heritage-listed space, which dates back to 1824. It's the kind of bar that feels settled, as though it's always been exactly this way and always should be. The drinks offering is anchored by whisky, and plenty of it. More than 500 bottles line the back wall, covering regions, styles and price points, encouraging both focused exploration and casual sipping. Gin and rum also feature strongly, while wine, sparkling and beer on tap round out the list for those in a lighter mood. Cocktails play an equally important role. Presented in an illustrated booklet, the menu balances respectful twists on classics with more playful, contemporary creations. The approach is thoughtful rather than flashy, prioritising balance, flavour and drinkability over gimmicks. Despite its reputation and extensive offering, Death & Taxes remains approachable. Service is relaxed, the atmosphere inviting, and the space works just as well for a quiet midweek drink as it does for a long night that stretches out longer than planned. In a city that loves to chase the new, Death & Taxes proves that getting the fundamentals right never goes out of fashion.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=-jWZ6P1rWy4 FIRST COW Gone are the days when every image that flickered across the screen did so within an almost square-shaped frame. That time has long passed, in fact, with widescreen formats replacing the 1.375:1 Academy aspect ratio that once was standard in cinemas, and its 4:3 television counterpart. So, when a director today fits their visuals into a much tighter space than the now-expansive norm, it's an intentional choice. They're not just nodding to the past, even if their film takes place in times gone by. With First Cow, for instance, Kelly Reichardt unfurls a story set in 19th-century America, but she's also honing her audience's focus. The Meek's Cutoff, Night Moves and Certain Women filmmaker wants those guiding their eyeballs towards this exquisite movie to truly survey everything that it peers at. She wants them to see its central characters — chef Otis 'Cookie' Figowitz (John Magaro, Overlord) and Chinese entrepreneur King-Lu (Orion Lee, Zack Snyder's Justice League) — and to realise that neither are ever afforded such attention by the others in their fictional midst. Thoughtfully exploring the existence of figures on the margins has long been Reichardt's remit, as River of Grass, Old Joy and Wendy and Lucy have shown as well, but she forces First Cow's viewers to be more than just passive observers in this process. There's much to take in throughout this magnificently told tale, which heads to Oregon as most of Reichardt's movies have. In its own quiet, closely observed, deeply affectionate and warm-hearted fashion, First Cow is a heist movie, although the filmmaker's gentle and insightful spin on the usually slick and twist-filled genre bucks every convention there is. Initially, after watching an industrial barge power down a river, First Cow follows a woman (Alia Shawkat, Search Party) and her dog as they discover a couple of skeletons nearby. Then, jumping back two centuries and seeing another boat on the same waterway, it meets Cookie as he's searching for food. Whatever he finds, or doesn't, the fur-trapper team he works with never has a kind word to spare. But then Cookie stumbles across King-Lu one night, helps him evade the Russians on his tail, and the seeds of friendship are sown. When the duo next crosses paths, they spend an alcohol-addled night sharing their respective ideas for the future. Those ambitious visions get a helping hand after the Chief Factor (Toby Jones, Jurassic Park: Fallen Kingdom) ships in the region's highly coveted first cow, with Cookie and King-Lu secretly milking the animal in the dark of night, then using the stolen liquid to make highly sought-after — and highly profitable — oily cakes. Read our full review. https://www.youtube.com/watch?v=vcOP5kQrABk WRATH OF MAN With revenge thriller Wrath of Man, filmmaker Guy Ritchie (The Gentlemen) and actor Jason Statham (The Meg) reunite. The pair both came to fame with Lock, Stock and Two Smoking Barrels, repeated the feat with Snatch, then unsuccessfully tried again with Revolver, but they've spend the past 16 years heading in their own directions. During that stretch, the former subjected the world to his terrible Sherlock Holmes films, fared better with left-field additions to his resume like The Man From UNCLE and Aladdin, but didn't quite know what to do with King Arthur: Legend of the Sword. The latter has become an action go-to over the same time — with both forgettable and memorable flicks resulting, including three Fast and Furious movies and a stint scowling at Dwayne Johnson in the franchise's odd-couple spinoff Hobbs & Shaw. Thankfully, now that they're collaborating again, they're not just interested in rehashing their shared past glories. From Wrath of Man's first moments, with its tense, droning score, its high-strung mood and its filming of an armoured van robbery from inside the vehicle, a relentlessly grim tone is established. When Statham shows up shortly afterwards, he's firmly in stoic mode, too. He does spout a few quippy lines, and Ritchie once again unfurls his narrative by jumping between different people, events and time periods, but Lock, Stock Again or Snatch Harder this isn't. Instead, Wrath of Man is a remake of 2004 French film Le Convoyeur. While walking in someone else's shoes turned out horrendously for Ritchie with the Madonna-starring Swept Away, that isn't the case with this efficient, effective and engaging crime-fuelled effort, which finds its niche — and it's a new one for its central duo, at least together. Statham plays Patrick Hill, the newest employee at the Los Angeles-based cash truck company Fortico Securities. On his first day, his colleague Bullet (Holt McCallany, Mindhunter) dubs him H — "like the bomb, or Jesus H," he says — and the nickname quickly sticks. H joins the outfit a few months after the aforementioned holdup, with the memory of the two coworkers and civilian killed in the incident still fresh in everyone's minds. So, when gunmen interrupt his first post-training run with Bullet and Boy Sweat Dave (Josh Hartnett, Penny Dreadful), they're unsurprisingly jumpy; however, H deals with the situation with lethal efficiency. Cue glowing praise from Fortico's owner (Rob Delaney, Tom & Jerry), concern from his by-the-book manager (Eddie Marsan, Vice) and intrigue about his past from the rest of the team (such as Angel Has Fallen's Rocci Williams and Calm with Horses' Niamh Algar). Read our full review. https://www.youtube.com/watch?v=6MGhAbSsKtQ LAND Pitting humanity against nature is one of cinema's favourite setups; however, when movies dwarf a lone soul in their expansive surroundings, then watch them try to survive, the medium endeavours to explore exactly what makes us tick. The mere sight of a single figure attempting to endure against the elements can send a potent message, reminding viewers of how small we each are compared to the planet we live on, how fleeting our existence ultimately proves in its lengthy history and how witnessing one day following the next is never a given for anyone in any situation. Like everything from Into the Wild and The Grey to All Is Lost and Arctic before it, Land conjures up these ideas and themes within its hauntingly beautiful frames. It also boasts the space and patience to ponder the impressions our traumas and tragedies leave, too. None of these notions are new or unique, and Jesse Chatham and Erin Dignam's (Submergence) screenplay doesn't ever pretend otherwise or treat them as such. Rather, this thoughtful drama knows that it's traversing well-worn and universal territory, and that films past and future will continue to walk similar paths — but director and star Robin Wright (Wonder Woman 1984) is also well aware that continually interrogating and reevaluating why we're here, where we fit into this world, what we choose to do with our lives, and how we change and evolve along the way is what makes us human. In her filmmaking debut after helming ten episodes of House of Cards over the years, Wright plays Edee, a woman who can only see one way to cope with the type of pain, loss and heartbreak that has forever upended life as she once knew it. With a trailer filled with tinned and dry food, she escapes to the Wyoming wilderness, where nothing but a rustic cabin, clear lakes, trees and mountains as far as the eye can see, and the occasional animal awaits. But when a bear destroys her food supplies and the region's frosty winters prove punishing beyond her expectations, Edee struggles to find the peace she seeks. Enter the kindly Miguel (Demián Bichir, Godzilla vs Kong), a kindred spirit with his own troubles to work through, and with his own draw to the land as well. When done badly, movies about finding solace and strength in the great outdoors threaten to turn the "nature is healing" trope into a movie, but Land isn't that feature. It doesn't unravel a romance against cinematographer Bobby Bukowski's (Irresistible) scenic imagery, either. Instead, it watches as Edee works through the minutiae of her chosen new existence, faces challenges, rediscovers the value of having even just one person to reach out to and slowly comes to terms with who she is after all she's been through. Wright's internalised performance is phenomenal, and although its final act moves too quickly, this is always a compassionate, poignant and affecting film. https://www.youtube.com/watch?v=hrpibk1CgUw CLIFF WALKERS 2016's Matt Damon-starring The Great Wall might've threatened to prove otherwise, but when Zhang Yimou makes a movie, it usually demands attention. The Chinese filmmaker's 1988 debut Red Sorghum won Berlinale's Golden Bear, 1991's Raise the Red Lantern remains stunning on multiple levels, and 2002's Hero, 2004's House of Flying Daggers and 2018's Shadow remain dazzling examples of the wuxia genre at its finest. With new release Cliff Walkers, the acclaimed director toys with an espionage narrative. Jumping into the spy realm is new for him, but when the film starts with sweeping shots of snowy Manchukuo — a Japanese-controlled state in China's northeast in the 30s and 40s, and the site of a death camp that's pivotal to the story — it's clear that he's behind the lens. Indeed, these frosty moments are so visually striking that, when the white landscape gives way to terse, tense altercations on trains and then within the city of Harbin, feeling disappointed is an instant side effect. Zhang has a meticulous eye for streets and interiors, too, however. And, for secret exchanges and fraught chases also. Benefiting from the filmmaker's regular director of photography Zhao Xiaoding as well, there isn't a single shot in Cliff Walkers that doesn't demand attention. Even the sight of fallen snow collecting in the brims of the hats worn by the feature's characters boasts its own beauty. Within its eye-catching frames and amidst its entrancing era-appropriate production design, Cliff Walkers tracks four Chinese operatives who've been tasked with rescuing a survivor of a massacre at the Manchukuo camp from the Japanese authorities — a job that's filled with peril from the outset. After parachuting into the snow in the feature's vivid and alluring opening, Zhang (Zhang Yi, The Eight Hundred) and Lan (Liu Haocun, A Little Red Flower) tackle one part of the mission, while their romantic partners Yu (Qin Hailu, The Best Is Yet to Come) and Chuliang (Zhu Yawen, The Captain) are paired up and saddled with the other. It's the 30s, and double-crossing, double agents and danger all follow, as does betrayal, heartbreak, tests of loyalty and hard choices. The film that unfurls doesn't overflow with surprises, plot-wise, but Zhang and first-time feature screenwriter Quan Yongxian focus on the details, making every coded interaction and suspenseful altercation as gripping as the movie's multi-layered cat-and-mouse games. After his previous picture, One Second, was pulled from the 2019 Berlinale at the last moment — officially due to "technical difficulties" — Cliff Walkers' patriotic leanings don't come as a shock; however, it doesn't dampen the film's visual splendour or involving narrative, either. https://www.youtube.com/watch?v=24umxshK1f8 TWIST Forget watches, calendars and social media reminders that tell you what you were doing on this day years ago whether you like it or not — when it comes to conveying the passing of time, the entertainment industry has a surefire tactic. There's nothing quite like seeing the now-grown child of a famous face start appearing on-screen to make you realise how quickly the seconds, minutes, hours and more melt away. Twist is the latest film to have that effect, thanks to the first-time lead actor that plays the titular Charles Dickens-penned character. Rafferty Law looks exactly like his father, sounds like him and has the same stare that's worked so well for the latter for years, including in The Third Day and The Nest of late. He also appears here opposite Michael Caine, who Jude Law co-starred with in 2007's Sleuth; however, this isn't quite the start to his big-screen career that the younger Law would've hoped for. A modern version of Oliver Twist that reframes the famed orphan as a freerunner and graffiti artist who leaps between London's rooftops and tags the tallest of buildings, it's the update that no one could've asked for — including the teenage audience it's targeting. And, at a time when even Guy Ritchie is moving on from his usual bag of tricks with Wrath of Man, it enthusiastically follows in his decades-old footsteps. Presumably director Martin Owen (Killers Anonymous), screenwriters John Wrathall (The Liability) and Sally Collett (The Intergalactic Adventures of Max Cloud), and the seven other folks given either idea or additional material credits just couldn't handle living in a world where Lock, Stock and Two Smoking Barrels and Dickens hadn't crossed paths. There are no gruelling orphanage scenes in Twist, but there is a criminal mastermind called Fagin (Caine, Tenet), a gang of light-fingered pickpockets led by Dodge (Rita Ora, Fifty Shades Freed) and an abusive villain named Sikes (Lena Headey, Game of Thrones). When the eponymous teenager falls into their company, he's rightly apprehensive; however, he just wants to belong, even if that means becoming part of an art heist. If it wasn't for fellow building-leaping crew member Nancy (Sophie Simnett, Daybreak), Twist mightn't fall in as thickly with the thieves as he does. But Owen and his fellow creatives never let a cliche pass by. Similarly, as their hero and his new pals plot to pilfer paintings from gallery owner Losberne (David Walliams, Murder Mystery), the film doesn't miss an opportunity to spout hackneyed dialogue, fill its soundtrack with oh-so-literal choices and throw in more parkour whenever it seems that a few minutes might tick along without it. Caine should've left his Dickensian escapades to The Muppets Christmas Carol, while everyone else should've expended more than a couple of seconds thinking about this flimsy wannabe caper. And, while Rafferty Law's presence might remind the audience that time passes so quickly that multiple generations of families keep popping up on our screens (see also: Scott Eastwood in Wrath of Man, Lily-Rose Depp in Voyagers and John David Washington in Tenet, just to name a few), Twist makes its 88-minute running time feel like an eternity. https://www.youtube.com/watch?v=UN9RO5SnnCs THE DEVIL HAS A NAME In one of the many courtroom scenes in The Devil Has a Name's second half, Californian almond farmer Fred Stern (David Strathairn, Nomadland) takes the stand in the $2 billion lawsuit that he has brought against Shore Oil. He's demanding compensation for the poisoning of the land beneath his property for the past ten years, and the questioning and corresponding testimony turns to matters of intention and knowledge — with Stern pointing out that the energy behemoth mightn't have deliberately contaminated his farm initially, but it also didn't change its ways once it discovered the environmental effects of its actions. Instead, regional director Gigi Cutler (Kate Bosworth, Force of Nature) sent a flunky (Haley Joel Osment, Extremely Wicked, Shockingly Evil and Vile) to try to buy Stern off. The latter's foreman Santiago (Edward James Olmos, Mayans MC) immediately questioned the motives behind the deal, but it took the sight of toxic water streaming out of his shower to inspire Stern to fight. As told in flashbacks by a whisky-swilling Cutler to Shore Oil's slimy CEO (Alfred Molina, Promising Young Woman), the resulting battle sees lawyers both crusading (Martin Sheen, Judas and the Black Messiah) and corporate (Katie Aselton, The Unholy) become involved, a villainous fellow company employee (Pablo Schreiber, First Man) endeavour to derail Cutler, Stern's property threatened and Santiago's undocumented status given a public airing. Olmos also directs The Devil Has a Name, working with a script by first-timer Robert McEveety. Just like the company at its centre, their film has an intention-versus-reality problem. Taking its cues from the very real water contamination wars in Central Valley, passion, anger and a worthy point pump through the feature. But The Devil Has a Name isn't merely the latest in a long line of sincere dramas about corporate exploitation of natural resources and the very real consequences for everyday folks, as seen with Dark Waters, Promised Land and Erin Brockovich. Thanks to its overboiled tone, Bosworth and Molina's scenery-chewing, Schreiber and Osment's utter cartoonishness, and its eager bluntness, it strives for the comic causticity that Thank You for Smoking applied to the tobacco industry and I Care a Lot to legal guardianship. Finding a sense of balance between earnest and darkly comedic isn't Olmos' strength, though, and nor is pairing social activism with exaggerated melodrama. It doesn't help that Reynaldo Villalobos' (Windows on the World) cinematography always appears to be moving, with little reason, or that Bosworth is only ever asked to be in femme fatale or hysterical mode. When any combination of Strathairn, Olmos and Sheen share the screen, however, it's easy to see how The Devil Has a Name would've worked without its soapy, over-the-top quirks — but that's not the movie that Olmos has made, sadly. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15 and April 22. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident and The United States vs Billie Holiday.
Australian Cinémathèque is the cinema within Brisbane's GOMA — and because it's a member of the International Federation of Film Archives, they have access to the best film archives in the world. There are films you won't see on the big screen anywhere else in Australia, and many of the sessions are completely free. On Wednesdays and Fridays (cheap date night, anyone?), Australian Cinémathèque shows flicks from its eclectic range. From contemporary arthouse to historic cinematic fails, rediscovered restored works to cult classics, experimental styles to international oddities — and even silent film featuring live musical performance — a trip here is an absolute must for any true cinephile. Image: John Gollings
Each autumn, cinephiles across Australia score a super-sized French treat: a feast of flicks hitting the big screen, all thanks to the Alliance Française French Film Festival. In 2025, the festival broke attendance records. For its 37th run in 2026, the festival is stepping up to go even bigger. On the program, expect pictures that span the full depth of French filmmaking. The festival's complete offering is in the dozens, but if you're short on time and ticket funds, several headline titles have been announced as the standout entries you'll be able to watch in cinemas across the country come March and April. [caption id="attachment_1060633" align="aligncenter" width="1920"] The Stranger, François Ozon[/caption] Leading the pack is The Stranger, a new drama from director François Ozon (Swimming Pool, 8 Women) that adapts a novella by Albert Camus into a black and white tale of a young expatriate charged with murder in 1930s French-colonised Algeria. Then there's a more heart-warming entry, What is Love? from director Fabien Gorgeart (Diane Has the Right Shape) that explores the complexities of love and new beginnings through a couple that must prove to the church that their marriage is fit for annulment. Then there's the bilingual Coutures, directed by Alice Winocour and starring Angelina Jolie, which follows the intersecting, rebellious paths of three women on opposite sides of the runway as they seek solidarity during Paris Fashion Week. [caption id="attachment_1060631" align="aligncenter" width="1920"] DOG 51, Cédric Jimenez[/caption] Amélie Bonnin's Leave One Day is a feature film adaptation of her award-winning short film of the same name, where a promising Paris chef and restaurateur-to-be has to drop everything and return to her small hometown to help her ailing father. Science fiction fans should bookmark DOG 51, where director Cédric Jimenez has envisioned a murder conspiracy set in a dystopian Paris divided by social classes and ruled by an AI program. The Party's Over! from Antony Cordier dives into social issues in a more grounded present-day setting, with a dispute between two parties threatening to upend the beginning of a young corporate lawyer before it even begins. [caption id="attachment_1060632" align="aligncenter" width="1920"] Jean Valjean, Eric Besnard[/caption] And finally, a supplement to one of the most famous works of French literature, Les Misérables, is Jean Valjean. Stripping back the musical element, this film from Eric Besnard focuses on the origins of the tale's protagonist and the crucial decision that defines his future. [embed]https://youtu.be/D3I_B6Qf__4?si=-kHUvAF7Kwdw5ACo[/embed] The 2026 Alliance Française French Film Festival will run in various theatres in Melbourne, Sydney, Brisbane, Canberra, Perth and Adelaide from Tuesday, March 3 to Sunday, April 26. Tickets go on sale on Thursday, February 5, visit the website for tickets to screenings at your nearest theatre and the full program. Lead image: 'Coutures' by Alice Winocour
Each year, an Adelaide beach is taken over by the Nude Games — which is exactly what it sounds like. Maslin Beach was declared Australia's first nudist beach back in 1974, and now the locals embrace this history with a day full of naked fun, hosted by nearby nudist community Pilwarren. Expect three-legged, potato sack and baton races, frisbee and raw egg throwing, doughnut eating competitions and even best bum contests. Soft drinks, bottled water, a sausage sizzle and souvenir stubby holders will be available, with proceeds going back into running the games. While participants are required to come dressed in their birthday suits, spectators are also encouraged to come as nature intended. If heading out in public without a stitch of clothing on sounds like a nightmare, never fear — nakedness is not mandatory, and everyone is invited to enjoy the day at the beach however they feel comfortable.
Not every film that wins an Oscar, earns a nomination for Hollywood's night of nights or gets selected by its country to go in the running for the coveted accolades makes it to cinemas Down Under beyond festivals. A movie can have international fests buzzing as well, yet still bypass a big-screen release in Australia. That's the fate for plenty of features; however, gone are the days when skipping a date with picture palaces was a sign of a bad movie. The streaming era means that a new flick is always dropping on one of the many platforms that are available to Aussie audiences. While they can't all be excellent, that's no different to what does make it to the silver screen. The gems that go straight to home viewing are up there with the gems that do get the movie-theatre treatment — as the highlights from January–June 2024 make clear. There are indeed Academy Award-winners on this list, as well as nominees. Films that'll compete next year, festival favourites, movies with big-name stars or from high-profile directors: they all feature as well. If you haven't caught them on the couch already alongside fellow straight-to-streaming standouts from 2024's first six months, take this as your motivation, whether you're after shattering documentaries, truth-is-stranger-than-fiction comedies, affecting dramas, gorgeous animation or plenty of horror. 20 Days in Mariupol Incompatible with life. No one should ever want to hear those three devastating words. No one who is told one of the most distressing phrases there is ever has them uttered their way in positive circumstances, either. Accordingly, when they're spoken by a doctor in 2024 Oscar-winner 20 Days in Mariupol, they're deeply shattering. So is everything in this on-the-ground portrait of the first 20 days in the Ukrainian port city as Russia began its invasion, with the bleak reality of living in a war zone documented in harrowing detail. Located less than 60 kilometres from the border, Mariupol quickly segues from ordinary life to an apocalyptic scene — and this film refuses to look away. Much of its time is spent in and around hospitals, which see an influx of patients injured and killed by the combat, and also become targets as well. Many of in 20 Days in Mariupol's faces are the afflicted, the medics tending to them in horrendous circumstances, and the loves ones that are understandably inconsolable. Too many of the carnage's victims are children and babies, with their parents crushed and heartbroken in the aftermath; sometimes, they're pregnant women. Directed by Pulitzer Prize-winning journalist Mstyslav Chernov, and narrated by him with the grimness and soberness that can be this movie's only tone, 20 Days in Mariupol even existing is an achievement. What it depicts — what it immerses viewers in with urgency, from shelled hospitals, basements-turned-bomb shelters and more of the city destroyed day after day to families torn apart, looting, struggling to find food and bodies of the dead taken to mass graves — needs to be viewed as widely as possible, and constantly. His footage has also featured in news reports, but it can and must never be forgotten. Doctors mid-surgery demand that Chernov's camera is pointed their way, and that he shows the world the travesties taking place. The Ukrainian reporter, who has also covered Donbas, flight MH17, Syria and the Battle of Mosul for the Associated Press, does exactly that. He's doing more than ensuring that everyone bears witness, though; he makes certain that there's no way to watch 20 Days in Mariupol, which shows the vast civilian impact and casualties, and see anything but ordinary people suffering, or to feel anything other than shock, anger and horror. 20 Days in Mariupol streams via DocPlay. Society of the Snow It was meant to be a fun trip to Chile with friends and family for a game. When the Old Christians Club rugby union team boarded Uruguayan Air Force Flight 571 in Montevideo on October 13, 1972, destination Santiago, no one among them knew what would happen next. The plane didn't make it to its destination, as 1976 Mexican film Survive!, 1993 American movie Alive and now Spanish-US co-production Society of the Snow each cover. All three features boast apt titles, but only the latest sums up the grim reality and existential dilemma of crashing in the Andes, being stranded for 72 days in snowy climes with little resources against the weather — or for sustenance — and attempting to endure. Taken from the memoir by Pablo Vierci, aka La sociedad de la nieve in Spanish, only this phrase adorning JA Bayona's (Jurassic World: Fallen Kingdom) picture encapsulates the tremendous effort that it took to find a way to persist, as well as the fact that trying to remain alive long enough to be rescued meant adapting everything about how the survivors approached each second, minute, hour, day, week and month — and also links in with how a catastrophe like this banded them together, doing whatever it took to find a way off the mountains, while reshaping how they contemplated what it meant to be human. Society of the Snow isn't just a disaster film detailing the specifics of the flight's failed trip, the immediate deaths and those that came afterwards, the lengthy wait to be found — including after authorities called the search off — and the crushing decisions made to get through. Bayona, who also helmed the 2004 Indian Ocean tsunami-focused The Impossible, has made a weighty feature that reckons with the emotional, psychological and spiritual toll, and doesn't think of shying away from the most difficult aspects of this real-life situation (including cannibalism). This is both gruelling and meaningful viewing, as crafted with technical mastery (especially by Don't Breathe 2 cinematographer Pedro Luque, plus Cinco lobitos' Andrés Gil and Cites' Jaume Martí as editors), built upon brutal candour, and paying tribute to resilience and then some. Its feats extend to its hauntingly acted performances from a cast that includes Enzo Vogrincic (El Presidente), Agustín Pardella (Secrets of Summer) and Matías Recalt (Planners), all contributing to an account of camaraderie and sacrifice that deserves its Best International Feature Film Oscar nomination. Society of the Snow streams via Netflix. The Devil's Bath Suspense and tension, how to cultivate such a strong atmosphere of unease that it feels as if it drips from the screen, the darker side of human nature, sheer existential exasperation: writer/directors Veronika Franz and Severin Fiala know these things. The Austrian filmmakers are just as well-aware of how to make movies that crawl under your skin as much as distress does with their characters. For that sensation at its very best, see: Goodnight Mommy, their Oscar-submitted 2014 debut (which was then remade in America in 2022). The Devil's Bath earns the same description, too. The duo's first feature since 2019's Riley Keough (Under the Bridge)-starring English-language horror flick The Lodge, it needles deep as it follows new bride Agnes (Anja Plaschg, Axolotl Overkill), who is thrilled to be starting her married life to Wolf (David Scheig, Heribet), even if that joy doesn't seem completely reciprocated. Relationship disharmony bubbles at the heart of this 18th century-set film, but that's not the only force bearing down on a woman that no longer has any agency — and, soon, little hope left simmering as well. Franz and Fiala begin The Devil's Bath with a different scene of domestic struggle. They haunt their viewers from the outset, too. First up, a woman throws a baby over a waterfall, then turns herself in for punishment, knowing that she'll meet her end via decapitation. With that scene as a prologue, it hardly appears strange that Agnes is thrilled to receive a severed finger as a wedding gift — a digit that's meant to bring luck for starting a family. But nothing in the way of good fortunes spring when she's soon away from her other loved ones, left alone in a woodland cottage as Wolf works by day, stuck navigating his disinterest in the bedroom each evening and frowned upon constantly by her new mother-in-law (Maria Hofstätter, Andrea Gets a Divorce). There's history to Franz and Fiala's screenplay, which draws upon real events, and the mood of despair that seeps from returning Goodnight Mommy cinematographer Martin Gschlacht's grey-toned frames sports a can-only-be-true bite to it. There's little sunshine shed on the imagery, or on the way that people treat each other — and there's even more terror in realising that the lines between this arresting picture's vision of the past, even as set within a deeply superstitious and puritanical community, and today are far from faint. The Devil's Bath streams via Shudder and AMC+. Hit Man The feeling that Glen Powell should star in everything didn't start with Top Gun: Maverick and Anyone But You. Writer/director Richard Linklater (Apollo 10 1/2: A Space Age Childhood) has helped the notion bubble up before as early back as 2006's Fast Food Nation, then with 2016's Everybody Wants Some!! — and now he riffs on it with Hit Man. When viewers want an actor to feature everywhere, they want to see them step into all sorts of shoes but bring their innate talents and charm each time. So, Linklater enlists Powell as Gary Johnson, a real-life University of New Orleans professor who wouldn't be earning the movie treatment if he didn't also moonlight as a undercover police operative with a specific remit: playing hitmen with folks looking to pay someone to commit murder, sting-style. Johnson doesn't just give the gig the one-size-fits-all approach, though. Once he gets confidence in the job, he's dedicated to affording every target their own personal vision of their dream assassin. So, Powell gets to be a polo shirt-wearing nice guy, a long-haired master criminal, a besuited all-business type and more, including the suave smooth-talker Ron, the persona he adopts when Madison Figueroa Masters (Adria Arjona, Andor) thinks about offing her odious husband. Hit Man is as a screwball rom-com-meets-sunlit film noir, and an excellent one, as well as a feature based on a situation so wild that it can only stem from fact. Alongside charting Gary's exploits in the position and the murkiness of falling for Madison as Ron, it's also an acceptance that the kind of darkness and desperation needed for a person to want to hire a stranger to kill to make their life better isn't a rarity — if it was, Gary's services wouldn't have been needed. Linklater has been in comparably blackly comic but also clear-eyed territory before with Bernie, the past entry on his resume that Hit Man best resembles. The also-ace 2011 Jack Black (Kung Fu Panda 4)-led picture similarly told a true tale, and also sprang from an article by journalist Skip Hollandsworth. This time, Linklater penned the script with Powell instead of Hollandsworth, but the result is another black-comedy delight brimming with insight. Hit Man is a movie about finding one's identity, too, and Powell keeps showing that he's found his: a charismatic lead who anchors one of the most-entertaining flicks of the year. Hit Man streams via Netflix. Frida For almost a century, the art-loving world has peered at Frida Kahlo. Her self-portraits have stared steadfastly back. You can glean much about a person from how they commit their own likeness to canvas; whether donning a velvet dress, reclining in a hospital bed, standing between curtains, sitting opposite herself, or accompanied by a black cat and a monkey, Kahlo was unflinching. Exhibitions have adored her work, whether she's taking centre stage in her paintings or not, for decades upon decades. Creatives in other mediums have shown the same affection, be it via books (1983's Frida: A Biography of Frida Kahlo), biopics (2002's Frida, with Black Mirror's Salma Hayek as the artist; before that, 1983's Frida Still Life), operas (as first hit the stage in 1991) or ballets (Broken Wings debuted in 2016). 2024's Frida brings Kahlo back to the screen with a new approach that she'd surely approve of: making her directorial debut with this portrait of the iconic Mexican painter, editor-turned-director Carla Gutierrez (who spliced fellow biodocs RBG and Julia) lets her subject speak for herself and her own complexity. Actor Fernanda Echevarría (Ella Camina Sola) actually does the talking, because the treasure trove of materials that Gutierrez has gained access to — illustrated diaries, essays and letters, photos and footage, plus interview transcripts by Frida: A Biography of Frida Kahlo's Hayden Herrera — doesn't include Kahlo's voice. But the impact remains: this is Kahlo as she saw herself and as she was herself, as she always fought to convey when she was living. Drawing upon Kahlo's art, Gutierrez also uses animation by Sofía Inés Cázares (Daughter From Another Mother) and Renata Galindo (A la mala) to accompany Kahlo narrating her childhood, her medical studies, her life-changing accident at the age of 18, her marriage to fellow artist Diego Rivera, her other romantic liaisons, and her thoughts about all of the above and more. It's an inspired touch, and not just in breaking up the black-and-white archival visuals with dances of colour. Seven decades since her death in 1954, Kahlo still feels alive in her work, but the latest raw, rich and deeply resonant documentary to pay tribute to her finds its own way to express and honour that sensation. Frida streams via Prime Video. American Fiction Here's Thelonious 'Monk' Ellison's (Jeffrey Wright, Rustin) predicament when American Fiction begins: on the page, his talents aren't selling books. Praise comes the Los Angeles-based professor's way for his novels, but not sales, nor attendees when he's part of writers' festival panels. And even then, publishers aren't fond of his latest manuscript. Sick of hearing that his work isn't "Black enough", and also incensed over the attention that fellow scribe Sintara Golden (Issa Rae, Barbie) is receiving for her book We's Lives in Da Ghetto, he gets a-typing, pumping out the kind of text that he vehemently hates — but 100-percent fits the stereotype of what the world keeps telling him that Black literature should be. It attracts interest, even more so when Monk takes his agent Arthur's (John Ortiz, Better Things) advice and adopts a new persona to go with it. Soon fugitive convict Stagg R Leigh and his book Fuck are a huge hit that no one can get enough of. Because of the story spun around who wrote the bestseller, too, the FBI even wants to know the author's whereabouts. Deservedly nominated for five 2024 Oscars — including for Best Picture, Best Actor for Wright and Best Supporting Actor for Sterling K Brown (Biosphere) as Monk's brother Clifford — American Fiction itself hails from the page, with filmmaker Cord Jefferson adapting Percival Everett's 2001 novel Erasure. Wright is indeed exceptional in this savvy satire of authenticity, US race relations and class chasms, and earns his awards contention for his reactions alone. Seeing how Monk adjusts himself to a world that keeps proving anything but his dream is an utter acting masterclass, in big and small moments alike. As the film dives into the character's personal chaos, that's where Brown's also-fantastic, often-tender performance comes in, plus Leslie Uggams (Extrapolations) as Monk's mother and Tracee Ellis Ross (Candy Cane Lane) as his sister, and also Erika Alexander (Run the World) as a neighbour who is a fan of his — not just Stagg R Leigh's — work. Don't discount how excellent American Fiction is beyond its literary hoax setup, in fact; as a character study, it's equally astute. American Fiction streams via Prime Video. Fancy Dance Lily Gladstone might've won the Golden Globe but not the Oscar for Killers of the Flower Moon, but her exceptional resume shows every sign of more awards coming her way. Fancy Dance, the other movie to join her filmography in 2023 — it premiered at Sundance that year, but only makes its way to streaming worldwide now — is yet another example of how the Certain Women and First Cow star is one of the very-best actors working right now. Where Gladstone's time in front of Martin Scorsese's lens showcased her mastery of restraint, playing an aunt trying to do what's best for her niece and a sister searching for her absent sibling benefits from her equal command of looseness. Jax, her character, is a pinball. When she bounces in any direction, it's with force and purpose as well as liveliness and determination, but the choice of where she's heading is rarely her own. All she wants is to find Tawi (debutant Hauli Sioux Gray) and protect 13-year-old Roki (Isabel Deroy-Olson, Three Pines), but set against the reality that law enforcement mightn't look as enthusiastically for a missing Indigenous woman — or treat one with a record attempting to do right be her family with consideration — that's far from an easy task. Writer/director Erica Tremblay hails from the Seneca–Cayuga Nation, where much of Fancy Dance is set. As Gladstone is, she's also an alum of Reservation Dogs — including helming two episodes — and so is experienced at depicting everyday reservation life with authenticity. Accordingly, her first fictional feature after documentaries Heartland: A Portrait of Survival and In the Turn takes a social-realistic approach in its details, especially when it's simply surveying the space and empathy that First Nations versus white Americans aren't given. Because Jax has a criminal history, child services deems her unfit to look after Roki, or even to take the teen to the powwow where the girl is certain her mum will attend to again steal the show in the mother-daughter dance competition; instead, Jax's white father (Shea Whigham, Lawmen: Bass Reeves) and stepmother (Audrey Wasilewski, Ted) are their choice of guardians. Fancy Dance's protagonist isn't one to simply acquiesce to that decision, and Gladstone makes both her fire and her pain palpable — and her tenderness for Roki, who is weightily portrayed by her Under the Bridge co-star Deroy-Olson, as well. Fancy Dance streams via Apple TV+. Infested For those firmly of the idea that there's no new stories in horror, just fresh takes on well-established sources of fear, Infested isn't here to change minds. Rather, the French movie is the latest poster child for what looking at a tried-and-tested concept anew can do, including while pairing it with up-to-the-moment social commentary. The genre staple here: spiders. When writer/director Sébastien Vanicek begins his feature debut — which he co-scripts with Florent Bernard (Meet the Leroys) — it's with a specific breed of the venomous eight-legged scurrying nightmares unearthed, literally, in a Middle Eastern desert. Within moments of emerging from the earth, the critters make the smugglers that are attempting to capture them pay. Horror fans should clock that Infested nods to classic ways to kickstart a scary flick from the outset, then, bringing The Exorcist's opening scene to mind. Prayer won't help the Parisian banlieue residents soon fighting arachnids for their lives, however, after Kaleb (Théo Christine, Gran Turismo: Based on a True Story) innocently purchases a new addition to his bedroom menagerie of exotic pets from a local convenience store. As he disagrees with his sister Manon (feature first-timer Lisa Nyarko) about selling the apartment that they've inherited from their mother, grapples with his grief, trades in sneakers to his neighbours to stump up a buck and is faced with small-minded prejudice just by stepping outside his door, what happens when Kaleb soon has a spider (and quickly, more than one) to track down? The critter he calls Rihanna was always going to escape, so havoc unsurprisingly eventuates. That's not to say that Infested goes through the motions. With energy and style as well as needling suspense, Vanicek makes a creature-feature equivalent of British alien-invasion gem Attack the Block, with shades of Les Misérables — the 2019 crime-thriller, not Victor Hugo-penned tale — and 2022's fellow standout Athena. He also gets his audience squirming. He filters his recognisable setup through welcome eyes. He knows how to make a heightened situation feel real to the deep distress of arachnophobics, and to get terror and tension scuttling through veins. And, he ensures that desperately rallying against forces that won't let you escape, in a setting that embodies that exact notion, proves both urgent and immediate. Infested streams via Shudder and AMC+. Stopmotion One of the most-haunting performances in Australian cinema belongs to Irish Italian actor Aisling Franciosi. She's acted in The Fall and Game of Thrones, I Know This Much Is True and Dracula: Voyage of the Demeter, and Jimmy's Hall and the upcoming Speak No Evil remake before and since, but her deservedly AACTA Award-winning work in The Nightingale — the second feature from The Babadook's Jennifer Kent, which follows a former convict's quest for revenge against a British officer in 1820s Tasmania — is stunning, searing and unforgettable. Also stellar half a decade later: Franciosi's turn in Stopmotion, which hails from the UK, has her playing the daughter of an animation genius and again tasks the immensely talented actor with confronting trauma. It's the product of a filmmaker in Robert Morgan with an uncompromising vision, too, with the English writer/director making his feature debut almost a decade after helming the D Is for Deloused segment in The ABCs of Death 2 with a movie that's never afraid to commit to its eerie chills, psychological thrills and macabre sense of wonder. Franciosi's Ella Blake has spent her entire life being told that her mother Suzanne (Stella Gonet, Breeders) is an unparalleled master at making the dead appear alive — because that's one way to see Stopmotion's eponymous art form. She's also spent much of her existence assisting rather than pursuing her own dreams, including after arthritis robs her mum of being able to use her hands to craft the exacting movements that their chosen medium requires. When the film begins, overwork has Ella fraying. Emotional cruelty has her internally raging, although she won't admit it. Suzanne has a project to finish, demanding her daughter's utmost commitment. When tragedy compounds her stress, Ella escapes into own creative vision instead, conjuring up a twisted fairy tale aided by a girl (Caoilinn Springall, The Midnight Sky) from an apartment neighbouring her new makeshift studio. Saying what Morgan unleashes from there is inventive, powerful and extraordinary — in live-action and animation alike — is an understatement. Stopmotion streams via Shudder and AMC+. Lumberjack the Monster Spanning big-screen releases, TV and straight-to-video fare, Takashi Miike has notched up 115 directorial credits in the 33 years since making his helming debut. Lumberjack the Monster isn't even the latest — it premiered at film festivals in 2023, which means that miniseries Onimusha and short Midnight have popped up since — but it is Miike back in horror mode, where 1999's Audition and 2001's Ichi the Killer famously dwelled. Here, the inimitable Japanese filmmaker and screenwriter Hiroyoshi Koiwai (Way to Find the Best Life) adapt the eponymous 2019 Mayusuke Kurai novel. Its namesake character also exists on the page in the movie itself, in a picture book. This is a serial-killer picture, though, and with more than one person taking multiple lives. A mass murderer wearing a bag over their head and swinging an axe is on a rampage, and lawyer Akira (Kazuya Kamenashi, Destiny) and surgeon Sugitani (Shôta Sometani, Sanctuary) aren't averse to dispensing death themselves. A clash is inevitable, not that the slick Akira expects it, or that his costumed attacker anticipates that their current target will survive his blade, sparking a cat-and-mouse game. Lumberjack the Monster doesn't just weave in fantasy boogeyman stories, offings upon offings, and characters with dark impulses going head to head. The police are on the case, giving the film a procedural layer, as well as Akira motivation to hunt down his assailant first. Science fiction also washes through, with brain-implanted chips and modifying human behaviour both for worse and for better part of the narrative. There's also a moral-redemption element weaved in. Consequently, it's no wonder that this tale is Miike joint. As well as being prolific, Miike loves making his resume the ultimate mashup. To name just a few examples, see: the yakuza action of Dead or Alive, superhero comedy Zebraman, titular genre of Sukiyaki Western Django, samurai efforts 13 Assassins and Blade of the Immortal, period drama Hara-Kiri: Death of a Samurai, video-game adaptation Ace Attorney, romance For Love's Sake, thriller Lesson of the Evil, vampire movie Yakuza Apocalypse and the crime-driven First Love. Unsurprisingly, Lumberjack the Monster is specifically the engrossing — and bloodily violent — Frankenstein's monster of a flick that Miike was always going to relish making when splicing together such an array of elements came his way. Lumberjack the Monster streams via Netflix. The Kitchen He has an Oscar, BAFTA and Golden Globe for Judas and the Black Messiah. He was nominated for all of the above accolades for Get Out, and should've won them all then, too. His resume spans Skins, one of Black Mirror's most-memorable episodes, plus Sicario, Widows, Black Panther, Queen & Slim and Nope as well. But The Kitchen marks a first for Daniel Kaluuya: his first movie as a director. Hopefully more will follow. Co-helming with Kibwe Tavares — who also notches up his feature debut behind the lens after shorts including Jonah and Robot & Scarecrow, which both starred Kaluuya — and co-penning the screenplay with Calm with Horses' Joe Murtagh, the actor makes a stunning arrival as a filmmaker. The Kitchen's setup: in the year 2044 in London, with class clashes so pronounced that not being rich is basically treated as a crime, a man (Top Boy's Kane Robinson, aka rapper Kano) living in the titular housing development crosses paths with a 12-year-old boy (newcomer Jedaiah Bannerman) who has just lost his mother, with the pair discovering that they have no one but each other as they endeavour to find a way to survive. Robinson's Izy has bought into the social-climbing dream when The Kitchen begins. He'll do so literally if he can come up with the cash for an apartment in a swankier tower away from everything he's ever known within 21 days, a dream that he's been working towards at his job selling funerals. It's at the latter that he meets Bannerman's Benji, who has nowhere to live after his mother's death and no one else to turn to for help. The film's scenario is pure dystopia, reflecting the inequities, oppressions and realities of today as all great sci-fi should. Its intimate emotional core hones in on people attempting to persist and connect, as the genre's best always does as well. Accordingly, this is an impassioned and infuriated portrait of society's gaps as everyone watching can recognise, a nightmarish vision of what might come and a thoughtful character study. As directors, Kaluuya and Tavares excel at world-building, at bringing such rich detail and texture to the screen that viewers feel like they could step straight into its social realist-leaning frames, and at guiding affecting performances out of both Robinson and Bannerman (who adds to the feature's impressive first efforts). The Kitchen streams via Netflix. Orion and the Dark Learning to face life's chaos, or even just recognising that life is chaos, has a particular term when Charlie Kaufman is making movies and audiences do the confronting. Describing something as Kaufmanesque sprang from the screenwriter and filmmaker's stunning run at the end of the 90s and beginning of the 00s — the Spike Jonze (Her)-helmed Being John Malkovich and Adaptation, plus the Michel Gondry (Microbe & Gasoline)-directed Human Nature and Eternal Sunshine of the Spotless Mind — and it's stuck ever since. Joining the trio of Synecdoche, New York, Anomalisa and I'm Thinking of Ending Things as well, all three of which he penned plus helmed, is new family-friendly animation Orion and the Dark. A Kaufmanesque kid-appropriate flick? It exists, and it's wonderful. Feature first-timer Sean Charmatz (TV movie Trolls Holiday in Harmony) directs, and Emma Yarlett's 2014 children's book provides the source material; however, this account of a boy afraid of the dark who then meets the literal Dark (voiced by The Afterparty's Paul Walter Hauser) is a Kaufman affair through and through. Also, iconic German filmmaker — and one-time Parks and Recreation star — Werner Herzog (The Fire Within: A Requiem for Katia and Maurice Krafft) pops up. Loaned the vocal tones of Jacob Tremblay (The Little Mermaid) as a child and Colin Hanks (The Offer) as an adult, Orion is petrified of sleeping without the lights on. And, just like the kids in Monsters, Inc that are scared of creatures in their cupboards, Orion and the Dark's protagonist is frightened of something real. Dark exists and, alongside Orion's parents (The Fall of the House of Usher's Carla Gugino and Bull's Matt Dellapina), is exasperated by the boy's response to nighttime. He can't help taking it personally, in fact, then offers to assist. For one 24-hour period, as darkness falls around the world, he gets Orion to accompany him on his travels with friends Sleep (Natasia Demetriou, What We Do in the Shadows), Insomnia (Nat Faxon, Our Flag Means Death), Quiet (Aparna Nancherla, The Great North), Unexplained Noises (Golda Rosheuvel, Bridgerton) and Sweet Dreams (Angela Bassett, Black Panther: Wakanda Forever) to demonstrate that being distressed is unfounded. It isn't just Herzog's involvement and a joke about David Foster Wallace's Infinite Jest that prove that this is a movie as much for adults as kids; amid its gorgeous animation, its understanding of existential dread is also that astute. Orion and the Dark streams via Netflix. Spaceman Should astronaut become a dictionary-certified synonym for melancholy? Cinema believes so. Its latest case in point comes via Spaceman, where life temporarily lived above and beyond the earth replaces gravity with loneliness and disconnection for Jakub Prochazka (Adam Sandler, You Are So Not Invited to My Bat Mitzvah). He's six months into a solo trip past Jupiter to investigate an eerie phenomenon in the heavens when this adaptation of Jaroslav Kalfař's 2017 sci-fi novel Spaceman of Bohemia kicks off. His quest is both time-sensitive and celebrated. South Korea is in close pursuit, he's frequently being told by Peter (Kunal Nayyar, Night Court), his contact at ground control — and Commissioner Tuma (Isabella Rossellini, Cat Person) happily keeps dialling him in for PR opportunities. As he soars through a strangely purple sky, however, endeavouring to fulfil his mission while pleading for maintenance approval on his crumbling ship, all that's really on his mind is his wife Lenka (Carey Mulligan, Maestro). Pregnant and left at home alone, she's no longer taking his fast-as-light-speed phone calls. Then Hanus (Paul Dano, Mr & Mrs Smith) scurries in beside Jakub, demanding attention — as a giant spider in space is always going to. For the best part of a decade now, seeing a live-action movie starring Sandler has meant heading to Netflix. In Australia, even Uncut Gems, his greatest-ever performance, arrived via the streaming platform. Alongside The Meyerowitz Stories (New and Selected) and Hustle, add Spaceman to the list of such features that give their star worthy parts and would've made welcome cinema releases. It isn't new news that Sandler is an excellent actor in dramatic and/or weightier roles, or that his career is more than the Billy Madison and Happy Gilmore-style comedies that he first became known for. Spaceman director Johan Renck (Chernobyl) has cast him expertly, in fact, in this tale of isolation, arrested development, otherworldly arachnids and amorous entanglements. Sending Sandler on an Ad Astra-, First Man- and Solaris-esque trip proves contemplative and empathetic — and, amid spider's-eye flashbacks to his complicated childhood in the Czech Republic, time spent with Lenka on the ground and floating around the film's claustrophobic main setting, also brimming with raw and resonant emotion. Spaceman streams via Netflix. STEVE! (martin) a documentary in 2 pieces To do justice to Steve Martin's life, career and impact requires more than just one movie. So, the engagingly and entertainingly in-depth, intimate, affectionate and informative STEVE! (martin) a documentary in 2 pieces explores the comedian and actor's existence in a pair of parts. The first is subtitled 'Then', honing in on his childhood and early stand-up days. The second, aka 'Now', jumps in when he made the leap to movies in the late 70s, which is where The Jerk, Pennies From Heaven, Planes, Trains and Automobiles, Dirty Rotten Scoundrels, Parenthood and LA Story comes in — and, of course, includes his tours with his ¡Three Amigos! co-star Martin Short, as well as their murder-mystery-comedy TV hit Only Murders in the Building. The initial half gets Martin narrating, sharing reflections personal and professional as accompanied by archival footage aplenty (and ample tapes of his stints in front of audience). The latter section treats him as an interviewee, with his wife Anne Stringfield, Short, Jerry Seinfeld (who has had Martin as a guest on Comedians in Cars Getting Coffee) and Tina Fey (who also co-starred with Martin in Baby Mama) among the talking heads. Behind it all is documentarian Morgan Neville, an Oscar-winner for 20 Feet From Stardom, as well as a filmmaker who is clearly taking his stylistic cues from his subject. That's noticeable in STEVE! (martin) a documentary in 2 pieces' moniker, for starters — it throws caution to the winds of grammar and title formats just as Martin has to comedy rules, as the two-part film makes plain again and again. No matter how well-acquainted you are with Martin, insights flow freely in this fascinating way to spend three hours surveying the ways that he's made people laugh over decades upon decades, beginning with doing magic tricks and working at Disneyland on his school holidays in the 50s. Revelations bound through about Martin as a person, too; more than once, he notes that his life has felt as if it has played out backwards, and not just because he only first became a father in his 60s. Clips of his stand-up act, and the response to it in the 60s and 70s, are gold. Hanging out with the man who originally was only going to create Only Murders in the Building, not star in it, when he's bantering with Short are as well. STEVE! (martin) a documentary in 2 pieces streams via Apple TV+. Am I OK? The question in Am I OK?'s title is indeed existential: is Lucy (Dakota Johnson, Madame Web) coping with being a thirtysomething in Los Angeles treading water emotionally, romantically and professionally? From there, more queries spring. Can she — or, more accurately, will she — shoot for more than not quite dating the smitten Ben (Whitmer Thomas, Big Mouth), right down to shaking his hand at the end of their evenings out together, and also for something beyond working as a day-spa receptionist while putting her passion and talent for art on the back burner? Is she capable of breaking free of a comfort zone padded out with spending all of her spare time with her best friend Jane (Sonoya Mizuno, House of the Dragon), including being so predictable that she always orders the same thing at their brunches at their favourite diner? Regarding the latter, she gets a push when Jane agrees to a lucrative transfer to London, splitting the pair for the first time since they were teenagers. Am I OK? is an arrested-development coming-of-age movie, then, and a film about being honest about who you are and want to be. Change comes for us all, even when we've built a cocoon to protect our happy status quo — and, at the heart of this romantic drama, change clearly comes for Lucy. She's forced to consider a path forward that doesn't involve solely being defined as half of a platonic duo. She also confronts the feelings for her coworker Brittany (Kiersey Clemons, Monarch: Legacy of Monsters) and the truth about her sexuality that she's never previously admitted. Am I OK? is a coming-out tale, too, but it treats Lucy's stuck-in-a-rut existence and at-first-tentative attempts to embrace how she truly feels holistically, seeing how life's passage inevitably shifts how we see ourselves. If the movie feels more honest than it might've been, that's because screenwriter Lauren Pomerantz (Strange Planet) spins a semi-autobiographical story. Also, the directing team of real-life couple Tig Notaro (2 Dope Queens) and Stephanie Allynne (who helmed Notaro's 2024 special Hello Again) — who met making 2015's In a World… — demonstrate the ideal light-but-delicate touch. Plus, Johnson and Mizuno exude genuine BFF chemistry, with the former again showing why fare such as this, Cha Cha Real Smooth, How to Be Single, The Peanut Butter Falcon, A Bigger Splash, Suspiria and The Lost Daughter, a diverse group of pictures, is a better fit than the Fifty Shades trilogy or a Spider-Man spinoff. Am I OK? streams via Binge. Looking for more viewing highlights? We picked the best 15 films that've reached cinemas in 2024's first half, too, plus the 15 best new TV shows of 2024 so far and the 15 best returning TV shows. We also keep a running list of must-stream TV from across the year so far, complete with full reviews. And, you can check out our list of film and TV streaming recommendations, which is updated monthly.
Two comebacks are better than one, which is exactly what Tyla Dombroski and Trad Nathan have delivered at 711 Ann Street in Fortitude Valley. As The Zoo, that address was home to a legendary piece of the city's live music history for 32 years, until it closed its doors in July 2024. Thankfully, the team behind fellow venue Crowbar snapped up the lease — so as well as ensuring that tunes still echo from this beloved location, the Crowbar brand has made its Brisbane return. If you were heartbroken and couldn't imagine the city's music scene without one of its most-famous places when The Zoo bid farewell, that was understandable — its influence was that big. It was back in October 2024 that news arrived that Crowbar would be taking over, ensuring that the pivotal spot wouldn't be empty, or silent, for long. The reborn venue has been welcoming punters in since late last year, and currently boasts a pack slate of gigs for 2025 featuring everyone from The Runaways great Cherie Currie through to Guitar Wolf and Shihad. Dombroski and Nathan know what it's like to have to shut one of the city's favourite hangouts — and now they've saved the day at The Zoo. 2024 marked four years since Crowbar said goodbye in the River City, where it initially launched in 2012 before expanding to Sydney in 2018, due to the impact of the pandemic. Luckily that absence was relatively short-lived. "The Zoo has been an institution in Brisbane for over three decades. Crowbar intends to honour the amazing path laid before us and continue offering great events for years to come," said Nathan back when its return was announced. "As a former punter, band member, booker and promoter, playing The Zoo was a great achievement for aspiring bands — we're excited to be able to keep music within its walls." "We are so grateful to have the opportunity to work with the landlords, the Apostolos family, in maintaining the property as a live music venue. Our focus is to continue providing a great space for artists and music lovers, while working with industry and government to ensure the survival of grassroots venues across Australia," added Dombroski. In its new location, Crowbar Brisbane 2.0 includes an American-inspired, smashed burger-slinging menu from eatery Ultimate Pig, where fried chicken, barbecue and more are on offer — think: brisket-stacked burgs, buffalo wings, house-smoked pulled pork, mac 'n' cheese and loaded fries, for instance — plus a rebrand by Melbourne artist Callum Preston, who has also done the same for Crowbar Sydney. The Zoo's 32-year run saw it host gigs by local favourites such as Resin Dogs and Screamfeeder, Aussie greats like Nick Cave and Silverchair, and international acts including The Pixies and The Black Keys — and plenty more in-between. The team behind the venue closed it down due to "rising operational costs and decreasing returns". "Sadly, the financial reality of keeping music venues afloat in 2024 is all too stark. The Zoo reached its highest ticket sales in its 32-year history last year, yet this was still not enough to combat rising operational costs and decreasing returns," The Zoo crew advised when they broke the news. Find Crowbar Brisbane at 711 Ann Street, Fortitude Valley — open 11am–5pm and 7pm–12am Thursday and Sunday, and 11am–5pm and 7pm–3am Friday–Saturday. Head to the venue's website for tickets and more details.
In supremely Brisbane news, the River City was shocked back in March when Myer announced that it was moving out of its CBD store. Shutting up shop in Queen Street didn't just mean leaving the inner city — it meant saying goodbye to the Myer Centre, aka the retail complex that's been named after its key tenant since opening back in 1988. The time for farewells has come, with Myer closing up shop in the Myer Centre after its last day of trading on Monday, July 31. In the aftermath, Vicinity Centres and ISPT, the two companies behind the shopping centre, have wasted no time in changing the building's name. So, meet Uptown. [caption id="attachment_893280" align="alignnone" width="1920"] John Robert McPherson via Wikimedia Commons[/caption] Other than the big Myer-shaped gap across a hefty part of the complex, the centre is still the same — just with a different moniker. What will take over Myer's multi-floor tenancy is still yet to be revealed. It likely wasn't among the choices, but The Dragon Coaster Centre — paying tribute to the beloved rollercoaster that used to sit at the top of the building — would've had a nice ring to it. For many Brisbanites, the spot has never been the same since it lost that attraction. Even if you aren't old enough to have lived through that pre-2000 era, you've probably always wondered what it was like. Before Y2K, the CBD shopping complex's upper levels weren't home to cinemas and arcade games — they boasted an indoor theme park called Tops, including a ride that had everyone loving fire-breathing creatures before they'd ever heard of Game of Thrones and House of the Dragon. There's been rumours of the dragon coaster making a comeback over the years, but sadly nothing has ever eventuated. Back to Myer: until now, the department store that the whole place is named after was the complex's central shop, but the company decided not to renew its lease. "Myer has made the decision to depart the Myer Centre Brisbane at the end of its lease in July 2023," said Vicinity Centres and ISPT in a joint statement in March. "Vicinity and ISPT were investigating a number of options for the centre including a downsized contemporary department store and plans without a department store, which we can now progress with certainty." "We look forward to delivering a reimagined destination in the heart of Brisbane's evolving CBD and anticipate sharing our plans shortly." [caption id="attachment_893278" align="alignnone" width="1920"] Figaro via Wikimedia Commons[/caption] "Whilst we remain committed to the Brisbane market, we have been unable to negotiate a reasonable commercial outcome with the landlord and as such will continue to look for an alternative CBD location," said Myer CEO John King at the time. "We thank our team members for their service and will be providing redeployment opportunities at nearby stores." "For our loyal customers, we will continue to serve the Brisbane area with our surrounding stores and our 24/7 online business while we explore future Brisbane CBD options, and we thank you for your ongoing loyalty." [caption id="attachment_893277" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] Responding to the news when it was first revealed, Brisbane Lord Mayor Adrian Schrinner said that "while this is a sad day for generations of Brisbane residents who have loved shopping at the Queen Street Mall Myer, it's also a great opportunity for our city centre." "With the Brisbane 2032 Olympic and Paralympic Games on the horizon, now is the perfect time for the centre's owners to reimagine one of Queensland's premier retail spaces." "The Myer Centre once had live music on its lower levels, as well as a fun park at the top, and has always evolved and moved with the times. I think this is a fantastic opportunity for the centre to be reinvigorated into a vibrant, modern retail experience for residents and visitors and I look forward to working with the owners on their future plans." Find Uptown at 91 Queen Street, Brisbane — and head to the centre's website for further details. Top image: Maksym Kozlenko via Wikimedia Commons.
Whether you're an old pro at visiting in Tasmania, a trip down south has always been on your to-do list or you're simply exploring your summer getaway options, the Apple Isle is about to welcome a lavish new spot that's tailor-made for Tassie holidays. Set to open in December, The Tasman marks the first Australian outpost for Marriott International's Luxury Collection hotels brand — so this is definitely a treat yo'self type of place to stay. Perched between Hobart's Salamanca Place and Parliament Square — complete with views out over the Sullivan's Cove waterfront — The Tasman will feature 152 rooms. Whichever one you're booked into, it won't be the same as any others on the property, because celebrating the character of the site is one of the hotel's main aims. Given that The Tasman features an original 1840s heritage building, a 1940s art deco building and a new glass-heavy pavilion, it's easy to see why that's such a focus. Some rooms nod in the heritage direction, others embrace art deco — and guests will enjoy original artworks by local creatives, island baths and fireplaces across the property. And, when you're not using the hotel as a base to explore the city, including not only Sullivan's Cove but also Salamanca Market and St David's Park, you can also pop into the onsite restaurant and bar. At Peppina, chef Massimo Mele will be serving up a Tassie take on Italian dishes, and pairing it with old-world hospitality. At Mary Mary, you'll sip cocktails by Proof & Company's Charlie Ainsbury — after finding the bar perched deep within The Tasman's sandstone walls. Price-wise, rooms start at around $400 per night. That said, you can expect to pay around $5000 a night for the Aurora Suite — the hotel's one-bedroom presidential suite, which comes with water views and its own rooftop terrace. The Tasman opens at 12 Murray Street, Hobart, in December 2021 — with bookings currently available from Tuesday, December 21 onwards. For further information, head to the hotel's website.
Maybe you share your home with a very good pooch who likes sprawling out on soft surfaces. Perhaps your live-in company is a frequently slumbering feline who can turn anything — and we mean anything — into a bed. Either way, tell your pet that they're about to get comfier. Tell them to relinquish ownership of any Hommey cushions and throws they've taken as their own, too, because the homewares brand has just released a dog- and -cat-friendly collection. Hommey's first-ever pet range goes big on cosiness, just for your furry friends rather than for you. That said, the line looks so comfortable that you might find yourself snuggling up with your pupper or mouser while atop its soft memory-foam mattresses, resting on its bone-shaped pillows and beneath its cosy faux-fur blankets. First, those beds. Ranging from $159–229 in price, they're available in small and medium sizes, and in an array of colours including olive, cherry, stone, raven, milkshake, lilac, latte, blush, duke, marshmallow, mushroom, coffee, tan and rose. The covers come off so that you can pop them in the wash when your pet has given them a bit too much love, plus they come in either durable boucle fabric or faux fur. For popping on top, the bone-shaped cushions are decked out in almost as many colours, and in the same choice of fabrics. These cost $29 and, depending on the size of your pooch, can even be carried out in their mouth. As well as blankets priced at $49 completing the treat-your-pet set, the Hommey pet collection also spans leads ($49) and collars ($39) in a heap of hues. "Outside of playing with dogs everyday, the challenge of finding the perfect mix of function, style, convenience and affordability has been a fun process," said Hommey Founder and Chief Comfort Officer Justin Kestelman. "We love creating products that work to solve a problem, and over 12 months of development and testing our products with 30-plus owner/pets it's so exciting to see this come to life." The Hommey pet collection is on sale now — head to the Hommey website for further details.
When one year ends and another begins, looking back is always on the agenda. When summer holidays arrive with lazy days and cruisy itineraries, streaming binges await. Combine the two and you've got a date with 2023's small-screen highlights — but don't just stick to the shows that you saw and loved over the past 12 months. Because no one can watch everything that drops when it drops, you no doubt missed plenty of gems when you weren't glued to your couch. A nun battling AI, Pete Davidson's latest riff on his own life, a new series from Drive filmmaker Nicolas Winding Refn and a twist on Sweeney Todd are just some of the fresh 2023 streaming shows that you mightn't have had a chance to catch up with yet, but can now. There's more where they came from. As we did in 2021 and 2022, we've highlighted 15 ace new arrivals over the past year that deserve a place in your streaming queue. Don't spend your break endlessly scrolling through the ever-growing array of streaming platforms — we've done the hard work for you. MRS DAVIS It was back in March 2022 that the world first learned of Mrs Davis, who would star in it and which creatives were behind it. Apart from its central faith-versus-technology battle, the show's concept was kept under wraps, but the series itself was announced to the world. The key involvement of three-time GLOW Emmy-nominee Betty Gilpin, Lost and The Leftovers creator Damon Lindelof, and The Big Bang Theory and Young Sheldon writer and executive producer Tara Hernandez was championed, plus the fact that Black Mirror: San Junipero director Owen Harris would helm multiple episodes. Accordingly, although no one knew exactly what it was about, Mrs Davis existed months before ChatGPT was released — but this puzzle-box drama, which is equally a sci-fi thriller, zany comedy and action-adventure odyssey, now follows the artificial intelligence-driven chatbot in reaching audiences. Indeed, don't even bother trying not to think about the similarities as you're viewing this delightfully wild and gleefully ridiculous series. There's also no point dismissing any musings that slip into your head about social media, ever-present tech, digital surveillance and the many ways that algorithms dictate our lives, either. Mrs Davis accepts that such innovations are a mere fact of life in 2023, then imagines what might happen if AI promised to solve the worlds ills and make everyone's existence better and happier. It explores how users could go a-flocking, eager to obey every instruction and even sacrifice themselves to the cause. In other words, it's about ChatGPT-like technology starting a religion in everything but name. To tell that tale, it's also about nun Simone (Gilpin, Gaslit), who was raised by magicians (Love & Death's Elizabeth Marvel and Scream's David Arquette), and enjoys sabbaticals from her convent to do whatever is necessary to bring down folks who practise her parents' vocation and the show's titular technology. She also undertakes quite the literal nuptials to Jesus Christ, is divinely bestowed names to chase in her quest and has an ex-boyfriend, Wiley (Jake McDorman, Dopesick), who's a former bullrider-turned-Fight Club-style resistance leader. And, she's tasked with a mission by the algorithm itself: hunting down the Holy Grail. Mrs Davis streams via Binge. Read our full review. A MURDER AT THE END OF THE WORLD Whichever miniatures are stuffed inside a snow globe, a simple shake surrenders them all to the same fate: flakes falling in their tiny dome. Pop culture's enduring murder-mystery obsession can feel much the same way. When the pieces start raining down in seven-part miniseries A Murder at the End of the World, there's much that instantly feels familiar from a heavily populated field of recent and classics whodunnits. That checklist includes a confined single setting, potential victims cooped up with an unknown killer, rampant secrets and lies, fingers pointed everywhere, Nordic noir's frosty climes, an eerie butler, a wealthy host who might just have the most to lose and, of course, a gifted gumshoe sleuthing through the group. A Murder at the End of the World radiates its own Gen Z Sherlock Holmes vibe, though. That's even how its sharp protagonist is described, and early. In the role of 24-year-old hacker-turned-author Darby Hart, who is invited by billionaire recluse Andy Ronson (Clive Owen, American Crime Story) to an intimate Iceland symposium of bright minds, Emma Corrin (Lady Chatterley's Lover) also turns Agatha Christie. The OA creators Brit Marling and Zal Batmanglij have put their own intriguing, involving, can't-stop-watching spin on their addition to the genre, as they make clear early. As the duo share writing duties and split time in the director's chair — with Marling also co-starring — they take cues from The Girl with the Dragon Tattoo and Stieg Larsson's sequels as well, all while also sliding their series in alongside Glass Onion: A Knives Out Mystery; however, the mood, ambition, pursuit of weighty themes, shadowy conspiracies, earnestness and love of telling puzzle-box tales match perfectly with their last show, plus their film collaborations Sound of My Voice and The East. Two timelines unspool: the present-day storyline at the ideas salon, where bodies are soon falling; and the the road trip that Darby took with fellow Reddit-aided citizen detective Bill Farrah (Harris Dickinson, Scrapper) to solve the case that fuels her debut novel. Both are compelling; shake this snow globe for more and you won't want to stop. A Murder at the End of the World streams via Disney+. Read our full review. THE CHANGELING It isn't by accident that watching The Changeling feels like being read to, rather than simply viewing streaming's latest book-to-TV adaptation. Landing from the pages of Victor LaValle's novel of the same name, this horror-fantasy series is obsessed with stories, telling tales and unpacking what humanity's favourite narratives say about our nature, including myths and yarns that date back centuries and longer. Printed tomes are crucial in its characters lives, fittingly. Libraries, bookstores, dusty boxes stacked with old volumes, beloved childhood texts, a rare signed version of To Kill a Mockingbird with a note from Harper Lee to lifelong friend Truman Capote: they all feature within the show's frames. Its protagonists Apollo Kagwa (LaKeith Stanfield, Haunted Mansion) and Emma Valentine (Clark Backo, Letterkenny), who fall in love and make a life together before its first episode is out, even work as a book dealer and a librarian. And, The Changeling also literally reads to its audience, because LaValle himself relays this adult fairytale, his dulcet tones speaking lyrical prose to provide a frequent guide In a show created and scripted by Venom, Venom: Let There Be Carnage, Fifty Shades of Grey and Saving Mr Banks screenwriter Kelly Marcel, there's nothing more potent and revealing than a story, after all — and The Changeling believes in the power of tales to capture, explain, transport, engage, caution and advise, too. Aptly, New Yorkers Apollo and Emma meet amid books, in the library where she works and he frequents. It takes convincing to get her to agree to go out with him, but that leads to marriage and a child. The Changeling's astute thematic layering includes Apollo's repeated attempts to wrangle that first yes out of Emma, however, setting up a train of thought that has many future stations. In-between early dates and domesticity, Emma also takes the trip of a lifetime to Brazil, where an old woman awaits by Lagoa do Abaeté. The locals warn the visitor to stay away but she's mesmerised. What happens between the two strangers sends the narrative hurtling, with the lakeside figure tying a red string around Emma's wrist, granting her three wishes, but advising that they'll only come true when the bracelet falls off by itself. The Changeling streams via Apple TV+. Read our full review. BUPKIS In its opening moments, Bupkis unloads — twice, in completely different ways, while ensuring there's zero doubt that this is a series about Pete Davidson starring Pete Davidson as Pete Davidson. First, the former Saturday Night Live comedian gets Googling while alone in the basement of the Staten Island home he shares with his mother Amy (Edie Falco, Avatar: The Way of Water). The results about Ariana Grande, Kate Beckinsale and Kim Kardashian's ex aren't positive; so, to shake off the unpleasantness of reading '12 Things Horribly Wrong with Pete Davidson', he switches from "scumbro" with "butthole eyes" comments to porn. He's wearing a VR headset, and he's soon deep in self-love. Then his mum walks in. Bupkis clearly isn't wary about getting crude. It isn't concerned about satirising its central figure, either. Instead, this semi-autobiographical dramedy relishes the parody. At the age of 29, Davidson has reached the "you may as well laugh" point in his career, which is hardly surprising given he's spent the past decade swinging his big chaotic energy around. Partway through the eight-episode series, while keen to claim some perks for being Davidson's mother — other than doting on her son, that is — Amy shouts at wait staff that "Marisa Tomei played me!". Add that to Bupkis' gleeful, playful nods to reality. An opening statement before each instalment stresses the difference between fact and fiction, and why the show has the moniker it has, but art keeps imitating life everywhere. There's no switching names, however. Davidson is indeed Davidson, his IRL mum is called Amy and his sister is Casey (Oona Roche, The Morning Show). As in The King of Staten Island, they've been a trio since 9/11, and dealing with losing his New York City firefighter dad still isn't easy. Off-screen, however, Davidson must be a fan of My Cousin Vinny, plus the gangster genre. Hailing from the former as Tomei does, and famed for his performances in the latter like The Sopranos star Falco, Goodfellas, Casino and The Irishman alum Joe Pesci is a pivotal part of Bupkis as Davidson's grandfather Joe — a hilarious and delightful part, unsurprisingly. Bupkis streams via Binge. Read our full review. MATILDAS: THE WORLD AT OUR FEET Passion flows as feverishly through the Australia's women's national football team as talent, and Matildas: The World at Our Feet boasts plenty of examples to show it. Covering the lead up to the 2023 FIFA Women's World Cup, this six-part documentary series sees enthusiasm and emotion everywhere, regardless of who the squad is playing, why or where, and the end score. Kicking goals? Joyous. Winning games? Euphoric. Taking every step needed to do their best at soccer's ultimate contest, especially because it's being held on home soil for the first time ever? A positively peppy and determined task. Inspiring girls across Australia to follow in their footsteps? For Sam Kerr and company, that's what their hard work is all about. To start this doco's sixth episode, Kerr and several teammates chat about how much it means to them to be galvanising tomorrow's female athletes, a topic that pops up more than once across the entire series. In this particular instalment, they also discuss the equivalent influence in their own lives: Cathy Freeman's 400-metre gold-medal run at the 2000 Sydney Olympics. "We didn't have a role model in women's football, or any sport," shares goalkeeper Lydia Williams. "Watching Cathy Freeman at 2000, that just kind of ignited my dreams," she continues. "At the time, I was just amazed — blown away that every single person in the country could be talking about one person, and she was a female athlete," adds Kerr. "As I sat in my lounge room as a nine-year-old girl and watched her, that inspired me to one, be proud of who I am, but to also follow my sporting dreams to play football for Australia," says fellow striker Kyah Simon. The force of their feelings radiates from the screen, and Matildas: The World at Our Feet's audience beams the same emotions right back at them. Matildas: The World at Our Feet streams via Disney+. Read our full review. LUCKY HANK When Better Call Saul finished its six-season run in 2022, it was the end of an era. Not only did one of the absolute best TV shows of the past decade and the whole 21st century so far wrap up, but the Breaking Bad universe with it for now. And, it meant that the wonderful Bob Odenkirk was no longer on our screens regularly. Thankfully, with the arrival of Lucky Hank, the latter was only a short-lived state of affairs. This dramedy — because everything is a dramedy at the moment — hails from The Office actor/co-writer Paul Lieberstein, adapts Richard Russo's 1997 novel Straight Man, and casts its Undone and Nobody star as a Pennsylvanian college professor. The eponymous Hank Devereaux Jr inhabits a whirlwind of chaos, including underfunding at his university in general, unhappy colleagues in the English department he chairs, students challenging him, a wife that's tiring of academic life and the fact that he's only penned one book thanks to a hefty bout of writers' block. If some of the above sounds familiar, that's because The Chair flicked through similar territory in 2021 — also engagingly, and with Sandra Oh at its centre. Like that series, Lucky Hank thrives through its excellent lead casting, with watching Odenkirk still one of the easiest things in the world no matter what he's in. He has excellent company, including Lieberstein's The Office co-star Oscar Nuñez as Railton College dean, Mireille Enos (Hanna) as his wife, and Diedrich Bader (Shazam! Fury of the Gods) as a friend and co-worker. As a guest star, one and only Twin Peaks legend Kyle MacLachlan is also among the cast. Odenkirk wears middle-aged malaise so devastatingly well, though, which made Better Call Saul one of the best tragedies there is, and helps Lucky Hank prove as thoughtful as it is charming. There's depth to Hank's experiences, too, with Russo's tome based on his own time teaching at several colleges. Lucky Hank streams via Stan. THE BIG DOOR PRIZE Sometimes Apple TV+ dives into real-life crimes, as miniseries Black Bird did. Sometimes it mines the whodunnit setup for laughs, which The Afterparty winningly achieved. The family feuds of Bad Sisters, Servant's domestic horrors, Hello Tomorrow!'s retrofuturistic dream, the titular take on work-life balance in Severance — they've all presented streaming audiences with puzzles, too, because this platform's original programming loves a mystery. So, of course dramedy The Big Door Prize is all about asking questions from the outset. Here, no one is wondering who killed who, why a baby has been resurrected or if a situation that sounds too good to be true unsurprisingly is. Rather, in a premise isn't merely a metaphor for existential musings, they're pondering a magical machine and what it tells them about themselves. Everyone in The Big Door Prize does go down the "what does it all mean?" rabbit hole, naturally, but trying to work out why the Morpho has popped up in the small town of Deerfield, where it came from, whether it can be trusted, and if it's just a bit of fun or a modern-day clairvoyant game are pressing concerns. When the machine arrives, it literally informs residents of their true potential. Crowds flock, but not everyone is initially fascinated with the mysterious gadget. Turning 40, and marking the occasion with that many gifts from his wife Cass (Gabrielle Dennis, A Black Lady Sketch Show) and teenage daughter Trina (Djouliet Amara, Devil in Ohio), high-school history teacher Dusty Hubbard (Chris O'Dowd, Slumberland) is nonplussed. Amid riding his new scooter and wondering why he's been given a theremin, he's baffled by all the talk about the Morpho, the new reason to head to Mr Johnson's (Patrick Kerr, Search Party) store. As school principal Pat (Cocoa Brown, Never Have I Ever) embraces her inner biker because the machine said so, and charisma-dripping restaurateur Giorgio (Josh Segarra, The Other Two) revels in being told he's a superstar, Dusty claims he's happy not joining in — until he does. The Big Door Prize streams via Apple TV+. Read our full review. COPENHAGEN COWBOY Ten years ago, Nicolas Winding Refn released his second Ryan Gosling-starring film in succession, won his second Sydney Film Festival Prize, and was a reliable source of dazzling and blisteringly atmospheric crime fare thanks to Drive and Only God Forgives — and also the Pusher trilogy and Bronson before that pair. In the past decade, however, he's only brought one more movie to cinemas. The Neon Demon was a gem, too, and about as Refn as Refn gets, but that was back in 2016. Smaller screens have been beckoning the Danish director, thankfully. He launched his own free streaming service, and also co-created, co-wrote and directed the ten-part, Miles Teller (Top Gun: Maverick)-starring Too Old to Die Young. Refn's latest effort gets episodic as well, and sees him return to his homeland for the first time since Valhalla Rising — and, while it feels filtered through David Lynch's sensibilities alongside his own, Copenhagen Cowboy remains Refn through and through. The visuals have it, as they always do when this filmmaker is behind the lens. Neon aplenty, how he composes a room, how his characters peer on at the world around them, the use of 360-degree pans, the chilly mood, his overall aesthetic flair: they're all here. So, too, is another of the director's essentials, courtesy of a synth-heavy score by Cliff Martinez. That combination makes an entrancing mix, as it has over and over before, but Copenhagen Cowboy is never simply a case of empty style, sound and vision. Also present is an enigmatic tale, this time about the magnetic and mysterious Miu (Angela Bundalovic, Limboland). Considered a "living lucky charm" and highly sought after for her talents, she's the show's entry point to Copenhagen's criminal underworld. Can she help Rosella (Dragana Milutinovic, also Limboland) get pregnant? What kind of eerie situation has she found herself in? Are her gifts genuine? It wouldn't be a Refn project if questions didn't linger in the pulsating sense of stillness. Copenhagen Cowboy streams via Netflix. IN LIMBO Not to be confused with 2023 Australian film Limbo, six-part Aussie dramedy In Limbo not only takes its title to heart, but also uses the idea as fuel for a supernatural buddy comedy. Indeed, before the first episode is out, Nate (Bob Morley, Love Me) is palling around with his lifelong best friend Charlie (Ryan Corr, House of the Dragon) from the afterlife. The former doesn't know why he's still a presence. The latter is understandably reeling from the tragedy, and initially thinks that spying Nate is just a drunken hallucination. No one else, not Nate's wife Freya (Emma Harvie, Colin From Accounts), eight-year-old daughter Annabel (Kamillia Rihani, The Twelve), supremely very Catholic mother Maria (Lena Cruz, Wellmania) and affable father Frank (Russell Dykstra, Irreverent), can see their dearly-departed loved one as a ghost. It's Christmas, too, in this Brisbane-shot and -set series, and facing the festivities after such a shock is far from easy. While heartily deploying Brisbane Powerhouse and New Farm Park as settings, that's a lot for one show to delve into — and delve it thoughtfully does. Tackling grief, mental health and suicide is never simple, even in a show about someone haunting their best mate, and including when such topics have been increasingly popping up in Australian fare of late (see also: Totally Completely Fine). In Limbo is clearly made with care, empathy and understanding — and, crucially, doesn't attempt to offer any firm answers, instead acting as a conversation starter. At its core, the always-excellent Corr plays a complicated role with charm. That's no surprise given his resume, and he couldn't be better cast. Corr's likeable performance always dives deep into the about-to-get-divorced Charlie's struggle without Nate physically by his side, with Nate now his ghostly offsider and with his own problems, and never brushes past the character's flaws. And, just as importantly as the show's focus on 21st-century masculinity and friendship, Corr makes such a great double act with Morley that filmmakers should be clamouring to pair them up again ASAP. In Limbo streams via ABC iView. Read our full review, and our interview with Ryan Corr. HELLO TOMORROW! In 2022, scam culture was here to stay, as drawn-from-reality hits such as Inventing Anna and The Dropout repeatedly promised. In 2023, playing fast and loose with the truth sits at the heart of Hello Tomorrow!, too, which tells a fictional tale about the deceptions people spin to chase their dreams. The show's beaming face: travelling salesman Jack Billings (Billy Crudup, The Morning Show), the regional manager for BrightSide Lunar Residences, and a passionate pusher of timeshares on the moon. He's this intriguing dramedy's version of Don Draper, but with Mad Men's 60s surroundings swapped for The Jetsons-style robot help and hovering vehicles. There's a The Twilight Zone-meets-Leave It to Beaver feel to Hello Tomorrow!, too, as its characters seek the same thing we all do: a better life. Creators Amit Bhalla and Lucas Jansen (both Bloodline alumni), also co-writers and showrunners with You're the Worst's Stephen Falk, zoom in further, focusing on the reasons anyone holds onto to hope their lot will improve. Befitting any blend of all of the above series, the look of Hello Tomorrow! is retro-futuristic, steeped in 50s-era visions of what might come. The time and place is an alternative version of that decade, in a suburban enclave called Vistaville, where one of Jack's biggest fibs has its origins. He's summoned back with his crew of hawkers — the gambling-addicted Eddie (Hank Azaria, The Simpsons), promotion-coveting Herb (Dewshane Williams, In the Dark) and resident righthand-woman Shirley (Haneefah Wood, Truth Be Told) — by his mother Barbara (Jacki Weaver, Penguin Bloom) after his wife Marie (Annie McNamara, Severance) is injured by a self-driving delivery van. His son Joey (Nicholas Podany, Archive 81) is struggling to cope, a task made all the more difficult by Jack's absence from his family's lives for decades. He's skilled at sharing stories about his domestic bliss on the moon to customers, but being a happy head of a lunar household is merely one of his go-to falsehoods. Hello Tomorrow! streams via Apple TV+. Read our full review, and our interview with Hank Azaria. THE CONSULTANT If there's a question that no employee wants to hear from the person setting company agendas, pulling strings and signing paycheques, it's "what do we do?". In moody and mysterious workplace nightmare The Consultant — which adapts horror author Bentley Little's 2016 novel of the same name, but plays like Severance filtered through Servant — Regus Patoff (Christoph Waltz, Guillermo del Toro's Pinocchio) asks a variation of it early. "What do we make?" he queries at CompWare after he arrives amid grim circumstances. The mobile gaming outfit came to fame under wunderkind Sang (TV first-timer Brian Yoon), so much so that school groups tour the firm's office. Then, during the visit that opens this eight-part, excellently cast and supremely easy-to-binge thriller, a kid shoots and kills the company's founder. That doesn't stop Regus from showing up afterwards clutching a signed contract from Sang and spouting a mandate to do whatever it takes to maximise his legacy. Regus is as stern yet eccentric as Waltz has become known for — a suit- and tie-wearing kindred spirit to Inglourious Basterds' Hans Landa, plus Spectre and No Time to Die's Ernst Stavro Blofield. He first darkens CompWare's door in the thick of night, when only ambitious assistant Elaine Hayman (Brittany O'Grady, The White Lotus) and stoner coder Craig Horne (Nat Wolff, Joe vs Carole) are onsite, and he won't take no for an answer. There's no consultant job for him to have, Elaine tells him. There's no business to whip into shape, she stresses. By the next morning, he's corralling employees for an all-hands meeting and telling remote workers they'll be fired if they don't show up in-person within an hour, even if he proudly doesn't know what CompWare does — or care. From there, The Consultant gets creator Tony Basgallop, who is also behind Servant, doing what he loves: kicking off with a blow-in, unsettling a group already coping with tragedy and reordering their status quo with severe methods. Both of his current shows lace the chaos that follows with nods towards the supernatural, too, and both ask what bargains we're willing to make to live the lives we're striving for. The Consultant streams via Prime Video. Read our full review. THE HORROR OF DOLORES ROACH It takes place in New York, not London. The era: modern times, not centuries back. Fleet Street gives way to Washington Heights, the demon barber to a masseuse nicknamed "Magic Hands", and pies to empanadas. There's still a body count, however, and people end up in pastries as well. Yes, The Horror of Dolores Roach namedrops Sweeney Todd early, as it needs to; there's no denying where this eight-part series takes inspiration, as did the one-woman off-Broadway play that it's based on, plus the podcast that followed before the TV version. On the stage, the airwaves and now via streaming, creator Aaron Mark asks a question: what if the fictional cannibalism-inciting character who first graced penny dreadfuls almost two centuries back, then leapt to theatres, films and, most famously, musicals, had a successor today? Viewers can watch the answer via a dramedy that also belongs on the same menu as Santa Clarita Diet, Yellowjackets and Bones and All. Amid this recent feast of on-screen dishes about humans munching on humans, The Horror of Dolores Roach is light yet grisly, but it's also a survivalist thriller in its own way — and laced with twisted attempts at romance, too. That knowing callout to Sweeney Todd: The Demon Barber of Fleet Street comes amid an early banquet of knowing callouts, as The Horror of Dolores Roach begins with a play based on a podcast that's wrapping up its opening night. Newspaper clippings in actor Flora Frias' (Jessica Pimentel, Orange is the New Black) dressing room establish that the show takes its cues from a woman who got murderous in the Big Apple four years prior, and helped get unwitting NYC residents taking a bite out of each other. Meet the series' framing device; before the stage production's star can head to the afterparty, she's face to face with a furious Dolores (Justina Machado, One Day at a Time) herself. The latter isn't there to slay, but to haunt the woman spilling her tale by sharing the real details. Two decades earlier, Dolores was a happy resident of Lin-Manuel Miranda's favourite slice of New York, a drug-dealer's girlfriend, and a fan of the local empanada shop. Then the cops busted in, The Horror of Dolores Roach's namesake refused to snitch and lost 16 years of her life. When she's released, gentrification has changed the neighbourhood and her other half is nowhere to be found. Only Luis Batista (Alejandro Hernandez, New Amsterdam) remains that remembers her, still in the empanada joint, and he couldn't be keener on letting her stay with him in his basement apartment below the store. The Horror of Dolores Roach streams via Prime Video. Read our full review. HIGH DESERT In High Desert, the always-excellent Patricia Arquette (Severance) leads a private investigator comedy that dapples its jam-packed chaos under California's golden sun, against the parched Yucca Valley landscape and with an anything-goes philosophy — not to mention a more-mayhem-the-merrier tone. She plays Peggy Newman, who isn't letting her age get in the way of perennially struggling to pull her life together. That said, when the eight-part series starts, it's Thanksgiving 2013 and she's living an upscale existence in Palm Springs, with gleaming surfaces abounding in her expansive (and visibly expensive) home. Then, as her husband Denny (Matt Dillon, Proxima) jokes around with her mother Roslyn (Bernadette Peters, Mozart in the Jungle), and her younger siblings Dianne (Christine Taylor, Search Party) and Stewart (Keir O'Donnell, The Dry) lap up the lavish festivities, DEA agents swarm outside. Cue weed, hash and cash stashes being flushed and trashed, but not quickly enough to avoid splashing around serious repercussions. A decade later, High Desert's protagonist has been sharing Roslyn's house and trying to kick her addictions while working at Pioneertown, a historical attraction that gives tourists a dusty, gun-toting taste of frontier life. Peggy would love to step back in time herself when she's not pretending to be a saloon barmaid — to when her recently deceased mother was still alive, however, rather than to her glitzy post-arrest shindigs. Still angry about being caught up in a drug bust, Dianne and Stewart have zero time for her nostalgia and a lack of patience left for her troubles. Their plan: to sell Roslyn's abode with no worries about where Peggy might end up. Her counter: doing everything she can to stop that from happening. High Desert doesn't just embrace the fact that living and breathing is merely weathering whatever weird, wild and sometimes-wonderful shambles fate throws your way; in a show created and written by Nurse Jackie and Damages alumni Jennifer Hoppe and Nancy Fichman, plus Miss Congeniality and Desperate Housewives' Katie Ford, that idea dictates the busy plot, too. High Desert streams via Apple TV+. Read our full review. TOTALLY COMPLETELY FINE In Thomasin McKenzie's breakout role in 2018's deeply thoughtful and moving Leave No Trace, she played a teen being the responsible one while living off the grid with her PTSD-afflicted father. She turned in a magnificent performance in a film that also earns the same description — one of that year's best — and a portrayal that rightly ensured that more work came her way. In Totally Completely Fine, the New Zealand actor is again excellent, as she's been in Jojo Rabbit, The Justice of Bunny King, Old and Last Night in Soho in-between; however, this six-part Australian series, which makes ample use of its Sydney setting, casts McKenzie as the least responsible among her siblings. Vivian Cunningham's elder brothers John (Rowan Witt, Spreadsheet) and Hendrix (Brandon McClelland, Significant Others) are conscientious and family-focused, respectively, while she has internalised her bad decisions to the point of thinking that she ruins everything. But then her grandfather passes away when she's at a particularly low moment, wills only her his cliffside house and also leaves a note saying that she'll learn what to do with it. When Totally Completely Fine begins, Vivian is close to saying goodbye. Soon, she discovers that her inherited home is a destination for others feeling the same way. Creator Gretel Vella (a staff writer on The Great, and also a scribe on Christmas Ransom and Class of '07) doesn't shy away from a a tricky topic, as her definitely-not-totally-completely-fine protagonist becomes an unofficial counsellor to strangers — like runaway bride Amy (Contessa Treffone, Wellmania) — who step into her yard planning to commit suicide. This character-driven series doesn't ever reductively posit that only struggling people can help struggling people. Instead, it sees life's difficulties everywhere, the many ways that folks attempt to cope and don't, and the parts that others can have in that journey. McKenzie's performance is pivotal, selling the deep-seated grief that has defined Vivian's life, the chaos she's embraced as an escape, and how telling others that they have something to live for is both complicated and crucial. Totally Completely Fine streams via Stan. BAD BEHAVIOUR When high school is hellish on television, sometimes that happens literally; Buffy the Vampire Slayer's teens did their studies above a hellmouth and Stranger Things' crew is constantly trying to avoid the Upside Down. In Bad Behaviour, hell is the girls of Silver Creek, the wilderness campus of an exclusive all-female boarding school where young women decamp to spend a year learning resilience away from the wider (and supposedly wilder) world. It's where Joanna Mackenzie (Jana McKinnon, We Children From Bahnhof Zoo) attended on a scholarship, sharing a cabin with Alice Kang (Yerin Ha, Sissy) before they cross paths again ten years later — Jo striving to become a writer, but paying the bills in hospitality; Alice a musical prodigy-turned-global classical star. While Jo doesn't have fond memories of her year away, she's shocked at Alice's frosty reception. Indeed, she'd always thought that the domineering Portia (Markella Kavenagh, The Lord of the Rings: The Rings of Power) was the bully of their dormitory, making her own experience a nightmare. But this blast from the past gets Jo rethinking her own behaviour. Adapted from Rebecca Starford's book of the same name by Pip Karmel (Total Control) and Magda Wozniak (Neighbours), with Corrie Chen (New Gold Mountain) directing, Bad Behaviour is spot-on about the Mean Girls-meets-The Lord of the Flies realm it navigates. Starford's tome is a memoir, after all. For anyone who has ever been or known a teenage girl — so, everyone — this four-part series feels deeply lived-in, even if you've never attended a private school, let alone such an education institution's remote campus. With McKinnon, Ha and Kavenagh all delivering potent performances, and the latter making a memorable antagonist, the mood is equal parts tense and reflective. As Bad Behaviour flits between Jo's time at Silver Creek, including the thrall that Portia held over her, and her adult awakening to who she really was while she was there, it's unafraid to face stark truths about our teenage demons as well. Bad Behaviour streams via Stan. Check out the trailer.
W Brisbane brought a new kind of luxury to the city when it opened on North Quay: bold, playful and unapologetically high-energy. Set right on the Brisbane River, the hotel delivers sweeping views across to South Bank and Mount Coot-tha, while placing guests within easy walking distance of the CBD, Cultural Centre and riverside precincts. Inside, the design leans into what W calls "clean maximalism", with vibrant interiors inspired by the movement of the river. The 312 guest rooms and suites are spacious and polished, featuring signature touches such as statement bathtubs, plush bedding and in-room cocktail setups, a subtle nod to the brand's party-ready personality. The food and drink offering is a major drawcard. The Lex serves a New York-style grill menu with a playful, premium edge, while the Living Room Bar acts as the hotel's social hub, pouring cocktails, Champagne and hosting an indulgent high tea. Up on the WET Deck, things dial up a notch – think poolside lounging by day, then DJs, cocktails and a lively crowd after dark. Amenities round out the experience, with AWAY Spa offering treatments and vitality pools, plus a well-equipped FIT gym. Valet parking is available onsite, Brisbane Airport is around a 20-minute drive away, and the hotel's central location makes it an ideal base for exploring both the city and South Bank by foot.
Three Australian venues have just landed on one of the world's most influential dining roundups, and it's a strong sign that the country's restaurant scene isn't just thriving, it's setting the pace. Each year, Condé Nast Traveler drops its Hot List, honouring the most exciting new restaurants across the planet. The 2026 edit leans into everything from intimate, boundary-pushing dining rooms to heavyweight hotel restaurants, and this time around, three standout Australian venues have cut through the noise. Feu, Byron Bay In Byron Bay, Feu is doing things more than a little differently, and clearly, it's getting the right kind of attention. Housed within the new Belongil precinct (and behind a 6,000 bottle wine room) from Shannon Bennett, this fine diner ditches the traditional menu entirely. Instead, diners choose their key ingredients (this could be anything from Moreton Bay bugs to premium chocolate), select from a tactile collection of ceramics, then leave the rest in the kitchen's hands. The result is a highly personalised degustation that's proven to be equal parts theatrics and precision. With alumni from Noma in the mix and even Chris Hemsworth reportedly a fan, Feu has quickly become one of the country's most talked-about bookings. Book now, the waitlist is about to get long. Yiaga, Melbourne Down in Victoria, Melbourne's most ambitious new restaurant, Yiaga has wasted no time cementing its status. Helmed by chef Hugh Allen, who's also leading Vue de Monde, the venue picked up a swag of accolades within months of opening. Set within the verdant surrounds of Fitzroy Gardens, Yiaga is as much about craftsmanship as it is cuisine. The kitchen turns out a hyper-detailed, distinctly Australian degustation, where ingredients like Blackmore wagyu and wild-foraged wakame meet intricate design touches, from custom tableware to hand-built interiors. It's high-concept dining, executed with exactitude. Golden Avenue, Brisbane In Brisbane, Golden Avenue is carving out its own lane as a lush, Middle Eastern-inspired dining destination in the highly competitive Edward Street eating district. Created by the team at Anyday (Agnes, hôntô, The French Exit) the venue blends bold architecture with vibrant, share-style dining. A menu of wood-grilled Spring Bay mussels, housemade labneh wrapped in vine leaves, and a dessert that fuses rose, pistachio and mochi, it's impressive without being overworked, and generous without losing its polish. Landing on the Condé Nast Traveler Hot List isn't just a pat on the back, it's a global endorsement. And with three very different venues making the cut, it's clear Australia's dining scene is firing on all cylinders right now. But we already knew that, didn't we? Imagery: Supplied | Instagram
If your group chat hasn't involved wild theories about "The Boy In White" yet, you're missing out on the biggest supernatural thriller of the last decade. Luckily for you, the first three seasons of the highly acclaimed FROM series are available on Stan right now, and the season four premiere is coming on Monday, April 20, so there's absolutely time to get into the series that's got everyone talking, speculating and widening their eyes with every twist and turn. FROM kicks off when the Matthews family — father Jim (Eion Bailey), mother Tabitha (Catalina Sandino Moreno), daughter Julie (Hannah Cheramy) and son Ethan (Simon Webster) — drive into a town they can't leave. And they're not the only ones. They soon discover that everyone who lives there is trapped. While it may look like an average midwestern town in America (albeit ten times creepier), it is anything but. Of course, being trapped anywhere indisputably sucks, however, that portion of this nightmare isn't even the worst of it. As the town tries to figure out why they're trapped in this unknown postcode, they must also dodge (and try to defeat) what comes out of the surrounding forest to threaten their survival and ultimate escape. Come sunset, the town's sheriff, Boyd Stevens (Harold Perrineau), orders everyone inside to stay safe from "creatures" who roam the streets. At first, they don't look so scary. They cosplay as everyday people who look like they're stuck in the 1950s, including repeat offenders like a waitress, cowboy and librarian. Their human appearance allows them to deceive and trick the residents into letting them inside, and, once they're close enough, the monsters don't just kill them, they will torture them for their own deranged pleasure. With windows bolted shut to stop the temptation to let them close, it gives audiences the same heart palpitations as Birdbox while also screwing with your head (and imagination) in the same way Lost did throughout the early 2000s. In fact, if FROM sounds like Lost to you, it might be because it's from the same producers behind that game-changing series: Jack Bender and Jeff Pinkner. While the same notion of being trapped exists (this time in a Middle America town versus an island) — and they've retapped Perrineau for another leading role (he played Michael Dawson in Lost) — the show is vastly different while delivering on a feeling we've been craving since that plane crash all those years ago. The twists, turns, revelations and puzzle-piece context have viewers mind-mapping and brainstorming for the answers, and there's serious character investment with both existing residents and the new ones welcomed along the way. Oh, and FROM promises better reveals and answers than the conclusion of Lost, and with everything we've learned so far about the town and its residents, it's definitely looking like that expectation will be lived up to. The first three seasons of FROM are available only on Stan, each with ten episodes to send your living room spiralling into wild curiosity. Get into it quick and you'll be all caught up for the highly anticipated Season 4 in no time, premiering only on Stan this Monday, April 20. Episodes drop weekly, so you can become part of the fun (and mad theorising) in real time. So, if you've been craving a mystery box drama, then FROM might just be the mind-screw you've been looking for. Just be warned: you might not be trapped in a town with monsters keeping you up at night, but the mysteries of this show sure might. The brand new season of 'FROM' premieres April 20, only on Stan. Images: Stan
Every corner of the city seems to house a craft beer bar, and a growing number make their own tasty tipples on the premises. West End watering hole The Catchment Brewing Co. fits both categories, serving ice-cold pints not only poured fresh from the keg, but also brewed on site. Indeed, it should be smiles all round at the Boundary Street venue, which boasts two levels and two laneway hangout areas within its renovated art deco confines. The relaxed atmosphere is enough to make patrons want to stay all day — and that's before you get to the menus. The food offering features favourite gastropub fare, such as pizzas, small snacks to share and mains such as wagyu rump, tempura chicken, duck breast and swordfish — aka the ideal meals to line the stomach with. On the drinks side, wine gets plenty of attention, with 25 drops to choose from. Of course, then there's the beer. Local and international brews sit alongside Catchment's in-house Bright Ale, Pale Select Ale and The 500 IPA, as well as its special releases. Pick one of the ales if you like your beer with a fruity flavour, and go for the IPA if you're just mad about hops.
