It’s that time of year, when the Brisbane Festival unleashes its annual arts extravaganza under the cover of fireworks. The fifth and final program by departing artistic director Noel Staunton will span the streets and spring into the skies from September 6-27. While all of Brisbane prepares to literally look up at Riverfire, the explosive finale is just the icing on the cake. For three weeks, the city will come alive in a showcase of 73 productions and 440 performances. An undoubted highlight for fans of things a little less ordinary — and those who spent hours staring at their televisions in awe as children — is the world premiere of Monkey… Journey to the West, based on the cult series Monkey Magic. At the opposite end of the spectrum, the festival hosts the Australian premiere season of The Perfect American, Philip Glass’s new operatic imagining of Walt Disney’s final months. The famous Spiegeltent returns with another stellar schedule of talent, including Miami Horror, Midnight Juggernauts' Aerials Tenth anniversary tour, and Urthboy’s Make Me a Mixtape, plus comedy from Matt Okine and Ronny Chieng. Looking for something more interactive? Walk through the inflatable city maze of Exxopolis, or wander in the Light Garden — South Bank’s bamboo forest, lit up and reimagined. With the outdoor aerial acrobatics of Do Do Land and the sudsy comedy of SOAP also on the lineup, there’s something for everyone in an event that turns the river city into a fresh and festive arts wonderland. Tickets are on sale from June 30. For more information visit the Brisbane Festival website. Image by Atmosphere Photography.
Germany takes its public transport seriously. When Berlin boasts a pair of sneakers designed to match the subway system, and the nation's state-owned railway company is looking to create a 'train of the future', that's pretty clear. The country's next idea not only stresses the point, but does the environment a solid and is certain to prove a hit with commuters: free public transport. As reported by Die Welt, according to a letter penned by German ministers and seen by German media, the government is proposing to trial the concept in five particular cities — all places considered heavily polluted. Bonn, Essen, Reutlingen, Mannheim and Herrenberg are set to put the plan into action, with the move coming as Germany faces legal action from the EU over its breach of air pollution levels due to vehicle emissions. Just how it would work — in terms of additional buses, trains and trams needed, and the budget required to finance them — is still under consideration, as are exact implementation timing and plans. Still, it's a smart, sensible and certain-to-be-popular idea, as well as an excellent incentive to leave the car at home. And, it's one that we'd all clearly love to see closer to home, even with Sydney and Brisbane's rail issues of late. Via Die Welt. Image: Shankar S. via Flickr.
Those in the know about Surfers Paradise Beachfront Markets will be aware of the hidden gems to be found in the hundreds of local stalls. Now, the market is turning the big 3-0, and to celebrate, The Esplanade will transform into a vibrant street party. On Saturday, September 27, from 4–9pm, this free street party will pay tribute to three decades of art, culture and community by the sea. Expect more than 100 market stalls from local artisans and designers, while you're treated to roving performers and live tunes. For those who have been hitting the Surfers Paradise Beachfront Markets since the 90s, you'll feel transported back in time with the themed decorations and carefree atmosphere. This 30th birthday celebration is all about legacy and bringing together the old and the new. That's why it's the perfect occasion for the whole family, keeping the kids occupied with a disco and activities, while the adults peruse the market stalls. Keep an eye out for Brazilian dancers who will bring plenty of colour and movement to the foreshore. At the same time, long-time market lovers can browse bespoke jewellery, homewares and fashion from independent creatives. There will also be plenty of surprise giveaways, adding an extra layer of fun to the anniversary event. Entry is free. So make sure to save the date and party like it's 1995. For more information, head to the Surfers Paradise Beachfront Markets Facebook page.
Ask any brewer, winemaker or distiller just what makes a great beer, vino or spirit — or sangria or premix — and they'll likely give you a variation of the same answer. They might mention standout ingredients, an enticing taste or a big flavour, but they're all really talking about that sensation when a drink passes your lips and instantly becomes one of your favourite tipples. Another key quality behind every excellent beverage? Resilience. That's a trait few people might've thought about prior to 2020, though. But it takes hardiness and adaptability to turn a drinks-making dream into a reality — including initially deciding to jump into the industry yourself, doing the hard yards, getting your product in people's glasses, and weathering the ups and downs. Named the most-loved New South Wales-made tipples in the BWS Local Luvvas initiative, Audrey Wilkinson, Akasha Brewing Company, Lust Liquor and Nueva Sangria have all clearly crafted tastebud-tempting beverages. That's why the bottle shop retailer is now giving these four chosen companies an extra helping hand with getting their products stocked in more BWS stores. As we found out by chatting to the folks behind each brand, these drinks-making outfits have all proven resilient as well. You need to be in these testing times — and they've all told us about their experiences. INNOVATIVE DROPS FROM ONE OF AUSTRALIA'S OLDEST VINEYARDS The importance of durability, and of being able to evolve as times change, isn't lost on the team at Audrey Wilkinson. Indeed, when the vino brand's marketing manager Renee Raper notes that "it has been a tough year for everyone", she not only explains how it has hit home, but also how winemakers are doing everything they can to navigate this tough period. "The wine industry hasn't been immune to this, with the drought, bushfires and pandemic — but the wine industry is resilient," she says. Of course, you could say that's been a hallmark of Audrey Wilkinson — or the patch of land in the Hunter Valley that its vineyard calls home, to be specific — for some time. It has been more than 150 years since the Wilkinson family first acquired the spot, and almost 120 years since it started winning awards for its tipples. The winery has been owned by the Agnew family since 2004, who've continued on with a small and dedicated staff that's devoted to the task at hand. "We have an innovative, young and passionate team behind the brand, and this really resonates through the wines we produce," says Raper. The fact that those tipples are resonating with local drinkers, too, is a source of pride as well — and a much-needed boost in this difficult year. "We are really overwhelmed… winning the Local Luvvas means more people can buy Audrey Wilkinson wines throughout NSW, which is a real silver lining for small local brand like ours". HOP-FORWARD IPAS IN SYDNEY'S INNER WEST If Akasha Brewing Company's founder and CEO Dave Padden wasn't so adaptable, his Canada Bay brewery wouldn't exist. He fell in love with craft beer on trips to America, watched the scene explode in the early 2000s, then decided he wanted to do more than just drink his favourites. "It became readily apparent that the Australian market was lacking the hop-forward beers that were becoming so abundant in the US," he explains. "I threw in the corporate towel and embarked on my professional brewing career… this success led to the birth of Akasha Brewing Company in 2015 and the launch of many beers." Padden's motivation: hops. Noting that there are "literally hundreds of different hop varieties available around the world", he describes them as "a real focus for me and the beers that we brew and drink". But he's aware that, for any of Akasha's IPAs to stand the test of time, they need to do more than experiment with his favourite ingredient. "My passion is discovering that next awesome hop combination that creates a beautifully flavoured IPA, whilst maintaining balance and drinkability," he says. "Every single beer we brew must exhibit these qualities." In 2020, Akasha itself has needed to be adaptable. "It's been a strange old year, and we've had our ups and downs like everyone else," Padden notes. As well as hops, naturally, Akasha has been inspired by the love directed its way this year. "We've been really fortunate to have such an amazing following of local supporters who have continued to buy our beers, and visit our taproom for a feed or a refill," he says. "I think everyone could use a drink after these last few months." MEETING THE DEMAND FOR SUGAR-FREE AND LOW-CALORIE TIPPLES Attending university and enjoying a few drinks have long gone hand in hand. But not every tertiary student turns their fondness for a tipple into a business. "We were at university when we noticed an increasing demand for sugar-free and low-calorie alcoholic beverages," Lust Liquor co-creator Nick Rowell says. "So we decided to stop studying and create our own. Nine months later, Lust was born." If Rowell's decision back in 2018 sounds like a brave move, that's because it was. Making that big leap — noticing a particular trend, then abandoning his current plans to help fill that gap — also required quite a display of versatility. That shouldn't come as a surprise, though, given the beverages that Lust serves up. When you're giving drinkers an alternative that doesn't otherwise exist, you're letting them be flexible, after all. Perhaps that's why Lust has amassed an avid fanbase — and why those local supporters have helped the company continue on in this difficult year. Describing everything that 2020 has thrown the world's way, Rowell is frank. "COVID-19 has been a horrible experience for businesses and individuals all over the world," he says. "When we went into lockdown in March, things got really tough for us," he continues. "We had to lean on our loyal fans and customers to make sure that we were ticking over. The support from our community has been amazing — more and more Australians went out of their way to support local and Australian-made products." [caption id="attachment_790538" align="aligncenter" width="1920"] Kitti Gould[/caption] MAKING AN AUSSIE-STYLE SANGRIA There are many ways to show resilience, agility and flexibility, of course — including discovering a niche just screaming to be filled, working out how to do exactly that in a creative and accessible way, and making something that people respond to in the process. That's Nueva Sangria's story. It specialises in bottled sangria that isn't just created in Australia using Aussie-grown pinot grigio grapes, but is designed to taste and feel uniquely Australian. "This is our interpretation of sangria made in Australia for Australia," says managing director Tegan Kynaston. The company initially sprang to life in response to a straightforward problem. "Sangria is the perfect celebratory drink, but we could never find a decent bottle of it anywhere in Australia," Kynaston explains. Resolving that issue wasn't easy, however. "Sangria has a pretty bad reputation here, because most of it is crap. We persisted, and it became a bit of a challenge: how to make a sangria for wine snobs?" Nueva Sangria's tipples aren't just the product of a sturdy and tenacious team, though — they're also drunk by locals who show the same traits, as Kynaston has observed this year. "Nueva Sangria is designed to be enjoyed with your mates. Obviously self-isolation is not conducive to that," she says. "But it's amazing how resilient and adaptable people are. We've been tagged in all sorts of ways that people have been sharing their sangria, from Zoom parties to employers sending it as gifts to cheer up their staff." That's something she hopes will continue now that life in much of Australia is returning to normal, too. To find these or other NSW drinks as part of the BWS Local Luvva initiative, head to your nearest BWS store.
When the time came for Hannah Gadsby to follow up her international smash-hit show Nanette, that seemed a rather difficult task. After all, the one-woman stand-up performance copped serious praise on its 18-month travels across Australia and the UK, even scooping the top honours at both the Melbourne International Comedy Festival and Edinburgh Festival Fringe — and spawning its very own Netflix special. But, then Douglas was born, with the beloved Aussie comedian returning to the stand-up stage with a performance named after her own pet pooch. While Nanette pulled apart the concept of comedy itself, dishing up an insight into Gadsby's past, Douglas took comedy fans on a "tour from the dog park to the renaissance and back". It toured stages across Australia and New Zealand in late 2019 and early 2020, and then hit Netflix a year ago. Next on the agenda: following up both of those supremely popular shows, and doing so in-person. Between July and November this year, Gadsby will be doing just that thanks to her new stand-up set Body of Work. It'll tour Australia in 2021, before heading to the UK, European and North America in early 2022. Despite spending the past year sitting out the pandemic, as we all have, Gadsby's humour won't have lost its charms. She'll be kicking off her tour in Canberra, then heading to Albury, Newcastle, Hobart, Launceston, Darwin, Bendigo, Albany, Bunbury, Mandurah, Perth, Melbourne and Brisbane. And yes, she'll be playing Sydney, too, although those dates and details haven't yet been revealed. https://twitter.com/Hannahgadsby/status/1391545052564914176 HANNAH GADSBY 'BODY OF WORK' TOUR DATES: July 23–24 — Canberra Theatre Centre, Canberra July 26 — Albury Entertainment Centre, Albury July 29 — Newcastle Civic Theatre, Newcastle August 5–7 — Theatre Royal, Hobart August 15–16 — Princess Theatre, Launceston August 22 — Darwin Entertainment Centre, Darwin August 27 — Ulumbarra Theatre, Bendigo September 1 — Albany Entertainment Centre, Albany September 3 — Bunbury Regional Entertainment Centre, Bunbury September 4 — Mandurah Performing Arts Centre, Mandurah September 10–11 — Regal Theatre, Perth October 26–31 — Comedy Theatre, Melbourne November 26–27 — QPAC, Brisbane Dates TBC — Sydney Hannah Gadsby's 'Body of Work' will tour Australia from July to November 2021. For further details — and to buy pre-sale tickets from Wednesday, May 12 and general tickets from 9am on Friday, May 14 — head to the comedian's website.
Late in 2018, Felons Brewing Co gave Brisbane a gift we didn't know we needed: the city's first CBD riverside brewery. Since then, there's never been a bad time to stop by the boozy Howard Smith Wharves spot, especially if you like brews and waterside views — but on Monday, April 25, it'll be throwing live tunes and two-up into the mix as well. Running from 11am, Felons' ANZAC Day event will let beer-loving patrons mark the day with games, music and beers. Attendees can also expect to see historical cars on display throughout the precinct, especially if you spend the day hanging out on the brewery lawn. The usual menu will keep your stomach satisfied, which means tucking into pizzas, burgers, steaks, meatballs, wings and prawn cocktails. And, you can also do more than raise a glass to Australia's servicemen and servicewomen by donating to the folks from the New Farm RSL, who'll be on hand all day.
2020 might've temporarily taken away our ability to head overseas, hit up big events and, for portions of the year, leave our houses; however, it hasn't robbed us of our collective fascination with Christmas lights. Luminous festive decorations really shouldn't cause such a fuss. They pop up everywhere every year, after all, and we're all well and truly aware of how electricity works. But those twinkling bulbs are just so hard to resist when it's the merriest portion of the calendar — especially after a 12-month period with a noticeable downturn in joy otherwise. Perhaps you're a casual Christmas lights fan, and you're completely fine just checking out whichever blazing displays you happen to pass in your travels? Maybe you have a few tried-and-tested favourite spots, and you return to them every year? Or, you could want to scope out the best and brightest seasonal-themed houses and yards? Whichever category you fall into, an Australian website called Christmas Lights Search is likely to pique your interest. It's as nifty and handy as its name suggests, and it covers festive displays all around the country. To locate all the spots that you should head to, it's as easy as popping in your postcode or suburb — or those of places nearby — and letting the site deliver the relevant options. Christmas Lights Search also rates the lights displays, if you want to either go big or stay home. And it's constantly being updated, so, like the best combos of glowing trees, sparkling bulbs and oversized Santas, you might want to check it out more than once. When you pick an individual address listed on the site, you'll be greeted with some key information, too. The level of detail varies per listing, but expect to peruse photos, the ideal hours to swing by, a date range, a description of what's on offer and even COVID-19-safe info. All that's left is to get searching, plot out where you'll be heading every night between now and Christmas Eve, and get ready to see oh-so-many reindeer, candy canes and snowmen. Check out the Christmas Lights Search online now.
Who doesn't want to fling some tropical fruit around on a public holiday? It's a strange concept, we know — and one that's exactly as silly and simple as it sounds — however this day seems to not only embrace tradition, but novelty. Of course, when it comes to throwing pineapples, there's only one iconic, 130-year-old venue for it. Head to one of Woolloongabba's finest, enjoy the other Australia Day merriment (including pub food, brews and the Hottest 100), and then try your luck in the 10th annual competition. The winner won't just receive bragging rights, but $750 for their efforts.
There's nothing like the feeling when everything falls into place. We’re talking about those pure moments when the ordinary becomes extraordinary, or when something great and unexpected happens, leaving you with a smile on your face. Luckily these moments normally don't stun you quite so much that you forget to whip out your smartphone, because if you've got photographic evidence, then social-media-savvy beer masters Pure Blonde are offering to deliver the unexpected to your bank account. There's $10,000 in cash up for grabs, and for the chance to win a share of it, just upload a photo from Facebook or Instagram via the competition app on their Facebook page. You'll also get the chance to see your fleeting moment live a longer life in a crowd-sourced video montage using the campaign's best images. Check out the competition here, start digging through your favourite photos, and get your entries in before May 10. Here are a few of the shots we will be entering. Concrete Playground photography by Nick Fogarty
Here at Concrete Playground we know what it can be like trying to organise dinner with a group of friends. Everyone has an opinion, some are poor, some are rich, some have allergies and some are just fussy. When you’re trying to please everyone, often your best option is to go for the easiest and most fail-safe option: a reliably tasty, affordably priced BYO restaurant. To make your next dinner outing with friends a breeze, Concrete Playground offers you five of our favourite cheap and cheerful BYOs. All of these restaurants are very popular so we recommend booking ahead. Trang Vietnamese Down the city end of Hardgrave Road, Trang will often be found jam-packed, with a line-up of people waiting to get in. Another indicator of Trang’s authentic and tasty food is the amount of Vietnamese people eating there – usually a pretty good indicator that the cuisine is legit. Family-owned and run, you will always see the same familiar faces greeting you at the door. Accustomed to their popularity, the lines don’t last too long and the friendly wait staff manage to shuffle you through without too long a wait – and you can prevent this by booking ahead. With a Vietnamese-Chinese menu you and your friends will have the option of fresh and healthy Vietnamese dishes, or some of the more sinful Chinese dishes like deep-fried duck with plum sauce. A Concrete Playground favourite are the rice paper wraps with grilled pork balls (roll your own). They have all of the sauces you will need right on your table so you can add all of the kecap manis and chilli sauce that you need. If you are fighting a winter cold we recommend the clear noodle soup with fried chicken. 2/59 Hardgrave Road, West End; 07 3255 1610 Lefka’s Taverna Up the other end of Hardgrave Road we have Lefka’s. Greeted by your smiling host you have the option to sit in or outdoors. With an extensive menu of Greek favourites like spanakopita, moussaka and souvlaki, there are plenty of options. If you want a bit of everything we highly recommend the share platters. Start off with a meze plate, which has a variety of octopus, olives, fetta and tzatiki and taramosalata to dip your fresh and warm pita into. For mains, the combination platter for two (which can probably be shared by about four…girls, that is) gives you a selection of meat and seafood all full of those delicious Greek garlic and lemon flavours. A final recommendation is the Paithakia (lamb cutlets with lemon potatoes and Greek salad). The lamb is off the chain. We promise, everyone will be happy. 170 Hardgrave Road, West End; 07 3844 1163; www.lefkas.com.au Super Bowl Located in Fortitude Valley, Super Bowl is about as cheerful as it gets. The restaurant is always packed, often with people celebrating birthdays (or fake birthdays). With delicious meals and owner Jimmy’s tendency to turn a blind eye to rowdy behaviour, Super Bowl is the perfect place to begin a boozy night out. Super Bowl’s signature, other than delicious salt and pepper quail and a mean pork belly, is their enthusiastic birthday celebrations. For each guest celebrating another year of life, they will turn the lights down and play a happy birthday song ‘to my dear friend’ while waiters bring out a sparkler adorned bowl of deep-fried ice cream and sing to the lucky guy or gal. The whole restaurant tends to join in and clap and sing along and it is generally a very happy communal experience. 185 Wickham Street, Fortitude Valley; 07 3257 2188 The Vietnamese One difficult thing about going out to dinner with a group of friends is trying to decide what to order, whether it’s ‘every man for themselves’ or a shared situation. The Vietnamese is the perfect place for a laidback group who are happy to have only one choice – which banquet to choose. Their banquet options are very reasonably priced and offer a wide selection off the menu, of fresh and hot dishes. The Vietnamese also has amusing waitstaff equipped with classic responses like ‘everything here is special’ with a wink, when asked what the special is. With a large upstairs room you can fit in a large group of friends and will have a bit of privacy to celebrate a special occasion with speeches… or to protect other diners from socially unacceptable behaviour. 194 Wickham Street, Fortitude Valley; 07 3252 4112 Sings Asian Kitchen Located in Rosalie on the west side (or Coorparoo on the east side), Sings is your suburban BYO option. Perhaps more suitable for a quiet night, the food at Sings is exceptional. They offer an Asian-fusion menu with Thai, Chinese and Vietnamese influenced dishes. Made with very fresh ingredients, the meals at Sings rarely disappoint. Whether you are after something warm and hearty like a red duck curry, something fishy like saw leave coconut fish or something fresh like the sugar cane prawn salad, Sings nails it all. 5 Nash Street, Rosalie Village; 07 3511 6511; www.singsasiankitchen.com.au View all Brisbane Restaurants.
Summer always sizzles in Brisbane, as do most other seasons, but the temperature won't be the only reason on future trips to Market Square Sunnybank. On the precinct's second floor, taking over the entire level, Seoul Garden will be firing up its grills from Wednesday, December 11, 2024 — or, to be more accurate, customers at the first Queensland venue from the Victorian-born Korean BBQ and hotpot buffet chain will be getting cooking. This is a big addition to the River City in a range of ways. The 300-person-capacity restaurant will sprawl across 800 square metres, which the brand advises will make it the Sunshine State's largest Korean BBQ and hotpot venue. It'll also serve up more than 50 hotpot choices, with 30-plus meat options. And, a visit here means enjoying the all-you-can-eat experience. Amid neon lights that take inspiration from the eatery's namesake, customers will sit at tables with grills, pairing their chosen ingredients with house-made sauces and side dishes. Or, opt for the hotpot buffet or dedicated raw bar — or make a date with all three. Either way, no one should be leaving feeling hungry. This stomach-filling meal will set patrons back $49.90 per person, unless you're taking advantage of the launch lunch buffet special for $19.90. Go with the latter and you'll tuck into the hot food buffet, plus gimbap, salads and sides. In Victoria, where the chain operates in Docklands, Highpoint, Northland and Glen Waverley Century City, Seoul Garden's setup has unsurprisingly proven popular — but its move to Brisbane is its first venture out of the state that it has always called home until now. "We're so excited to bring Seoul Garden to Queensland, and share the authentic flavours and social dining experience that have made our Victorian venues such a success. Sunnybank is a vibrant hub for food lovers, and we can't wait to become a part of this community" said co-founder David Loh. Find Seoul Garden at Market Square Sunnybank, 341 Mains Road, Sunnybank, from Wednesday, December 11, 2024. Head to the brand's website for further details. Images: Elvin Tan Design.
Even Polyphemus the Cyclops needs sunglasses. Just because Polyphemus doesn't exist shouldn't stop us from dreaming up eyewear for him. That's what Italian artist Giuseppe Colarusso appears to be suggesting in one of the images from his ongoing series of reality-defying Improbabilita. The uniting theme of all the 50+ whacky visual concepts in this project? Unlikelihood. Sourced entirely from Colarusso's skewed yet strangely logical imagination, his bizarre inventions aim to draw a double-take from the viewer. At first glance these might be real things — until your improbability reflex kicks in. How about a set of cutlery with limp rope handles that totally negate their functionality? A sink without a plughole? Dice denuded of their dots? A hieroglyphics computer keyboard? A mix of real-life construction and Photoshopping, there are over 50 such concepts live on Colarusso's very entertaining website. Each item is easily worthy of the International Chindogu Society — chindogu being, of course, the Japanese art of the 'un-useless invention', a tradition which over the years has brought us such hilarious ingenuities as the butter gluestick. Funnily enough, like chindogu, Colarusso's surreal images more often than not raise the question of "Why doesn't this exist?" If you stop and think of the physical logistics of such a thing — for example, spaghetti in an ice cream cone — during that whimsical moment of pause before you realise why the object's existence is totally unlikely, for the briefest fraction of a second there, it's likely. Via Colossal.
It's a shopper's dream: walk into a store, browse the racks, and then nab a highly discounted bargain. Trust those vintage fiends at Vinnies to put the idea into practice, and to keep raising money for charity in the process. The Vinnies Feel Good Finds: 50 Percent-Off Sale is exactly what it sounds like. Expect the usual array of clothing, accessories and other items to grace their racks, not that there's anything usual about trawling for secondhand treasure. Not knowing what you'll find is all part of the experience — but, this time, you're paying much less than what you'd normally pay. The sale runs from Thursday, June 1–Saturday, June 3 at Vinnies stores across Queensland, with the full list of sites — which includes Fortitude Valley, Newstead, Paddington, West End, Annerley, Coorparoo, Stones Corner, Wilston, Cannon Hill, Corinda and Kenmore shops — available on the organisation's website. As well as boosting your wardrobe, you'll be helping a good cause — so, this shopping spree is a win-win situation.
If you like venues with punning names, the Gold Coast is already home to an ace one thanks to Chinese restaurant Miami Rice. Also taking its moniker from the same source of inspiration: newcomer Tropic Vice, which you'll now find sporting big summer vibes on a Mermaid Beach rooftop. In this instance, the nod to a certain 80s TV crime drama — and 2006 Colin Farrell and Jamie Foxx-starring movie remake — stems from the bar's Palm Springs-meets-Miami vibe. And with pastel hues almost as far as the eye can see, umbrellas aplenty, oh-so-much greenery and even neon flamingos around the place, it certainly looks the part. Patrons have multiple sunny spaces to choose between — starting with the grassy-heavy garden bar with its brollies, and also including a deck covered with creeping vines and high tables, as well as a neon-lit podium space. And yes, almost every surface here is either pink, teal, green, white, or covered in tropical prints and/or plants. While you're pretending you're on a holiday without actually going on holiday — although, for Brisbanites, a night or two on the Gold Coast definitely counts as a getaway — you can tuck into a menu that takes its cues from Caribbean and South America. Highlights span oysters topped with watermelon chilli vinaigrette, kingfish ceviche, fish and potato balls, jackfruit and black bean salsa tacos, as well as chilli and garlic prawns paired with fresh mango salsa. For dessert, you can pick between coconut rice with homemade dulce de leche and fried bananas. The cocktail list sticks to the venue's theme, starting with the Miami Spice (with whisky, vanilla liqueur, lemon juice and spice syrup), Flamingo Spritz (pink gin, prosecco, blood orange seltzer and soda water) and Vice Martini (vodka, passionfruit puree, pomegranate syrup and mint leaves). Three kinds of margaritas are on offer, too — guava and goji, coconut and mandarin, and lychee and chilli — plus boozy slushies and salted caramel espresso martinis. And if you're keen to stick around for the long haul on a Sunday, there's both $79 and $89 boozy bottomless brunches from midday each week. Find Tropic Vice at 2215 Gold Coast Highway, Mermaid Beach — open from 4–10pm Wednesdays–Thursdays and 12–10pm Fridays–Sundays. Images: Mondae Studio.
Before the Titanic collided with an iceberg, became one of modern history's most famous tragedies and inspired one of cinema's biggest box-office hits, a different cross-Atlantic liner sailed into chaos. So says Jantje Friese and Baran bo Odar, with the German pair's new — and wholly fictional — Netflix series 1899 taking place onboard the steamship Kerberos 13 years before the sinking that everyone knows about. This vessel is travelling from England to America with 1400 crew and passengers, filling everywhere from stately rooms to jam-packed halls, when it receives word of a missing craft. Owned by the same company, the Prometheus took the same route four months prior, and was thought to have disappeared without a trace until that distress signal beckons. Friese and bo Odar love a mystery, and 1899 has a hefty one right from the outset. Friese and bo Odar also love making labyrinthine puzzle-box shows that keep dropping clues, twists, and philosophical ideas about the meaning and point of existence in aid of the bigger picture — aka an approach that made their 2017–20 German-language effort Dark such a massive and deserving success. Over its three-season run, that series probed fate and destiny in a woodland town, not only diving into its residents' deepest secrets but charting the looping consequences backwards and forwards in time. Friese and bo Odar love grand ambitions as well, clearly, and Dark didn't just have them but fulfilled them, proving one of Netflix's best originals yet. How do the TV-making duo — Friese writes and co-writes, bo Odar directs and they both produce — ensure that sparks ignite twice? By diving even deeper into their favourite themes, tactics and flourishes, all in a series that couldn't spring from anyone else. If anyone familiar with Dark started watching 1899 without knowing their shared origins, they'd guess immediately. Everyone unacquainted with the former should end the latter desperate to seek it out ASAP. The one sizeable departure: inconsistent pacing, with 1899's first four season-one episodes glacial in setting the scene, and its last four busy to pack in as many revelations as possible. Still, taking the voyage comes with a boatload of thrills, suspense and intrigue; if Dark met Titanic, Snowpiercer, Black Mirror and Lost, and showed a ship's worth of love for the Alien franchise, it still wouldn't be close enough. Extra-terrestrials aren't the answer to this sci-fi/horror/mystery series, but the first Alien film started in the exact same way as 1899. Cue an unexpected transmission interrupting a trip, the crew committing to investigate, a derelict ship awaiting and a surprise making its way over from the abandoned vessel. Back on the Kerberos, like the Nostromo before it, cue crawling through passageways in search of answers, away from threats and to escape the discontent festering in the craft. In more than just the name of its other key ship, 1899 nods to the Alien saga's Prometheus as well — and for fans of the iconic Ridley Scott-created big-screen series, spotting the references adds a whole other game to a show that already has viewers sleuthing from the outset. Chasing clues is a prime pastime on the Kerberos, too — 1899's two ships draw their monikers from myth, aptly — with everyone from doctors, captains and sudden interlopers to enigmatic children and relocating Europeans trying to solve the show's puzzles. Chief among them are Maura Franklin (Emily Beecham, The Pursuit of Love), a rare female medical practitioner at the time; Kerberos' leader Eyk Larsen (Dark alum Andreas Pietschmann); and Daniel Solace (Aneurin Barnard, The Goldfinch), who climbs aboard while everyone's focusing on the Prometheus. As well as being perplexed by their situation, Maura and Eyk are haunted by their respective pasts; her brother is missing and her father (Anton Lesser, Andor) provides a firm presence in her dreams, while the captain can't stop thinking about, and believing he's seeing, the family he lost in a heartbreaking fashion. Traumatic histories are a common thread among the other passengers, too, as 1899 explores by beginning its early episodes honing in on a different character. Also onboard: Spaniards Ángel (Miguel Bernardeau, Everything Else) and Ramiro (José Pimentão, Teorias da Conspiração), one flouting wealth and the other posing as a priest; Ling Yi (newcomer Isabella Wei), who dresses like a geisha but speaks Cantonese with her travelling companion Yuk Je (Gabby Wong, Rogue One: A Star Wars Story); and Virginia Wilson (Rosalie Craig, The Queen's Gambit), who has more than a passing interest in the ship's Asian commuters. Then there's French couple Clémence (Mathilde Ollivier, A Call to Spy) and Lucien (Jonas Bloquet, Marie Antoinette), newlyweds hardly in the throes of marital bliss; stowaway Jérôme (Yann Gael, Saloum) and stoker Olek (Maciej Musial, The Witcher), found among the vessel's bottom levels; and a Danish family that includes religious fanatic Iben (Maria Erwolter, Outlaw), her husband Anker (Alexandre Willaume, The Wheel of Time), their pregnant daughter Tove (Clara Rosager, Morbius), scarred son Krester (Lucas Lynggaard Tønnesen, Borgen) and youngest child Ada (Vida Sjørslev, Carmen Curlers). And, thanks to the Prometheus, there's a mute boy (Fflyn Edwards, The Snow Spider) as well. With Friese and bo Odar pulling the strings, Dark and now 1899 instantly grab attention with their riddles, nightmarishly brooding mood and — as one series put right there in its name — their willingness to get and stay dark. Throw in the pair's penchant for existential musings, trippy setups and premise-shattering revelations, and both shows are catnip for mystery lovers. This one sports a heavy eat-the-rich vibe as well (although nowhere near as strong as 2022's also ship-set Cannes Palme d'Or-winner Triangle of Sadness), and contemplates how the unwanted turns that everyones' lives take shape our future choices and selves. With a moniker from the past, 1899 understands that no one can ever truly evade theirs, with our own personal histories causing not just ripples but waves and tsunamis. Friese and bo Odar have another crucial skill, however: casting. 1899 features an international collection of characters, each speaking their own tongue, all adding to the show's exploration of immigration and played by a stellar lineup of actors. The series has its on-screen talent act against a virtual studio, with special effects-created sets and locations made during the shoot — crafting 1899's effects in-camera, rather than afterwards — and the resonant performances that result bear the benefits. A Cannes Best Actress Award-winner for 2019's excellent Little Joe, Beecham is always potent to watch, but alongside fellow leads Pietschmann and Barnard she helps ensure that this mind-bender is as emotional as it is cerebral. All aboard, obviously. Check out the trailer for 1899 below: 1899 streams via Netflix.
Some would say it's a waste of a perfectly good piano, but what Canadian artist Maskull Lasserre does to wood is worth every unused inch. Lassere explores the unexpected potential of the everyday, unassuming wooden object, and with his exceptional carving skills, transforms them into incredible works of art. He reveals strange creatures and skeletons that seems to have been fossilised inside common inanimate objects such as pianos, doors, books or axes. The artist says his work is a demonstration of how once something ceases to be, it becomes something else: "When the remnants of life are imposed on an object, and that’s true especially with the carving work that I do, it infers a past history or a previous life that had been lived, so again where people see my work as macabre, I often see it as hopeful, as the remnants of a life. Despite the fact that the life has ended, at least that life had a beginning and middle as well, so often by imparting these bodily elements to inanimate objects it reclaims or reanimates them in a virtual way." Yes, his name is Maskull Lasserre. What a dude. via Viral Nova explore the unexpected potential of the everyday
UPDATE, August 12, 2022: Drive My Car is available to stream via Stan, Google Play, YouTube Movies, iTunes and Prime Video. More than four decades have passed since Haruki Murakami's debut novel reached shelves, and since the first film adaptation of his work followed, too; however, the two best page-to-screen versions of the author's prose have arrived in the past four years. It's easy to think about South Korean drama Burning while watching Drive My Car, because the two features — one Oscar-shortlisted, the other now the first Japanese movie to be nominated for Best Picture — spin the writer's words into astonishing, intricately observed portraits of human relationships. Both films are also exceptional. In the pair, Murakami's text is only a starting point, with his tales hitting the screen filtered through each picture's respective director. For Drive My Car, Japanese filmmaker Ryûsuke Hamaguchi does the honours, taking audiences riding through another of the Happy Hour, Asako I & II and with Wheel of Fortune and Fantasy helmer's layered, thoughtful and probing reflections on connection. Using Murakami's short story from 2014 collection Men Without Women as its basis, Drive My Car's setup is simple. Yes, the film's title is descriptive. Two years after a personal tragedy, actor/director Yūsuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to bring Chekhov's Uncle Vanya to the stage in Hiroshima, and the company behind it insists on giving him a chauffeur for his stay. He declines— he'd asked to stay an hour away from the theatre so he could listen to recorded tapes of the play on his drive — yet his new employers contend that it's mandatory for insurance and liability reasons. Enter 23-year-old Misaki Watari (Tôko Miura, Spaghetti Code Love), who becomes a regular part of Yūsuke's working stint in the city. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours. It doesn't rush to get to its basic premise, either. Before the film's opening credits arrive 40 minutes in, it steps through Yūsuke's existence back when he was appearing in a version of Uncle Vanya himself, married to television scriptwriter Oto (Reika Kirishima, Japanese TV's Sherlock) and grappling with an earlier heartbreak. His wife is also sleeping with younger actor Takatsuki (Masaki Okada, Arc), which Yūsuke discovers, says nothing about but works towards discussing until fate intervenes. Then, when he sits in his red 1987 Saab 900 Turbo just as the movie's titles finally display, he's a man still wracked by grief. It's also swiftly clear that he's using his two-month Hiroshima residency as a distraction, even while knowing that this exact play — and Oto's voice on the tapes he keeps listening to — will always be deeply tied to his life-shattering loss. This prologue does more than set the scene; there's a reason that Hamaguchi, who co-wrote the screenplay with Takamasa Oe (The Naked Director), directs so much time its way. Where tales of tragedy and mourning often plunge into happy lives suddenly unsettled by something catastrophic or the process of picking up the pieces in the aftermath — typically making a concerted choice between one or the other — Drive My Car sees the two as the forever-linked halves of a complicated journey, as they are. The film isn't interested in the events that've forever altered the plot of Yūsuke's life, but in who he is, how he copes, and what ripples that inescapable hurt causes. It's just as fascinated with another fact: that so many of us have these stories. Just as losing someone and soldiering on afterwards are unshakeably connected, so are we all by sharing these cruel constants of life. The reality that anyone can have a history as complex and as coloured by pain is a lesson for Yūsuke to learn. Although he makes a living plumbing the depths of human emotion through art, and cathartically so, reading those same feelings into the people around him — recognising the same highs and lows in their experiences, as in his own — is a thornier path to chart. But in his daily treks to and from his theatre rehearsals, he starts making the trip towards that realisation as Misaki sits behind the wheel of his trusty Saab. Initially, neither speaks, with Oto's line readings via cassette breaking the silence. Yūsuke saves his words for the International cast he auditions and then directs, each relaying Uncle Vanya in their native tongues (or, in one instance, by an actor who is deaf and signs her dialogue). Slowly, though, the drives find their own language, as Misaki opens up about her past and vice versa. Forget Green Book and Driving Miss Daisy, American Oscar-applauded films similarly about drivers, passengers and unexpected camaraderie — Drive My Car is in a lane of its own, and not just because it isn't a simplistic and saccharine attempt to weave a heartwarming story out of racial reconciliation. Hamaguchi takes his central pair and his audience on a patient, engrossing and rewarding trip that cuts to the heart of dealing with life, love, loss, pain, shame and despair, and also sees how fickle twists of chance — a recurrent topic in the director's films — unavoidably dictate our routes. Another thing that the filmmaker does disarmingly well: ponder possibilities and acceptance, two notions that echo through both Yūsuke and Misaki's tales, and resonate with that always-winning combination of specificity and universality. Drive My Car is intimate and detailed about every element of its on-screen voyage and its character studies, and also a road map to soulful, relatable truths. Sitting — while driving and during rehearsals — is a recurrent sight in Drive My Car. It's fitting; this is a film to sit with. The movie's lengthy duration lets viewers take in its gorgeously shot visuals as they might revel in landscape spied from a car window, whether cinematographer Hidetoshi Shinomiya (Ju-on: Origins) is lensing the road as it winds by the Seto Inland Sea, spending time with the feature's core duo or chronicling Yūsuke's efforts at the theatre. Crisp, poetic and revealing even in a visit to a waste treatment facility, Drive My Car's naturalistic imagery provides a striking canvas for its affecting performances, too, with Nishijima and Miura as quietly expressive as any film — and any Murakami adaptation — could hope of its actors. In one of the picture's most stunning sequences, they chat by steps near the ocean, and the camera sees everything about their characters, and simply existing, and also tussling with life's pain, in each emotionally loaded closeup and sweeping, waterside wide shot. These are moments that drive a movie to greatness, and this moving and perceptive masterpiece is filled with them.
Semi-anonymous street artist JR has won the 2011 TED Award (we highly suggest listening to him speak here), and is appealing to you, the public, to help him turn the world inside out using street art as a medium for social and political change. Appreciating that the world is sometimes an ugly, always volatile place, JR believes in the power of the public — 'the curators', who walk past his iconic images on a daily basis — as a vehicle for worldwide upheaval. For JR, "that is where we realise the power of paper and glue." JR's mission is simple, and it's based on his existing body of work — "we didn't push the limit, we just showed that it was further than anyone thought." Now, JR is asking you to explore the boundaries of limit in order to imprint your better world upon the flawed one we already have. While the artist doesn't believe that art can change the world in a tangible sense, he holds firmly to the philosophy that art can be harnessed to change perceptions. The Inside-Out project urges you to "stand up for what you care about, by participating in a global art project... Because when we act together, the whole thing is more than the sum of its parts." Inside-Out asks participants to have their photo taken in this travelling booth (rumoured to hit New York next), or upload their picture to the projects website. JR's team will then mail you a giant poster that you'll paste up within your community. Both the romanticism and the practicality of the Inside-Out project is inspiring, with a certain poignancy bred from the physical joining together of people from across the world for a common cause.
The clip for Matt and Kim’s single, ‘It’s Alright’, begins with some half-naked horizontal dancing and ends with a pillow fight. What happens in the interim might teach you ‘a few things’, according to the New York-based dance punk duo. Quite a few people must’ve been gaining an education, given that the single’s LP, Lightning, debuted at Number One on the iTunes Alternative Chart. What’s more, Matt and Kim’s Twitter account has been receiving an abundance of responses to their #itsalrightxxx campaign. According to lead singer/keyboardist, Matt, who chatted to Channel V, it’s all about ‘trying to spread the word (of how to spice things up)’. Fortunately, for Antipodeans looking for some tips, distance won’t be a barrier for too much longer, with Matt and Kim coming out to play Groovin’ the Moo, as well as headline shows in Sydney, Melbourne and Brisbane. The scary thing is that their live performances are reputed to be even more explosive than their recordings. Look out.
It wasn't simply debuting during the pandemic's first year, in a life-changing period when everyone was doing it tough, that made Ted Lasso's first season a hit in 2020. It wasn't just the Apple TV+ sitcom's unshakeable warmth, giving its characters and viewers alike a big warm hug episode after episode, either. Both play a key part, however, because this Jason Sudeikis (Saturday Night Live)-starring soccer series is about everyone pitching in and playing a part. It's a team endeavour that champions team endeavours — hailing from a quartet of creators (Sudeikis, co-star Brendan Hunt, Detroiters' Joe Kelly and Scrubs' Bill Lawrence), boasting a killer cast in both major and supporting roles, and understanding how important it is to support one another on- and off-screen (plus in the fictional world that the show has created, and while making that realm so beloved with audiences). Ted Lasso has always believed in the individual players as well as the team they're in, though. It is named after its eponymous American football coach-turned-inexperienced soccer manager, after all. But in building an entire sitcom around a character that started as a sketch in two popular US television ads for NBC's Premier League coverage — around two characters, because Hunt's (Bless This Mess) laconic Coach Beard began in those commercials as well — Ted Lasso has always understood that everyone is only a fraction of who they can be when they're alone. That's an idea that keeps gathering momentum in the show's long-awaited third season, which premieres the first of its 12 episodes on Wednesday, March 15, then keeps rolling out more week by week. Season three starts with Ted left solo when he desperately doesn't want to be, in one of the rare situations that can cut through the Kansan-in-London's usually unflappable optimism. Season two helped unpack his perennially upbeat ways, and started to see fractures, so a less-than-chipper Ted is no longer a complete surprise. But Ted questioning why he's on the other side of the world, and alone away from his son Henry (Gus Turner, Life After Life) and now-former wife Michelle (Andrea Anders, That '90s Show)? That's how Ted Lasso's third season kicks off, and it scores a goal with that choice. The series has already established that its various figures — Ted, Beard and the AFC Richmond crew they joined when owner Rebecca Welton (Hannah Waddingham, Hocus Pocus 2) brought them to the UK initially to tank her ex-husband's beloved club — can work as a team. Now it's going deep on why they want to. "I guess I do sometimes wonder what the heck I'm still doing here," says Ted. "I mean, I know why I came, but it's the sticking around I can't quite figure out," he continues. That's a new core thread, and a notion that echoes across other plots. After becoming West Ham United's manager under Rebecca's ex Rupert Mannion (Buffy the Vampire Slayer's Anthony Stewart Head), the Greyhounds' former assistant Nathan 'Nate' Shelley (Nick Mohammed, Intelligence) is thrilled and overwhelmed — and happy to keep his nasty streak going publicly, while also grappling with it privately. He knows why he joined a different team, as everyone who has seen the past two seasons does. But, as showdowns with his old club and mentor keep bubbling up, that isn't the same as knowing why he should commit to being Rupert's version of himself to stay with that team. Season three also has delightfully grumpy retired player Roy Kent (Brett Goldstein, Uncle) leaning into his coaching role at Richmond in Nate's absence, and face why he's doing it, including pushing him closer towards star striker Jamie Tartt (Phil Dunster, The Devil's Hour). He has time, after his relationship with Keeley Jones (Juno Temple, The Offer) — now an ex to both Roy and Jamie — ended in season two, while she's exploring why she was so eager to start her own PR film. As for Jamie, his arc since episode one has been one of cockiness humbled by stark truths, then finding a sustainable status quo. When a new hotshot arrives, he also has to confront why he's part of the team and what he wants that to mean. As celebrated as Ted Lasso's entire cast is, with two acting Emmys for Sudeikis and Goldstein in two seasons, one for Waddingham, and nominations for Hunt, Temple, Mohammed, Jeremy Swift, Toheeb Jimoh, Sarah Niles and more, Dunster's performance deserves more notice. What will all this questioning lead to in season three? Ideally, to happier, kinder people who understand themselves better — Ted's ultimate goal always, ranking high above winning. But with Richmond back in the Premier League, Britain's football media predicting it'll be relegated again when the season is out, Rupert securing West Ham's success however he can and Rebecca desperate not to lose to the man she's already lost plenty to, winning matters more than it ever has in Ted Lasso. So, whether everyone will benefit from that journey, why they're taking it, what it'll cost and what it'll mean for the show's various teams sits at the heart of the season. Of course, as every TV viewer knows, a lot can happen in a season. Every sports fan, and anyone who has ever just watched a sports-themed TV show or movie, is well-aware, too. Higher stakes, deeper emotional dives: that's the first four episodes of Ted Lasso season three, across longer episodes that clock in between 40–50 minutes apiece. As the second season did, this go-around also broadens who it spends time with, giving Richmond players Colin Hughes (Billy Harris, The Outlaws) and Thierry Zoreaux (Moe Jeudy-Lamour, Tom Clancy's Jack Ryan) a bigger spotlight as Sam Obisanya (Jimoh, The French Dispatch) and Dani Rojas (Cristo Fernandez, Spider-Man: No Way Home) gained before them. There's that team focus again, so much so that Ted Lasso can't stop filling the field. Beard and Higgins (Swift, Housebound), the club's Director of Football Operations, still have Ted's back, and Dr Sharon Fieldstone (Niles, The Sandman) remains a call away. No Ted Lasso devotee wants to start thinking about its end game, but its creators have; a three-season arc has been discussed. Unlike Succession and Barry, a finish to the acclaimed hit hasn't been announced going into this new round of episodes — but as the series ponders why Ted and company have chosen their teams, what keeps them there, and what makes them better by being there, a feeling of change lingers in the air. Everything that's always made Ted Lasso a delight remains in season three, including its sincerity, warmth and care, determination to see both the joys and the struggles, and the pitch-perfect performances. Also, every season of the series has always started with new beginnings of a sort. If this one concludes the way it kicks off, though — whether or not there's a season four — then it looks set to embrace why teams achieve, fail, find success out of mess, are stronger together, but can only win when everyone does. Check out the trailer for Ted Lasso's third season below: Season three of Ted Lasso starts streaming via Apple TV+ from Wednesday, March 15. Read our full review of season two.
When a French store recently slashed the price of Nutella, customers went wild. Brawling and rioting was reported, and now the country's government is looking to change the laws regarding cheap supermarket promotions. Yes, it's safe to say that the chocolate hazelnut spread has more than a few fans. Here in Australia, we have a Nutella food truck, a Nutella festival and a Nutella dessert bar. And, from February 5 to 28, a dedicated Nutella menu at Salt Meats Cheese as well. Kicking off on International Nutella Day, because of course that's a thing, SMC 's Gasworks digs will be serving up 12 Nutella-filled items for your eating and drinking pleasure. Fancy a Nutella calzone, in both regular and Oreo varieties? New York-style Nutella ricotta cheesecake? Nutella deep fried in pastry? Nutella panna cotta? Gelato topped with Ferrero Rocher, Kinder Bueno and Nutella sauce drizzle? Of course you do. Or, sip and slurp up your favourite spread, with the Nutella espresso martini — with Skyy vodka, Nutella, coffee liqueur, muscovado sugar and cold drip espresso — certain to be popular. Marocchino Nutella, like they make in the substance's Italian home town, will also be available, as will Nutella lattes and frappes.
A Taiwanese filmmaker might've made your favourite movie, although you may not realise that. Adored the original The Wedding Banquet? A fan of Brokeback Mountain? Loved Life of Pi? Still in awe at Crouching Tiger, Hidden Dragon's action scenes? Thank Ang Lee (Gemini Man) — but he's just one of many talented directors from Taiwan. To dive into the depths of the rest of Taiwan's filmmaking prowess, Australia became home to the Taiwan Film Festival in Australia back in 2018. After starting in Sydney, it now tours to five other cities — including Brisbane, where it's playing across Saturday, August 30–Sunday, August 31, 2025 at Event Cinemas Brisbane City. This year's fest puts a particular focus on showcasing female perspectives. Daughter's Daughter kicks off the program, starring Sylvia Chang (Forget You Not) and screening fresh from its berth at Sydney Film Festival. Also a highlight: The Chronicles of Libidoists, about chasing desires. From there, get ready for a range of fellow titles that, outside of occasional berths at Australia's major fests, don't often make it to our shores. Organ Child has crime thrills covered, while Stranger Eyes is a Singaporean co-production — as well as the first Singaporean feature to ever premiere in Official Competition at the Venice International Film Festival. Or, catch the 4K restoration of Hou Hsiao-Hsien's (The Assassin) Tony Leung (Fox Hunt)-led 1998 great Flowers of Shanghai.
For one night only, Alternative Symphony is coming to Brisbane to play Daft Punk's greatest hits — with an orchestral spin. It's bringing together a full orchestra, assisted by DJs, drums, live vocalists and MCs. As with all electro events, expect immersive visuals and an elaborate light show. Due to their unique sound, as well as their visual style — combining ornate helmets and gloves to create robot personas — Daft Punk have become one of the most influential modern electronica acts. In addition to their exceptional TRON: Legacy score, the French duo has released four studio albums. The most recent, Random Access Memories, not only featured guest appearances from Pharrell Williams, Niles Rodgers and Giorgio Moroder, but also won Album of the Year at the Grammys. After performing the Daft Punk Orchestral Rendition show in the UK this year, Alternative Symphony will bring An Orchestral Rendition of Daft Punk: Greatest Hits to The Valley Drive In on Saturday, January 11, 2020. Tickets are on sale now — and this'll be a unique dance/classical cross-over night out.
Brisbane's midweek public holiday is upon us. You'd prefer sitting in a cinema to walking around the Ekka; however, maybe your wallet doesn't want to play ball. Call Dendy Cinemas' latest special a case of great timing, then, with the chain offering up discount tickets that'll solve your problem. All day on Wednesday, August 13, you'll only pay $8 for your movie of choice at Portside. Or movies. With everything from Weapons, F1 and How to Train Your Dragon to Freakier Friday, Superman, The Fantastic Four: First Steps and The Friend screening, there's plenty to watch if you're keen to spend as much time in a darkened room as possible. The special isn't available for special events, previews, Dendy Arts sessions or film festivals, but you're certain to find something to watch regardless. A PSA: book online and there will be a fee; however, your basic ticket will still just be $8.
Does your pet pooch have its own calendar? We're not talking about monthly cute canine pics — although every pet owner should definitely make their own. Rather, we mean a system to keep track of your doggo's social engagements. Given the number of pupper-friendly events happening around Brisbane, it's really not that far-fetched. Paws and Pints joined the growing list of markets, festivals, paddleboard sessions last November, and it's back to do so again on February 11. The Osbourne Hotel's doggy drinking session isn't just a chance to take your furry best friend for a few brews — with stalls, a puppy photo booth, a doggo door prize, drinks specials over Yappy Hour and donations going to the Animal Welfare League, it's quite the occasion. If the concept sounds familiar, that's because downing a few bevs with your barking mate in tow is becoming quite the Brissie trend. In fact, if you're taking old Fido to the Valley for this booze sesh, you can also walk him around a couple of corners to The Brightside's equivalent.
What's a Brisbanite to do when they want to go slipping and sliding in a big way? Head to Wet 'n' Wild on the coast? Fashion their own in the backyard? Reminisce about the demolished-but-not-forgotten Amazons? With previous attempts to bring this type of giant, watery, inflatable attraction to town falling short, they've been the options so far. That was before Slideapalooza was born. First slated for November 2017 but now taking place on January 13 to 14 and again on January 19 to 21, this slip 'n' slide to end all slip 'n' slides will roll out its plastic at Sirromet Winery. If you're thinking what we're thinking, yes that does mean alcohol is involved — plus food, because you'll need to keep your energy up if you're getting wet and watery, and non-boozy beverages as well. Now, the numbers game. There'll be over a kilometre of inflatable slides just for single sliders, including two super sky-high options to really get you soaring. And, there'll also be a six-lane behemoth for group sliding, which spans the length of a footy field. Tickets cost $59 for adults, with morning (9am to 11.30am), lunch (11.30am to 2pm) and afternoon (2pm to 4.30pm) sessions available on each day.
Time flies when you're slurping up Japanese noodle soups and having fun, as Paddington's Hai Hai clearly knows. It has been two years since they've opened their doors, and they're throwing a party to celebrate. Unlike any old birthday shindig, however, this one comes with free ramen. When the merriments kicks off on March 12, you'll want to arrive as close to 5pm as you can — the free brothy bowls will only be available to the first 200 customers. And, it's a dine-in only affair, so prepare for a line to get into the eatery's cute, cosy Latrobe Terrace digs. Sticking around past 6pm is recommended as well, as that's when some of Brissie's most dedicated ramen fiends will take part in Hai Hai's slurping competition. We're not quite sure how you win such a comp — fastest individual slurp? Loudest? Quickest person to slurp up the whole bowl? All of the above? — but it sounds tasty and entertaining either way.
Though you might be back in the office, there are still ways to treat yourself as if every day is a summer holiday. One such encounter is going down at Cucina Regina, who's bringing back their decadent midweek lunch special to ensure the good times keep flowing right through to the end of the season. Running until Thursday, February 26, you're invited to indulge in the much-loved restaurant's bottomless pizza and Aperol spritz experience. Served up for $54 per person, this feast pairs classic slices like margherita, diavola, ortolana and boscaiola with a free pour of Veneto's most famous orange cocktail on arrival. Presented within Cucina Region's European-style dining room, it won't take long to feel like you're holidaying alongside the Amalfi or Adriatic. Available every Monday–Thursday from 12–2.30pm, there's little chance of rushing back to the desk. In fact, the whole experience is designed to be playfully social, where it's all about la dolce vita, not simply a quick feed. Taking cues from old-school trattorias amid Queens Wharf, expect Cucina Regina's comforting midweek special to nail all the notes of an idyllic Med-like long lunch.
Over the past few years, as the music world has lost many an icon, we've all developed a routine. When terrible news arrives, Spotify and YouTube get quite the workout as well all immerse ourselves in tunes and videos. Sound familiar? For Brisbanites looking to extend their cathartic listening and viewing to a public place, that's where Kristian Fletcher's tribute nights come in. With the passing of Dolores O'Riordan, he's heading to the New Globe Theatre and cranking out The Cranberries' tracks on their big screen. Yes, you do have to let it linger as the Irish band's songs well and truly get in your head from 6.30pm on January 25. Entry is free, the bar will be open, and the lineup includes back-to-back music videos followed by a recording of The Cranberries in concert.
The term 'ladies night' mightn't always make you want to rush to a bar, but Dolls 'n' Drams should. Held on International Women's Day on March 8, it's The Gresham's way of celebrating a tasty type of amber spirits and the ladies who love it. We'll say cheers to that. Cocktails on arrival, tastings, samples and just all-round tasty beverages: they're all on offer. So are charcuterie, spending time with fellow whisky aficionados and just generally giving a dram. Attendees will get all of the above for $45, with the fun kicking off at 7pm. As for the exact tipples you'll be drinking, Suntory's Yamazaki Japanese whisky will be in the spotlight, plus a few others from Scotland, Ireland and the US. It's basically a global tour just for your whisky-loving tastebuds, and it sounds like a successful evening to us.
Brisbane's culinary scene is no stranger to big openings, but it's likely that only Settimo, the new restaurant that's set to settle into The Westin Brisbane, has been likened to Italian film icon Sophia Loren. The person making the comparison: Melbourne's superstar chef Guy Grossi, who is behind the soon-to-open eatery, and calls it "really light, fun and breezy" — but also vibrant and sophisticated. Grossi's first venture into Brisbane — and his second beyond his hometown, alongside Perth's Garum — Settimo is slated to open its doors in either spring or summer 2022. Given that it takes inspiration from the Amalfi Coast, that's fitting timing. Indeed, pairing coastal Italian dishes with Brissie's sunny, summery weather is a big motivation behind the restaurant. Another aim: whisking tastebuds away to Positano, courtesy of a menu that heroes the best of the Amalfi Coast. Exactly which dishes will be on offer hasn't yet been revealed, but they'll focus on seasonal produce from international and local producers, as paired with a considerable wine list. Settimo will join Grossi's stable of restaurants alongside Melbourne's Grossi Florentino, Ombra and Arlechin, and also the aforementioned Garum in Western Australia — which is located inside The Westin Perth. "I am truly delighted to be bringing a new Grossi restaurant what is already such an exciting market for hospitality in Brisbane, working with The Westin Brisbane to bring to life a playful, Amalfi-inspired restaurant, in the heart of the city," commented the chef, author and TV personality in a statement announcing Settimo. "We're thrilled to continue building on the wonderful partnership between The Westin and Guy Grossi. Garum at The Westin Perth has showcased incredible success and we're looking forward to bringing this collaboration to Brisbane's burgeoning world-class dining scene." said Brad Mercer, The Westin Brisbane's General Manager. The eatery is now recruiting — and if you're keen for a look at what's in store, check out the video featuring Grossi below: Settimo will open sometime in spring/summer 2022 in The Westin Brisbane, 111 Mary Street, Brisbane — we'll update you with an exact opening date when one is announced.
Every December, the Geminids meteor shower lights up our skies. Considered to be the most spectacular meteor shower of the year, it's caused by a stream of debris, left by an asteroid dubbed the 3200 Phaethon, burning up in Earth's atmosphere. The shower is expected to be visible from around 10.30pm in Sydney, 11pm in Melbourne, 10pm in Perth and 9pm in Brisbane on Saturday, December 14 through to the early morning on Sunday, December 15. The best time to catch an eyeful will be after midnight, when the moon has set and its light will not interfere, and before sunrise. While some years you could catch as many as 120 meteors every 60 minutes, this year, unfortunately, there's almost a full moon (a waning gibbous), which will make it harder to see as many. [caption id="attachment_699423" align="alignnone" width="1920"] NASA, Marshall Space Flight Center, Jeff Dai.[/caption] But the Sydney Observatory says it's "still worth a try". So, get as far away from bright lights as possible — this could be a good excuse to head out of the city to a clear-skied camping spot — and pray for no clouds. To see the meteors, you'll need to give your eyes around 15–30 minutes to adapt to the dark (so try to avoid checking your phone) and look to the northeast. The shower's name comes from the constellation from which they appear to come, Gemini. So that's what you'll be looking for in the sky. To locate Gemini, we recommend downloading the Sky Map app — it's the easiest way to navigate the night sky (and is a lot of fun to use even on a non-meteor shower night). If you're more into specifics, Time and Date also has a table that shows the direction and altitude of the Geminids. The Geminids meteor shower will take place during the night on Saturday, December 14. Top image: A composite of 163 photos taken over 90 minutes during the Geminids by Jeff Smallwood for Flickr.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE BLACK PHONE The Black Phone didn't need to star Ethan Hawke. In a way, it doesn't really. Fresh from Moon Knight and The Northman, Hawke is definitely in this unsettling 1978-set horror film. He's also exceptional in it. But his top billing springs from his name recognition and acting-veteran status rather than his screen time. Instead, superb up-and-comer Mason Thames gets the bulk of the camera's attention in his first feature role. After him, equally outstanding young talent Madeleine McGraw (Ant-Man and The Wasp) comes next. They spend most of their time worrying about, hearing rumours of, hiding from, battling and/or trying to track down a mask-wearing, van-driving, child-snatching villain — the role that Hawke plays in a firmly supporting part, almost always beneath an eerie disguise. Visibly at least, anyone could've donned the same apparel and proven an on-screen source of menace. There's a difference between popping something creepy over your face and actually being creepy, though. Scary masks can do a lot of heavy lifting, but they're also just a made-to-frighten facade. Accordingly, when it comes to being truly petrifying, Hawke undoubtedly makes The Black Phone. He doesn't literally; his Sinister director Scott Derrickson helms, and also co-wrote the script with that fellow horror flick's C Robert Cargill, adapting a short story by Stephen King's son Joe Hill — and the five-decades-back look and feel, complete with amber and grey hues, plus a nerve-rattling score, are all suitably disquieting stylistic touches. But as the movie's nefarious attacker, Hawke is unnervingly excellent, and also almost preternaturally unnerving in every moment. Whenever he opens his mouth, his voice couldn't echo from anyone else; however, it's the nervy, ominous and bone-weary physicality that he brings to the character that couldn't be more pitch-perfect. Everyone is tired in The Black Phone, albeit in varying ways. At first, that comes as a surprise — it's a looser, more laidback time, and the film happily rides the vibe in its opening Little League game. Still, that relaxed air comes with its own sense of anxiety. What's better, an era when kids escape their homes during daylight, roaming the streets as they like but also instilled with a festering sense of stranger danger, or a period where such unsupervised freedom seems utterly unthinkable? This movie lurks in the former, obviously, and there is indeed a dangerous stranger prowling around north Denver's suburban streets. To 13-year-old Finney Blake (Thames), his younger sister Gwen (McGraw) and their schoolmates, that monstrous figure is known as The Grabber, and he's abducted several of their peers so far. Finney and Gwen are also exhausted at home, where their alcoholic father Terrence (Jeremy Davies, The House That Jack Built) is hardly hands-on — unless his hands are flying in anger their way. At school, Finney has a trio of bullies to deal with, too; luckily, if his pal Robin (first-timer Miguel Cazarez Mora) isn't around to save him, the plucky and sweary Gwen usually is. She's zapped as well, courtesy of dreams of events that haven't quite happened yet. The pair's mother had the same ability, which is why their dad is so sozzled, and also so hard on the two of them. Fatigue is well and truly in the air, thick yet invisible, although The Grabber's (Hawke) is the flimsiest. After taking Finney, he's drained by his need to kidnap and kill. That doesn't stop him from terrorising the neighbourhood, of course — but if his latest target has his way, aided by advice whispered down the disconnected basement telephone by past victims, the masked assailant might soon be far worse than simply weary. Read our full review. OFFICIAL COMPETITION Every actor has one, albeit in various shades, lengths and textures, but sometimes one single hairstyle says everything about a film. Wildly careening in whichever direction it seems to feel like at any point, yet also strikingly sculptural, the towering reddish stack of curly locks atop Penélope Cruz's head in Official Competition is one such statement-making coiffure. It's a stunning sight, with full credit to the movie's hairstylists. These tremendous tresses are both unruly and immaculate; they draw the eye in immediately, demanding the utmost attention. And, yes, Cruz's crowning glory shares those traits with this delightful Spanish Argentine farce about filmmaking — a picture directed and co-written by Mariano Cohn and Gastуn Duprat (The Distinguished Citizen), and also starring Antonio Banderas (Uncharted) and Oscar Martínez (Wild Tales), that it's simply impossible to look away from. Phenomenal hair is just the beginning for Cruz here. Playing filmmaker Lola Cuevas — a Palme d'Or-winning arthouse darling helming an ego-stroking prestige picture for rich octogenarian businessman Humberto Suárez (José Luis Gómez, Truman) — she's downright exceptional as well. Humberto decides to throw some cash into making a movie in the hope of leaving a legacy that lasts, and enlisting Lola to work her magic with a Nobel Prize-winning novel called Rivalry is quite the coup. So is securing the talents of flashy global star Félix Rivero (Banderas) and serious theatre actor Iván Torres (Martínez), a chalk-and-cheese pair who'll work together for the first time, stepping into the shoes of feuding brothers. But before the feature can cement its backer's name in history, its three key creatives have to survive an exacting rehearsal process. Lola believes in rigorous preparation, and in testing and stretching her leading men, with each technique she springs on them more outlandish and stressful than the last. As Lola, Cruz is a 'find yourself someone who can do both'-kind of marvel. She's clearly starring in a comedy, and her timing, rhythms and line delivery are as fine-tuned as any acting great who has ever tried to amuse an audience — and serve up a hefty reminder that viewers rarely get to see her in such a role — but she perfects the drama of the situation, too. The latter stems from Lola's male leads, who are caught up in a clash of egos, and from the director herself as she keeps eagerly but purposefully pulling their strings. Light, fluid, sharp, smart: they all fit this savvily portrayed character, and never for a second does Cruz feel like she's seesawing too easily, needlessly or temperamentally from comic to serious and back. Earlier in 2022, she was nominated for an Oscar for her sublime performance in Parallel Mothers — an award she deserved to win, but didn't — and although Official Competition couldn't be a more different film, she's just as much of a force to be reckoned with within its frames. Cohn and Duprat might have a little of Lola in them, as well as conjuring her up with fellow scribe Andrés Duprat (My Masterpiece). The Argentine filmmaking duo's rehearsal methods aren't part of the movie, obviously, and it's likely that they didn't wrap their cast in cling wrap as their protagonist hilariously does — but, whatever mechanisms they deployed, they obtain outstanding performances from their key players. This is Cruz's film, but Banderas revels in the chance to cleverly and cannily satirise his profession and industry as much as she does, with the two teaming up yet again after featuring side by side in plenty of Pedro Almodóvar's movies (see: Pain and Glory most recently). The playful teasing is ramped up a level, and there's a greater emphasis on his killer stare, which can flip from brooding to charming to pouting in an instant; however, the result remains remarkable. Martínez plays it relatively straight in-between his co-stars, but is no less compelling; Iván has his own ego battles. Read our full review. WHERE THE CRAWDADS SING Timing is everything in Where the Crawdads Sing, the murder-mystery melodrama set in America's Deep South that raced up bestseller lists in 2018, and now reaches cinemas a mere four years later. Its entire narrative hinges upon a simple question: did North Carolina outcast and recluse Kya Clark (Daisy Edgar-Jones, Fresh), cruelly nicknamed "the marsh girl" by locals, have time to speed home from an out-of-town stay to push star quarterback Chase Andrews (Harris Dickinson, The King's Man) from a fire tower, then resume her trip without anyone noticing? On the page, that query helped propel Delia Owens' literary sensation to success, to Reese Witherspoon's book club — she's a producer here — and to a swift film adaptation. But no timing would likely have ever been right for the movie's release, given that Owens and her husband are wanted for questioning in a real-life murder case in Zambia. Unlike the film, those off-screen details aren't new, but they were always bound to attract attention again as soon as this feature arrived. One of the reasons they're inescapable: the purposeful parallels between Owens' debut novel and her existence. Like Kya, Owens is a naturalist. The also southern-born author spent years preferring the company of plants and animals, crusading for conservation causes in Africa. Where the Crawdads Sing is timed to coincide with Owens' own life as well; it's set in the 50s and 60s and, as a child (played by Jojo Regina, The Chosen) and a teenager, Kya is around the same age that Owens would've been then. Another reason that the ways that art might link with reality can't be shaken, lingering like a sultry, squelchy day: what ends up on-screen is as poised, pristine and polished as a swampy southern gothic tale can be, and anyone in one. There's still a scandal, but forget dirt, sweat and anything but lush, vivid wilderness, plus a rustic hut that wouldn't look out of place on Airbnb. That Instagram-friendly aesthetic comes courtesy of filmmaker Olivia Newman (First Match), who helms a visually enticing movie — again, incongruously so given the story it unfurls and the location it dwells in — that's as typical as a murder-mystery meets coming-of-age tale meets southern romance can be. The film starts with Chase's body, the investigation that springs and the certainty around the insular small town of Barkley Cove that the supposedly feral and uncivilised marsh girl is responsible. Evidence is thin, but bigotry runs deep against someone who grew up with an abusive father (Garret Dillahunt, Ambulance), was left behind by her other family members and spent the bulk of her years fending for herself in poverty. That said, as in Owens' source material, that's just the framework. On the screen, though, Where the Crawdads Sing's dive into Kya's life feels like it's also been adapted from Nicholas Sparks' pages. Most of Barkley Cove has always shunned Kya, other than generous store owners Jumpin' (Sterling Macer Jr, House of Lies) and Mabel (Michael Hyatt, The Little Things), who she sells mussels to — the feature's only Black characters, who are woefully only used to stress how callous the rest of the town proves, rather than to even dream of digging into matters of race in America's south as the civil rights movement started to gather steam. Also kindly, taking on her defence, is her Atticus Finch-esque local lawyer Tom Milton (David Strathairn, Nightmare Alley). But romance still blossoms not once but twice for Kya, first with the doting, poetry-reading Tate Walker (Taylor John Smith, Blacklight), and then with arrogant rich kid Chase. That's where Newman's film prefers to reside, charting the ups and downs of Kya's affairs of the heart. That's why the movie appears so immaculate that it shimmers with a marsh-chic gleam as well. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on April 7, April 14, April 21 and April 28; and May 5, May 12, May 19 and May 26; June 2, June 9, June 16, June 23 and June 30; and July 7 and July 14. You can also read our full reviews of a heap of recent movies, such as Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era, Wheel of Fortune and Fantasy, Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara, This Much I Know to Be True, The Innocents, Top Gun: Maverick, The Bob's Burgers Movie, Ablaze, Hatching, Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions, Nude Tuesday, Ali & Ava, Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man and The Phantom of the Open.
Victorians are preparing to say goodbye to plastic bags as the Victorian Government last night announced it will clear everyone's cupboards of single-use plastic carriers via a statewide ban. Premier Daniel Andrews announced the ban last night on The Project, saying that "we know this is really important for the environment, particularly for our waterways, for landfill [and] for waste management". This comes in direct response to a #BanTheBag Change.org petition run by the nightly Ten current affairs program. Premier @DanielAndrewsMP announces Victoria's plan to #BanTheBag! What say you, @GladysB? #auspol #TheProjectTV pic.twitter.com/J9u26wa5xr — The Project (@theprojecttv) October 17, 2017 The move brings the state into line with South Australia, the ACT, the Northern Territory, Tasmania and Queensland, who announced it will next year ditch lightweight single-use plastic bags in September. It follows the news that Woolworths and Coles will also be doing the same nationwide. NSW is now the only state that hasn't committed to banning single-use bags. Victoria's ban might seem like a long time coming — but, well, better late than never. It's unclear whether the ban will cover just lightweight plastic bags or both degradable and biodegradable options. Further details are expected to be announced by Environment Minister Lily D'Ambrosio today.
A shadowy old house. A strange little boy. An unexplained object that won't go away. There's nothing particularly revolutionary about The Babadook; it's simply a matter of execution. Taking time-honoured plot points that in lesser hands would seem cliched, Queensland director Jennifer Kent has managed to craft a film that feels both entirely original and utterly terrifying. Featuring both a gripping lead performance by Essie Davis and one of the most creepifying monsters to ever stalk your dreams, The Babadook sets a bar by which future local horror films will be measured. Davis plays Amelia, the overwhelmed, widowed mother of a seven-year-old problem child named Samuel (newcomer Noah Wiseman). A maladjusted and volatile lad with a penchant for producing homemade weapons, Sammy is quite the handful for his mum, who's still haunted by the trauma of losing her husband in a car-wreck while driving to the hospital on the night of her Samuel's birth. One evening, while putting Samuel to bed, Amelia finds a mysterious new book on the boy's bookshelf. Written in Dr Seuss-style rhymes, the story it tells is of a strange, spindly-fingered creature named Mr Babadook. Although innocent at first, the stanzas grow steadily more menacing. Of course, by the time Amelia clues on to the fact that this might not be suitable bedtime reading, the damage has already been done. In an age when 'scary' is so often mistaken for 'bloody', Kent gives us a reminder of the power of anticipation. With next to zero onscreen violence, The Babadook is the kind of slow-burn horror movie that gets under your skin and raises the hairs on your neck; the kind of horror movie that has you bracing yourself for the next scare yet still catches you off guard when the monster finally rears its ugly head. A stop-frame creation that lurks in the shadows, the eponymous Babadook moves with a slithering unreality that seems to freeze the blood vessels in your brain. You know he can't exist. And yet he does. The terror comes also from our empathy with Amelia and Sam. Present in just about every scene, Davis is phenomenally good as Amelia, a worn-down figure who becomes increasingly erratic, and then monstrous herself, as the Babadook's presence grows stronger. More than once, the film implies that the creature may just be a product of Amelia's frazzled mind, pushed to the brink by the death of her husband and the constant demands of her son. In truth, that might be the most frightening suggestion of all. Kent doesn't quite stick the landing, unfortunately. Ambiguity is one thing, but the ending here is just plain unclear. Even so, an unsatisfying coda doesn't undo what came before. To anyone who can handle their heart in their throat, consider The Babadook highly recommended. To anyone who can handle their heart in their throat, consider The Babadook highly recommended. https://youtube.com/watch?v=IuQELNFtr-g
A cucumber is more or less responsible for Andrew Mowbray's obsession with the gourd. Wandering around his garden one fateful morning, he made a rather unusual discovery. Between his fence and a tree, a cucumber was growing, but as a result of being squashed on both sides, it looked more like a hard, green pancake - 'pressed flat with rounded edges and completely trapped'. Finding the form 'formally interesting' and 'architecturally amazing', he started thinking about how he might be able to re-create it in a manner that would not be threatened by decomposition. Research led him to the Lagenaria gourd, which won't come as a surprise to those acquainted with the robust plant. When people initially came up with the idea of cultivating plants, the Lagenaria gourd was one of the first with which they experimented. Once dried, it becomes as tough as wood, making for a trusty container, bottle, ladle or birdhouse. The West Africans were the first to transform it into an instrument, and the concept soon spread through Asia, the Americas, the Caribbean and the Pacific Islands. The gourd is one of the few plants that we grow for aesthetic and practical purposes, rather than to feed ourselves. Now, Mowbray is taking its functionality to new heights, by transforming the gourd into a building block. He grows each one in an acrylic container, which is cubic, with semi-circular depressions enabling the development of 'nubs or buttons'. A modular unit' can be created by locking several of them together. At the same time, he is exploring the sculptural potential of the gourd's form, through emulation with plaster, cement and other materials. [VIA Inhabitat]
If your end-of-summer plans usually involve hitting up St Jerome's Laneway Festival for a day of tunes, rejoice: the beloved annual event is here with a new round of dates for 2024. Actually, it wants you to mark your calendar not once but twice. Exactly when and where it'll take place next year has been revealed, and so has when the lineup will drop. If you're all about who'll be playing, you will still need to wait until Tuesday, September 5 to get the details. So, for now, just know that Laneway has locked in returns in Brisbane, Sydney, Adelaide, Melbourne, Perth and Auckland, all in February. There's a bit of stability to next year's list of venues, after 2023 took Laneway to a heap of new spots. The festival started by Danny Rogers and Jerome Borazio in the mid-00s will kick off at Brisbane Showgrounds on Saturday, February 3, then head to Sydney Showground on Sunday, February 4 — so, exactly where it took place this year. Still in Australia, Laneway also has a Friday, February 9 date with Bonython Park in Adelaide on the agenda, then a Saturday, February 10 run at The Park, Flemington in Melbourne and a Sunday, February 11 wrap-up show in Wellington Square in Perth. Again, these are all the same locations that 2023's fests hit up. Over in New Zealand, the event will take over Western Springs in Auckland on Tuesday, February 6. That date means that it's moving to Waitangi Day. And 2024's venue comes after 2023's Auckland Laneway stop was cancelled due to due to the Auckland floods. As for the lineup, start guessing. In 2023, HAIM, Joji and Phoebe Bridgers headlined, in what marked a comeback for Laneway for the first time since the pandemic began. Before that, in 2020, the roster of talent was headed up by the likes of The 1975, Charli XCX and Earl Sweatshirt, as well as a host of local favourites like Ruel, DMA's and Ocean Alley. LANEWAY FESTIVAL 2024 DATES: Saturday, February 3 — Brisbane Showgrounds, Brisbane / Turrbal Targun Sunday, February 4 — Sydney Showground, Sydney / Burramattagal and Wangal Land Tuesday, February 6 — Western Springs, Auckland / Tāmaki Makaurau Friday, February 9 — Bonython Park, Adelaide / Kaurna Yerta Saturday, February 10 — The Park, Flemington, Melbourne / Wurundjeri Biik Sunday, February 11 — Wellington Square, Perth / Whadjuk Boodjar St Jerome's Laneway Festival will tour Australia and New Zealand in February 2024. Head to the festival's website for further details, and to register for ticket pre sales (which kick off at 11am local time on Tuesday, September 12) — and check back here for next year's lineup when it drops on Tuesday, September 5. Images: Daniel Boud / Maclay Heriot / Cedric Tang.
When The Tivoli and The Princess Theatre put on a show, Brisbanites expect just that: a series of gigs and performances at the two venues, which share the same owners. That's what Open Season has been all about since it launched in 2020, and also when it returned in both 2021 and 2023. But 2024's event from Monday, May 20–Saturday, July 27 is spreading the tunes beyond its two main sites. If you're keen to hit up Blak Day Out, the First Nations festival that's also returning within the broader Open Season program, you'll do so on King Street in Bowen Hills. Taking to the stage: Emma Donovan, 3% — which features Dallas Woods, Nooky and Angus Field — plus BADASSMUTHA and The Ancient Bloods. It'll also be accompanied by King Street's Open Season Food Fiesta, where diversity and showcasing Indigenous retailers will be the focus. Fancy a dance party in Winn Lane? Even better, keen to make shapes at two? QUIVR DJs is taking the season there as well. Want to hit up The Tiv's carpark? During 2024's Brisbane Street Art Festival, Damien Mitchell and David Lee Pereira will create new works outside the venue. While the fact that Open Season won't just be taking place at The Tivoli and The Princess Theatre is big news, so is the just-announced lineup overall. Explosions in the Sky will head from Texas to Brisbane for the event, Brooklyn's INIKO are playing their debut Australian gig, Sky Ferreira hops Down Under for the first time in a decade, while Regurgitator have two shows on offer — one for kids and one firmly for adults. Record label Elefant Traks is in the spotlight at a 25th-anniversary gig that doubles as a farewell, and with Hermitude, The Herd, Horrorshow, Urthboy and The Last Kinection all on the bill. This show will both celebrate history and make it, marking Elefant Traks' last-ever event. Also on the roster: Yves Tumor's Aussie debut, Blonde Redhead's first Australian trip in 13 years, plus everyone from Marlon Williams and Mildlife to The Paper Kites and SLUMBERJACK — alongside BAYNK, Two Another, DICE and the initial Brisbane outing for Queer PowerPoint. And that's just the beginning, because Open Season always keeps adding to its itinerary, including once it kicks off. "Open Season is about bringing Brisbane to life over the typically quieter winter months, promoting togetherness and celebrating artistic adventure. We are stoked with this year's lineup and proud that Open Season has become such a huge highlight in the city's cultural calendar," said Dave Sleswick, Creative Director at The Tivoli and The Princess Theatre, announcing the 2024 lineup. "This year's Open Season program has something for everyone, from iconic heritage acts to sets from some of Australia's most exciting up-and-coming artists. There is street art, delicious food, shows for the kids and even a performance art series. There's a lot to discover in this year's edition and we can't wait to welcome you back." Open Season 2024 Lineup: Explosions in the Sky INIKO Sky Ferreira Yves Tumor Marlon Williams Blonde Redhead BAYNK The Paper Kites Regurgitator SLUMBERJACK Mildlife Forest Claudette Two Another DICE Queer PowerPoint Bunny Racket – Rock 'n' Roll for Kids Blak Day Out featuring: Emma Donovan 3% The Ancient Bloods BADASSMUTHA and more Elefant Traks 25th Anniversary — The Finale: Hermitude The Herd Horrorshow Urthboy The Last Kinection and more QUIVR Laneway Parties Brisbane Street Art Festival: David Lee Pereira Damien Mitchell Open Season will run from Monday, May 20–Saturday, July 27, 2024, with pre-sale tickets available from 9am AEST on Tuesday, March 26 and general sales from 9am AEST on Wednesday, March 27. For further details, head to the event's website. Open Season images: Will Johnstone, Curdin and Lachlan Douglas.
Staying in, getting cosy and inviting your friends over to watch a stack of TV shows has become a tried-and-tested winter pastime — but what if you've seen everything that's out there? Firstly, of course you haven't. But thanks to the huge range of content available, it can often feel that way. Perhaps you've just worked your way through all of the stuff that you know about and just can't bring yourself to keep scrolling through pages of options. Plus, we all know how picking a new show can go down when you're in a group and everyone has a different must-see priority. That's where we come in — we've teamed up with Aussie internet service provider MATE to take the stress out of choosing what to watch. If MATE can get you easily sorted with NBN access (with no contracts and locally based support teams), then we can make whiling away the hours with your pals and a TV screen much simpler. Gather the gang, microwave some popcorn, and put someone in charge of drinks and other snacks — you and your squad have a date with these seven ace shows. https://www.youtube.com/watch?v=xQaCxIJX0J0&feature=youtu.be GLOW Big hair, big drama, colourful costumes, strong women: that's the Gorgeous Ladies of Wrestling (or GLOW). In the 80s, when putting anyone other than men in the ring was considered a mere novelty act, GLOW emerged to prove that notion wrong. Now, three decades later, Netflix's series of the same name charts the ups and downs on both sides of the ropes. Starring Alison Brie and Betty Gilpin as struggling actors who find their place among GLOW's formidable ladies, as well as Marc Maron as the director who helps turn the all-female concept into a TV series, the show finds the perfect balance between comedy, drama and OTT wrestling action. Even better — when the third season hits at the end of July, taking the gang to Las Vegas, Geena Davis joins the cast. Where to watch: Netflix. https://www.youtube.com/watch?v=SpDUMdULVZg DETROITERS It has only been out for mere months, but Netflix's I Think You Should Leave with Tim Robinson has already proven one of the most bizarre and brilliant comedies in recent years. The sketch show isn't Robinson's first amusing outing, however. He also spent a couple of seasons on Saturday Night Live, and co-starred in (and co-created and co-produced) the hilarious sitcom Detroiters. Featuring opposite Veep's Sam Richardson, Robinson plays a Detroit advertising agency creative with more than a few out-there ideas — but that term describes his life working beside his best pal anyway. While it screened in the US in 2017, the show's ten-episode first season is a new arrival to Stan, includes guest stars such as Jason Sudeikis and Keegan-Michael Key, and is sidesplittingly funny. Where to watch: Stan. https://www.youtube.com/watch?v=Z1UjEaO4qd8 COLONY Given the current state of the world, dystopian sci-fi can scratch a cathartic itch — at least aliens haven't landed and taken over the planet, right? That's the premise behind Colony, which follows a Los Angeles family of five as they try to navigate the new world order under extraterrestrial rule. The otherworldly visitors are happy to let a few chosen humans keep the rest in their place with force, which headstrong cop Will Bowman (Lost's Josh Holloway) and his wife Katie (The Walking Dead's Sarah Wayne Callies) are willing to risk their lives to fight against. As well as giving Holloway another chance to unleash his no-nonsense charms, the series is suspenseful, engaging and relevant. Two seasons are available on Netflix, and keep an eye out for the third. Where to watch: Netflix. YOUNG AND PROMISING It's been two years since Girls wrapped up and, if you're still feeling the show's absence, it's time to head to Norway. With four seasons available to stream on SBS On Demand, Young and Promising is the Scandinavian equivalent. It's not a remake, but given that it follows struggling millennials Nenne (Gine Cornelia Pedersen), Elise (Siri Seljeseth, who is also the show's writer) and Alex (Alexandra Gjerpen) as they chase their dreams, it tackles similar themes and dramas — especially since they're all trying to work in creative arenas. Norwegian TV isn't just about Nordic noir, after all, as the series' highly relatable central trio try to balance love, work and life in general. Where to watch: SBS On Demand. https://www.youtube.com/watch?v=hfe5xQ1M7Jw JEOPARDY! 2019 has been huge for Jeopardy!, the highly addictive American game show that gives contestants the answers and asks them to respond with the questions. The program hit its 35th year, and also welcomed a professional Las Vegas gambler as a contestant — who bet big, won big and made series history. But there's never a bad time to watch Jeopardy! — or is there a bad episode for that matter. Netflix keeps cycling through the show's past, so you can catch some retro 80s, 90s and 00s fashions while you're playing along at home and battling your mates. At the time of writing, the season premieres for the show's first 32 years are all available, as are the episodes from the time that host Alex Trebek asked two of Jeopardy!'s biggest-ever winners to test their skills against a supercomputer. Where to watch: Netflix. https://www.youtube.com/watch?v=yfSUxKtgMDw YOU CAN'T ASK THAT The idea behind ABC's You Can't Ask That is so simple, it's almost surprising that someone hasn't thought of it before. In each episode, a range of traditionally marginalised Australians answer questions — and yes, as the title makes plain, they're the kind of queries people are usually afraid to ask. Basically, it's a Reddit AMA on TV. With each episode focused around a specific subset of the population, the thought-provoking series gives its subjects a chance to challenge stereotypes, counter discrimination and tell their own tales. Across four seasons so far, everyone from Indigenous Aussies, the short-statured, ex-prisoners, the terminally ill and refugees to ice users, former cult members, folks over 100, priests and carnival workers have featured. As well as opening your eyes, the show is certain to get you and your friends talking. Where to watch: ABC iview. https://www.youtube.com/watch?v=xzsy-haNy1E PEEP SHOW If you haven't seen this classic British sitcom by now, then it's time to address that gap in your viewing. Peep Show first aired back in 2003, but its view of share house life never gets old — or any less relevant. Comedians David Mitchell and Robert Webb play south London friends Mark and Jeremy. One is awkward and uptight, the other free-spirited and irresponsible, and they both make terrible decisions about their lives. With nine seasons each spanning six episodes each, the pair's antics cover bad jobs, different girlfriends, huge fights, chaotic weddings, crazy parties, children — and just generally trying and failing to be adults. Oh, and before she won an Oscar for The Favourite, Olivia Colman also co-starred. Where to watch: Netflix. Make home internet usage hassle-free by signing up to MATE. For more information on packages, visit the website. Top Image: Detroiters.
These dream-like pictures look as though they could be from the set of Inception, but they're actually screenshots from Google Earth. Artist Clement Valla zooms into Google Earth at certain angles to reveal a surrealist vision of our world, capturing the images he finds. The only editing effects applied by the artist are basic color adjustments and cropping. A particular penchant for bridges and roads has resulted in an extraordinary collection of screenshots. “I am collecting these new typologies as a means of conservation – as Google Earth improves its 3D models, its terrain, and its satellite imagery, these strange, surrealist depictions of our built environment and its relation to the natural landscape will disappear in favor of better illusionistic imagery. However, I think these strange mappings of the 2-dimensional and the 3-dimensional provide us with fabulous forms that are purely the result of algorithmic processes and not of human aesthetic decision making. They are artifacts worth preserving.” [Via PSFK]
Once you've brought mountain pose to Mt Coot-tha, bridge pose to Kurilpa Bridge, balancing cat pose to Boggo Road Gaol and plenty of activity to Pat Rafter Arena, what comes next? Getting Brisbane's yoga lovers to unleash their flexibility on a pier. That's Sound Off at Sea, Urban Bliss Yoga's latest adventurous exercise outing, which is taking place at Shorncliffe. Expect to bend and stretch while you've standing over water — and whip out your liveliest sun salutation as the fiery ball of heat descends for the day. Taking place on Sunday, February 10, eager yogis will head north for this exercise session, with all of the fun kicking off at 4.30pm. And, thanks to the illuminated headphones everyone will be wearing, there'll be quite the glow coming from the class as well. Everyone from yoga first-timers to asana experts are welcome — as long as you BYO yoga mat — but tickets are expected to get snapped up quickly.
There's never been a better time to sport a healthy interest in true crime, as your streaming and podcast queues can probably attest. The genre is hardly new, but thanks to the likes of Serial and Making a Murderer (and S-Town, Dr Death, Teacher's Pet, Dirty John, The Case Against Adnan Syed and The Bundy Tapes too, to name just a few), exploring real-life tales about untoward acts is positively booming. These days, you can nearly shape your whole media diet around true crime. And, especially in the podcast space, there's almost something new to discover every day. Eager to dive into the latest and greatest grim stories? Looking for something fresh to pipe into your ears, but don't know where to start? Here are six newcomers that you should begin listening to ASAP. https://www.youtube.com/watch?v=0dZIf8RpN1A MONSTER: THE ZODIAC KILLER When it comes to creepy unsolved mysteries, the Zodiac Killer sits at the top of the heap. Throughout the late 1960s and early 1970s, an unidentified man murdered victims across northern California, then claimed responsibility by writing to local newspapers — and, to this day, the culprit has not been caught. Before he made Mindhunter everyone's favourite Netflix series, David Fincher explored the story in his excellent 2007 drama Zodiac. He's not the only person obsessed with the case, with the team behind 2018 hit podcast Atlanta Monster (aka Tenderfoot TV and HowStuffWorks) delving into the story in its latest season. The two groups are really just taking turns chronicling fascinating terrain (the second season of Mindhunter focuses on the Atlanta Child Murders, too). However, if you can't get enough of these bleak, disturbing real-life tales, then Monster: The Zodiac Killer is a must-listen, with hosts Payne Lindsey and Matt Frederick stepping through the minutiae in intricate detail across 15 episodes. Listen to Monster: The Zodiac Killer here. MAN IN THE WINDOW: THE GOLDEN STATE KILLER If you're looking for even more California crime stories, then add Man in the Window: The Golden State Killer to your list. For more than a decade between 1974–86, the murderer, rapist and burglar wreaked havoc across the state, with at least 13 deaths, more than 50 sexual assaults and over 100 break-and-enters to his name. For those who've been following true crime news over the past couple of years, you'll know that this case picked up again in 2018 in a big way. If you're not aware of the particulars, this riveting podcast, which started back in June, will take you through all of the historical and recent ins and outs. Pulitzer Prize-winning journalist Paige St John is behind it, as are Wondery and the LA Times (the folks who brought us Dirty John). A word of warning, though: if you're spooked out by hearing actual evidence, including phone calls made to victims, then you'd best steel yourself in advance. Listen to Man in the Window: The Golden State Killer here. GHOSTHUNTER Since the birth of cinema, movies have often taken inspiration from reality, especially at its most twisted. Now, a crime-fuelled mystery can become the subject of a documentary, then get turned into a podcast by its filmmaker. That's exactly what has happened with Ghosthunter. It first brought the story of Sydney's Jason King to the big screen last year, and has now been expanded upon in audio form. Director Ben Lawrence is behind both versions of this far-from-ordinary tale, which is the result of spending seven years delving into King's life. Press play for an account of a security guard who doubles as a ghost hunter — yes, really — and keep listening for police investigations, court dramas, family secrets, difficult traumas, murky mysteries and estranged figures from King's history. It unfurls over five parts, and we can guarantee that you won't guess where it's all going. Listen to Ghosthunter here. SHREDS: MURDER ON THE DOCK True crime podcasts can take a plethora of shapes and forms; however, three kinds tend to stand out. The first unravel the cases of notorious serial killers. The second sift through stories that are just so astonishing, they can only stem from actuality. The third examine not only blood-curdling crimes, but just as horrific miscarriages of justice. Ticking both of the latter two boxes, the BBC's Shreds: Murder on the Dock revisits the Cardiff killing of Lynette White, the subsequent charging of five black and mixed-race men with her death, and what became — at the time — the longest murder trial in British history. The specifics of White's last moments are awful, with the 20-year-old's body found on Valentine's Day back in 1988. The circus that followed is equally chilling, including another record-breaking feat: the largest police corruption trial in British criminal history. Listen to Shreds: Murder on the Dock here. THE BURIAL FILES Whether you're a local who regularly commutes through the spot, or an out-of-towner who has just whizzed through it once or twice on the airport train, you'll never look at Sydney's Central Station the same way once you've listened to The Burial Files. Before it was a busy transport hub, it was the city's first major colonial-era cemetery. Yes, on the spot that a quarter of a million people transit through every single day, the remains of around 30,000 people were interred between 1820–1900. Unsurprisingly, this macabre history is the source of many a story, which the podcast delves into with the help of historians, archaeologists, forensic experts and even railway enthusiasts. The result of years of research, The Burial Files stems from the State Library of NSW, and from curator Elise Edmonds, who reveals details you'd never know otherwise — including about the mass exhumations of most of the site's bodies at the turn of the 20th century. Listen to The Burial Files here. [caption id="attachment_738014" align="aligncenter" width="1920"] Pendulum[/caption] PENDULUM A few months back, 7 News jumped into the podcast game, getting listeners whipped into a frenzy with The Lady Vanishes. Pendulum is the network's second foray into the field — and into an Australian case that still deserves plenty of attention decades after it happened. This time around, 21-year-old Queenslander Margaret Ann Kirstenfeldt is in the spotlight. The mother of a seven-month-old, she was found with brutal, fatal injuries in the coastal town of Sarina back in 1978, with theories swirling about the incident ever since. Initially treated as a rape and murder, a pathologist then deemed her injuries self-inflicted; however, one top cop on the case was never able to accept that finding. Diving deep into a shocking death, Pendulum also speaks with Kirstenfeldt's husband and mother, while pondering if the perpetrator is still out there. Listen to Pendulum here. Top image: Ghosthunter
We've been whining about much-needed change in the TV industry for awhile now. Audiences are downloading and streaming content more than ever. Legislators are waving their fingers and threatening us with angry letters. And local Australian content is suffering huge drops in viewers simply because they're not catalogued in Netflix. It's a weird time for TV, but some networks are doing better than others. In a landmark move, the ABC has just announced it's launching an iView-only series next month... but it's a little more niche than you might expect. Launching on September 20, Wastelander Panda, is a "post-apocalyptic Sci-Fi western" about a panda. The main character is a tough loner with an earnest Aussie accent and a heart of gold. This "bamboo eating Mad Max" battles corrupt tribespeople, lives off the land and, conveniently, it never seems to come up that he's an enormous anthropomorphic creature surviving well out of his natural habitat. Co-produced by Epic Films and Madman Productions, this project has been in the works for awhile now. In 2012, the prologue for the series racked up thousands of views on Vimeo and even found its way to Buzzfeed (as often happens with videos of talking animals). Now, the first series consists of six ten-minute episodes to be released in full on September 20. It's a strategy that the ABC have been flirting with for awhile now. Earlier this year, the entire first reason of Jonah From Tonga was released on iView during the weekend ahead of its first episode airing on TV. It was a huge success for the site as they saw traffic increase by 50 per cent while it was streaming. Elsewhere, the strategy has been championed by US giant Netflix. Original productions like House of Cards, Orange is the New Black and the most recent season of Arrested Development are released in the same desperately unhealthy, but wholly satisfying way. All in all, we're happy about the move. It shows Australian industry is finally willing to start catering to our viewing habits. And, although the panda's eyes are a little soulless and terrifying, we couldn't think of a better face for the digital revolution. Via Gizmodo.
Sipping drinks at soaring heights: if that's your preferred way to while away your days in Brisbane, there's no shortage of spots to head to. But the latest sky-high venue to open in our fair city doesn't just want you to eat and drink while soaking in the view. That's all part of Catalina, of course — but, in a 1500-square-metre bar that's taken its cues from the Mediterranean, this beach club-inspired spot wants you to get swimming as well. Head up to the top level at 74–80 Tribune Street, South Brisbane and you'll be enjoying a splash in two ways: in your glass and in the 30-metre rooftop infinity pool. Hang out in daybeds, sunken lounges and booths by the water, stare out over the Brissie skyline, and enjoy an atmosphere that's designed to make you feel like you're on holidays without leaving town. Open since mid-February — but bound to make the most of Brisbane's year-round balmy weather — Catalina is the latest venture from Icatha Hospitality's Ross Ledingham and Salt Meat Cheese Group's Stefano De Blasi. Blue, white and neutral tones help set the vacation mood, both indoors and out. The prevailing vibe: lounge all day, party through the night, with the venue open from brunch till midnight from Wednesday–Friday, and kicking things off at 7am on weekends. Relaxing by the pool is hungry work, so the food menu spans restaurant fare, waterside options, bar snacks and sharing spreads. Accordingly, you can grab seafood from the raw bar — oysters, scampi caviar, salmon gravlax and tuna tartar all included — then tuck into a 1.1-kilogram flank steak, lobster thermidor, pork belly or duck breast (with a side of truffle mac 'n' cheese if that also tempts your tastebuds). Or, snack on charcuterie, lobster rolls, octopus roulade and karaage chicken — no matter where you sit. Plus, the sharing menu spans both three- and four-course options, and desserts include deconstructed mango cheesecake and strawberries and cream panna cotta. For those Saturday and Sunday early starts, the brekkie range features house-baked corn bread, hotcakes, eggs benedict, zucchini flowers, and herb and potato rosti. And, drinks-wise, 14 different signature cocktails — think: Catalina bellinis with boysenberry tea-infused vermouth and edible stamps, sours made with jalapeno and pineapple syrup, and a fruity fizz featuring honey and apricot jam — sit alongside four low- and no-alcohol concoctions. Or, there are beers by the schooner and bottle, a sizeable spirits range (especially agave), and coffees, teas and hot chocolates. Catalina also hosts Sunday sessions, complete with DJ-spun house and disco tunes — if you need another excuse to turn lazing, paddling and sipping on a South Brisbane rooftop into a party. Find Catalina at 74–80 Tribune Street, South Brisbane — open 11am–12am Wednesday–Friday and 7am–12am Saturday–Sunday.
This March, French street artist and TED Prize winner JR exclaimed to the conference audience that he wished to "turn the world inside out." Well, he wasn't kidding. JR launched "Inside Out" immediately, a project aimed to inspire change in the world by teaching others to first embrace personal identity. He encourages anyone and everyone across the globe to send in pictures of themselves, which he will then put up in various places of significance. First stop: Tunisia, whose oppressive totalitarian leader Ben Ali was recently overthrown. Although the end of Ali's rule was a victory for the country's citizens, many are still left hopeless and the government is certainly still a mess. So, JR brought the photos of friendly faces to the troubled Tunisia, and pasted them over posters of Ali's face and all throughout the country to spark hope for the future in the hearts of the suffering community. This is just the beginning of JR's journey to inspire a worldwide whirlwind of change. We tip our hats to you, JR, because not only have you reminded thousands of people of the power of art, but you've certainly began to turn the world inside out in the most wonderful and inspiring way.
At 25 years of age, French-Canadian director and professional overachiever Xavier Dolan has been touted by cinephiles as the next great auteur — an antidote to a global film industry bloated with high-budget, low IQ franchises. Once a child actor, Dolan's fifth film, Mommy, won some insanely high praise and the Jury Prize at last year's Cannes Film Festival. In vivid colours and an Instgram-like 1:1 ratio, Mommy declares its arrival as loudly as its attention-seeking protagonist, Steve. An at-risk 15-year-old emblematic of Quebec's forgotten underclass, Steve (a hyper-charismatic Antoine-Olivier Pilon) has been expelled from his disciplinarian boarding school. His young, widowed mum, Die (Anne Dorval), is just as funny and street-smart and gutsy as her son, but ill-equipped to deal with his angry delinquency. Steve seems to get back on track thanks to a conveniently kindly neighbour who, despite her own barely discussed traumas, begins tutoring and putting boundaries on him, but begins to stray once again. Rather than frame these social-issue themes in a gritty, crime-flecked drama, Dolan opts for a set of stylish character studies about the volatile mother-son relationship, positioning his actors boldly in the middle of the square screen and pushing them to noisy, dramatic limits. The film is much less innovative than its stylistic choices promise, however, because it swerves towards predictably tragic plot points that we, as viewers, have learned to spot from sitcoms and indie dramas. 'Indie' has become a genre in its own right rather than a way of working outside the studio systems. The checklist for indie filmmakers working towards that sought-after 'quirky charm' seems to include an over- or under-saturated colour palette, blurry soft-focus camera work, a cast of loveable yet flawed characters (including a friendly stranger), a slowly revealed tragic backstory, a shot at redemption against hardship, a lip-synching musical sequence, a domestic disturbance, an ambiguous ending and so on. Like the filmmakers of the recent Skeleton Twins and Kumiko: Treasure Hunter, Dolan wilfully checks all these boxes. It's all about self-conscious style over substance, perhaps to compensate for an underwritten script that floats slackly over two hours. Like so much cinema, Mommy functions at a gut level — you either instinctively get it or you don't, which makes it inexplicably polarising. Whether you find the dialogue and performances accurate or OTT, the characters unbearably stereotypical or eye-openingly new, all comes down to your personal taste. From everything from the blaring musical choices (supposedly a '90s mixtape Steve's father made) to an emotional daydream sequence, this is showy filmmaking. Dolan has a tendency to push his actors to broad, melodramatic extremes to the point where I sometimes felt I was watching a Francophone Neighbours. Despite all the distractions, Mommy feels alive and young. There's something really interesting and energetic going on here — a director not working on autopilot, turning over big passions at high speed and with a great love of cinema. As to whether or not it amounts to much more than a French-Canadian, ADHD-style Instagram film, well, I'm unconvinced, but fascinated as to the director's next moves.
New Zealand is known for high quality produce, but because the Southern Island of Aotearoa is home to barely over one million people, we think they might need some assistance in consuming all that can be foraged from its land, air and sea. Here are some of Concrete Playground's best gastronomic reasons to head across the Cook Strait. Land Even in drier months the landscape in New Zealand is a lush green. The abundance of grass for four legged animals means that the human animal at the end of the chain ends up with a healthier and tastier meal. It starts with lamb. It has to. Although current statistics show that the person to sheep ratio in New Zealand has dropped to 7:3, that still works out as more than 32 million sheep. When driving around the South Island it is easy to spot numerous woolly winter bottoms peaking out from the green terrain. New Zealand is, of course, one of the largest exporters of lamb in the world. Carnivores will also enjoy the strong flavoured venison provided by the fields of delicate looking deer. At Wanaka’s Botswana Butchery you can start with a Southland Venison Carpaccio followed by a slab of Fiordland Venison Top Side. Other wintery game meats include rabbit and hare. Air Then there are the birds. There are foreigners such as ostrich and pheasant. One of the New Zealand natives however is the Titi, also known as the mutton bird. The Rajuira Maori have rights to gather these birds from the southernmost region of New Zealand - their bounty being served in only a spattering of restaurants. Queenstown’s Fishbone Bar and Grill serves them pan roasted with kumara chips when they’re in season. The dark meat of the seabird retains the flavour of its fish filled diet. Even after soaking and boiling the flesh in fresh water a strong salty anchovy taste lingers. Sea With nearly 6,000 km of coastline the choice of salt water fish is immense. The ocean sourced Hapuka and Blue Cod are also joined by fresh water counterparts. The Akaroa Cod is cooked to perfection at the Pegasus Arms bar in Christchurch. It is served with a homemade aioli and a super intense tomato sauce for chip dipping. As the cool winters defrost into the spring months of September and October the whitebait season begins. It demands regular roadside stops to fill up on whitebait fritters. You’d hope for one with minimal egg to just bind together a generously fish-packed patty. Housed in a little stall near the end of Fyffe Quay in Kaikoura, the Kaikoura Seafood BBQ offers a delicious version along with a great variety of whatever other fresh seafood could be found in the ocean that morning. It seems even those guarded by shells are not safe from hungry seafood lovers. The coastal town of Kaikoura is named after its famed crayfish. Kai (‘eat’) Koura (‘crayfish’) is an order that only seems fair to obey when visiting the seaside settlement. One can also choose from the monstrous Green Lipped Mussels and the Paua, the abalone whose pearly opal shell is valued as much as its mushroom-like flesh. The Green Dolphin Restaurant & Bar in Kaikoura has a hearty seafood stew giving you a chance to try a whole variety of seafood in one, huge, meal. The plump New Zealand Bluff oysters are widely regarded as the world’s best. Developing in the pristine cold waters of the Foveaux Strait they are large creamy mouthfuls of the ocean. Each year the seaside town of Bluff, from which the oysters take their name, has a festival to celebrate and enjoy the delicacy. With South Island dining establishments including the Cuisine Restaurant of the Year 2011, Riverstone Kitchen in Oamaru, as well as one of Rick Stein’s favourites, Fleur’s Place in Moeraki, its world class produce is sure to be used to its full potential. The waistline may shudder but at least the conscience is clear – you’re simply there to help out after all.
If you've ever worn a little black dress, then you owe Gabrielle 'Coco' Chanel a big thank you. Depending on your choice of suit, bag and perfume, you might owe her some gratitude there as well. The French designer's influence upon 20th-century fashion extends far and wide — and, even though she passed away in 1971, her imprint can be felt in the 21st century as well. So, when the NGV International sends some love her way at its next blockbuster exhibition, it'll have plenty to cover. Displaying at the St Kilda Road gallery from Sunday, December 5, 2021–Monday, April 25, 2022, Gabrielle Chanel. Fashion Manifesto will arrive fresh from its current stint at Paris' Palais Galliera. Its stop in Melbourne is its first international jaunt, in fact. On show will be pieces from the French venue, as well as from the Patrimoine de Chanel, the fashion house's heritage department. More than 100 garments will grace the NGV's walls and halls, with the exhibition charting her career. You'll also be able to see what Chanel achieved with perfume, jewellery and accessory design, too. Some pieces will date back more than a century, given that the fashion icon opened her first boutique in Deauville in 1912, before making the leap to her own Parisian couture house in 1918. Expect to check out everything from black threads — obviously — to lace gowns, wool jersey and tailored tweed suits, and an array of beaded garments. As you peer at Chanel's designs, you'll see how womenswear developed, and both how and why she's left a mark that still lingers today. [caption id="attachment_819495" align="aligncenter" width="1920"] Gabrielle Chanel (designer). Dress, spring–summer 1925, silk guipure lace, silk organza flower. Patrimoine de Chanel, Paris. Photo © Julien T. Hamon.[/caption] The NGV is also adding its own Chanel pieces to the exhibition, such as a white lace Evening dress that dates back to 1933, and a shirred red silk velvet and marabou-lined evening cape from around 1924–26. They'll form part of a showcase that's split into themed sections, with different parts devoted to her early work, the way her design language evolved in the 1920s and 1930s, the iconic scent that is Chanel No 5, and how the brand's pieces have favoured a look best described as "austere luxury". Also getting their own themed strands: suits, accessories and jewellery. To launch Gabrielle Chanel. Fashion Manifesto, which will be ticketed — and will be the first-ever exhibition in Australia that'll solely focus on Chanel's contributions to fashion and culture — the NGV is bringing back its black-tie NGV Gala, which'll take place on Saturday, December 4. If you decide to wear a little black dress while you're checking out all things Chanel this summer, you'll likely have plenty of company. Gabrielle Chanel. Fashion Manifesto will display at the NGV International, 180 St Kilda Road, Melbourne from Sunday, December 5, 2021–Monday, April 25, 2022. For more information, or to buy tickets, head to the gallery's website. Top image: Anne Sainte-Marie in a Chanel suit, photograph by Henry Clarke, published in Vogue US, 1955, retouched by ARCP. ParisMusées. © Henry Clarke, ParisMusées /PalaisGalliera/ADAGP. Copyright Agency, 2021. Installation Images: Tom Ross and Sean Fennessy
Solar power. Who needs it? Well, we do — and pretty desperately. To generate it though, we need those pesky black solar panels to be fitted to people's roofs and properties and anywhere we can find a space for them. This can be a little hard without overtaking natural environments and farmland. But France have found thousands of kilometres of space perfect for solar panels: their roads. After researching and testing the idea in carparks over the past year, the country has unveiled its first solar-powered road — and the world's. Stretching over a one kilometre expanse in Tourouvre-au-Perche in Normandy, the trial site features 2,880 panels and will be used by 2,000 motorists a day, generating 280 megawatts of energy per year. Ideally, that'll be enough to keep the town's street lights glowing during the two-year test run. The road is made from a silicon-coated surface called the Wattway system, which is comprised of 7mm photovoltaic panels stuck on top of existing road surfaces. Both its thinness and ease of application to existing roads make it the best option of its type, with the idea of paving roads with solar panels first floated by Scott and Julie Brusaw via a crowdfunding campaign to pave American parking lots with the things in 2014. The French project is a collaboration between transport infrastructure company Colas and France's National Institute for Solar Energy, as sanctioned by France's Agency of Environment and Energy Management. If the Normandy installation goes to plan, they're hoping to bring solar power to 1000-kilometres of roads in the country over the next five years. They're also promising to try out the idea around the world, with other trials planned inNorth America, Europe, Africa, and Japan. Here's hoping they're all successful, and that the project makes its way over here. As anyone who's stood barefoot on asphalt on a hot day knows, that stuff stores a lethal amount of heat. Via: Mental Floss. Image: COLAS – Joachim Bertrand. By Lauren Vadnjal and Sarah Ward.
This post is presented by the All New Toyota Corolla Sedan. There's plenty of fun to be had in this city each week, but there's only a small handful of truly fresh urban adventures to be had. We've partnered with Toyota to bring you a series showcasing the very best of these shiny-new experiences in Brisbane. Presented by the All New Toyota Corolla Sedan, these are our picks to put you on the road to a lifetime of goodtimes. Now your only challenge is getting to them all. This week, we recommend you tinkle the ivories at cafe with a dark side, tick parkour off your bucket list and get tactile with all the magazines you've been missing. Eat: Samson and Sophie A mere two weeks old, it’s easy to fall in love with Samson and Sophie Cafe. In what is perhaps a Brisbane trend of naming cafes after dogs, Teneriffe’s new sweetheart is treading a path already carved by older siblings Alcove and Esther St Cafe Deli. The owners used their tried and tested cafe and deli experience with Samson and Sophie offering a cafe menu, small selection of produce and even small potted plants to buy. Cute decor is the cherry on top, with recycled furniture and living coffee tables making a feature. Part-grass, part-wooden table, these turfed tops are a novel place to sit and chow down bircher or a toastie. Shop 1, 2 Macquarie Street, Teneriffe Drink: John Mills Himself Brisbane is currently enjoying a trend of cafes with a darker side. Come the afternoon, these newbies keep their doors open past COB and twist the tops off a range of fine brews and bottles. One of those is John Mills Himself. With a classic yesteryear look, dark wooden beams and a marble bar, John Mills harks back to old days serving local beers on tap on a five-ounce glass. It has a focus on local, with wines sourced from the south-east corner, spirits from across the nation and organic spiced peanuts from Kingaroy. The narrow space even has piano, and you’re always welcome to tinkle the ivories. See: cool stuff at URBNE Festival The URBNE Festival is all about unleashing Brisbane's creative side and enjoying our gorgeous city by using all of its nooks and crannies. The team behind this ingenious idea are a bunch of young creatives from a kaleidoscope of creative backgrounds joined by the common goal of making Brisbane both more creative and accessible. This weekend, March 28-30, join Brisbane’s Biggest Clothes Swap, join a Scavenger Hunt or form part of an art attack. Carve up the streets in Street Skate Jam, tick parkour off your bucket list and wind down with a film at the State Library, entitled City Dark. Do: Visit Kunstler Magazines Despite CP living wholly in the digital world, we’re firm believers that print is not dead. Enter Kunstler Magazines and Books, a new little shop that popped up in Winn Lane last Saturday. The independent store stocks publications on everything from art and architecture to fashion and design, and, of course, food literature. The store is a coop for Brisbane’s small and specialty magazine scene and is great fun to peruse. Take a look yourself; on Sunday afternoon Kunstler (German for ‘the artist’) are having a neighbourhood shindig to welcome you to its new digs.
