New Years Eve is the most over-hyped holiday of the year – I think people expect too much of the typical clichés that come with this fated holiday and wind up disappointed when it’s not all cute and romantic like the end of When Harry Met Sally. Basically, what I’m trying to say is that we should all stop getting upset when those clichés don’t play out like everyone says they should and just get loose and have fun because no one has to go to work the next day. If you’re going to be in Brisbane in the waning hours of 2011 then to fulfill your requirements of getting loose/having fun you’ll need to be at the Powerhouse for No Years. Returning for its second consecutive year, the festival’s first announce boasted Dum Dum Girls, Jonti and Ball Park Music. The guys at No Years have just dropped the second lineup, which sees Last Dinosaurs, Nina Las Vegas, The Jungle Giants and Charlie Mayfair being added to the bill, with plenty more to be announced soon. Early bird tickets on sale now through the Powerhouse website for $69 +BF. Head to the No Years website for more information on the event.
If you like your alcohol amber in colour and hoppy in flavour, you can fill most of your weekends with a Brisbane beer festival. There's usually one on somewhere around town, if not more than one — and Barrel Fest is the latest. From 10am onwards on Saturday, August 11, Newstead Brewing Co's new shindig will celebrate brews that have taken their time, and sat ageing in barrels in the process. In total, there'll be 24 barrel-aged tipples on offer across the day, split across two seven-hour sessions. Yes, that means you can sip your way through 12 different types between 10am–5pm, then back it up with another 12 across 5pm–12am. Newstead Brewing's own beers will be pouring through the taps at the brewery's Newstead site, and they'll have company from other Australian and international brews. Entry is free, although you'll need to purchase your drinks — with $15 getting you a commemorative glass and your first beverage.
Despite the many different varieties of margarita available, only one is the undisputed best — no matter which tequila-soaked flavour it actually is. That type of marg: a free marg. And for three weeks from Wednesday, February 15–Tuesday, March 7, 10,000 of them are up for grabs around New South Wales, Victoria, Queensland and South Australia. International Margarita Day is upon us for another year, hitting on Wednesday, February 22, and tequila brand Altos is celebrating. That's where the hefty giveaway comes in, but starting early and running for a couple of weeks after the date itself. Days commemorating different foods are really just an excuse to sell more dishes, drinks and/or ingredients, but this is an occasion — and stack of freebies — worth saying cheers to. Exactly how many bars are pouring free 'ritas across the three-week period varies per state, but Sydneysiders can head to Employees Only, Watsons EQ, Coogee Beach Club, Marrickville Bowling Club, Club 77, Chula, Mejico, Kid Kyoto, Applejack Group's venues and more. For Melburnians, you'll want to make a date with places like Maeve Fox, Death or Glory, Fitzroy Beer Garden, Fable, Mejico, Public House and Common Man. Brisbanites, pop Emporium, Southbeach Social, Victoria Park, Brooklyn Standard, Pig 'n' Whistle West End and others on your list — and Adelaide residents, you're heading to Republic. [caption id="attachment_698575" align="alignnone" width="1920"] Employees Only[/caption] There are a few caveats, as always comes with these types of giveaways. You do need to sign up online first, which'll get you a voucher for that free marg and entry into a competition to win a trip to Mexico. Altos is calling the promo a Mexican wave, because if you get a friend to sign up as well, you'll score an extra entry in that contest. That — and those free cocktails — is excuse enough to get clicking and sipping. [caption id="attachment_869703" align="alignnone" width="1920"] Mejico[/caption] Altos Tequila's margarita giveaway runs from Wednesday, February 15–Tuesday, March 7. For more information, to register for your free drink and to find your nearest venue, head to the brand's website.
In Stay of the Week, we explore some of the world's best and most unique accommodations, giving you a little inspiration for your text trip. In this instalment, we highlight the Gili Beach Resort located on Indonesia's Gili Trawangan island. If you're itching to get away and ready to book an island holiday now, on Concrete Playground Trips we have a fabulous lineup of deals on great stays across Indonesia and packages on incredible Bali getaways that you can't find anywhere else. WHAT'S SO SPECIAL? This accommodation is made for big groups of people looking to experience laid-back (but still pretty damn luxurious) island living, without spending exorbitant amounts of money. THE ROOMS Both multi-level timber villas have four enormous bedrooms — each with extra-large double beds, ensuites and balconies overlooking the private pool and beach. You'll feel like you're living in a postcard when staying at this character-filled resort. And because there are only two villas on the property, you'll be getting brilliant service from the staff. You'll also have your own fully-kitted-out kitchen with a few indoor and outdoor dining areas (including tables and chairs right on the beach). There are also multiple spots made just for lounging – either choose the pool, the beach or one of the terraces. Roll from one spot to the other during a lazy day of drinking, eating, napping and sunning yourself. FOOD AND DRINK The staff at Gili Beach Resort will greet you every morning with a big breakfast, and the restaurant next door will also deliver to your door all day long. This restaurant is known to be incredibly good and the French chef serves up an ever-changing menu but the focus is — unsurprisingly — all about the fish of the day dishes at this island haunt. But that's not all. On your first night at Gili Beach Resort, you get an epic BBQ and private bonfire made for you by their team — they go above and beyond when it comes to service. They'll even help you with your grocery list and enlist a horse-pulled cart to help you manage a big shop (there are no motor vehicles on this island so all transport is either man or animal powered). THE LOCAL AREA The resort is located on the quieter side of Gili Trawangan, one of Indonesia's three Gili islands. These small islands are best known for their sandy beaches lined with large trees and the coral reefs full of colourful marine life. It's not unusual to find turtles swimming in front of your villa (with snorkelling equipment available to guests too). You're also fairly close to town – either a short walk or an even shorter bike ride (also provided as part of your stay). Find a local beach bar or restaurant for sunset and enjoy great Indonesian cuisine and inexpensive but powerful cocktails. Alternatively, you can go hiking up into the forests and get some unbeatable views of the surrounding islands or walk around to quieter beaches to find your own remote paradise. Whatever you're up for, the incredibly accommodating staff will make it happen for you. THE EXTRAS For small additional costs, the team at Gili Beach Resort will bring just about any brilliant experience right to you. They'll organise massages on your balcony overlooking the sea, horseback rides along the coast and traditional Indonesian cooking classes in your own villa. The friendly and attentive service is one of the resort's most well-known traits. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
It takes place in New York, not London. The era: modern times, not centuries back. Fleet Street gives way to Washington Heights, the demon barber to a masseuse nicknamed "Magic Hands", and pies to empanadas. There's still a body count, however, and people end up in pastries as well. Yes, The Horror of Dolores Roach namedrops Sweeney Todd early, as it needs to; there's no denying where this eight-part Prime Video series takes inspiration, as did the one-woman off-Broadway play that it's based on, plus the podcast that followed before the TV version on Friday, July 7. On the stage, the airwaves and now via streaming, creator Aaron Mark asks a question: what if the fictional cannibalism-inciting character who first graced penny dreadfuls almost two centuries back, then leapt to theatres, films and, most famously, musicals, had a successor today? Viewers can watch the answer via a dramedy that also belongs on the same menu as Santa Clarita Diet, Yellowjackets and Bones and All. Amid this recent feast of on-screen dishes about humans munching on humans, The Horror of Dolores Roach is light yet grisly, but it's also a survivalist thriller in its own way — and laced with twisted attempts at romance, too. That knowing callout to Sweeney Todd: The Demon Barber of Fleet Street comes amid an early banquet of knowing callouts, as The Horror of Dolores Roach begins with a play based on a podcast that's wrapping up its opening night. Newspaper clippings in actor Flora Frias' (Jessica Pimentel, Orange is the New Black) dressing room establish that the show takes its cues from a woman who got murderous in the Big Apple four years prior, and helped get unwitting NYC residents taking a bite out of each other. Meet the series' framing device; before the stage production's star can head to the afterparty, she's face to face with a furious Dolores (Justina Machado, One Day at a Time) herself. The latter isn't there to slay, but to haunt the woman spilling her tale by sharing the real details. Two decades earlier, Dolores was a happy resident of Lin-Manuel Miranda's favourite slice of New York, a drug-dealer's girlfriend, and a fan of the local empanada shop. Then the cops busted in while she was helping her beau, who was conveniently absent, with The Horror of Dolores Roach's namesake refusing to snitch and getting a 16-year sentence in return. When she's released after serving that entire stretch, gentrification has changed the neighbourhood. Also, her other half is nowhere to be found. Only Luis Batista (Alejandro Hernandez, New Amsterdam) remains that remembers her. His dad owned and ran the empanada joint, Luis was the teenaged delivery boy with a big crush on Dolores, and he couldn't be keener on letting her stay with him in his basement apartment below the store. After the best part of two decades inside, Dolores only dreams of the straight and narrow, and of putting the massage skills that she learned from her cellmate — which were quite a hit, hence the new moniker — to use in a legitimate job. Getting a paycheque isn't easy, but when Luis says that she can operate an unlicensed setup out of their flat, customers flock to get their shoulders kneaded. While it isn't the future that gave her something to look forward to behind bars, it'll do; however, the upscaling trend that's sweeping the community soon poses a threat. When Dolores offs her first victim, she's reacting; The Horror of Dolores Roach takes eating the rich literally. There's about as much subtlety to the series as slathering an empanada in whichever sauce takes your fancy, plus a mix of clashing tones on par with the guava and cheese variety that Dolores adores. But a show about turning people into pastries Sweeney Todd-style isn't aiming to be nuanced. Neither is a program that also namechecks producer Jason Blum, or heavily uses its narration to adapt its play and podcast roots for the screen. When Marc Maron (To Leslie) gleefully plays an uncaring landlord, and 80s music icon Cyndi Lauper a grey-locked private detective who could waltz out of this and into Only Murders in the Building, no one is going for understated, either. That's one of the reasons that The Horror of Dolores Roach proves tasty and entertaining: it's actively and openly trying to be a lot, and it sinks its teeth in hard. "I'm not the monster you're making me out to be," says Dolores to Flora, though, a statement that The Horror of Dolores Roach doesn't just give lip service to. The series knows that its protagonist is a serial killer, makes it plain from the outset and doesn't excuse it. And yet, it also knows that that can be true, and that Dolores can be a victim herself. Indeed, the show has the many horrors that are splashed her way firmly on its plate. She's betrayed and taken advantage of to land in prison, then judged and cast aside afterwards; she suffers for America's fondness for mass incarceration; she's robbed of a huge chunk of her life for weed only for it to start to be legalised while she's doing her time; and she's among the Washington Heights residents pushed out by the well-to-do. Again, none of this justifies Dolores' choices, but it adds flesh to the cutthroat world that The Horror of Dolores Roach constantly sees as it is. Having the always-great Machado play Dolores also helps ground the series. Much around her may get cartoonish, but the Six Feet Under, Jane the Virgin and Queen of the South actor always anchors the story in a woman seeing her life spiral in the worst possible ways. She's as adept at mining darkly comic laughs as she is tragedy, boasts pitch-perfect reactions to the series' gore, and makes a great pair with the lively Hernandez. Actually, she's stellar opposite everyone — Maron, Lauper, Pimentel, The Rehearsal's K Todd Freeman as the usual meat merchant and Dispatches From Elsewhere's Kita Updike as Luis' sole empanada-slinging employee included — and, like The Horror of Dolores Roach itself, bloody great. Check out the trailer for The Horror of Dolores Roach below: The Horror of Dolores Roach streams via Prime Video from Friday, July 7.
For 69 years, the Sydney Film Festival has screened and celebrated the latest and greatest in international cinema in the Harbour City. Since 2009, it has also handed out a prestigious award to the absolute best of the best. The list of flicks that've won the fest's Sydney Film Prize for "audacious, cutting-edge and courageous" movies is impressive, including everything from Nicolas Winding Refn's Bronson and Only God Forgives through to Bong Joon-ho's Parasite. Now, at the 2022 festival, Lukas Dhont's Close has joined them. Fresh from nabbing the Grand Prix at this year's Cannes Film Festival, Dhont's sophomore feature has picked up this year's SFF $60,000 gong from a lineup of 12 contenders. Close dives into a teenage friendship between two 13-year-olds that's tested when they're teased and taunted about their closeness by their classmates — and also marks the filmmaker's second movie to screen at the Sydney fest, after Girl in 2018. "I want to express my incredible gratitude for the recognition that our film Close receives at this year's Sydney Film Festival. Thank you to the festival for expressing its love for the film, the jury for choosing it among all these outstanding pieces, and its first Australian audience for opening hearts and spirits to a film that comes from deep within," said Dhont. "We wanted to make a film about friendship and connection after a moment in time where we all understood its necessity and power. I decided to use cinema as my way to connect to the world. And tonight I feel incredibly close and connected to all of you." This year's Sydney Film Prize was decided by a jury comprised of Australian actor David Wenham (The Furnace), the SFF Official Competition Jury President, plus Jennifer Peedom (director of River and Sherpa), Mostofa Sarwar Farooki (the Bangladeshi filmmaker behind No Man's Land, which screened at SFF 2022), Semih Kaplanoğlu (the Turkish director-producer of Commitment Hasan, also screening at this year's SFF) and Yuka Sakano (Executive Director of Tokyo's Kawakita Memorial Film Institute). In winning the Sydney Film Prize, Close follows in the footsteps of the aforementioned Parasite, the 2019 recipient, as well as fellow past winners There Is No Evil (2021), The Heiresses (2018), On Body and Soul (2017), Aquarius (2016), Arabian Nights (2015), Two Days, One Night (2014), Only God Forgives (2013), Alps (2012), A Separation (2011), Heartbeats (2010), Bronson (2009) and Hunger (2008). Announced as the Sydney Film Prize-winner at SFF's 2022 closing ceremony, Close is just one of this year's award recipients. The street dancing-focused Keep Stepping won the $10,000 Documentary Australia Foundation Award for Australian Documentary, while Filipino doco Delikado nabbed the fest's second-ever $10,000 Sustainable Future Award. Also, the $20,000 Deutsche Bank Fellowship for First Nations Film Creatives went to filmmaker and performer Kylie Bracknell (Fist of Fury Noongar Daa), and film composer Caitlin Yeo (Wakefield, Valerie Taylor: Playing with Sharks) received the $10,000 Sydney-UNESCO City of Film Award. And, in the Dendy Short Film Awards, Donkey won the Yoram Gross Animation Award and the AFTRS Craft Award, while The Moths Will Eat Them Up scored the Dendy Live Action Short Award and the Rouben Mamoulian Award for Best Director. Four shorts were highly commended, too: 2166 in the Yoram Gross Animation Award field, Ghosted in the Dendy Live Action Short Award category, and Stonefish and Yao Yao Goes to Little Bay for the Best Director prize. The 2022 Sydney Film Festival ran from Wednesday, June 8–Sunday, June 19, with the festival screening four days of encores until Thursday, June 23.
There hasn't been much to look forward to in 2021, but we're all eagerly anticipating one big thing. That'd be the moment that 11.59pm on Friday, December 31 passes by, ticking over to 12.00am on Saturday, January 1, 2022. And, because it's actually almost that time of year, plenty of events have started announcing their New Year's Eve plans so you can work out how to spend that long-awaited moment. Here's another one: Annus Finis, MONA's first-ever NYE shindig. Taking place from 6.30pm on Friday, December 31 (obviously), this New Year's Eve party will take over MONA's lawns and main stage with live tunes, food and drinks, and the general kind of end-of-year shenanigans that every NYE get-together needs. Here, that also means an all-Tasmanian lineup, with Indigenous singer-songwriter Denni, hip hop artist Greely and audio visual artist and DJ Dameza helping do the honours. Also on the bill: Medhanit, Too Many Jasons, Scraps, Silver Fleet Ships, and what's being described as "an absurdist, anarchist ensemble boasting some of Tasmania's most talented performers" who'll pair up punk and Japanese influences. So, if a trip to Tassie is now on your NYE agenda — with the state reopening to double-vaccinated arrivals in mid-December, handily — you now know how can say goodbye to 2021. As for what you'll be eating and sipping, MONA's burger bar Dubsy's will be dishing up its diner-inspired fare, and the Moorilla Wine Bar will be doing both food and drinks. "Here at MONA, we love to throw a party, and I think we're pretty good at it," said MONA CEO Patrick Kelly, announcing Annus Finis. "We're excited to see our lawn full of punters again, and hopefully we can cast some MONA magic over New Year's Eve after what has been another challenging year for tourism and events, saying goodbye to arguably the worst year since 2020." MONA has also already announced that it's bringing back Mona Foma in January — so if you can't spend NYE in Tassie, you still have options for a 2022 trip to the Apple Isle. Annus Finis will take place at MONA from 6.30pm on Friday, December 31. For more information or to buy tickets, head to the MONA website. Images: Mona/Jesse Hunniford.
While hovercars, podracers and a McDonalds on Mars may not be a yet be a part of our lives, they are for artist Joel Pedersen. An artistic prophet of sorts, Pedersen uses his work to explore the balance between far-fetched ideas and realism, asking timeline-twisting questions that ponder the space between technological fantasies and their feasible existence. With that in mind, Pedersen's latest exhibition, Space People, showcases a make-believe future set in the American Southwest. In his work, Pedersen lets real-life locations meet the latest and greatest tech wizardry in a means that seems half realistic. His pieces provide a believable snapshot of a place where technology, the future, the unreal, the paranormal and the extraterrestrial combine. And it's not as if these are things that are reserved for likes of Bill Gates and Richard Branson. They're as much a part of the transport infrastructure and industry supply chain as they are integrated into the domestic lives of the people living there. Space People is made up of a selection of prints spanning Pedersen’s vast body of composite images. It exhibits at This Must Be The Place until January 8.
Motivated by Council's plan to revitalise Brisbane's inner-city laneways, Urbane co-owners Andrew Patten and Andrew Buchanan opened the Laneway bar in late 2009. Despite the source of its inspiration, expect no cosy recess or unassuming hole in the wall. Though its perch overlooking Spencer Lane is discreet, the Laneway itself is a slickly designed, elevated room affixed to the back of sister establishment the Euro (via which it is accessible). With a roomy and uncluttered interior, the Laneway is a favoured spot for after-five drinks. The food — a cut above your standard pub snacks — also draws a crowd of workers at lunch. Share plates can be mixed and matched by combining 'substantials' (we recommend the Southern-style fried chicken, seasoned with 27 herbs and spices and served with a chipotle sauce) and 'accompaniments' (barbequed sweet corn with a spiced popcorn dry rub, boquerones served with lemon and garlic). Drinks specials change every week, and the range of beverages should keep everyone happy — domestic and imported beers and wines, some refreshing cocktails and, most significantly, a sweeping variety of spirits (the list of whiskeys is particularly impressive).
It might come as a surprise, given Australia's questionable internet speeds, but Melbourne has claimed the ranking of tenth smartest city in the world, with Sydney snapping at its heels in spot number 12. Headed up by international parking app company Easy Park, the 2017 Smart Cities Index analysed 500 cities worldwide, ranking the top 100. Other Australian cities that made the cut were Perth at number 41 and Adelaide at number 61. The key factors used in the study looked at digitalisation (including 4G connectivity, access to Wi-Fi hotspots and high smartphone usage) and knowledge-based mobility and transport (considering the prevalence of ride-share apps, smart parking and traffic sensors). Sustainability, online access to government services, and significant levels of citizen participation were also taken into consideration. Over 20,000 urban planning and technology experts were then asked to provide opinions about their own cities. Melbourne scored highest of all the countries for 4G connectivity, with Sydney and Perth making up the rest of the top three. Melbourne and Adelaide also ranked especially well when it came to citizen participation. Unsurprisingly, no Australian cities broke the top 20 for internet speed. While San Francisco topped the class with a perfect score of 10, Melbourne ranked number 26, with Sydney at 29 and Perth clocking in at 31. See the full table of results for the 2017 Smart Cities Index here. Photo via Wikimedia.
If you make a trip down to Hobart next year, don't expect to find plastic straws, cups or takeaway containers at its many cafes and markets. The City of Hobart last night voted to pass a by-law banning the sale of all single-use plastics. The by-law targets straws, cutlery, cups and containers that are less than a litre in size, and sold directly to customers. Buying a plastic bottle of Coca Cola, for example, will still be OK. Businesses will be given six months-to-one-year to phase out single-use plastics, and, after that, will be fined. Tasmania implemented a statewide single-use plastic bag ban in 2013 and, according to the Council's research, a third of local businesses already use some form of compostable packaging. The city is also aiming to achieve zero waste to landfill by 2030. https://www.facebook.com/CityofHobartOfficial/photos/a.1046261538728203/2315932898427721/?type=3&theater While the law has been passed by the Council, its exact start date depends on the outcome of a public consultation period to be led by the state government. Then, likely in late 2019 or early 2020, Hobart will become the first Australian state to ban single-use plastics. South Australia is considering a statewide ban, but this has not yet passed through state government. Overseas, Europe has pledged to stop using such items by 2021, building upon similar decisions in the UK and France, while Australia is working towards banning all non-recyclable packaging by 2025. Locally, Victoria is currently phasing out plastic bags, and Queensland enacted a plastic bag ban in 2018. NSW is the only state yet to commit to a statewide plastic bag ban. But, after the City of Hobart's decision, maybe the City of Sydney will consider taking matters into its own hands. The City of Hobart's single-use plastic ban will
UPDATE, March 17, 2022: Due to Brisbane's floods, Frozen the Musical was cancelled up to and including Thursday, March 17, reopening on Friday, March 18. The season will now run through until Sunday, May 8. More than ever, we're looking for opportunities to immerse ourselves in another universe for a few hours. Luckily, that's exactly what you can do from February when the hit Frozen the Musical comes to Brisbane. The stage production, based on the legendary 2013 Disney animated film, opened on Broadway in 2018 and proceeded to break box office records. After a US tour in 2019, the production is expanding to international markets — and has already hit up Sydney before coming north. If the cultural phenomenon has somehow passed you by until now, Frozen was inspired by the Hans Christian Andersen tale The Snow Queen, and it tells the story of Princesses Anna and Elsa. At the latter's coronation to become Queen, she accidentally reveals her magical powers to control and create ice and snow and inflicts an eternal winter on her kingdom, Arendelle. She flees to the North Mountain and, while singing the iconic ballad 'Let it Go', builds herself an ice castle in which to hide. Anna sets out to find her sister, proving the bonds of sisterhood can overcome all obstacles. The musical adaptation brings the beloved story to life before your eyes with opulent costumes, stunning sets and awe-inspiring special effects. All of your favourite tunes from the film will be performed — including 'For the First Time in Forever' and 'Love Is an Open Door' — plus 12 new songs as the stage production expands upon the film's narrative. Running from Friday, February 11–Sunday, May 8, Frozen's Brisbane production has an all-Australian cast, led by Jemma Rix (Wicked) as Elsa, Courtney Monsma (Aladdin, Six) as Anna and Matt Lee (Mary Poppins) as the lovable Olaf. General public tickets go on sale at 9am on Friday, November 12. Images: Frozen the Musical, Original Broadway Cast, Deen van Meer, courtesy of Destination NSW.
When Guillermo del Toro last made a movie for Netflix — and last made a movie, too — Pinocchio not only streamed via the platform, but had a date with cinemas, where all of the director's films should be seen, first. The same plan is in place for the filmmaker's next picture, thankfully, the streamer has just announced. Del Toro officially adapting Frankenstein after riffing on it across his career? Now that absolutely demands the big-screen treatment. Netflix has revealed that the Oscar Isaac (Moon Knight)- and Jacob Elordi (The Narrow Road to the Deep North)-starring take on Mary Shelley's horror masterpiece will release in select picture palaces on Thursday, October 23, 2025. To watch it at home, it'll be available to stream from Friday, November 7, 2025 Oscar-winning The Shape of Water director del Toro will be the first to tell anyone, as he did at Neflix's annual Tudum event for 2025, that he's long had an obsession with Frankenstein, that he's been weaving that affection for it into his work since he first hopped behind the camera and that making his own adaptation of the gothic-horror masterpiece is a dream come true. "This is, for me, the culmination of a journey that has occupied most of my life," he advised the crowd at the time. So far, from its trailer and images, that love for Shelley's now 207-year-old novel is evident in every frame of del Toro's Frankenstein. "I first read Mary Shelley's book as a kid, and saw Boris Karloff in what became, for me, an almost-religious stage," he continued at Tudum while accompanied by Isaac and co-star Mia Goth (MaXXXine). "Monsters have become my personal belief system. There are strands of Frankenstein throughout my films — Cronos, Blade, Hellboy, big time on Pinocchio, and a long, long [list], et cetera." Isaac portrays the feature's namesake, aka Victor Frankenstein, the scientist driven by tragedy to attempt to conquer the line between life and what exists beyond it. As the trailer notes, "only monsters play god". As Victor advises himself, "in seeking life, I created death". Also uttered in the movie's debut sneak peek, reinforcing its theme: "what manner of creature is that? What manner of devil made him?". Goth is Elizabeth, Victor's fiancée. From there, Christoph Waltz (Old Guy), Ralph Ineson (The Fantastic Four: First Steps), Charles Dance (The Day of the Jackal), Lars Mikkelsen (Dalloway) and del Toro regular Burn Gorman (Pacific Rim, Crimson Peak, Pinocchio) are also part of the cast. Frankenstein will never stop entrancing filmmakers, as it has James Whale back in 1931 when Karloff played the monster, Mel Brooks (Dracula: Dead and Loving It) with 1974 comedy Young Frankenstein, Kenneth Branagh (A Haunting in Venice) on his 1994 take, Danny Boyle (28 Years Later) with his stage adaptation, Tim Burton (Beetlejuice Beetlejuice) via Frankenweenie and Yorgis Lanthimos (Kinds of Kindness) in Poor Things, plus Maggie Gyllenhaal (The Lost Daughter) with 2026's The Bride!, just to name a few other examples. Check out the trailer for Frankenstein below: Frankenstein is releasing in select cinemas on Thursday, October 23, 2025 — and streaming via Netflix from Friday, November 7, 2025. Images: Ken Woroner/Netflix © 2025.
When a movie repeats its events through fresh eyes, answers usually follow. But as Hirokazu Kore-eda opts for the Rashomon effect in Monster, using a technique that fellow great Japanese filmmaker Akira Kurosawa deployed with one of his famous features, the director that won the Palme d'Or for 2018's Shoplifters refuses to stop asking questions. In this picture, which picked up the Queer Palm at the 2023 Cannes Film Festival — and again sees Kore-eda collaborate with Kazuko Kurosawa (The Third Murder), daughter of Akira, as its costume designer — layers keep mounting. There's no shortage of cinema that stresses how there's never merely one set of peepers to peer through, but in this masterful and moving addition to that realm, from one of the best at conveying empathy that film as a medium benefits from today, each pass in search of the full story builds a case not just for filtering the world through more than what's easy and reactive, but through acceptance and understanding. Kore-eda knows this: that perspectives, just like perceptions, can be misleading, blinkered and blinded. So when rumour proclaims that a new teacher frequents hostess bars, when a boy has tales of being called names by the same educator, when said man points the finger at the kid as a bully to one of his classmates instead and when the two children at the centre of the situation are friends with a cherished bond, a clearcut view is in short supply. This is the first movie since 1995's Maborosi that the filmmaker has only helmed and not also written, but Yûji Sakamoto's (In Love and Deep Water) Cannes Best Screenplay-winning script is a classic entry on the director's resume. Monster is also Kore-eda's homecoming, after making his post-Shoplifters films until now elsewhere — 2019's The Truth in France, then 2022's Broker in South Korea — and it's a stellar return. A blazing building starts the storytelling. Later, monsoonal rain will pour from the heavens. How emotions can go up in flames, burn bright, resemble a deluge, and wash away hurt and uncertainty is seared into Monster's patient frames, then — and with cinematographer Ryûto Kondô (also Shoplifters) doing the lensing, the feature is both alight and saturated with telling imagery. Kore-eda's knack for compassion has always floated through his visuals, in wordless moments where locked eyes say everything and in the way that he bears witness to his characters. Among his unforgettable sights here are the faces of fifth graders Minato (Sōya Kurokawa, Teasing Master Takagi-san) and Yori (Hinata Hiiragi, The Last Man: The Blind Profiler) together, sometimes muddied, sometimes exuberant, often glowing with the kind of being-seen connection that the pair can only find in each other. When the inferno rages at the nightclub where Mr Hori (Eita Nagayama, Migawari Mission) is reportedly a patron, Minato and his widowed mother Saori (Sakura Andô, Godzilla Minus One, and another Shoplifters alum) can spy the orange bursts from their apartment balcony. It isn't the only thing catching her attention of late; her son's behaviour has switched from gentle and shy to withdrawn, and at one point he leaps from her car as she's driving. He sports bruises and injuries. Sometimes, he doesn't return from class. He asks what type of creature — monster, even — someone would be if they were human but with a pig's brain. Saori heads to Minato's school to ascertain what's occurring, deeming Hori responsible. But all that she receives is a throwaway apology with bows, including from the distracted principal Fushimi (Yûko Tanaka, Thousand and One Nights), that only makes her angrier. As edited by Kore-eda himself, as usual, Monster then jumps back to Hori's take — although this isn't a film structured by different vantages in overt ways, such as point-of-view shots, but rather one that steps into the life of a new character or characters with each of its trio of runs through the narrative. Amid an unpacking of Japanese propriety's fondness for not making a fuss, and also a dive into the teacher's out-of-hours life, Hori thinks that he's being made a scapegoat. He's also convinced that Minato is picking on Yori. Then, once that vision has played through, it's time to rewind again into the latter duo's bond as fellow outsiders in their regional lakeside town. With Yori's father Kiyotaka (Shidô Nakamura, Kenshiro ni Yoroshiku) an abusive drunk who has no time for his boy's sensitivity, the two friends regularly abscond to an abandoned train tunnel in the mountainous forest. An escape and a refuge, it feels like a new world for them — and a safe place to cocoon in their chaste pre-teen relationship. Delicate and tender, the yearning score by Ryuichi Sakamoto — his last for a feature, apart from for concert film Ryuichi Sakamoto: Opus — embodies Monster from its first moment to its last. From Kore-eda, who is incapable of not telling richly touching and heartfelt tales (see also: Still Walking, I Wish, Like Father, Like Son and Our Little Sister, to name just a few others), that's hardly surprising, and neither is the complexity and immediacy that shimmers through the movie's scenario and characters. He knows struggling souls, and lonely ones. He knows the intricacy that swells within everyone. He knows fractured and makeshift family dynamics just as deftly. Using reverse angles when flitting from Saori to Hori's perspective, and also to Minato and Yori's, he knows how to make plain that we are all affixed to our own views. He's also well-aware that seeing a monster is heartbreakingly simple when that's exactly what you're looking for. Sublime performances equally belong on the list of things that Kore-eda has an expert and exquisite grasp on. It was true in his recent foray into TV with miniseries The Makanai: Cooking for the Maiko House (also excellent), too: his penchant for naturalism is unparalleled in its sincerity. In Monster, Andô is a portrait of nuance even as Saori is furious and devastatingly exasperated. Nagayama turns in a candid portrayal as Hori, and Tanaka simmers with scene-stealing tension through Fushimi's formality. And from Kurokawa and Hiiragi, Kore-eda gets both calm and earnestness from a pair playing misunderstood kids with everything that they have, as well as a new round of marvellous work by child actors for his ever-magnificent filmography.
Music is an integral part of Brisbane's identity, with many of the country's most beloved musicians getting their start in the Queensland capital. Powderfinger, Ball Park Music, Kate Miller-Heidke, Waax, The Go-Betweens and many more spent their formative years gigging around the city. From the punk scene that emerged in the seventies and eighties to the thriving Fortitude Valley suburb and multiple music festivals held each year, Brisbane is also something of a cultural hub. Whether you're a local wanting to support Australia's live music scene or are heading to the Sunshine State and need a steer for your itinerary, here's a curated list of live music venues to check out in Brisbane. [caption id="attachment_1029305" align="aligncenter" width="1920"] Supplied[/caption] LiveWire Located in The Star Brisbane, LiveWire is your destination for headline entertainment and a vibrant mix of weekly events. Whether you're into live music, drag bingo, or music trivia, the variety on offer ensures there's always something exciting happening. One act to watch out for is on Friday, October 24, when Brisbane musician Jarryd James will perform his hits, including his ARIA award-winning song "Do You Remember," at LiveWire. Several other singers, DJs and artists perform at LiveWire every week, so check out The Star Brisbane's schedule to see what's on. Looking for a pre-gig tipple? Head to one of The Star Brisbane's cocktail bars, the panoramic Cicada Blu and 360º bar Cherry, before the performance and get into the party spirit. If you'd prefer dinner before dancing the night away, Cucina Regina is The Star Brisbane's Italian eatery. It offers hand-stretched pizzas and delicious homemade pasta. Meanwhile, Aloria is a rooftop restaurant with a European-Australian menu and delicious cocktails. For those making a weekend of it, consider a stay at The Star Brisbane's five-star hotel. If you're a music lover, The Star Brisbane is a one-stop shop for drinks with your mates, dinner with a view, and a free gig to top the night off. [caption id="attachment_1029306" align="aligncenter" width="1920"] Marlon Trottman[/caption] Fortitude Music Hall The Fortitude Music Hall was built to offer the city of Brisbane a middle ground venue between its small dive bars and larger sports stadiums. Located in the city's CBD entertainment precinct, Fortitude Valley Music Hall is a 3000-person venue that hosts a number of international and local acts. In 2025 and 2026, acts such as Royel Otis, Noah Cyrus, CMAT, Ben Folds, and Travis will take to the stage, making Fortitude Music Hall a venue to add to the top of your live music list. Fortitude Music Hall is located in the middle of the buzzing Brunswick Mall, giving you a number of options for a pre-gig beverage or takeaway on the way home. [caption id="attachment_1029307" align="aligncenter" width="1920"] The Triffid[/caption] The Triffid If you're looking for live music and pints on tap, head to The Triffid. Located in Newstead, the venue is within walking distance of the buzzy Fortitude Valley area and has everything a music lover could want. Housed in a converted World War II aircraft hangar, The Triffid has an indoor venue and a smaller stage outside in the beer garden, making it an excellent spot for a Sunday session. The venue was created by Powderfinger bassist, John Collins, who knows the importance of fostering local acts and building a community around music. As a result, The Triffid is a hub for music fans—plus, their beer garden serves a mean hot chips if you're looking for a snack to pair with your pint. The Tivoli Originally built in 1927 as the Adams Bakery, today The Tivoli (or The Tiv, as locals call it) is one of the city's most beloved music venues. The Tivoli has hosted some of the country's most prolific artists, such as Powderfinger, Silverchair, Missy Higgins, and Paul Kelly, as well as international acts including Taylor Swift, Katy Perry and Bob Dylan. Housed in an art deco building, the Fortitude Valley venue combines heritage, charm, and a roster of iconic acts all in one place. Head to the Jubilee Hotel for a pint and pub meal before the gig, or, if you're after something a little more elevated (literally), the Soko Rooftop Bar is a great shout. [caption id="attachment_1029308" align="aligncenter" width="1920"] Crowbar Brisbane[/caption] Crowbar A favourite among punk, metal and rock fans, the Crowbar has endured a lot in recent years. After launching in 2012, the venue sadly closed during the pandemic. Thanks to the locals' efforts, Crowbar Brisbane has moved to Ann Street in the Valley and is once again a thriving music venue. No need to make multiple bookings if you're heading to the Crowbar, as the venue offers burgers and barbecue at its bar and restaurant as well as a selection of local beers on tap, making it an easy stop on a night out. This list scratches the surface of iconic venues in Brisbane, Australia's unofficial music capital. Be sure to check out each schedule and make a booking to support live and local music. Explore more at The Star Brisbane. Lead image: LiveWire at The Star Brisbane. Guests must be 18 years or over to enter LiveWire and the casino.
Last year, just as the pandemic started shutting down our regular routines, a handy browser plug-in popped up to make life a little more bearable. That'd be Netflix Party, which helps you watch movies with your mates while still social distancing — synchronising everyone's playback so you're truly watching each and every frame at the same time. That's all well and good if you're watching via a browser, and you're watching Netflix. If you and your pals are keen on an iOS alternative that'll slide right into your chats and span other platforms, you'll soon have one. As part of its big iOS 15 announcement, Apple has revealed that it is launching a new Facetime feature called Shareplay. It'll allow you to view films and TV shows together and in sync — and listen to music as well — complete with shared playback controls. So, once you and your friends are on a Shareplay session, anyone can pause whatever you're watching or hearing. Also, you won't all need to be using an iPhone, iPad, Mac or Apple TV to access the service. Apple also announced that it's going to extend Facetime calls beyond its own devices, so folks who use Android or Windows devices will be able to access the application via their web browser. A heap of other platforms will be integrated into Shareplay, if you're wondering what you and your crew will be able to binge together. They include Disney+, TikTok and Twitch, as well as Paramount+ — which will launch in Australia this August. You'll obviously all need to subscribe to whichever platforms you're planning to view or listen to — so this won't be a way to watch The Mandalorian on your mates' account. Shareplay will work with Apple Music and Apple's own range of movies and TV shows, naturally, and you'll also be able to share your screen via the feature to view other apps together. Other updates slated for iOS 15, which is expected to start rolling out from spring 2021, include redesigned notifications, a big Safari revamp, a Live Text function that'll be able to read handwritten writing in photos, enhanced features in Apple Maps and ramped up privacy controls. The weather and notes apps are getting a makeover, too, and there'll also be a new Live Translate feature as well. Apple's iOS 15 is expected to start rolling out from spring 2021. For further details, head to the Apple website.
When Super Mario Kart first rolled onto Super Nintendo consoles back in 1992, it came with 20 inventive courses and endless hours of fun. 26 years later, and the game isn't just speeding through desert tracks and rainbow roads — but onto the real-life streets, and now Google Maps. Because zooming Mario Kart-style through Tokyo wasn't enough, or bringing the IRL concept to Australia either, you can now spend the next week getting navigational directions from everyone's favourite cartoon plumber. Plus, he'll not only pop-up on the app, but as you drive along the road, he'll drive along with you on Maps — in celebration of Mario Day, which is March 10 (or MAR 10). [caption id="attachment_659698" align="aligncenter" width="1024"] Google Maps[/caption] Anyone keen to take a drive with Mario simply needs to update their Maps app, then look for a question mark-shaped box that resembles a block from Super Mario Brothers. That's all there is to it — and it's not quite as fun as being able to actually play Mario Kart on Google Maps, like their Pac-Man April Fool's Day update a few years back, but it'll probably make you look up directions more often than you actually need over the next seven days. It goes without saying, but you you should still be watching the road as you drive — and not Mario on your phone, as cute as the gimmick may be. How else are you going to keep your eyes peeled for bananas, shells or gold coins? Via Google Maps.
When Taylor Swift announced that The Eras Tour was finally shaking its way to Australia, locking in five dates in two cities in February 2024, excitement echoed as loudly as the music superstar's voice. But, with such a condensed block of shows, nerves jangled as well. Getting a ticket to Swift's concerts in America caused a Ticketmaster meltdown, and has sparked new US legislation in response — and then there's scalpers and their inflated prices. With the singer-songwriter set to play her first two Aussie gigs of the tour at the MCG in Melbourne across Friday, February 16–Saturday, February 17, the Victorian Government has taken a key step to ensure that Swift fans don't get ripped off. Under the state's Major Events Act 2009, it has declared the 'Fearless', 'Enchanted', We Are Never Getting Back Together' and 'Blank Space' talent's shows a major event, which gets a whole heap of penalties around scalping's bad blood kicking in. [caption id="attachment_906252" align="alignnone" width="1920"] Ronald Woan via Wikimedia Commons.[/caption] Look what scalpers have made the Victorian Government do, basically. Under major event ticketing declarations, tickets to the concert must legally be available for a fair price, not the gargantuan costs that they can be flogged off for on the resale market. There's a specific figure specified under the law, in fact, with tickets to a declared major event unable to be resold for more than ten percent more than their original value. Other requirements include ticket package sellers needing authorisation from the event organiser, plus individual ads for tickets including both ticket and seating details. If a ticket seller flouts the rules, the penalties are steep — from $925 up to $554,760. [caption id="attachment_906254" align="alignnone" width="1920"] Ronald Woan via Wikimedia Commons[/caption] This isn't just big news for Melburnians. Given that Swift is taking The Eras Tour to just two Aussie cities, it's relevant to the massive numbers of interstate and overseas attendees expected. The Victorian Government predicts that more than 60,000 people from around the rest of Australia, and from New Zealand, will be part of the 180,000 folks catching the singer during her two MCG concerts. Seeing Swift work through her entire career so far, playing tracks from each of her studio albums in a three-hour, 44-song, ten-act spectacular, The Eras Tour kicked off in March in the US, where it's still playing. Swift will also head to Mexico, Argentina and Brazil in 2023. Then, in 2024, she's off to Australia, Japan, Singapore, France, Sweden, Portugal, Spain, the UK, Ireland, The Netherlands, Switzerland, Italy, Germany, Poland. View this post on Instagram A post shared by Taylor Swift (@taylorswift) This'll be Swift's first tour Down Under since 2018, when she brought her Reputation shows to not only Sydney and Melbourne, but Brisbane and Perth, too. In the US, it's been breaking ticketing and venue records — expect tickets to get snapped up quickly Down Under as well, but now for a fair price in Victoria. [caption id="attachment_906253" align="alignnone" width="1920"] Ronald Woan via Wikimedia Commons[/caption] TAYLOR SWIFT: THE ERAS TOUR AUSTRALIAN DATES 2024: Friday, February 16–Saturday, February 17 — Melbourne Cricket Ground, Melbourne Friday, February 23–Sunday, February 25 — Accor Stadium, Sydney Taylor Swift will bring The Eras Tour to Australia in February 2024. Tickets for the Melbourne shows go on sale at 10am AEST on Friday, June 30, with the Sydney shows on sale at 2pm AEST on Friday, June 30. The American Express VIP Package pre-sale runs for 48 hours from Monday, June 26 — from 10am in Sydney and 2pm in Melbourne — and the Frontier Members pre-sale runs 24 hours from Wednesday, June 28, again from 10am in Sydney and 2pm in Melbourne, or until all pre-sale tickets have been snapped up in both instances. Head to the tour website for further details. Top image: Ronald Woan via Wikimedia Commons.
Three shows on the Australian leg of Lady Gaga's The MAYHEM Ball tour were never going to be enough. First, a second Melbourne gig was added during the presale period — and now a second Sydney concert has joined her Aussie trip as well. If you're hoping for more from there to meet demand, however, that's all there'll be. Tour organisers have advised that the latest Harbour City concert is the singer's final Australian date on this run. Little monsters, you were already excited — but now you have more chances to see Mother Monster live. On her December 2025 visit this way, Lady Gaga is playing five gigs: across Friday, December 5–Saturday, December 6 at Marvel Stadium in Melbourne, then on Tuesday, December 9 at Suncorp Stadium in Brisbane, before finishing up over Friday, December 12–Saturday, December 13 at Sydney's Accor Stadium. When the 14-time Grammy Award-winner takes to the stage at the quintet of massive concerts, she'll not only play her first Australian shows in 11 years — she'll do her first-ever Australian stadium concerts as well. The tour kicks off in Las Vegas in July, a few months after Lady Gaga finishes her two-weekend Coachella headlining gig — the second of which can be livestreamed worldwide across Saturday, April 19–Monday, April 21 Australian time, just as everyone did with the first. Before The MAYHEM Ball tour begins, she's also doing shows in Mexico City, Singapore and Rio de Janeiro. After her Vegas dates, everywhere from Las Vegas, New York and Toronto to London, Stockholm, Berlin and Paris will also score Stefani Joanne Angelina Germanotta's presence. Given that this is Gaga's first Aussie visit since 2014's ArtRave: The ARTPOP Ball gigs (with the Joanne and Chromatica Ball tours bypassing this part of the world), tickets for the local leg have understandably been going fast. When she added 13 new dates to the initially announced first shows on the tour overseas, they all sold out swiftly. As the name makes plain, Germanotta is touring on the back of MAYHEM, her latest album — and seventh in a row to go to number one on the Billboard 200. It also debuted in the top spot on Australia's charts, and gave Gaga her biggest streaming week ever by notching up 240-million streams on its first week alone. In addition to MAYHEM tracks such as 'Disease', 'Abracadabra' and 'Die with a Smile', fans can likely look forward to hits from across the artist's career, such as 'Poker Face', 'Bad Romance', 'Paparazzi', 'Born This Way' and 'Rain on Me' — plus, of course, seeing Gaga live onstage, rather than getting your fix via her film work in recent years in A Star Is Born, House of Gucci and Joker: Folie à Deux. Lady Gaga's The Mayhem Tour Australia 2025 Dates Friday, December 5–Saturday, December 6 — Marvel Stadium, Melbourne Tuesday, December 9 — Suncorp Stadium, Brisbane Friday, December 12–Saturday, December 13 — Accor Stadium, Sydney [caption id="attachment_998819" align="alignnone" width="1920"] Frank Lebon[/caption] Lady Gaga is touring Australia in December 2025. General sales kicked off at 12pm on Thursday, April 17 for more shows, with times varying per city. For the second Sydney date, presales will start at 12pm on Tuesday, April 22, then general sales from 1pm on Thursday, April 24. Head to the tour website for more details. Live images: Raph PH via Flickr.
Perhaps you're the kind of person who wakes up with the sun, wanting to make the most of your day off. Or, perhaps you're the type that rolls out of bed mid-morning, pops on your sunnies, and makes a beeline to the best place serving food, coffee and booze. However you like to brunch, you know that there's a difference between an ordinary boozy brunch and treating yourself to a truly great one — especially when you have a hangover and you're not in a hurry for your meal to end. To help you on your quest to find the perfect boozy brunch spot in Brisbane, we've partnered with Grey Goose, the world's finest French vodka, give you seven places that let you order a pornstar martini with your brekky, or crumpets with your house punch. The choices are bountiful.
People of Brisbane, meet your new favourite dive bar: Sonny's House of Blues. Most places earn their 'House' name after years of dimly lit dinginess, but this new joint's skipping the history. Sonny’s hails back to the types of places common in Los Angeles, and with good reason — it was in LA that owner Jamie Webb came up with the idea. Webb made up with a story to go with the venue, claiming that legendary American bluesman Sonny Terry used to own a blues bar, but his son turned it into a rock joint after he died. The namesake is real, but the rest is pure fiction. The description might be a little harsh; however Sonny’s owns its vibe of '80s rock 'n' roll in everything from its live music line-up to its booth seating. Located down in the inner-city depths of Rowes Lane in the space that Rosie’s once called home, this isn’t quite the grungy hole-in-the-wall you might expect — but with retro décor and a buzzing atmosphere, it is definitely the next best thing. Think sleaze without the actual sleaze. The Mexican-themed menu brings tasty treats to this laidback establishment, including tacos, burritos and quesadillas served for lunch and dinner. Drinks-wise, expect tequila, bourbon and coke slushies, frozen margaritas, '80s-named cocktails, and more than 40 kinds of craft beer. The American speakeasy-style hangout is the latest in a long line of bars and music venues opening around the city, with new joints seeming to pop up every week. That Brisbanites have Webb to thank for the new CBD haunt is hardly surprising, given that he owns Lefty’s Old Time Music Hall, Gordita, Peasant and the also-new Los Villanos as well. Find Sonny’s House of Blues in Rowes Lane off Edward Street, in the Brisbane CBD. Visit their website for more information. Image: Wayne T. Helfrich.
Thirteen months after Australia's borders closed and international travel was banned due to the COVID-19 pandemic, Aussies can finally enjoy an overseas holiday again. The destination: New Zealand, with the long-awaited trans-Tasman travel bubble now up and running as at 11.59pm on Sunday, April 18. A quarantine-free travel bubble between Australia and NZ has been floated and discussed plenty of times over the past year. A one-way arrangement has actually been in effect since mid-October 2020, with New Zealanders able to visit some Australian states. But it has taken quite some time for a reciprocal plan to kick into gear, so if you feel like you've been hearing about the bubble for months and months (and months), that's definitely accurate. Here's how it works: Australians can hop on a flight, which have been dubbed 'green zone flights', and soar across the ditch as they would've pre-pandemic. To avoid quarantine, you'll need to have spent 14 days in either Australia or New Zealand before you travel — and you'll only be onboard with folks who fall into the same category. The crew on those flights won't have flown on any high-risk routes for a set period of time, too. To qualify to enter NZ, you'll need to also meet the usual meet immigration requirements, not have had a positive COVID-19 test result in the past 14 days and not be waiting for the results of a COVID-19 test taken in the last fortnight. And, you'll have to complete a travel declaration and a pre-departure health declaration; however, getting tested for COVID-19 before departure is not a requirement. At the airport and on the plane, you'll need to wear a face covering. That'll remain the case when you land in NZ, too. Travellers from green zone flights will then be taken to their own arrival area, away from folks landing from other parts of the world that are going into managed isolation and quarantine facilities. Random temperature checks and health assessments are part of the on-ground process as well. Then, once you're out of the airport, you're asked to download and use the NZ COVID Tracer app to keep track of your whereabouts, to abide by the usual social distancing and hygiene measures that've become commonplace in Australia, and to keep an eye on NZ's COVID-19 alert levels. You'll also need to be prepared in case the travel bubble arrangement is disrupted due to new COVID-19 cases in either NZ in Australia. If an outbreak arises in an Aussie state, there'll be three options. Firstly, if the case is clearly linked to a border worker in a quarantine facility and is well contained, travel will likely continue. If a case isn't linked to the border and the relevant state went into lockdown, NZ will likely pause flights from that state. And, if there are multiple cases of unknown origin in a state, NZ will probably suspend flights for a set period of time. Australia's international border still remains shut to most global travel, although a similar travel bubble with Singapore is currently under discussion for a potential July start. If you're keen to start planning your NZ jaunt, we've rounded up some of our favourite glamping sites, wineries, sights and restaurants in NZ. To learn more about the trans-Tasman bubble, head to the NZ Government website. To find out more about the status of COVID-19 in Australia, head to the Australian Government Department of Health's website. To find out more about the virus and travel restrictions in New Zealand, head over to the NZ Government's COVID-19 hub.
It's been a big few months for new hotels around Australia, including just-opened spots and places that'll launch in the coming months and years. Sydney now boasts the first Down Under outpost for Ace Hotels, and will soon score Porter House Hotel, too — plus the local debut of The Waldorf Astoria in 2025. Melbourne has welcomed the design-driven AC Hotels, Newcastle is nabbing its own QT with a rooftop bar and a suite in a clock tower, and the Gold Coast is nabbing The Langham. There's also a new hotel in the works for the Barossa in the middle of a vineyard, and the Yarra Valley is getting one as part of a big gig venue. Don't go thinking that Brisbane is missing out, though — because that's where the new voco Brisbane City Centre comes in. The chain has just taken up residence on North Quay right next to Brisbane Quarter, which means that it's in a prime riverside position. And, to take advantage of that location, it features a views aplenty, as well as a rooftop pool. Brisbane's first voco hotel — and the second for Queensland, after voco Gold Coast — it also comes with 194 rooms, as well as hangout space Kraft & Co. There, you can drink coffee by day and kick back in a lounge bar by night. You'll find the latter on the ground floor, slinging everything from eggs for breakfast and brunch through to cocktails till late. Wherever you're spending your time at this new staycation spot, you'll be surrounded by a sleek fitout by Sydney-based interior design studio JPDC, which takes its cues from the hotel's riverside locale. Dark blue tones are a big feature, alongside neutral colours — and maximising natural light. Among the site's features, voco Brisbane City Centre also boasts an all-hours gym, plus 11 meeting and function spaces. And, as part of a sustainability push that also includes aerated shower heads and refillable Antipodes products, guests can zip around the city for free on handcrafted bamboo bikes from Wyld Bikes. Find voco Brisbane City Centre at 85–87 North Quay, Brisbane. For more information or to make a booking, head to the voco website.
Just as NAIDOC week kicks into gear for 2019, Australia's Budj Bim Cultural Landscape has been added to UNESCO's World Heritage List — becoming the first Australian site to receive recognition exclusively for its Aboriginal cultural values. During its current meeting in Baku, Azerbaijan, the United Nations Educational, Scientific and Cultural Organisation added the south-west Victorian site to its list of landmarks and areas that are legally protected due to their significance. Located on Gunditjmara country, the region spans the Budj Bim volcano, Tae Rak (Lake Condah), the Kurtonitj wetlands, and Tyrendarra's rocky ridges and large marshes. It also includes remnants of more than 300 round, basalt stone houses, which demonstrate the Gunditjmara people's permanent settlement in the area. Of specific interest to UNESCO, Budj Bim features a system of channels, dams and weirs, all made possible due to basalt lava flows that have been carbon-dated back to 6600 years. The complex network is considered one of the the largest and oldest aquaculture setups in the world, and is used not only to contain floodwaters, but to trap and harvest the kooyang eel. The listing comes after five years of work between Gunditjmara people and the Victorian and Australian governments to develop Budj Bim's World Heritage nomination, and marks Australia's 20th entry on the list — alongside the Great Barrier Reef, Kakadu National Park, Fraser Island, the Tasmanian wilderness, the Greater Blue Mountains area, the Sydney Opera House and the Royal Exhibition Building and Carlton Gardens, among others. [caption id="attachment_729904" align="aligncenter" width="1920"] Tae Rak channel and holding pond,Tyson Lovett-Murray, Gunditj Mirring Traditional Owners Aboriginal Corporation[/caption] In total, UNESCO has added 21 new sites to the World Heritage List as part of its 2019 conference, which runs through until Wednesday, July 10, and will examine 35 nominations in total. In addition to Budj Bim, the new entries showcase spots in China, Iran, France, Iceland, Brazil, Bahrain, Canada, Germany, Czechia, India, Indonesia, Japan, Poland, Myanmar, Republic of Korea, Lao People's Democratic Republic, Burkina Faso and Iraq, including Babylon. The list of new cultural sites chosen so far is as follows: Migratory bird sanctuaries along the Coast of Yellow Sea-Bohai Gulf of China — natural site. Hyrcanian forests in the Islamic Republic of Iran — natural site. French Austral Lands and Seas in France — natural site. The fire and ice of Vatnajökull National Park in Iceland — natural site. The culture and biodiversity of Paratyand Ilha Grande in Brazil — natural and cultural site. Ancient ferrous metallurgy sites of Burkina Faso — cultural site. Babylon in Iraq — cultural site. Dilmun burial mounds in Bahrain — cultural site. Budj Bim Cultural Landscape in Australia — cultural site. Archaeological ruins of Liangzhu City in China — cultural site. Jaipur City, Rajasthan in India — cultural site. Ombilin coal-mining heritage of Sawahlunto in Indonesia — cultural site. Mozu-Furuichi Kofun Group of mounded tombs from Ancient Japan — cultural site. Megalithic jar sites in Xiengkhouang — Plain of Jars in the Lao People's Democratic Republic — cultural site. Bagan in Myanmar — cultural site. Seowon, Korean Neo-Confucian Academies in the Republic of Korea — cultural site. Writing-on-Stone /Áísínai'pi in Canada — cultural site. Erzgebirge/Krušnohoří mining region of Czechia and Germany — cultural site. The landscape for breeding and training of ceremonial carriage Hhrses at Kladruby nad Labem in Czechia — cultural site. The water management system of Augsburg in Germany — cultural site. Krzemionki Prehistoric Striped Flint Mining Region in Poland) — cultural site. UNESCO also extended the heritage listing of the Natural and Cultural Heritage of the Ohrid region, to not only include northern Macedonia but also Albania. Prior to the 2019 meeting, the World Heritage List included 1092 different sites spread across 167 countries. Need some travel inspiration — or a reminder of just how wondrous our planet is? Browsing the full list will take care of that for you. Top images: Lake Condah, Tyson Lovett-Murray, Gunditj Mirring Traditional Owners Aboriginal Corporation / Tae Rak in flood, Tyson Lovett-Murray, Gunditj Mirring Traditional Owners Aboriginal Corporation.
The same team behind Frankie Magazine is about to launch a new publication entitled Smith Journal, a kind of guy-friendly take on the concept that has worked so brilliantly for the ladies. Over the years Frankie has created its own niche in the world of magazines. its creators saw a dearth of publications lacking warmth, impeccable design and solid content, so they filled the gap and they’ve done spectacularly well off it. In the past two years Frankie has had astounding jumps in circulation, making it the fastest growing magazine in the country. And the reasons for that are many, including their clean, environmentally-friendly design, support for underground acts and emerging creatives, and their emphasis on strong content, publishing distinctive writers like Benjamin Law and Marieke Hardy. Now they’re applying the same logic to the world of gentlemen’s magazines. The idea behind the name – Smith – is that of blokes doing stuff with their hands – blacksmiths and wordsmiths and the like. Their positioning is both old fashioned and down to earth, but never attempting to be cool or exclusive. And just like Frankie doesn’t bar the boys from the clubhouse, Smith also welcomes lady readers. The difference between Smith and Frankie is that it’s going to be a wee bit bigger and a little less regular. It’ll be printed out at a not-entirely-bus-friendly edition of 140+ pages, with only two issues a year in limited release. The first issue is out September 5.
Yeerongpilly's Plant Empire sells greenery every day of the week, helping folks with green thumbs — and those who wish they had them, too — fill their homes with leafy babies. But on Sunday, March 1, it's doing something more than that. You can still browse the store's shelves for plants, of course; however you can also head round back to check out the pop-up autumn market. As well as plants, you'll be able to peruse a range of pots. If you're going to buy some greenery, you'll want something to put it in, obviously. Also on offer: ceramics, jewellery and other handmade crafts. And if you happen to arrive hungry — Sunday mornings can do that to even the most satisfied stomach — there'll be food available as well. Just drop by the Station Road spot between 9am–1pm, when the morning-long market will be in full swing. The usual advice applies here, as it does to all plant markets: yes, more greenery is always a good thing. Images: Plant Empire.
This December, you can score a bottle of vino for as little as $8.50 a pop thanks to Vinomofo's Boxing Day Sale. Running from Friday, December 25 till Thursday, December 31, the sale will offer up to 70 percent off a heap of local and international wines — and it'll all get delivered straight to your doorstep for free. So, get ready to stock up on vino to help ring in the New Year. Vinomofo is an online wine company for those who love wine, but without all the pretension that sometimes comes with it. The Melbourne-based company delivers wine to thousands of people around the world — so it's safe to say it knows what it's doing when it comes to grape juice. The Boxing Day sale will see some of the biggest price drops from Vinomofo yet and will include more than 100 wines. It'll be adding additional daily wine deals over the week, too. Think celebratory champagne, epic-value prosecco and plenty of summer-suitable rosé, plus a huge range of white and red varieties — all for a steal. And, to top it off, shipping for all orders purchased in that time period will be free. Score epic wine deals via Vinomofo's Boxing Day Sale — for a limited time only.
A longtime festival favourite among foodies, the Good Food & Wine Show, is back for its 2022 run. And, like always, the event packs a flavourful punch — there's the Good Food Village, which showcases artisan producers (with tastings galore); the Riedel Drinks Lab and its roll call of vino masterclasses; and The Kitchen by Harris Scarfe and its supercharged list of hospo heavyweights sharing their tips, tricks and favourite recipes. Here at Concrete Playground, good food and wine is our religion. We're up on the latest openings and frequent the delicious mainstays, we try out the hot-ticket ingredients (be it yuzu or alc-free liqueurs) and we happily attend events celebrating the tip-top of Aussie producers, dining venues and culinary talents. So, bringing it all under the one roof — with tickets for just $28 (or $35 with a tasting glass to keep) — is a sure-fire way to have us racing to plan a tasty itinerary for the day. After successful weekenders in Melbourne, Sydney and Perth, the annual extravaganza is set to hit Brisbane Convention & Exhibition Centre from October 21–23. This year is truly not one to be missed — read on for our picks at this year's shows. NOODLE SMACKDOWN AND DINNER INSPIRATION As someone who learns best by seeing things in action, I can guarantee you I'll be spending most of my Good Food & Wine Show at The Kitchen by Harris Scarfe. There'll be a bunch of live cooking demonstrations courtesy of well-known chefs sure to equip you with new kitchen tricks and some much-needed dinner inspiration. With so many incredible options available, it's tough to decide which class to attend. So far, I've got my eyes firmly fixed on Brendan Pang's Noodle Smack Down Street Food demonstration. Courtney Ammenhauser, Branded Content Manager A CHEESY WONDERLAND The food show is always a cheese wonderland, and tasting your way up and down Cheese Lane (and then up and down again) is a delicious way to spend your day — just mentally prepare yourself for those cheese dreams afterwards. Here are three little words that should get nearly everyone excited: cheese, chocolate and sparkling. This Good Food & Wine Show masterclass — hosted by cheese expert and owner of Smelly Cheese Project Valerie Henbest — is dedicating 45 minutes to the not-so-common pairing of cheese and choccie (with a glass of bubbles on the side), and is sure to tempt a crowd. You'll want to nab a ticket, stat, if you don't want to miss it. Sarah Ward, Associate Editor CULINARY STARS AND BIG, BEAUTIFUL BAROSSA REDS Since wine always tastes better when you know a bit about whatever the heck it is you're sipping, I'll be heading to the free palate appreciation classes at the Riedel Drinks Lab. The sessions are led by resident wine guy Nick Ryan and involve some expert tutelage, as well as tastings. In the midst of winter's chill, the class dedicated to big, beautiful reds is calling out to me. Libby Curran, Staff Writer A TICKET ESPECIALLY FOR THE WINE LOVERS First things first, I will definitely be nabbing myself a Wine Lovers Ticket. If you're into your fine drops, the extra dollars are well worth it — you'll take home a Riedel magnum tasting glass and an expert-selected bottle of vino, get exclusive access to back vintages and a tote bag to haul your goodies around in. The highlight in my eyes? Is it Really Better to be Single?, the punny wine-tasting masterclass that will have Nick Ryan chatting through the ins and outs of blending (and shining a light on why it's one of the most important skills in a winemaker's toolbox). A stop by the Good Food Village for a refuel by way of tastings and my day is made. Grace MacKenzie, Branded Content Manager EVENTS WORTH CROSSING THE DITCH FOR Confession: this is a hypothetical recommendation as I'm stuck over here in New Zealand and can't head to the show. But it may surprise Aussies to know that here in Aotearoa we are fanatical about MasterChef Australia. And no contestant has had an impact on me or my mother more than Brendan Pang during his tenures in 2018 and 2020. We were women obsessed. So, seeing him in real life whipping up dumplings and street eats during the Noodle Smack Down Street Food masterclass is absolutely worth booking flights across the ditch for. While I'm at the show, I'd definitely head to the Wine and Dine Tasting Room for Perfetto! Italian Food and Varietals, which combines two of my greatest loves: pasta and wine. Learning how to effectively match bold local drops to the diversity of Italian cuisine is almost as good as heading away on my own Euro-summer vacation. Almost. Sarah Templeton, New Zealand Editor Ready to start planning your tasty day out? Head to the website to explore the full lineup and book tickets. Top images: Jessica Wyld and Joseph Byford (last image)
For the second time in just a few months, one of Lady Bird's boyfriends has turned to illicit substances. For the second time in his four-movie filmmaking career, Peter Hedges explores a black sheep's holiday homecoming. Both of these statements require some unpacking, but they demonstrate just how well-worn much of Ben Is Back feels. As Timothée Chalamet did in Beautiful Boy, fellow Lady Bird co-star Lucas Hedges portrays a young man grappling with drug dependence and disappointing the devoted parent who just wants him to get clean. And as the elder Hedges did in 2003's Pieces of April, the writer-director charts the drama of an awkward family reunion. There's another layer of familiarity to Ben Is Back, too: Peter and Lucas Hedges are father and son. As well as the movie's similarities to other accounts of addiction and reconvening relatives, perhaps that's why it largely seems like the product of folks firmly in their comfort zones. The plot rides the usual emotional rollercoaster, ending exactly where everyone expects. With the film's tone, Peter Hedges tries to find a balance between sensitive and tense, and between heart-wrenching and sombre as well. Visually, the picture makes the most of grey hues and anguished close-ups, each adding to the recognisable mood. And although Lucas Hedges' performance is reliably raw and multifaceted, the impressive young actor never quite reaches the heights that he demonstrated in Manchester by the Sea and Boy Erased. Still, Ben Is Back has a spark to it, with Julia Roberts proving the picture's powerhouse package. Wearing the weight of a mother's unconditional love in every patient step and searching gaze, she plays suburban mum-of-four Holly Burns. Arriving home from Christmas Eve church choir practice with her excited pre-teen kids (Jakari Fraser and Mia Fowler), she suddenly shares their enthusiasm when she spies Ben (Lucas Hedges) standing on their snowy doorstep. Only high-schooler Ivy (Kathryn Newton) is wary — thanks to his complicated history, her older brother is supposed to be in rehab, as paid for by Holly's second husband Neal (Courtney B. Vance). But Ben promises that he's happy, healthy and has his habit in check, which Holly chooses to believe, imploring the rest of the family to follow suit. With reminders of his past mistakes littered around both his home and his hometown, Ben's pledge to his mother and Holly's faith in her son each prove hard to maintain. While there's little that's surprising about Ben Is Back's story (even when it endeavours to chart its own path into near-thriller territory), Roberts remains a source of continual astonishment. A much rarer presence on cinema screens of late than in her 90s heyday, she steps into her second doting mum part in as many movies, after 2017's Wonder. And yet, nothing about her performance paints by the numbers. Indeed, this is really her film, and it tells her character's tale. Holly has experienced a life tougher than her well-appointed two-storey house makes plain, although not as rough as the places that Ben's return takes her to — and Roberts makes that difficult clash evident without needing to explain it in words. Also present in Roberts' fine-tuned portrayal is a narrative that everyone knows, yet is scarcely given such nuance and attention. Ben Is Back tells of parental sacrifice, as evident in everyday choices rather than grand or tragic gestures. It's a story about the cost of caring — the toll a mother willingly pays when always offering a shoulder to cry on, lending a helping hand, trying to see the best in her children and endeavouring to do what's right for one kid when she has three others at home. Hedges' script attempts to thread this idea into a broader statement on suburban addiction, and, specifically, the destructive influence of prescription drugs. It's a noble quest, and one of the movie's more ambitious moves. Ultimately, however, Ben Is Back works best when it focuses on the quietly expressive Roberts, and lets her commanding work turn an intimate snapshot into a bigger story. https://www.youtube.com/watch?v=KQI_hkFKlHc
Normally ugliness is relative and objective, but not if you’re at one of the stranger events taking place during the Basque city of Bilbao’s annual cultural festival Aste Nagusia or ‘Big Week’. Somewhere in between the comparatively commonplace displays of music, art, fireworks and bullfights taking place over the nine-day celebration falls the bewildering Concurso de Feos, which literally translates to ‘The Ugly Competition’. Concurso de Feos was apparently initiated as a spin on the controversial and outdated beauty pageant. Though it is also a great alternative for those not endowed with the skills required to perform the spectacular facial feat known as a gurn (perhaps due to still having at least six teeth) but who continue to dream of having their ugliest mug immortalised on the Internet. The Spanish competition apparently encourages the use of fingers to assist with the distorting process, with entrants stuffing digits into their nostrils, eyeballs and inner cheeks in their quest to perform the most unsightly sneer in all the land. There appears to be no age restrictions on competing, with the event popular amongst both old and young alike. And, obligatory jokes aside, Concurso de Feos can claim the dual merits of providing locals with a comical distraction from the Basque County’s economic woes and the rest of the world with a good boost of self-confidence. via Geekologie
A slice of Italy has come to Bulimba and a waterside favourite has undergone facelift. After attracting eager diners to the end of Oxford Street since 2009, The Jetty has sailed off into the sunset, with Il Molo taking its place. Reopening in 2017, the site has a whole new focus for the kitchen and bar, but owners Jason and Katie Coats are still nodding to their past restaurant in a fitting way. If you know much Italian, you'll be smiling at Il Molo's moniker: translated to English, it means The Jetty. Amidst black, white and wooden decor or on the sun-lit outdoor deck, patrons will still enjoy views of the Brisbane River at its most scenic; however the revamped space now serves up flavours and meals that will make you dream of a European jaunt. Open for breakfast, lunch and dinner from Tuesday to Sunday, think prosciutto and mozzarella-filled omelettes, a seven-pizza menu, pappardelle pasta with a pork shoulder ragu, and lamb shanks with parmesan polenta and green tapenade. Il Molo also offers Italian coffees, pastries and cakes to take away, wine and beer for those after a stiffer drink, and a decadent range of desserts. Who can pass up sweet ricotta and orange zest-filled Sicilian cannoli? Italian chocolate and raspberry doughnuts with hazelnut gelato? Here, a change really is as good as a holiday — for your tastebuds, at least.
If you're looking for your first glimpse of the latest Star Wars movie, there's no need to travel to a galaxy far, far away, because the initial teaser trailer has just dropped in this one. Nine months before the main franchise's ninth episode hits cinemas (and 11th theatrical flick overall), Disney has gifted audiences a sneak peek of what comes next — and the movie's moniker. Come December, fans will be getting comfy to watch Star Wars: Episode IX — The Rise of Skywalker. Right now, there's a two-minute sneak peek to whet your appetite. Given the title, the way that Star Wars: Episode VIII — The Last Jedi wrapped up and the theories that have been swirling around Daisy Ridley's Rey since she was first introduced in Star Wars: Episode VII — The Force Awakens, it should come as no surprise that the scavenger-turned-pilot takes centre stage. Also popping up are Oscar Isaac's Poe Dameron and John Boyega's ex-stormtrooper Finn, helping out the film's plucky heroine once more; Adam Driver's Kylo Ren, wielding his red lightsaber for the dark side yet again; and long-standing series favourites Chewbacca, R2-D2 and C-3PO, of course. The late Carrie Fisher features as well, with the actor's appearance as General Leia Organa made possible by using previously filmed footage. And two other familiar characters also rejoin the fold, including Billy Dee Williams' Lando Calrissian and a sinister figure who's heard rather than seen. The huge cast list keeps going, with Domhnall Gleeson, Kelly Marie Tran and Lupita Nyong'o all returning, Mark Hamill also included, and Richard E. Grant, Keri Russell and Naomi Ackie among the Star Wars newcomers. As he did with The Force Awakens, JJ Abrams sits in the director's chair. And while this isn't the end of the Star Wars story by any means — a new TV series, The Mandalorian, is headed to Disney's new streaming platform later this year, and two big-screen spinoff trilogies are in development from The Last Jedi helmer Rian Johnson and Game of Thrones creators David Benioff and D. B. Weiss, respectively — The Rise of Skywalker is being badged as the finale of the Skywalker saga. Feel the force with the first teaser below: https://www.youtube.com/watch?v=adzYW5DZoWs Star Wars: Episode IX — The Rise of Skywalker releases in Australian cinemas on December 19.
Tempting daytime diners with its cheeky name, Eat Mii brings hawker-style breakfast, brunch and lunch options to West End's Boundary Street — and spicy selections in several ways. First, there's the selection of banh mi to start the day, as filled with charcoal-grilled meat. Then there's turmeric lattes, which are bound to put an extra spring in your step. Or, for something sweet, a rocky road concoction. With eating inside, outside and taking away all available — plus vegan, vegetarian and gluten-free variations, as well as regular coffees and a selection of alcoholic beverages — the choices don't stop there. That's particularly relevant for those looking for something other than the standard Vietnamese fare. Homemade rice paper rolls are on offer, of course; however so are the kinds of dishes you won't find co-opted by food court outlets, including vermicelli noodle salads with pork patties, and pork meatballs made from a family recipe. If there's one meal worth making a special trip for, though, it's the one every cafe makes — but not like this. That'd be the big breakfast, but forget bacon and eggs. Here, it's all about saucy steak and eggs with bread, served on a sizzling plate. You know you want to try it.
Anywhere Theatre Festival is back in Brisbane for another year of impressive, imaginative and spontaneous performances. With a vision to propel theatre outside the traditional stage spaces, Anywhere Theatre is providing exactly that. It's a smart, simple concept appealing to a logical yet creative notion. You don’t need a big expensive stage to have a big performance. They maintain an any time, anywhere type of experience for anyone who wants it. So you're thinking, this sounds fun but how exactly does it work? Don't fret, we've got you covered! This ten day theatre festival is packed with instructions and options of how, when and where to enjoy its incredible experiences. Because each performance location is different, you must check out their website to determine what show and what setting you're after. There is an amazing array of options for you to choose from. You don't need to be a theatre buff to enjoy this event. It's a festival for everyone. Get out to experience and explore the unique, outer theatre venues of Brisbane. With many performance mediums to appeal to almost anyone, there is sure to be a performance and location that fits you. We recommend: The Gremlins - Gravity Is Only The Beginning (pictured), The Alleyway Project and 'Merica.
Generally when you order a burger, it doesn't come flying to you at 100km an hour. The thought of that doesn't actually sound very fun or delicious; it sounds a lot like copping a pickle to the eyeball. But at Christchurch's C1 Espresso, high-speed sliders are a reality that doesn't hurt or impede your vision, thanks to an impressive overhead air suction system that delivers your chow straight from the kitchen to your table via pneumatic tube. It's the future, as owner Sam Crofskey puts it. And there is something very Fifth Element about food travelling through clear plastic tubes to get to your mouth, but this system is actually more in tune with the past than the future. Originally operating as a bank — and taken over by C1 after their previous site was destroyed in the February 2011 earthquake — the High Street building was already fitted with old-school pneumatic tubes. After using the vacuum-like system to transport handwritten orders to the kitchen, the next step, naturally, was to stick food up there and see what happened. With the existing tubes not quite big enough for edibles, new, slider-sized ones had to be fitted. They run from the kitchen and along the ceiling before dropping down to arrive at tables that sit up against the walls (and there's even talk of expanding delivery to outside tables through underground tubes). This means the cafe is always whirring, moving and buzzing; people's eyes flicker as they see a cylinder fly past up above and then grin in delight when said cylinder arrives at their table, holding three sliders and piping hot curly fries. "We just thought it was very Willy Wonka or something, and we had to do it," says Crofskey. "It was really important that when people talked about us after the earthquake, that they connected with us in the same kind of way as before ... We had to make sure that people would make the effort to come back." And with most of the city shut down — particularly when they initially reopened in November 2012 — C1 didn't just need a novelty; they needed to do something unique that fit in with their already-established brand and the community. Pioneering the second wave coffee movement since their beginnings in 1996 (back when no one knew what a barista was, according to Crofskey), C1 has always been known for great coffee and breakfast and details like their customised sugar packets that look like crayons and the sparkling water on tap from an old sewing machine. The pneumatic burgers and the decision to open for dinner are another extension of the C1 culture, and a good reflection of Crofskey's approach to hospitality. "We had a chance to reinvent ourselves and, when we reopened, we were deciding who we wanted to be," says Sam. "We didn't want to deviate from our brand — it's still warm and inviting, and a place for the community to come together." But offering breakfast, lunch and dinner isn't the only thing on Crofskey's agenda. Along with the cafe, he also works with a Samoan community to create a sustainable coffee industry in partnership with Women in Business, he bottles and sells OK! fruit nectars that also originate from the region, and he produces his own honey from the building's rooftop beehive and garden. And, with the cafe sharing real estate with a video store, art house cinema and, temporarily, the Christchurch Art Gallery, the space is so much more than somewhere to eat. "We had this idea that we wanted to have this space that people could get lost in for a while, so you can go here and go to the movies, come out and go to the art gallery," says Crofskey. And with plans to turn the upper levels into a boutique hotel, C1 will be like an island for the people of Christchurch. One where the room service is delivered at 100km an hour, of course.
Every major exhibition gives art lovers two gifts: the joy of discovering what'll display on its walls and halls when that first announcement hits, and the thrill of actually seeing the end results IRL while wandering, peering and contemplating. With Boston Dynamics robot dogs, work by Yoko Ono, a collaboration with Paris haute couture house Schiaparelli, and Tokyo-based artist Azuma Makoto's room-sized tribute to plants all on the just-revealed NGV Triennial 2023 bill, that initial round of delights starts now. Since 2017, the Melbourne-based National Gallery of Victoria has hosted the art showcase every three years, with this upcoming summer's iteration from Sunday, December 3, 2023–Sunday, April 7, 2024 the third. Designed to provide a portrait of the world each time it is staged — if art trends and breakthroughs; the artists making them; and the themes, ideas and events they're responding to — each NGV Triennial delivers a hefty program. This time, there'll be 75 works from 100-plus artists, complete with more than 25 world-premiere projects, all tying into the themes of magic, matter and memory. [caption id="attachment_896126" align="alignnone" width="1920"] Azuma Makoto, Block Flowers 2020 ©️ Azuma Makoto Courtesy the artist.[/caption] A big highlight: those mechanical pooches, who will also show off their very good painting skills. This clearly isn't Black Mirror, with Polish-born Agnieszka Pilat training the robot dogs to make art, which NGV Triennial attendees can then watch happen. They'll create a monolithic durational work, with Pilat exploring technology's power in modern life in the process. While attending NGV Triennial is free, you won't have to go inside the NGV International on St Kilda Road to see Yoko Ono's contribution. Drawing upon six decades making art, including her famed Instruction Pieces and major public art commissions, she's providing a large-scale text-based piece that'll display on the building's façade. [caption id="attachment_896130" align="alignnone" width="1920"] Installation view of Sheila Hicks's Nowhere to go 2022 at Off Grid, The Hepworth Wakefield, United Kingdom. Proposed acquisition, NGVWA.Courtesy the artist and Alison Jacques.[/caption] One of the joys of an exhibition like this is the sheer variety of works — although Schiaparelli's involvement would be a standout anyway. Artistic Director Daniel Roseberry is picking items from recent collections to display, plus a range of gilded surrealist accessories and body adornment. And, as well as showing his penchant for pushing boundaries and pairing art and fashion, there's set to be a celestial theme. Also immersive: Makoto's homage to nature, specifically plants and their magic, beauty and life force. The artist is freezing Australian flowers and botanicals into acrylic blocks, then combining them with a multi-screen film about the life and death of blooms. Yes, you'll be thinking about nature while you take it in. [caption id="attachment_896127" align="alignnone" width="1920"] David Shrigley, Really Good, 2016, bronze, 680 x 380 x 160 cm. Courtesy of the artist and Stephen Friedman Gallery, London © David Shrigley. All Rights Reserved, DACS 2023.[/caption] Tracey Emin is also contributing a series of works, including five-metre-high text-based neon light installation based on the British artist's own handwriting. From Paris-based and American-born sculptor Sheila Hicks, Nowhere to Go will stack her blue-hued bulbous sculptures against a wall. Or, there's David Shrigley's Really Good — a seven-metre-high thumbs-up. Elsewhere, the massive one-hundred-metre-long woven fish fence, Mun-dirra, was made over two years by ten artists and their apprentices from the Burarra language group Maningrida, Arnhem Land — while large-scale commission Megacities is tasking ten street photographers to snap Cairo, Dhaka, Jakarta, Delhi, Sao Paulo, Shanghai, Seoul, Lagos, Tokyo and Mexico City in all their urban glory. Don't miss Hugh Hayden's The end installation, which recreates a primary-school classroom but gets apocalyptic with branches and dodo skeletons. The full list of featured artists also spans Petrit Halilaj, Betty Muffler, Hoda Afshar and Fernando Laposse, plus Flora Yukhnovich, Yee I-Lann, Joyce Ho, Shakuntala Kulkarni and SMACK — and more, obviously. [caption id="attachment_896128" align="alignnone" width="1920"] Courtesy of the NGV.[/caption] "In the three years since the last NGV Triennial, the world has experienced a great many structural shifts, including a global pandemic. Through the work of more than 100 artists, designers, architects and collectives from Australia and around the world, the NGV Triennial offers a powerful insight into the ideas and concerns empowering creative practice in 2023," said NGV Director Tony Ellwood, announcing the program. "The artists, designers and architects of our time play an important role in helping us to understand, navigate and relate to the world around us. The 2023 NGV Triennial offers audiences a valuable opportunity to experience new and surprising forms of creative expression from around the globe, which, together, present a compelling snapshot of the world as it is, while also asking how we would like it to be." [caption id="attachment_896129" align="alignnone" width="1920"] Installation view of Hugh Hayden's The End 2022. Courtesy of the artist.[/caption] NGV Triennial 2023 will display from Sunday, December 3, 2023–Sunday, April 7, 2024 at NGV International, St Kilda Road, Melbourne. Head to the gallery's website for further details. Top image: Aaron Richter.
On-screen, Ali Wong doesn't let go of grudges easily, at least in Beef. In rom-com Always Be My Maybe, she's also been romanced by Keanu Reeves. Tuca & Bertie had her voice an anthropomorphic song thrush, while Big Mouth sent her back to middle school. The American actor and comedian's next project: her current stand-up comedy tour, which has just locked in Down Under dates. Wong is presently working her way across the US and Canada, has also hit up London and Paris, and will head to Australia and New Zealand in July 2024. She's announced four dates, kicking off in Auckland, then jumping over to Melbourne. From there, she'll work her way up the east coast, next hitting up Sydney before wrapping up in Brisbane. Bringing her Ali Wong: Live tour this way comes after a massive 12 months for Wong. It was back in early April 2023 that Beef arrived, getting audiences obsessed and sparking plenty of accolades coming Wong's way. She won Best Actress Emmy, Golden Globe, Film Independent Spirt and Screen Actors Guild awards for playing Amy Lau, who has a carpark altercation with Danny Cho (Steven Yeun, Nope) that neither can let go of — and that changes both of their lives. The series itself, on which Wong was also an executive producer, has earned just as much love — including the Emmy for Outstanding Limited or Anthology Series; Golden Globe for Best Television Limited Series, Anthology Series, or Motion Picture Made for Television; Gotham Award for Breakthrough Series under 40 minutes; Film Independent Spirt Award for Best New Scripted Series; and PGA for Outstanding Producer of Limited or Anthology Series Television. [caption id="attachment_893741" align="alignnone" width="1920"] Andrew Cooper/Netflix © 2023[/caption] Behind the microphone, Wong's comedy career dates back almost two decades, including three Netflix stand-up specials: 2016's Baby Cobra, 2018's Hard Knock Wife and 2022's Don Wong. And, as an author, Wong also has 2019's Dear Girls: Intimate Tales, Untold Secrets & Advice for Living Your Best Life to her name. [caption id="attachment_946689" align="alignnone" width="1920"] Always Be My Maybe[/caption] Ali Wong: Live Tour Dates — Australia and New Zealand 2024: Monday, July 8 — The Civic, Auckland Thursday, July 11 — Palais Theatre, Melbourne Friday, July 19 — ICC Theatre, Sydney Monday, July 22 — Brisbane Convention and Exhibition Centre, Brisbane Ali Wong is touring Down Under in July 2024, with presale tickets available from 9am on Wednesday, March 20 and general sales from 9am local time on Friday, March 22 — head to the tour website for further details. Top image: Andrew Cooper/Netflix © 2023.
The latest cure for festival FOMO is here: for the first time ever, two of Glastonbury's headline performances are being livestreamed around the globe for everyone to watch. Won't be in the UK during the fest? Always wanted to see big names take to the event's famed Pyramid Stage? A fan of Dua Lipa and/or Coldplay? Thanks to the BBC, you're now in luck. When Coachella rolls around each year, it's not just an exciting time for folks fortunate enough to be on the ground in California, but for audiences worldwide via the fest's arrangement with YouTube. Glastonbury and the BBC might only be streaming two sets across the planet and not the majority of the British event, but it's still a welcome development. [caption id="attachment_926976" align="alignnone" width="1920"] Anna Lee[/caption] Your destination: the BBC's Glastonbury website, where you can catch Dua Lipa's set on the morning of Saturday, June 29, then Coldplay's — before the Chris Martin-fronted group returns to Australia and New Zealand later in 2024 — on the morning of Sunday, June 30. Dua Lipa's stint in the high-profile slot also marks her first-ever time on the Pyramid Stage. As for Coldplay, they're headlining the fest for the fifth time, albeit in their first visit since 2016. [caption id="attachment_963580" align="alignnone" width="1917"] Raph_PH[/caption] "The Glastonbury Festival is an icon of British culture, and this livestream will give fans around the globe a front row seat to headline performances like never before. This is just the latest example of our focus on bringing more cultural-defining moments like Glastonbury to fans on our platforms outside the UK so users can experience the best of British culture wherever they may be," said BBC Studios' Chief Commercial Officer Tara Maitra, announcing the global livestreams. "From this exciting live music experience from two of the biggest names in music, to the BBC News channel livestream that is coming soon in Australia, our digital platforms offer immediate, unrestricted and tailored access for all audiences," added BBC Studios Australia and New Zealand General Manager Fiona Lang. Also on the Glastonbury 2024 bill across Wednesday, June 26–Sunday, June 30 UK time but not being beamed to the world, sadly: SZA, LCD Soundsystem, PJ Harvey, Cyndi Lauper, Janelle Monae, Shania Twain, Disclosure, The Streets, Camilla Cabello, Bloc Party, The National, Avril Lavigne, Jessie Ware, Sugababes, Jamie XX, Kim Gordon, James Blake, Sleafod Mods, Orbital, The Breeders, Peggy Gou, The Cat Empire, Eric Prydz and a whole heap more. Glastonbury 2024 Livestream: Saturday, June 29 — Dua Lipa, 7–8.45am AEST / 6.30–8.15am ACST / 5–6.45am AWST / 9–10.45am NZST Sunday, June 30 — Coldplay, 6.45–8.45am AEST / 6.15–8.15am ACST / 4.45–6.45am AWST / 8.45–19.45am NZST [caption id="attachment_963582" align="alignnone" width="1917"] Raph_PH[/caption] [caption id="attachment_926978" align="alignnone" width="1920"] Anna Lee[/caption] Glastonbury's 2024 livestream will broadcast Dua Lipa's set globally on the morning of Saturday, June 29 Down Under, and Coldplay's show on the morning of Sunday, June 30 — head to the BBC's Glastonbury website to watch. Dua Lipa images: Raph_PH via Flickr.
When it's claimed that Decision to Leave's Detective Hae-joon (Park Hae-il, Heaven: To the Land of Happiness) needs "murder and violence in order to be happy", it's easy to wonder if that statement similarly applies to Park Chan-wook, this stunning South Korean thriller's filmmaker. The director of Oldboy, Thirst, Stoker and The Handmaiden doesn't, surely. Still, his exceptional body of on-screen work glows when either fills its frames — which, in a career that also spans Joint Security Area, Sympathy for Mr Vengeance, Lady Vengeance and English-language TV miniseries The Little Drummer Girl, among other titles, is often. To be more accurate, perhaps Park needs to survey the grey areas that loiter around death and brutality, and surround love, lust, loss, and all matters of the brain, body and heart that bind humans together, to find cinematic fulfilment. Certainly, audiences should be glad if/that he does. In Decision to Leave, exploring such obsessions, and the entire notions of longing and obsession, brings a staggering, sinuously layered and seductively gorgeous movie to fruition — a film to obsess over if ever there was one. In this year's deserved Cannes Film Festival Best Director-winner, reserved insomniac Hae-joon is fixated from the outset, too: with his police job in Busan, where he works Monday–Friday before returning to Ipo on weekends to his wife (Lee Jung-hyun, Peninsula). That all-consuming focus sees his weekday walls plastered with grim photos from cases, and haunts the time he's meant to be spending — and having sex — with said spouse. Nonetheless, the latest dead body thrust his way isn't supposed to amplify his obsession. A businessman and experienced climber is found at the base of a mountain, and to most other cops the answer would be simple. It is to his offsider Soo-wan (Go Kyung-Pyo, Private Lives), but Hae-joon's interest is piqued when the deceased's enigmatic Chinese widow, the cool, calm but also bruised and scratched Seo-rae (Tang Wei, The Whistleblower), is brought in for questioning amid apologising for her imperfect Korean-language skills. In the precinct interrogation room, the detective and his potential suspect share a sushi dinner — and, in the lingering looks gazed each other's way even at this early stage, this may as well be a twisted first date. Hae-joon then surveils Seo-rae, including at her work caring for the elderly, which also provides her alibi. He keeps watching her at home, where her evenings involve television and ice cream. In stirring scenes of bravura and beauty, he envisages himself with her in the process, longing for the illusion he's building in his sleep-deprived mind. As for Seo-rae, she keeps stoking their chemistry, especially when she's somehow being both direct and evasive with her responses to his queries. She knows how small gestures leave an imprint, and she also knows when she and Hae-joon are both desperately hooked on each other. Every intelligently written (by Park and frequent co-scribe Chung Seo-kyung), evocatively shot (by cinematographer Kim Ji-Yong, Ashfall) moment in Decision to Leave is crucial; the film is made so meticulously, with a precision its protagonist would instantly admire, that cutting out even a second is unthinkable. Equally, every scene speaks volumes about this spellbinding movie — but here's three that help convey its simmering potency. In one, Hae-joon ascends up the victim's last cliff by rope, tied to Soo-wan, Busan looming in the background. In another, detailed blue-green wallpaper filled with mountains surrounds Seo-rae. And in yet another, she reaches into Hae-joon's pocket to grab his lip balm, then applies it to his mouth. Perspective is everything in this feature, Park stresses. Minutiae is everything, too. Intimacy is more than everything, actually, in a picture that's also grippingly, electrifying sensual. A police detective drawn to a possible murderer, a woman unable to let the married subject of her own infatuation go: if Decision to Leave was made in English in the 80s, it'd star Michael Douglas. With its tumbling fall, rock faces, thin line between observation and desire, midway twists, and mix of romance and noir, if it had been crafted even earlier back, it'd be an Alfred Hitchcock film. Basic Instinct, Fatal Attraction or Vertigo but South Korean, Park's pining, aching new jewel isn't, though. Exquisitely intricate aesthetically, emotionally, psychologically and thematically, it's one of the director's absolute best. He's never needed a hammer or live octopus to make a splash, either, even if it worked so strikingly with Oldboy nearly two decades ago; here, for example, a literal fish-eye lens is astounding. With every breathtaking visual composition and choice, including against cliffs and seas aplenty, Park keeps besting and challenging himself, and also utterly wowing his viewers. Already picked as South Korea's entry for the Best International Feature Film award at 2023's Oscars — a gong the country last won in 2020 with Parasite — Decision to Leave is as spectacular as it is sophisticated. It's an ambitious sight to behold, no matter which stylistic tricks it's pulling and deep-seated secrets it's spilling in tandem — and also as tender as it is melancholy, a swirling, yearning mood that the use of Jung Hoon Hee's 'Mist' on the soundtrack only cements. The film's core duo is deployed just as devastatingly well, so much so that it's impossible to imagine any other actors inhabiting the parts. Both Park Hae-il and Tang Wei have dazzled elsewhere, him in Bong Joon Ho's Memories of Murder and The Host, her in Ang Lee's Lust, Caution, but they're as sublime as actors can be as wearied, troubled souls bouncing towards and repelling away from each other like revolving magnets. Formidable, revelatory and bold, too, are Decision to Leave's versions of two noir staples: complicated cops and femme fatales. That duo is virtually synonymous with the genre, so much so that Park wants viewers to believe that they already know all they need about Hae-joon and Seo-rae going in — only to keep unpacking them, their motivations and their feelings, as the pair unpack each other. How exhilarating, intoxicating and all-consuming that experience is, for the movie's characters and for its audience. How powerfully it ripples and resonates. How phenomenal an addition to South Korea's national filmography, and to Park's, Decision to Leave proves. Deciding that you never want it to leave your memory is a given.
If there's ever a range of films that proves that every movie deserves to be seen in a cinema, it's Studio Ghibli's output. If you had your first experience with Spirited Away or My Neighbour Totoro at home, then felt compelled to catch a retrospective showing at your local picture palace, you'll understand. Indeed, Australian theatres get it, too, given how often the Japanese animation house's movies return to the silver screen. The Imaginary isn't a Studio Ghibli release, but it has a Ghibli pedigree. The second feature from Studio Ponoc after 2017's Mary and the Witch's Flower, it's both directed and penned by Ghibli alumni — the latter of which founded Ponoc. It made its Aussie debut on streaming this year, but is now getting a well-deserved big-screen outing at the 2024 Japanese Film Festival as one of its must-see titles. The just-dropped lineup for this year's JFF will give audiences the chance to see this enchanting tale about imaginary friends — 2024's third such film after Blumhouse horror movie Imaginary and the John Krasinski (A Quiet Place Part II)-directed IF, and the best of them — as well as nine other new Japanese features. The latest flicks out of its country of choice are just one part of the JFF setup, however. In four of its five cities, audiences will also enjoy a retrospective season that focuses on classics by Shohei Imamura, a two-time Palme d'Or winner courtesy of The Ballad of Narayama and The Eel. Canberra, Brisbane, Melbourne and Sydney will receive the full festival treatment, while just the new releases will play Perth. The festival kicks off with its retro sessions in the nation's capital in late September, before making its way around the country throughout October and into November. [caption id="attachment_971203" align="alignnone" width="1920"] Let's Go Karaoke! Film Partners[/caption] Opening the fest: Mom, Is That You?! , a mix of heartwarming comedy and workplace commentary from prolific director Yoji Yamada (Kinema no Kamisama). Other highlights include chaotic karaoke antics in Let's Go Karaoke!, with a choir boy and a yakuza striking up a friendship over singing lessons; fellow manga adaptation Sand Land; World War II-set historical drama Shadow of Fire; and rom-com Our Secret Diary. Or, there's more laughs via A Samurai in Time and The Dancing Okami, with the first paying tribute to samurai stuntman Seizo Fukumoto and the second inspired by an IRL tourism campaign — and also thrills via Matched and Out, following a wedding planner who connects with a suspected serial killer without knowing via online dating, plus a former juvenile gang leader's quest for redemption. [caption id="attachment_971204" align="alignnone" width="1920"] MIRAIEIGASHA[/caption] 2024 marks the Japanese Film Festival's 28th year in Australia — and the event's in-person lineup comes after its online program screened in the middle of the year. "Australia has always been a second home to Japanese film, with an exponentially growing audience captivated by Japanese cinema every year," said Manisay Oudomvilay from The Japan Foundation, Sydney, announcing the 2024 JFF bill. "Each of the featured films this year dissects the common human experience from a uniquely Japanese perspective, which will resonate with everyone regardless of their familiarity with Japanese culture." [caption id="attachment_971205" align="alignnone" width="1920"] Sand Land Film Partners[/caption] Japanese Film Festival 2024 Dates: Canberra: Latest releases: Wednesday, October 9–Tuesday, October 15 at Palace Electric Special series: Tuesday, September 24–Wednesday, September 25 and Saturday, September 28–Sunday, September 29 at NFSA Perth: Latest releases: Monday, October 14–Tuesday, October 22 at Palace Raine Square Brisbane: Latest releases: Thursday, October 17–Tuesday, October 22 at Palace Barracks Special series: Monday, October 7–Wednesday, October 16 at QAGOMA Melbourne: Latest releases: Monday, October 21–Tuesday, October 29 at The Kino Special series: Thursday, October 31–Sunday, November 3 at ACMI Sydney: Latest releases: Thursday, October 24–Monday, October 28 at Palace Norton Street and Palace Moore Park Special series: Wednesday, October 9–Sunday, November 10 at AGNSW [caption id="attachment_971206" align="alignnone" width="1920"] The Dancing Okami Film Partners[/caption] The 2024 Japanese Film Festival tours Australia from September–November. For more information and to buy tickets, visit the festival website. Top image: Studio Ponoc.
Who'll win orb-topped trophies? Who'll wear what? Who'll make the best, funniest and most rambling speeches? Whenever January hits and the Golden Globes approach for another year, they're the standard questions. Here's another: where can Australians watch the red carpet action and the ceremony? In 2023, the answer to that last query is streaming — and, to be specific, Stan. The Aussie platform has nabbed the exclusive broadcasting rights to this year's Golden Globes, covering both the pre-show and the awards themselves. Both will be streamed live on Wednesday, January 11, starting at 11am AEDT / 10am AEST for the arrivals and 12pm AEDT / 11am AEST for the gongs themselves. [caption id="attachment_884053" align="alignnone" width="1920"] CleftClips via Flickr[/caption] This'll mark the first time that Stan has aired the Golden Globes, which be beamed into your streaming queue from the Beverly Hilton Hotel in Los Angeles. On hosting duties: comedian Jerrod Carmichael. Nominated: a hefty list of the past year's best movies and TV shows, because these awards cover both. Among the big-screen contenders sits everything from Everything Everywhere All At Once and The Banshees of Inisherin to Glass Onion: A Knives Out Mystery and Elvis. On the small screen, The White Lotus, Severance, Only Murders in the Building, Abbott Elementary, Wednesday and more are vying for accolades. Australians have also earned a hefty showing among the nominees, including Baz Luhrmann's Best Director nom for Elvis, and Cate Blanchett, Margot Robbie, Hugh Jackman and Elizabeth Debicki all picking up acting nominations (for Tár, Bablyon, The Son and The Crown, respectively). If you're wondering who'll be presenting awards rather than trying to win them, expect to see Ana de Armas (The Gray Man), Billy Porter (Cinderella), Colman Domingo (Euphoria), Jamie Lee Curtis (Halloween Ends), Natasha Lyonne (Russian Doll), Nicole Byer (Nailed It!) and Quentin Tarantino (Once Upon a Time in Hollywood) among the folks taking to the stage. Of course, the fact that the 2023 Golden Globes take place on a Wednesday isn't the best for parties — although they will hopefully liven up the middle of your week. The 2023 Golden Globes will be announced on Wednesday, January 11 Australian time, streaming via Stan from 11am AEDT / 10am AEST for red carpet arrivals and 12pm AEDT / 11am AEST for the ceremony itself. Wondering who's nominated? Read our rundown of this year's nominees.
A century ago, cinema changed forever. That's true for oh-so-many reasons, because the 1920s were a pivotal time for the movies. It's when synchronised sound first came to the pictures, of course. Starting out in silents, it's when comedic greats Charlie Chaplin and Buster Keaton were dazzling audiences, too. And, it's when a whole heap of influential horror and sci-fi flicks arrived — including the one and only Nosferatu. The FW Murnau-directed German masterpiece obviously owes a huge debt to Bram Stoker's Dracula, and there's a long story behind the connection — but every movie about the bloodsucking undead that's been made since the 1922 film owes a debt to Nosferatu. Watch it, then watch any vampire flick since, and you'll see how and why. Even better: to mark the cinematic gem's 100th anniversary, catch it at a free screening at arcade bar Netherworld. At Two Turntables and a Title Card at the Fortitude Valley spot from 7.45pm on Sunday, May 8, the iconic movie will flicker across the venue's makeshift big screen, and you'll watch and marvel. You can also sink brews during the film and mash buttons beforehand, although you'll need cash for that part of the fun. As for the turntables, DJ Dethcassette will be on the decks providing a live soundtrack. If you can't make it along, Netherworld will be hosting sessions monthly, focusing on different movie greats from 100 years back with live DJ sets.
Being behind the wheel of a boat is pretty baller. Especially when you're cruising in The Whitsundays. You can live out your fanciest fantasies, and take in the paradisiacal surroundings at your own pace with a Skipper Yourself Yacht Charter. And you don't even need a boat licence to do it. Voyagers can choose their own vessel — a catamaran, yacht or cruiser — then drop anchor and dive into the turquoise water to explore the coral reefs using complimentary snorkelling gear. You can add a seafood platter and drinks, dinner on arrival at Hamilton Island, and even a round of golf to splash out even further. Whichever way you package it up, this trip is guaranteed to be memorable. Top image: Tourism and Events Queensland
Stranger Things is wrapping up with its fifth season, and with one final battle against Vecna (Jamie Campbell Bower, Emmanuelle) in a Hawkins where the Upside Down is no longer just an otherworldly realm. The mood, then, as captured in the just-dropped official teaser trailer for the show's last run: "wherever this blood leads, I need you to fight one last time". A reverberating metal tune (Deep Purple's 'Child in Time'), explosions, a town under military quarantine, a hunt for Eleven (Millie Bobby Brown, The Electric State), Terminator franchise icon Linda Hamilton, tears, hearty embraces, huge stands: this sneak peek at Stranger Things season five has them all. As the trailer demonstrates, it also possesses a sense of occasion. Audiences should already be feeling it, given that this is goodbye to the series, but the show's characters clearly are as well. Yes, Netflix is going big on finales of late, with Squid Game coming to a conclusion in June, too. With Stranger Things, Down Under viewers will be tuning in not once, not twice, but three times for this farewell trip to Indiana — starting in November 2025, then checking in again in December this year, then finally on the first day of 2026. On Thursday, November 27 in Australia and New Zealand, the first four-episode volume of season five will drop. Then, come Friday, December 26, you can mark Boxing Day with the second three-chapter volume. Finally, Thursday, January 1, 2026 will kick off with the last Stranger Things episode ever. Back in June, Netflix also dropped a clip teasing the show's swansong — one filled with looks backwards at the tale that Stranger Things has told so far, which means peering at how young the cast was when the show premiered in 2016, as well as glimpses forward. Accordingly, from what's in store, fans already know that comas, bedside vigils, exploring via torchlight, shaking floors and a key piece of advice — "run" — all feature. Season five makes finding and killing Vecna its main aim, all Eleven has been forced into hiding. The year: 1987. The time: autumn. That's a jump forward from the fourth season's spring 1986 timing. And one way or another, the residents of Hawkins that viewers know and love will have their final experience with the eeriness that's been plaguing their town for years. That's the promise that bidding adieu to Stranger Things, of course, even if the hit Netflix show's end won't be it for the franchise's broader universe. If it feels like there's been a lengthy wait for more — even with the series no stranger to long delays between seasons — that's because there has been. When November rolls around, it will have been almost three-and-a-half years since season four, a gap extended due to 2023's Hollywood strikes. Before that, just under three years elapsed between seasons three and four, and just under two between the second and third seasons. The 13-month gap between seasons one and two seems positively short, then. Late in 2024, Netflix revealed the titles of Stranger Things' eight season-five episodes. If you feel like obsessing over the monikers for clues, you've had eight hints for a while, then. The season will kick off with 'The Crawl', then deliver 'The Vanishing of ...', 'The Turnbow Trap' and 'Sorcerer'. Next comes 'Shock Jock', 'Escape From Camazotz' and 'The Bridge', before it all ends with the enticingly named 'The Rightside Up'. Alongside Brown and Bower, season five brings back all of the other usual faces, too — so Winona Ryder (Beetlejuice Beetlejuice), David Harbour (Thunderbolts*), Finn Wolfhard (Saturday Night), Gaten Matarazzo (Please Don't Destroy: The Treasure of Foggy Mountain), Caleb McLaughlin (The Deliverance), Noah Schnapp (The Tutor), Sadie Sink (O'Dessa), Natalia Dyer (All Fun and Games), Charlie Heaton (The Souvenir: Part II), Joe Keery (Fargo), Maya Hawke (Inside Out 2), Priah Ferguson (The Curse of Bridge Hollow), Brett Gelman (Lady in the Lake) and Cara Buono (Things Like This). As for more Stranger Things-related antics after season five, when creators Matt and Ross Duffer revealed that their sci-fi show was working towards its endgame back in 2022, they also said that they had more stories to tell in this fictional realm. Instantly, we all knew what that meant. Netflix doesn't like letting go of its hits easily, after all, so the quest to find a way to keep wandering through this franchise was about as surprising as Jim Hopper's (Harbour) usual gruff mood. Check out the teaser trailer for Stranger Things season five below: Stranger Things season five will arrive in three parts, streaming in Australia and New Zealand on Thursday, November 27, 2025; then on Friday, December 26,2025; and finally on Thursday, January 1, 2026. You can watch the first four seasons now via Netflix — and read our review of season four. Images: courtesy of Netflix © 2025.
A man, his family and a firearm: all three sit at the heart of The Seed of the Sacred Fig. A girl and a gun might've been late, great French filmmaker Jean-Luc Godard's perfect formula for a movie, but Iranian writer/director Mohammad Rasoulof now adapts that setup around his own cinematic passion: fighting back against the Iranian regime. IRL, over the course of more than two decades, he's faced the wrath of his homeland's censorship, seen his work banned, been prohibited from making movies and from leaving the country, and endured multiple prison sentences. When Rasoulof's eighth and latest masterful and moving feature debuted at the 2024 Cannes Film Festival, he was in attendance after fleeing Iran, where a new eight-year jail term had just been handed down. The first shoots of the idea for The Seed of the Sacred Fig came to the filmmaker while the now-exiled talent was incarcerated. Imprisoned during the 2022–23 Women, Life, Freedom protests that sprang from the death in custody of Mahsa Amini, he saw the movement from inside Evin Prison in Tehran. Upon his release, it became part of his new big-screen narrative, with the picture even incorporating real on-the-ground footage. Also guiding The Seed of the Sacred Fig is a question that Rasoulof has long contemplated from his dealings with the regime — and that flowed through in his prior film, 2020 Berlin International Film Festival Golden Bear-winner There Is No Evil — also: "how do people who work with the system function internally?". As the protests about the loss of a woman arrested for allegedly wearing her hijab improperly also were, Rasoulof's Best International Feature Oscar-nominee is a snapshot of generational clashes and change, too. The man: Iman (Missagh Zareh, Homeless), who has just been promoted to investigating judge in the Revolutionary Court. The family: his wife Najmeh (Soheila Golestani, Two Dogs), college-aged daughter Rezvan (debutant Mahsa Rostami) and younger offspring Sana (Setareh Maleki, Cafe). The gun: Imam's service piece, freshly bestowed upon him for his new role. When the weapon goes missing, he starts pointing fingers, already paranoid about the public fallout from his job and now suspecting those closest to him — the youngest of which are only just learning what he does for a living. Adding to the powder-keg situation: the nationwide political uprising, which has Imam signing death sentences, comes to his home courtesy of Rezvan's friend Sadaf (Niousha Akhshi, The Lion Skin) and puts the family matriarch at odds with his horrified daughters. At Cannes — where Rasoulof's 2013 film Manuscripts Don't Burn won the FIPRESCI Prize and his 2017 feature A Man of Integrity emerged victorious in the Un Certain Regard section — The Seed of the Sacred Fig collected five different accolades from its berth in the main competition, a Special Jury Prize among them. Other film festival audience awards have also come its way, including in Sydney, plus nominations at the Golden Globes and BAFTAs. To get the movie to viewers, though, and to make it to begin with, involved shooting in secret with Rasoulof largely unable to be on set. Then came the 28-day journey out of Iran to Germany, the country that The Seed of the Sacred Fig represents at the 2025 Academy Awards. What does the global response to the film — the festival slots, popping up at Locarno, Melbourne, New Zealand, Telluride, Toronto, New York, Busan, London, Adelaide and Brisbane events as well, and many others; the nominations and prizes, right through to the Oscars — mean to Rasoulof given what he went through to bring the movie to fruition and ensure that audiences could see it? "I'm very happy that a film that half of which had not yet been shot exactly one year ago, while we were shooting, is being seen by worldwide audiences and doing so well," he tells Concrete Playground. "And I think it's not just me. I think everyone involved in its making is very happy, because what brought us together really was fighting for artistic freedom — and all we dreamt of was managing to complete the shoot without being arrested." How does Rasoulof navigate the scrutiny, oppression and attempted censorship that comes his way each time that he makes a film? How did The Seed of the Sacred Fig evolve from seeing how Iranian women were protesting to following a family of three women and an investigating judge impacted by the uprising? What does the reality of directing a movie in secret entail — and what impact does it have on the finished product, given how much energy is expended just to avoid the authorities' attention? Digging into a powerful picture that's designed to inspire questions with the man behind it, we also asked Rasoulof about all of the above. On Navigating the Scrutiny, Oppression and Attempted Censorship That Rasoulof Faces Whenever He Makes a Film "Well, I think the biggest difference, if I think about one year ago and now, is hope. Of course, I did have hope one year ago, but the hope I have now is much greater. It was really like a small crack through which the lights came in that I could see in the distance. And it's grown, and this gives me greater energy to continue working and to continue living. And I don't think it's just me. I think again, all my cast and crew feel exactly the same way or similarly." On How The Seed of the Sacred Fig Evolved From Seeing How Iranian Women Were Protesting to Following a Family of Three Women and an Investigating Judge Impacted by the Uprising "For many years, I was very curious about the people who work in the regime, in the different parts of the regime that I had dealings with — the security operators, the censorship operators, the judiciary. And I was really concerned with trying to understand, on the one hand, how they think, but also while they interrogated me, I'd be wondering 'how do we differ? Why are they unable to understand me and why am I unable to understand them?'. And so this curiosity stayed for me, and I was always hoping I could find an opportunity to explore it in a film. In 2022, I was arrested a few months before the Woman, Life, Freedom movement began. And after the movement began — at its height, in fact — I had a chance encounter with a senior prison official, who told me how he'd come to hate himself and even thought about taking his life because of his job and his collaboration with the regime, and how fiercely he got criticised and pressurised all the time by his children because of his job. And at that point I thought it would be really interesting to tell a story about a family where such a big divide had arisen, but which would also, at the same time, allow me to pursue that question that had stayed with me for all these years about how do people who work with the system function internally." On the Parallels Between the Film Being Made Clandestinely and the Secrets Being Kept Among the Family in the Movie "The limitations move along with you from the moment you start writing the script. They always accompany you when, of course, you're working in a repressive regime. And so you've got to find new ways ahead to make your film, but that also leads to a very strong awareness of the choices you're making — because if you make the wrong choice, you might not be able to continue. So we go to sets on the basis of decisions we've made early on to suit in a very precise way. And yet, during the shoot, there will always be unpredicted variables, things, problems, unexpected scenarios whereby you've got to make a different choice to what you were expecting in the moment. So you can plan as much as you want, but it's only when it comes to executing the work that you realise 'if I can't shoot, if I can't do that as planned, how can I proceed?'. And limitations really force you to find new paths forward." On Directing a Feature When You're Not Able to Be On Set "I started shooting and making films and 35mms during the analogue periods, when you didn't know what you'd see, really — what you were filming until later when it was developed in in a lab. And so you had a general impression and general image, but you didn't have a precise image or impression. And then later on, the video assist was introduced, where you could sort of control the set and watch the monitor at the same time — which became very fascinating for me and for lots of other filmmakers, because we were able to focus on the monitor. And in a way, [that's how] we made this film — we had a monitor that I had access to online while directing remotely. And then I had a secure sound connection to the set, mediated by a number of assistants. Of course, it was very slow. There were interruptions. There were moments when the connection was lost, and so I'd lose the control of the set for various minutes and then we had to reestablish it — so it was very laborious and difficult. But what mattered the most was that I was able to maintain, the priority was for me to maintain my concentration, but also to make do with the slowness and the inevitable delays. Wherever possible, of course, I would come as close as possible to set or actually appeared a few times, and that was much more fun and much better." On the Approach to Casting — and to Building an On-Screen Family — When You're Making a Movie in Secret "It's always difficult to compose a family in any film, because the members of the family have to look similar in a convincing way to the audience. So of course, if you're making a film underground, it becomes much more difficult to compose a believable family, because you're choosing from a much smaller pool of actors. But we spent a lot of time on this with my close collaborators, examining all the possibilities. And once we selected the father and the younger daughter, we then managed to find the mother and the older daughter. But yes, it was very difficult. It was extremely time-consuming. But I think in the end we were very successful." On How Having to Work in Secret, and the Energy That Goes Into It, Impacts a Finished Film "Well, when you're working with this kind of pressure, you always do have this feeling that you may manage to escape the system, and to ignore it and to defy it, but it doesn't mean you're escaping limitations. You're simply working with a different set of limitations. What is paramount to me is that the audience, when it watches the film, should not feel that the film was made with this sort of limitation. Of course, there are lots of aspects that I would have liked to play more with under different circumstances, but let's say the priority is really for the audience to feel that they're watching something that wasn't shot under this kind of duress." The Seed of the Sacred Fig opened in Australian cinemas on Thursday, February 27, 2025.
They're words every hungry stomach likes to hear: all you can eat. And, they're words that echo a little bit louder when dumplings are involved. Who hasn't sat down to a plate of the tasty morsels, finished it quicker than they thought they would and wished someone would keep magically refilling it? We all have, and that's just what'll happen at Jade Buddha on Tuesdays. It's all rather simple: you venture in between midday and 1pm for lunch or between 6pm and 7pm for dinner, and you eat as much as you can handle. The best part? No, it's not the riverside views. It's the fact that it'll only cost you $10. Now, you will have to be fond of pork gyoza to truly enjoy this all-you-can-eat feast, as that's what's on offer. If you'd prefer a variety of different flavours and styles, Dumpling Republic has you covered on the last Saturday of each month.
Now in it's third year, MTV Beats & Eats returns November 18 to take over Wollongong's Stuart Park. Just steps from North Wollongong beach, the festival brings live music and food lovers together for one big ol' party that will satisfy both your belly and your soul. Themed 'Space Fantasy', the festival encourages attendees to come in fancy dress as whatever their space fantasy may be. Astronauts, martians, space cowboys, alien unicorns — whichever costume you choose, you could win $2,000 for best dressed, $1,000 for second and $500 for third best dressed. Plus you'll look awesome. With past acts including Savage, PACES, Tigerlily and DJ Steve Aoki, you can expect an even bigger roster of local and international acts this year. Plus, in between sets, fill up on a range of eats from food vendors from the region, along with a few Sydney imports expected to dish out some top-notch barbecue, burgers and pizzas. And, though you probably don't need another excuse to get a ticket, your attendance will also go towards a good cause. With every ticket sold, MTV Australia will donate $1 to headspace, the national youth mental health foundation.
One of the best restaurants in Australia will be immortalised in print, thanks to a new book by chef Dan Hunter. Brae: Recipes and Stories from the Restaurant will showcase the history, philosophy and food of the iconic eatery in country Victoria, and is shaping up as one of the most salivating reads of the year. Due to hit shelves on May 1 thanks to Phaidon Press, the 256-page hardback will explore the early days of Brae, while also charting Hunter's journey from kitchen porter to celebrated chef. Personal essays will explore Hunter's ethical vision and strong preference for local ingredients. It's an approach that saw Brae rewarded with the number two spot on the list of Australia's Best Restaurants last year. Amateur cooks will also be keen to get a glimpse of Hunter's recipes, a number of which will be included in the tome. Finally, the book will feature more than 150 of artist Colin Page's photographs, detailing the food, the kitchen and breathtaking Australian landscape that surrounds the restaurant on all sides. Brae: Recipes and Stories from the Restaurant hits bookshelves and online stores from May 1 with a recommended retail price of $75.
Warm summer days, kicking back with friends, gin and tonics on the go — it doesn't get much better than that. While you don't need to go out to enjoy the classic drink, you'll definitely need all the best ingredients. Enter Ginny Brings: the brainchild of Tanqueray and Jimmy Brings that's arrived to make your at-home hangs even better. You can now order any Tanqueray gin from the Ginny Brings site between midday and 11pm and have it delivered to your door within half an hour. Plus, each order comes with a free Fever-Tree tonic water (some of the best tonic out there) and garnishes to help kit you out for total G&T success. But hold on, your gin mastery doesn't stop there. You may now have quality ingredients at your fingertips, but you still need to know how to make a G&T properly. It's all too easy to end up with an unbalanced drink — even if it seems like it's one of the easiest drink recipes out there. To help you out, we've had a chat with Tanqueray brand ambassador Krystal Hart to uncover a few key tricks of the trade so you can concoct flawless G&Ts at home like a pro. Gather the troops, order your preferred gin and start mixing. Just make sure to brush up on the below tips first for maximum G&T prowess. [caption id="attachment_689394" align="alignnone" width="1920"] Kitti Smallbone.[/caption] CHOOSE THE RIGHT GIN With so many gins on the market at the moment, choosing the right one can make your head spin. But really it comes down to personal preference. If you love that big hit of juniper, Tanqueray London Dry could be the winner. After a burst of citrus? Tanqueray No. Ten delivers refined, zesty notes. And if you're looking to shake things up a bit, set your sights on Tanqueray's new Rangpur gin, distilled with Rangpur limes and mandarin, or the sweeter Flor de Sevilla, made with Seville oranges. FIND THE PERFECT TONIC Tonic can affect taste just as much as your choice of gin. Skip the home brand option and opt for something a little more distinctive in terms of purity and flavour. Fever-Tree has a range a tonics, from elderflower to lemon to Mediterranean, that help to highlight the varying botanicals in your gin. Hot tip: pair Tanqueray Flor de Sevilla gin and Fever-Tree aromatic tonic, then add a wedge of orange and sprig of thyme for an afternoon spritz-inspired G&T. [caption id="attachment_689430" align="alignnone" width="1920"] Kitti Smallbone.[/caption] CONSIDER YOUR GLASSWARE They say it's what's on the inside that counts, but that rule doesn't apply to your G&T vessel of choice. You wouldn't drink coffee from a wine glass, so don't go pouring quality gin into some second-rate sippy cup. For an aromatic gin like Tanqueray Sevilla, try a stemless wine glass or Bordeaux glass to help accentuate the taste. A good glass is ergonomic, it's classy — it's fashion. KEEP THINGS CHILL No one likes a flat, warm G&T. The best way to avoid this dire outcome is by loading up on the ice. Depending on personal preference, you can roll with one giant cube (classy and restrained) or fill your glass to the brim with standard cubes. The more chilled, the more balanced, the better. [caption id="attachment_700029" align="alignnone" width="1920"] Daniel Boud.[/caption] MAKE IT VISUAL Always garnish. We're not saying it's hard science, but pretty looking drinks just seem to taste better. A classic staple is a piece of citrus and, to up the ante slightly, some fresh herbs to complement the gin's botanicals. But feel free to experiment with the unknown: add a fresh bay leaf, get around blackberries and cucumber or garnish with chilli, lime and coriander for a spicy, savoury alternative. You'll not only end up with some attractive drinks but also some new flavours to tickle your tastebuds. Start exercising your skills this festive season. Just make sure you've got everything you need for a flawless G&T. Look to Ginny Brings to get you sorted with the Tanqueray of your choice (Tanqueray London Dry, Tanqueray No. Ten, Tanqueray Rangpur and Tanqueray Flor de Sevilla) plus free Fever-Tree tonic and garnishes to go with. Looking for more ways to enjoy gin? Check out The Gin List for more ideas.
A visit to the Fortitude Valley stretch of Ann Street usually means grabbing drinks, but soon it'll also involve hitting up a brand-new steak restaurant. The eatery: Establishment 203, which will open in November with Ben O'Donoghue in the kitchen, serving up top-notch beef and Italian dishes. If you're the kind of diner who likes to watch the chef in action, that'll be on the menu as well, with Billykart talent and Surfing the Menu presenter O'Donoghue whipping up farm-to-table fare with Queensland produce — including those hero steaks — and also traditional pastas. [caption id="attachment_915348" align="alignnone" width="1920"] Google Maps[/caption] "With an ability to control quality from paddock to plate including breeding, feed, ageing, cooking and plating, diners will be assured of the very best steak in the country," said O'Donoghue. "This exceptional dining experience is underpinned by a combination of kitchen technology that mixes the best of old and modern cooking to accentuate the flavours of our seasonal produce. Side by side in the kitchen is Queensland's first Michelin-quality MKN induction cooking suite juxtaposed with our large live woodfired Mibrasa cooking stations." So, if you opt for steak, it'll be cooked over wood. Establishment 203's exact culinary spread hasn't yet been revealed, but the restaurant will use sustainably sourced wood from a beef producer's northern Queensland cattle properties to give its meats a unique flavour. The pasta range will be drawn from O'Donoghue's Italian favourites, including from time spent travelling in Europe and working at The River Cafe in London. The vibe: upmarket and elevated, so more than just your average steak joint. "The menu will embody sophistication, teamed with exceptional service and the very best steak in the country," O'Donoghue added. While Establishment 203 is owned by a cattle-farming family with Italian heritage — hence the focus — seafood will also be on offer, and the drinks lineup will span signature cocktails, Italian red wines and Brisbane craft beers. Already keen? Bookings are set to launch in early October. Establishment 203 will open at 621 Ann Street, Fortitude Valley sometime in November — we'll update you with an exact launch date when it is announced.
