Which Australian city has the best steak joints? Which boasts the top restaurants in general? Which is considered the ideal place to live? May 2024 has delivered new answers to all of these questions (more fuel for interstate rivalries, too), and it has just dropped another handy tidbit: the home of Australia's best bartender for this year. Global bartending competition Diageo World Class shows Aussie talents some love in a couple of ways, including via its Bartender of the Year Australia award — and, after a fierce contest showcasing exceptional mixology, we have a winner. Earning the coveted title this year is Sydney bartender Jake Down from Pleasure Club, one of three Harbour City folks competing in the showdown. In the pool of six bartenders, Perth and Hobart were each represented, too (sorry other Australian cities). Down, Merivale's James Irvine and The Waratah's Tom Opie faced off against each other, and also against Matt Bodycote from State Buildings in Perth, Shirley Yeung from Foxtrot Hospitality Group in Perth and Rohan Massie from Rude Boy in Hobart. Held in Sydney on Monday, May 27, the final stage of the annual drinks competition saw the six Aussie finalists battle it out behind the bar, showing off their skills across three challenges. One had them coming up with new options for traditional whisky serves, working with Johnnie Walker, Talisker and The Singleton. The next involved taking inspiration from their favourite bars while heroing Johnnie Walker Black Ruby. Then, a speed task involving making six classic cocktail serves in six minutes rounded out the contest. Down, whose resume locally and internationally also includes This Must Be the Place, Scout London, Re and Housemade Hospitality, now has a chance to score some more kudos at the global finals in September. He'll shake and stir up a storm alongside 50-plus other international hopefuls in a bid to be named World Class Global Bartender of the Year. "The competition has exposed me to some of the best bartenders in the industry, allowing me to learn and grow alongside incredible talent," said Down about his win. "I'm honoured to be part of our incredible hospitality community and I can't wait to represent Australia in September at the global finals." [caption id="attachment_942593" align="alignnone" width="1920"] Pleasure Club, Parker Blain.[/caption] [caption id="attachment_929495" align="alignnone" width="1920"] The Waratah, Jason Loucas.[/caption] For more information about the Diageo World Class Australian Bartender competition and Diageo World Class in general, head to the Diageo Bar Academy website.
Maybe you love croissants. Perhaps you can't go past a pain au chocolat. If it's a pastry and it has a French history, it could just get your tastebuds melting. If any of these apply and you've been in the vicinity of Sanctuary Cove since 2022, then you might've enjoyed Rise Bakery's wares. Now, Brisbanites can tuck in without the trip to the Gold Coast. Next stop: Portside Wharf. After Rise's pastries quickly proved a hit on the coast, French-born chef pâtissier Adrien Marcinowski and fellow chef Maxime Bournazel have now done what plenty of popular eateries on the Glitter Strip did in the past: capitalised upon that success by expanding up to Brisbane. This is the first Brissie outpost for the company, with customers able to pick up artisanal bread as well. At the moment, however, Rise's Portside venue is doing takeaways and serving just a limited in-store menu as it gears up for a full official opening in August. Both now and in the future, the chain is serving up its bites in a space spanning across 75 square meters indoors, plus an extra 80 square metres over an al fresco terrace — to make the most of the waterfront location. Even better: Rise Bakery's Portside venue features a champagne bar for sips over croissants and cakes. Marcinowski and Bournazel were drawn to Portside because it reminded them of the French Riviera, with the design and decor of Rise's new white- and pink-hued location nodding in the same direction. Drinks-wise, as well as champagne, Portside visitors can sip Tavalon's tea, as well as locally roasted caffeinated brews from Bear Bones Coffee.
Brisbane Festival is back for 2023 throughout September, and it's returning with a bang — with Riverfire's fireworks, in fact. After moving the sky celebration to the beginning of its annual run in 2022, the citywide arts event is brightening up the heavens to start off spring again this year. Get ready to look up on Saturday, September 2. The fireworks display has now settled into its new slot after a chaotic few years, which saw it scaled back in 2019, then replaced with a light and laser show in 2020 due to the pandemic, and finally returning in 2021. Initially, Riverfire moved dates to shift out of school holidays. No matter when it's held, more than 500,000 people usually attend. If you've been to South Brisbane when it's on — even hours earlier — you will have seen the masses of people to prove how popular it is. Head anywhere with a decent vantage over the river and crowds await. Need a few recommendations? River Terrace at Kangaroo Point is the number-one spot to hit up for the best panoramic view. There's also South Bank, of course, as well as the Kangaroo Point Cliffs, Captain Burke Park and Wilson's Lookout — plus the Riverside Centre and the City Botanic Gardens, too. Even if fireworks aren't usually your thing, you might still be interested in the Riverfire shindigs that always pop up on the night, with bars around town usually throwing plenty of parties with quite the lit-up backdrop. This Brisbane tradition will start its entertainment at 5pm this year, with the fireworks blasting from 7.05pm from 15 locations, which includes five barges, two bridges and eight city rooftops. The display fling up the most fireworks that the event has ever featured, weighing in at an 11-tone gross.
Perhaps you got to really hone your Scrabble skills during lockdown, or maybe you've just always been a baller with a Draw Four Wild Card. Either way, your board game obsession is about to find its ultimate match because Australia has just scored a new trio of stays, themed around three game night classics. Meet, House of Uno, Pictionary Palace and Scrabble Shack. These very playful getaways have landed on the Sunshine Coast and in the Blue Mountains, courtesy of game company Mattel and the folks at Booking.com. Each of the homes can be booked for up to two nights and comes kitted out with a stack of themed furnishings, merch and other game-inspired gear — yep, think, Uno pyjamas, oversized Pictionary timers and Scrabble pillows. And, of course, there's an enviable board games collection, featuring not just Mattel classics, but special-edition variations. That said, these are also pretty stylish little pads, with regular features like bathrooms, fireplaces and comfy beds. [caption id="attachment_787126" align="alignnone" width="1920"] Scrabble Shack[/caption] House of Uno is hidden away in the leafy Sunshine Coast hinterland, boasting treetop views, Uno-themed throw blankets and what looks like a primo living room set-up for game night. Meanwhile, in the Blue Mountains, Pictionary Palace comes complete with four bedrooms, a cute garden and an abundance of Pictionary swag. And not too far away, a beautifully restored timber cottage has been reborn as the Scrabble Shack, hidden among the trees and filled with Scrabble-themed artefacts running from wall art to letter cookies. Bookings for all three getaways have just opened, so you'll want to be speedy if you want to beat out the other board game fiends and lock in a visit. Especially with discounted stays currently on offer. For the next few days, the cost per night is being slashed to equal the cost of the game. For example, a Uno deck will set you back $10, so bookings for House of Uno are an easy $10 a night. Bookings for House of Uno, Pictionary Palace and Scrabble Shack are now open, for stays from Friday, October 23.
When the Emporium said goodbye to its old Fortitude Valley digs and relocated across the river at South Bank, it took its luxe look and feel with it. The relocated hotel is staycation central — but even if you can't book a room and make an indulgent night of it, you can still drop by the venue's glitzy new Piano Bar every day of the week. A cascading gold and crystal chandelier, plenty of shiny black mirrored surfaces and — of course — a piano are just the beginning at this cosy but lush spot, which is located on the hotel's ground floor. Naturally, live music is a highlight. Hear a pianist tickle the ivories from 5pm on Wednesdays, Fridays and Saturdays, and from 2pm on Sundays. On Thursdays from 6pm, and Friday and Saturday nights from 8pm, live jazz also echoes through the space. While you're enjoying the decor and the soundtrack, make your way through the Piano Bar's hefty 14-page drinks list. Classic cocktails (all $19), including four types of martini, take pride of place, but wine, beer and spirits lovers won't leave disappointed. If you're fond of whisky — Japanese, American and single malt — there's much to tempt your tastebuds. Piano Bar also offers a small food menu, starting with a cheese and finocchiona salami toasted sandwich ($12), as well as smashed avocado with poached eggs and smoked salmon ($16), all for brunch from 10am. All-day options include a whole baked camembert wheel ($20), poached king prawns ($20), a steak sandwich made with black angus beef sirloin ($28) and Clyde River rock oysters in half-dozen ($27) and full-dozen ($54) serves. Or, choose from one of five desserts — such as the signature zebra eclair with pineapple compote and liquorice curd ($9), and the 'Ferrero vs Tiramisu' ($18).
In the canon of Star Wars movies, there are now essentially four chapters: The Originals, The Prequels, The Sequels and The Spinoffs. The Originals (Episodes IV-VI) are, and perhaps always will be, the best of the bunch; a genre-defining, special-effects revolutionizing space saga of such epic proportions they remain, to this day, some of the most spectacular blockbusters ever made. The Prequels (Episodes I-III) are, and hopefully always will be, the worst of the bunch; a childish, CGI-heavy money spinner that played more like hastily written video games than films worthy of their iconic opening credits and characters. The Sequels (Episode VI-IX) are only one film in (with the second now in post-production), but it's safe to say The Force Awakens gave us exactly what we needed; a thrilling if rather familiar-feeling reboot with a talented, multi-dimensional and engaging new trio of stars to pick up where Luke, Han and Leia left off. That brings us to The Spinoffs, beginning with Rogue One and soon to include the untitled Han Solo origin story. In a way, while it's not given its own Roman numeral, Rogue One is a sort of Episode III-point-V – a nifty prelude to one of the most iconic please explains in cinema history: the Death Star's infamous design flaw. In Rogue One, audiences get the answer to two important questions: why the moon-size battle station had such an exploitable Achilles' heel, and how the Rebel Alliance found out about it. The former and weaker of these two revelations occupies the first two-thirds of the movie, whilst the latter gives it its much needed closing momentum. Leading the film's magnificent ensemble is Felicity Jones as Jyn Erso, the abandoned daughter of Galen Erso (Mads Mikkelsen), a famed Imperial scientist whose work proves pivotal to both the inception and design of the Empire's new super weapon. Unfortunately, Jones's dialogue does little to showcase her ability – frankly, much of Rogue One's screenplay leaves a lot to be desired. The two big exceptions are Forest Whitaker's eccentric character Saw Gerrera, and the Alan Tudyk-voiced droid K-2SO. In particular, the latter character's deadpan honesty helps cut through the film's often overwhelming sense of gloom. On the positive side, though, we again find in the Star Wars universe a film where gender holds zero stock as either an insult or a differentiator. Whenever a character's abilities are called into question, it's because of their experience or upbringing, not their reproductive organs, and Jyn is no exception. Alongside her, Diego Luna plays a conflicted assassin whose scenes repeatedly address the film's preoccupation with the hazy moralities of war, whilst the villain in Rogue One is a ruthless egotist named Director Krennic – played magnificently by Australia's Ben Mendelsohn. Though the film's various additional characters are too numerous to mention, one does command further attention – although in the interest of avoiding spoilers, we won't mention them by name. Suffice it to say, Rogue One reintroduces a key figure from the original Star Wars film, and does so by digitally recreating the deceased actor's face and voicing him with an impersonator. Sadly, the momentary joy experienced upon first seeing this familiar face quickly gives way to disappointment as the CGI falls short. An ultimately needless piece of fan service, the character's depiction pulls you out of the moment with such intensity that it takes several minutes to draw you back in each time he appears. As The Force Awakens proved, a tangible, human actor will always be preferable to a computer-generated one, and actors should sleep soundly in that knowledge. Nevertheless, Rogue One is overall an impressive and engaging exercise in nostalgia, full of delightful nods to the original trilogy. The movie's pacing, especially at the beginning, feels well off, jumping from character to character and location to location with surprising clumsiness. Fortunately, spectacular action sequences largely make up for this issue, most notably the climactic final battle and the scenes showcasing the Death Star's destructive capabilities – which even on their lowest power setting prove legitimately unsettling. Many Bothans may have died to bring us word of Death Star 2.0, but now, at long last, we can give names to those who did the same for the original – and it's definitely worth the price of admission. https://www.youtube.com/watch?v=frdj1zb9sMY
Truffle season has arrived at The Star Brisbane, with the venue's signature restaurants — Aloria, Sokyo and Cucina Regina — transforming beloved dishes and degustations with aromatic, earthy bliss. Overlooking the Brisbane River, this exclusive destination's first truffle takeover features a myriad of ways to indulge in one of the world's most sought-after ingredients. For instance, Sokyo serves prawn and scallop ravioli with truffle and shellfish butter, while the A5 wagyu and truffle toban makes an extravagant meal even more special. At Aloria, there's another quartet of truffle-elevated dishes, like Fraser Island spanner crab and pork jowl. Moreover, guests can order the Truffle Set Menu, featuring all four dishes with added snacks. Then, Cucina Regina's Italian-style comfort food is a natural fit for this truffle-led experience. Featuring limited-time dishes like crispy polenta and mousse di cioccolato, savoury and sweet interpretations are fused with bougie umami flavour bombs. Indulgent and luxurious, expect sensory overload from every bite. However, The Star Brisbane isn't finished with its truffle experience yet. With 70 dishes served across the three restaurants, guests can request that truffles be shaved tableside on any à la carte dish for $5 per gram. Showcasing some of Australia's best truffles from Manjimup in WA and the NSW Southern Highlands, this fleeting winter feast is an immense truffle celebration.
Love heading to a scenic spot to dance to live tunes? Adore sipping wine, too? Music and vino festival Grapevine Gathering understands. That pairing is this annual event's entire setup, with the fest bringing a heap of bands to vineyards each year. Yes, that includes 2022, with its October dates and venues now locked in. And if you live in Queensland or South Australia, get ready to experience Grapevine Gathering on your home turf for the very first time. The fest will return to Western Australia, Victoria and New South Wales, of course — hitting up Sandalford Wines in Swan Valley, Rochford Wines in the Yarra Valley and Roche Estate in the Hunter Valley, respectively. But this'll mark the first time that Grapevine Gathering has made its way to the Sunshine State and SA. Where it's heading: Sirromet Wines at Mount Cotton and Serafino Wines in McLaren Vale. While it's too early for the event's full lineup, it has dropped one key act: Aussie sketch comedians and Instagram celebrities The Inspired Unemployed. As they did at the last Victorian Grapevine Gathering, they're taking on hosting duties in order to keep you entertained between musos — and also hitting the decks as well. If you're wondering what the duo also known as Jack Steele and Matt Ford might have in store, shenanigans-wise, they did shoeys out of punters' footwear, performed an acoustic version of 'Drops of Jupiter' and hosted a segment of The Bachelorette the last time around. If you're also eager to find out who'll they be introducing, aren't we all — but past fests have been headlined by Two Door Cinema Club, Flight Facilities, The Wombats, Tkay Maidza and The Veronicas. Naturally, sipping wine is a huge part of the attraction. As always, attendees will have access to a heap of vino given the fest's locations, as well as an array of yet-to-be-announced food options. GRAPEVINE GATHERING 2022 DATES: Saturday, October 1 — Sandalford Wines, Swan Valley, Western Australia Sunday, October 2 — Serafino Wines, McLaren Vale, South Australia Saturday, October 8 — Rochford Wines, Yarra Valley, Victoria Saturday, October 15 — Roche Estate, Hunter Valley, New South Wales Sunday, October 16 — Sirromet Wines, Mount Cotton, Queensland Grapevine Gathering will tour Australia in October 2022. The full lineup hasn't been announced yet, but we'll update you when it is. In the interim, you can head to the festival's website to register for further details when it hits.
If you're a fan of Australian music festivals, a feeling of déjà vu might be sinking in right now. In 2024, both Groovin the Moo and Splendour in the Grass announced dates and big lineups, then scrapped their festivals mere weeks afterwards. In 2025, one week after another, both fests have now cancelled their 2025 plans as well. After Splendour confirmed that it wouldn't be back this year, Groovin the Moo has done the same. The latter hasn't advised that it will definitely will return in 2026, either — but the team behind it are asking for lineup suggestions for future fests. View this post on Instagram A post shared by Groovin the Moo (@groovinthemoo) "Groovin the Moo won't be happening in 2025, while we work on finding the most-sustainable model for Australia's most-loved regional touring festival," the event's organisers said via social media. "We will really miss seeing the smiling faces of all our beloved Moo crew — and that means you! In the meantime, which artist would you most like to see on a GTM lineup?" In 2024, the long-running regional music event was due to play six stops: Adelaide, Canberra, Bendigo, the Sunshine Coast, Bunbury and Newcastle, with the latter marking its debut in the New South Wales city. Wu-Tang Clan's GZA, Spice Girl Melanie C doing a DJ set, The Kooks, The Beaches and Alison Wonderland were among the talents on the bill, alongside Stephen Sanchez, Armani White, Kenya Grace, King Stingray, DMA's, Jet, The Jungle Giants, Mallrat and San Cisco, plus Hot Dub Time Machine, Mura Masa, Claire Rosinkranz, Jessie Reyez, Meduza and The Rions — and others. When Groovin the Moo pulled the plug last year, it named poor ticket sales as the reason. "We are extremely disappointed to announce that the Groovin the Moo 2024 tour has been forced to cancel," advised the statement at the time. "Ticket sales have not been sufficient to deliver a regional festival of this kind." "We hope to be able to bring Groovin the Moo back to regional communities in the future." Groovin the Moo won't be taking place in 2025. For more information, head to the festival's Instagram. Images: Jordan Munns.
As well as always being cute, cats know something that we humans tend to forget — how great it is to spend a few relaxing hours in a sunny spot. Sure, we two-legged folks love beaches, picnics and the usual outdoor activities, but it's easy to overlook the joys of simply spending a cloud-free afternoon in a bar's bright and breezy outdoor area. If you're a Brisbanite, you've really got no excuse not to head outdoors all year-round. With help from our friends at Heineken, we've rounded up four spots where you can soak up the sun and sip on a few Heineken 3s. If that sounds like your idea of bliss, read on.
Laneway dining can be as dangerous as it is delicious. In the early days of Brew, Flamingo and Bean, trendy eaters were adventurers wandering down uninhabited, barely lit alleys; dazed, confused and chasing a hidden coffee hit. But now we've become accustomed to the escape from bustle and smoke that laneway cafes almost always offer, and Brisbane's latest addition to the scene is one you'll risk limb and pride for — because it's a hidden, inner-city gem that deserves a little light. Strauss has been open for a few months now, and in that time has taken a little while to be discovered. It's neatly tucked in a lane on Elizabeth Street opposite Wintergarden; let the high, glowing Strauss sign be your guiding star. The lane is lined with seating, but inside is the kind of cosy atmosphere you should really invest some good eyeing to secure. Plus, inside you can watch your coffee being made and food being prepared while maintaining some super uncomfortable eye contact with the wonderfully polite waitstaff. It's run by the same cafe curators as Merriweather and Cup, so you know their cafe game is strong, and their coffee one is even stronger. Truck along a few times, and you'll become familiar with the barista, who may not pump out coffee at Starbucks speed but does so with a hell of a lot more care and precision. Food wise, there's not a lot to choose from, but that's quickly compensated by the quality on show. If you're craving something hearty but don't want to torture you're waistline, then the salads are the way to go. Don't groan; these ones are actually, dare I say, tasty. From chickpea and fennel to tomato and mozzarella galore, these healthy options are packed full of ingredients and flavour. Strauss even offer a tasting plate of all the salads, will should really be used and abused. If a salad makes you writhe with fear, Strauss's sandwiches aren't your run-of-the-mill ham and cheese between two slices. The pastrami, tomato and caramelised onion baguette feels like something from a Woody Allen film and tastes even better. And if all that's just a little to high end for your CBD lunch break, treat yo' self to some avocado on toast; Strauss have got it down to a tee. Whether you're looking for somewhere quiet to chill, a salad to Instagram or a coffee with a little heart, then Strauss is the laneway cafe you best be trekking towards. Just make sure you go down the right alley.
When cinemas were forced to close their doors back in March due to the COVID-19 pandemic, the industry had to adapt. Some individual films started moving to streaming and video on demand, while a number of picture palaces created their own online viewing platforms. Following in the footsteps of Sydney's Golden Age, as well as the teams behind the city's Ritz and Melbourne's Lido, Classic and Cameo cinemas, national chain Palace Cinemas is now making the leap to digital — with its new Palace Home Cinema venture launching during this year's Italian Film Festival. Palace Home Cinema will focus on world cinema, and on a curated movie lineup; however, when its first films become available to watch on Thursday, October 15, they'll all hail from the 2020 IFF program. The chain is calling its debut selection the 'IFF Piccolo', with eight movies on offer to watch on a pay-per-view basis until Wednesday, October 21. Cinephiles around the country can check out IFF's opening night film, a live-action, whimsy-heavy version of Pinocchio from Gomorrah and Dogman filmmaker Matteo Garrone — or watch its two special presentation flicks for this year, The Goddess of Fortune and Martin Eden. Also on the bill: comedies Once Upon a Time... in Bethlehem and Say It Loud, dramas Bad Tales and Ordinary Justice, and the family-friendly The Most Beautiful Day in the World. https://www.youtube.com/watch?v=-rIcXgMx7hU&feature=emb_logo Prices vary — with Pinocchio costing $20 to view and the rest of the program costing $14 per title. Once viewers make their purchase, they can watch their chosen film or films at any time during the seven-day IFF Piccolo window. That said, after you first press play, you'll have to finish watching within 48 hours. The Italian Film Festival is currently showing physically in cinemas in Sydney, Brisbane, Byron Bay, Canberra, Adelaide and Perth — but if you're a Melburnian eager to get your fix while theatres are still closed, you live in a regional area or you can't attend in-person, you now have an at-home way to enjoy the fest. While Palace hasn't revealed what else will screen on the Palace Home Cinema platform, the service will focus on the kind of films shown in the chain's venues. "People look to Palace for a special kind of entertainment. We want to accompany them on their journey, making fine cinema easy to find and play, even as we spend more time at home than ever before," said Palace Cinemas CEO Benjamin Zeccola. Palace Home Cinema is available via the service's website. The Italian Film Festival Piccolo is available to stream from Thursday, October 15–Wednesday, October 21.
Hamilton isn't the only hit musical from the past few years that took a few cues from the past, paired a well-known chapter of history with toe-tapping tunes and made on-stage magic. Another theatre show that did just that: Six the Musical. First premiering back at the 2017 Edinburgh Festival Fringe, then jumping to London's West End, the musical takes inspiration from one of the most famous sextets there's ever been — because even if you don't know much about Britain's past kings and queens, you likely know that Henry VIII had six wives. The Tudor monarch's love life has inspired plenty of pop culture content over the years — including 00s TV series The Tudors and 2008 movie The Other Boleyn Girl — but this one takes the pop part rather seriously. It's presented as a pop concert, in fact, with Catherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, Catherine Howard and Catherine Parr all taking to the microphone to tell their stories. Each woman's aim: to stake their claim as the wife who suffered the most at the king's hands, and to become the group's lead singer as a result. A five-time nominee at the Olivier Awards, Six the Musical has already played Australia, thanks to a 2020 season at the Sydney Opera House. Making a comeback, it's joining the long list of musicals doing the rounds this year and next — alongside Hamilton, Come From Away, Moulin Rouge!, The Phantom of the Opera, Cinderella, Mary Poppins, West Side Story, Charlie and the Chocolate Factory and Jagged Little Pill, to name a few big-name shows gracing Aussie stages either now or in the near future. Hitting up Brisbane's QPAC Playhouse from November 2021, the Sydney Opera House from December 2021, and Canberra Theatre Centre, Her Majesty's Theatre in Adelaide and Melbourne's Comedy Theatre in 2022 — with exact dates to be revealed for all cities — Six the Musical will welcome back four 2020 cast members for its new tour. Kala Gare (Rent) returns as Anne Boleyn, Loren Hunter (Strictly Ballroom: The Musical) will reprise her role as Jane Seymour, Kiana Daniele (Dirty Dancing) will step into Anne of Cleves' shoes again and Catherine Parr will be played by Vidya Makan (Green Day's American Idiot) once more. They'll welcome new co-stars Phoenix Jackson Mendoza (Charlie and the Chocolate Factory) and Chelsea Dawson (Shrek the Musical), as Catherine of Aragon and Catherine Howard, respectively. SIX THE MUSICAL AUSTRALIAN TOUR 2021–22: Brisbane — QPAC Playhouse from November 2021 Sydney — Sydney Opera House from December 2021 Canberra — Canberra Theatre Centre sometime in 2022 Adelaide — Her Majesty's Theatre sometime in 2022 Melbourne — Comedy Theatre sometime in 2022 Six the Musical will play Brisbane's QPAC Playhouse from November 2021, the Sydney Opera House from December 2021, and Canberra Theatre Centre, Her Majesty's Theatre in Adelaide and Melbourne's Comedy Theatre in 2022. Tickets for the Brisbane and Sydney seasons will go on sale in August — to join the waitlist, head to the musical's website. Images: James D Morgan, Getty Images.
Before 2023 rolled around, enjoying a meal with a view in Brisbane didn't mean hanging off the side of a building while you eat. Tucking into a degustation didn't happen on a bus decked out to become a fine-diner, either. They're two of the gems that this year has brought the River City's culinary scene — and two restaurants that you need to try as soon as you can, if you haven't already. Queensland's capital welcomed in everything from new celebrity chef-run venues and New York-inspired riverside joints to decadent Japanese spots and mouthwatering steak havens over the past 12 months, all to the delight of Brisbanites' tastebuds. Wondering where to start playing catch up? Which eateries to revisit? We've picked ten that impressed us in 2023. Bon appétit!
A lot of time, skill and dedication goes into building up a collection of precious goods. There's going to be a big opportunity to both flex your collection and gawk at others when the first-ever CollectFest rolls around. CollectFest is set to bring together enthusiasts of all fields, whether you're into comics, sneakers, toys and figurines, coins, stamps or more. You'll be surrounded by your people, and everyone will have a reason to celebrate, trade and sell to their hearts' content. CollectFest still has some time before it kicks off, as it's not taking place until Saturday, July 26 and Sunday, July 27, 2025, at the Brisbane Convention and Exhibition Centre. Tickets are projected to sell fast, so be ready when early bird tickets go on sale from Wednesday, September 18. Stay tuned for more information as it comes. The first-ever CollectFest will take place from July 26–27, 2025, at the Brisbane Convention and Exhibition Centre. Early bird tickets go on sale from Wednesday, September 18, 2024. For more information or to get tickets, visit the website.
Coachella FOMO is no longer a thing. With its biggest livestream yet, YouTube is solving it in 2023. Sure, you can still wish that you were heading to the Empire Polo Club in Indio, California across April 14–16 and April 21–23. Yes, there's nothing quite like being there in person. But if you're all about seeing the fest's impressive lineup — seeing as much of it as possible, too — this year's Coachella and YouTube collaboration is beaming the entire event around the world. One of the globe's biggest music festivals has been teaming up with the video site for 11 years now. Earlier in 2023, they announced that they've locked in their arrangement till 2026, in fact. So expanding exactly what the Coachella livestream shows, and when, is the next logical step — with 2023's fest covering all six stages across both weekends. This is the first time ever that YouTube's Coachella footage has played the whole fest as it's happening, upping its feeds from three to six. Whoever you want to see — and if you want to catch their sets twice — you now can. 2023's bill is worth getting excited about, with Bad Bunny headlining the Friday nights, BLACKPINK doing the Saturday nights and Frank Ocean on Sunday nights. Down Under, you'll be tuning in on Saturday, Sunday and Monday to catch each, so mark your diaries now. Also on the lineup: a stacked array of acts that also spans everyone from Calvin Harris, Gorillaz, The Chemical Brothers, ROSALÍA and Blondie through to The Kid LAROI, Björk, Fisher, Charlie XCX, Porter Robinson and Idris Elba. View this post on Instagram A post shared by Coachella (@coachella) In-between sets, YouTube will fill its feeds with more on-the-ground coverage, so you'll be able to scope out the art and installations around the fest, head behind the scenes, see how the acts get partying before the hit the stage and more. 2023's set times haven't yet been announced, but keep an eye on Coachella's Instagram feed in the lead up to the festival — and, obviously, bookmark its YouTube channel ASAP. Coachella runs from April 14–16 and April 21–23 at the Empire Polo Club in Indio, California. To watch the livestream, head to YouTube from 9am AEST on Saturday, April 15 Down Under.
Already the home of Kabuki Teppanyaki, and enticing in travellers and locals alike, Brisbane's riverside Stamford Plaza has expanded its culinary range. Diners can now mix up their Japanese feasts with a trip to La Boca, the hotel's new Argentinian eatery that takes ample advantage of the site's prime CBD location. As well as that riverfront perch, Argentinian grilling and cooking techniques are the star of the show at La Boca Bar and Grill, which also joins sibling venues in Sydney and Adelaide. At Brisbane's outpost, those South American culinary methods are unleashed upon local Queensland produce — much of which the ends up on the parrilla grill. La Boca opened its doors over summer, and does breakfast, lunch and dinner service seven days a week — all with that Argentina-meets-Australia blend. Here, you can pair short ribs with pecan- and toffee-stuffed dessert empanadas, and sip Argentinian sangria and mango chilli margaritas. Or, opt for grilled octopus with potato salad, a half-split grilled spring chicken, and burnt Basque cheesecake with strawberry gelato. The lunch lineup heroes sweet corn and cheese empanadas, grilled chorizo in chargrilled flatbread topped with pico de gallo salsa, and wagyu rump with truffle fries. Come dinner, seafood is a hefty focus, including Moreton Bay bugs with paprika and garlic, and grilled rock lobster with butter and lime. Or, there's a citrus-heavy red emperor dish, and two barramundi options. Also a highlight: the asador menu, where you can choose your pick of meat — pork belly, dry-aged lamb shoulder, wagyu shoulder blade and grain-fed scotch fillet — to be slow-cooked over the wood fire pit. And, La Boca also does meat- and seafood-stacked platters to share (one including asador dishes and saltbush lamb sausages, the other mixing the ocean's finest in chilled and parrilla-grilled forms), serves up Australian and Argentinian wines, and features orange espresso cocktails and roasted sugarcane daiquiris among its drinks selection. Find La Boca Bar and Grill at the Stamford Plaza Brisbane, corner of Margaret and Edward streets, Brisbane — open daily from 6.30–10.30am for breakfast, 12–2pm for lunch and 6–9pm for dinner.
Anything can happen at Dark Mofo. One of two massive arts festivals run by Tasmania's Museum of Old and New Art, the winter event has always prided itself on being a fest where the dark, sinister, confronting and boundary-pushing come together, sometimes for better and sometimes for worse. So, for its first program announcement for 2023, a wild dance theatre performance inspired by Dante's The Divine Comedy sounds completely in the event's wheelhouse. That production is A Divine Comedy, hailing from Austrian choreographer and performance artist Florentina Holzinger, and hitting Dark Mofo as both an Australian premiere and an Aussie exclusive. Playing for three days throughout the festival's Thursday, June 8–Thursday, June 22 dates for 2023, it dives into the hell, purgatory and paradise of Dante's classic work, all to explore how humans negotiate life and death. "We are thrilled to present Florentina Holzinger's A Divine Comedy for Dark Mofo 2023. She is a super-talented artist who is brazenly contemporary and culturally relevant," Creative Director Leigh Carmichael said, announcing the news. "This is the most incredibly wild theatre performance that we have presented in the history of Dark Mofo. Its scale is unprecedented and bold, a fitting highlight for our tenth festival. We can safely say the audience will be anything but bored." Holzinger is known for making challenging and provocative theatre, and for exploring gender relations — including how women's bodies are represented in art and media. For A Divine Comedy, she's staging the whole show as a giant autopsy room, in fact, then unleashing choreography that dances with existence, mortality, the end that awaits us all, and our struggle to cope with what that all means. Dark Mofo attendees will watch a cast of all-female-identifying performers spanning all ages, as well as a variety of physical, musical and athletic disciplines, take to the stage for the work. And, they'll see nude performers, slapstick acts, bodily substances and references to slasher movies as well — plus a jam-packed selection of nods to art and dance's respective histories. A Divine Comedy will play Dark Mofo from Friday, June 16–Sunday, June 18, with the rest of the fest's program set to be revealed this autumn. Whatever else joins the bill to help the event officially hit ten years, it'll be part of Carmichael's last at the helm. He'll step down after Dark Mofo 2023, making way for a new Artistic Director from 2024 onwards. [caption id="attachment_846523" align="alignnone" width="1920"] Winter Feast, Dark Mofo 2021, Dark Mofo/Jesse Hunniford, 2021. Image Courtesy Dark Mofo, Hobart, Tasmania, Australia.[/caption] Wondering what else might be in store? Previous years' lineups have seen a fantastical combination of musical performances, performance art and large-scale installations come together. In 2019, the program featured the likes of artists Ai Weiwei and Mike Parr, American musician Sharon Van Etten and one of the world's largest glockenspiels, for instance. In 2022, patrons were treated to performances by The Kid LAROI, and the sounds of Chernobyl and Candyman — plus rainbow installations, and signature festivities such as the Nude Solstice Swim, the City of Hobart Winter Feast, Night Mass: Transcendence in the In The Hanging Garden precinct and the Reclamation Walk. Already keen to get booking? Fancy a Tasmania trip in the interim? Our Concrete Playground Trips Hobart getaway might also be of interest. [caption id="attachment_800592" align="alignnone" width="1920"] Lusy Productions[/caption] Dark Mofo 2023 will run from Thursday, June 8–Thursday, June 22 in Hobart, Tasmania. The 2023 program will be announced in autumn — check back here for further details. A Divine Comedy will play Dark Mofo from Friday, June 16–Sunday, June 18. A ticket ballot for the show is open until 12pm AEST on Friday, February 10. A Divine Comedy images: Nicole Marianna Wytyczak. 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.
There are sushi trains, and then there are sushi trains. Located on level one of the Wintergarden, Hanaichi Sushi Bar + Dining takes things up a few notches. There's no tiny locomotive here — just top-notch dishes delivered via a conveyor belt, all in a place that feels far removed from your usual quick bite-style eatery. And if you hadn't already guessed, no it doesn't feature the same menu as the other Hanaichi in the food court. In fact, Hanaichi Sushi Bar + Dining boasts something particularly special: all-you-can-eat sushi every night of the week. Stop by from 5pm and expect an unlimited feast that also includes shabu shabu. On the menu: various sushi plates, wagyu beef, pork, wombok, tofu, noodles, fish balls and more, all for $32 per person. If you'd like to up the ante, a $50 version is also available, complete with sashimi, sand crab, oysters and prawns on top of the usual buffet.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE DUKE Back in 1962, in the first-ever Bond film Dr No, the suave, Scottish-accented, Sean Connery-starring version of 007 admires a painting in the eponymous evil villain's underwater lair. That picture: Francisco Goya's Portrait of the Duke of Wellington. The artwork itself is very much real, too, although the genuine article doesn't appear in the feature. Even if the filmmakers had wanted to use the actual piece, it was missing at the time. In fact, making a joke about that exact situation is why the portrait is even referenced in Dr No. That's quite the situation: the debut big-screen instalment in one of cinema's most famous and longest-running franchises, and a saga about super spies and formidable villains at that, including a gag about a real-life art heist. The truth behind the painting's disappearance is even more fantastical, however, as The Duke captures. The year prior to Bond's first martini, a mere 19 days after the early 19th-century Goya piece was put on display in the National Gallery in London, the portrait was stolen. Unsurprisingly, the pilfering earned plenty of attention — especially given that the government-owned institution had bought the picture for the hefty sum of £140,000, which'd likely be almost £3 million today. International master criminals were suspected. Years passed, two more 007 movies hit cinemas, and there was zero sign of the artwork or the culprit. And, that might've remained the case if eccentric Newcastle sexagenarian Kempton Bunton hadn't turned himself in in 1965, advising that he'd gotten light-fingered in protest at the obscene amount spent on Portrait of the Duke of Wellington using taxpayer funds — money that could've been better deployed to provide pensioners with TV licenses, a cause Bunton had openly campaigned for (and even been imprisoned over after refusing to pay his own television fee). First, the not-at-all-inconsequential detail that's incongruous with glueing your eyes to the small screen Down Under: the charge that many countries collect for watching the box. Australia and New Zealand both abolished it decades ago, but it remains compulsory in the UK to this day. As played by Jim Broadbent (Six Minutes to Midnight), Bunton is fiercely opposed to paying, much to the embarrassment of his wife Dorothy (Helen Mirren, Fast and Furious 9) whenever the license inspectors come calling. He's even in London with his son Jackie (Fionn Whitehead, Voyagers) to attempt to spread the word about his fight against the TV fee for pensioners when Goya's painting is taken — that, and to get the BBC to produce the television scripts he devotedly pens and sends in, but receives no interest back from the broadcaster. Even the Bond franchise couldn't have dreamed up these specifics. The Duke's true tale is far wilder than fiction, and also so strange that it can only spring from reality. Directed by Roger Michell (My Cousin Rachel, Blackbird) — marking the British filmmaker's last fictional feature before his 2021 passing — it delivers its story with some light tinkering here and there, but the whole episode still makes for charming viewing. Much of the minutiae is shared during Bunton's court case, which could've jumped out of a Frank Capra movie; that's the feel-good vibe the movie shoots for and easily hits. Such a move couldn't be more astute for a flick that surveys an incident from more than half a century ago, but reaches screens in a world where the chasm between the haves and the have-nots just keeps widening. Yes, it's basically a pensioner-and-painting version of Robin Hood. Read our full review. MORBIUS Every studio wants a Marvel Cinematic Universe to call its own, or an equivalent that similarly takes a big bite out of the box office — and that very quest explains why Morbius exists. On the page, the character also known as 'the Living Vampire' has been battling Spider-Man since 1971. On the screen, he's now the second of the web-slinger's foes after Venom to get his own feature. This long-delayed flick, which was originally due to release before Venom: Let There Be Carnage until the pandemic struck, is also the third film in what's been dubbed Sony's Spider-Man Universe. As that name makes plain, the company is spinning its own on-screen world around everyone's favourite friendly neighbourhood superhero, because that's what it owns the rights to, and has started out focusing on villainous folks. So far, the movie magic hasn't flowed. If that explanatory opening paragraph felt like something obligatory that you had to get through to set the scene, it's meant to. That's how Morbius feels as well. Actually, that's being kinder than this draining picture deserves given it only has one purpose: setting up more films to follow. Too many movies in too many comic book-inspired cinematic universes share the same fate, because this type of filmmaking has primarily become $20-per-ticket feature-length episodes on a big screen — but it's particularly blatant here. Before the MCU's success, the bulk of Morbius would've been a ten-minute introduction in a flick about supervillains, and its mid-credits teasers would've fuelled the first act. Now, flinging every bit of caped crusader-adjacent material into as large a number of cinematic outings as possible is the status quo, and this is one of the most bloodless examples yet. Jumping over to the SSU from the DCEU — that'd be the DC Extended Universe, the pictures based around Batman, Superman, Wonder Woman, Suicide Squad and the like (but not including Joker or The Batman) — Jared Leto plays Morbius' eponymous figure. A renowned scientist, Dr Michael Morbius has a keen interest in the red liquid pumping through humans' veins stemming from his own health issues. As seen in early scenes set during his childhood, young Michael (Charlie Shotwell, The Nest) was a sickly kid in a medical facility thanks to a rare disease that stops him from producing new blood. There, under the care of Dr Emil Nikols (Jared Harris, Foundation), he befriended another unwell boy (debutant Joseph Esson), showed his smarts and earned a prestigious scholarship. As an adult, he now refuses the Nobel Prize for creating artificial plasma, then tries to cure himself using genes from vampire bats. Morbius sports an awkward tone that filmmaker Daniel Espinosa (Life) can't overcome; its namesake may be a future big-screen baddie, but he's also meant to be this sympathetic flick's hero — and buying either is a stretch. In the overacting Leto's hands, he's too tedious to convince as a threat or someone to root for. He's too gleefully eccentric to resemble anything more than a skit at Leto's expense, too. Indeed, evoking any interest in Morbius' inner wrestling (because saving his own life with his experimental procedure comes at a bloodsucking cost) proves plodding. It does take a special set of skills to make such OTT displays so pedestrian at best, though, and that's a talent that Leto keeps showing to the misfortune of movie-goers. He offers more restraint here than in Suicide Squad (not to be confused with The Suicide Squad), The Little Things, House of Gucci or streaming series WeCrashed, but his post-Dallas Buyers Club Oscar-win resume remains dire — Blade Runner 2049 being the sole exception. Read our full review. SONIC THE HEDGEHOG 2 It was true in the 90s, and it remains that way now: when Jim Carrey lets loose, thrusting the entire might of his OTT comedic powers onto the silver screen, it's an unparalleled sight to behold. It doesn't always work, and he's a spectacular actor when putting in a toned-down or even serious performance — see: The Truman Show, The Majestic, I Love You Phillip Morris and his best work ever, the sublime Eternal Sunshine of the Spotless Mind — but there's a reason that the Ace Venture flicks, The Mask and Dumb and Dumber were some of the biggest movies made three decades back. Carrey is now a rarity in cinemas, but one franchise has been reminding viewers what his full-throttle comic efforts look like. Sadly, he's also the best thing about the resulting films, even if they're hardly his finest work. That was accurate in 2020's Sonic the Hedgehog, and it's the same of sequel Sonic the Hedgehog 2 — which once again focuses on the speedy video game character but couldn't feel like more of a drag. The first Sonic movie established its namesake's life on earth, as well as his reason for being here. Accordingly, the blue-hued planet-hopping hedgehog (voiced by The Afterparty's Ben Schwartz) already made friends with small-town sheriff Tom Wachowski (James Marsden, The Stand). He already upended the Montana resident's life, too, including Tom's plans to move to San Francisco with his wife Maddie (Tika Sumpter, Mixed-ish). And, as well as eventually becoming a loveable member of the Wachowski family, Sonic also wreaked havoc with his rapid pace, and earned the wrath of the evil Dr Robotnik (Carrey, Kidding) in the process. More of the same occurs this time around, with Sonic the Hedgehog 2 taking a more-is-more approach. There's a wedding to ruin, magic gems to find and revenge on the part of Robotnik. He's teamed up with super-strong echidna Knuckles (voiced by The Harder They Fall's Idris Elba), in fact, while Sonic gets help from smart-but-shy fox Tails (voice-acting veteran Colleen O'Shaughnessey). Gone are the days when an animated critter's teeth caused internet mania. If that sentence makes sense to you, then you not only watched the first Sonic the Hedgehog — you also saw the chatter that erupted when its initial trailer dropped and the fast-running creature's humanised gnashers looked oh-so-disturbing. Cue a clean-up job that couldn't fix the abysmal movie itself, and an all-ages-friendly flick that still made such a ridiculous amount of money (almost $320 million worldwide) that this follow-up was inevitable. The fact that Sonic the Hedgehog 2 arrives a mere two years later does indeed smack of a rush job, and the end product feels that way from start to finish. That isn't the only task this swift second outing is keen to set up, with bringing in fellow Sega characters Knuckles and Tails the first step to making a Sonic Cinematic Universe. Yes, with Morbius reaching theatres on the exact same day as Sonic the Hedgehog 2, it's an ace time for sprawling start-up franchises sparked by a quest for cash rather than making great cinema — an ace time for the folks collecting the money, that is, but not for audiences. Both otherwise unrelated movies are flimsy, bland and woefully by-the-numbers, and seem to care little that they visibly look terrible thanks to unconvincing CGI. Sonic the Hedgehog 2 also falls victim to one of the worst traits seen in family-appropriate pictures: being happy to exist purely as a distraction. That means pointless needle drops that shoehorn in pop hits for no reason other than to give kids a recognisable soundtrack to grab their attention, and an exhausting need to whizz from scene to scene (and plot point to plot point) as if the film itself is suffering a sugar rush. Also covered: unnecessary pop-culture references, including inexplicably name-dropping Vin Diesel and The Rock, and also nodding to all things Indiana Jones. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; January 1, January 6, January 13, January 20 and January 27; February 3, February 10, February 17 and February 24; and March 3, March 10, March 17 and March 24. You can also read our full reviews of a heap of recent movies, such as Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers, The Eyes of Tammy Faye, Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special and RRR.
When June rolls around this year, Sydney's State Theatre won't be filled with cinephiles. Event Cinemas George Street won't welcome eager movie buffs either, and nor will other picture palaces around the city. Usually, they'd be teeming with Sydney Film Festival attendees; however the fest cancelled its 2020 physical event back in March, when COVID-19 restrictions started coming in. To the delight of film fans, however, SFF is moving online instead. After announcing the digital festival earlier this month, SFF has now revealed its first-ever all-online lineup, in what promises to be a once-off pandemic-only affair. If you're fond of film fests and you live somewhere other than Sydney, you'll be pleased to know that the 67th Sydney Film Festival: Virtual Edition is also streaming nationally, too. While SFF won't be showing hundreds of movies like it normally does, it has still compiled an interesting and engaging roster of flicks — specifically focusing on features by female filmmakers from Europe, Australian documentaries and an array of short films. Moving SFF's regular Europe! Voices of Women in Film program strand online, the digital fest will screen ten new movies by women directors from countries such as Germany, Finland, Switzerland, Sweden, Poland and Ireland. Highlights include Sea Fever, a tense and rather fitting sci-fi thriller that tracks a contagion on a fishing trawler; Force of Habit, an anthology film exploring women's everyday experiences; and Charter, following a mother's actions during a fraught custody battle — as well as documentary A Year Full of Drama, which charts a small-town competition winner who is enlisted to review every theatre production in Estonia in 2018. https://www.youtube.com/watch?v=OFJxW46F0YQ From the Aussie doco selection, ten films will compete for Documentary Australia Foundation Award for Best Australian Documentary, with the annual SFF prize being presented via a virtual awards ceremony this year. Among the contenders, Morgana follows a middle-aged housewife's decision to start starring in her own sex- and age-positive erotic films, while Descent focuses on one of the world's only professional ice free-divers. There's also The Weather Diaries, which sees filmmaker Kathy Drayton charts the effects of climate change on her daughter, musician Lupa J, as she grows up over six years, plus A Hundred Years of Happiness, about a young Vietnamese woman forced to choose between staying in her rural home to care for her parents and moving to South Korea to get married. SFF's shorts range spans another 13 titles, including ten vying for the Dendy Awards for Australian Short Films. Three others specifically hail from screen practitioners with disability as part of the fest's returning Screenability strand. Available to watch for the fest's entire duration, all of the above films are ticketed, starting at $5 for the Screenability shorts package, then costing $14 for a single movie. You can watch everything in either the Documentary Australia Foundation or Europe! Voices of Women in Film package for $99, too, or view the entire lineup — shorts and feature-length flicks — for $199. SFF's virtual program also includes two free components, should you be interested in looking back on previous fest highlights. The festival is one of 20 worldwide events taking part in We Are One: A Global Film Festival, which screens on YouTube from Friday, May 29–Sunday, June 7. As part of the online fest, it's showing Aussie films Mystery Road and Mabo, which you can view at set times without paying a cent. Or, Aussie movie lovers can binge their way through the 40-film Sydney Film Festival Selects collection on SBS On Demand, available from Wednesday, June 10–Friday, July 10. It's a best-of lineup featuring plenty of top titles from previous SFFs, so get ready to revisit Studio Ghibli co-production The Red Turtle, Taika Waititi's Boy, the Greta Gerwig-starring Frances Ha, Aussie comedy That's Not Me and New Zealand's The Breaker Upperers. You can also feast your eyes on Palme d'Or winner The Square, Scandi thriller The Guilty, Turkish drama Mustang and Xavier Dolan's Heartbeats, among other films. The 67th Sydney Film Festival: Virtual Edition runs from Wednesday, June 10–Sunday, June 21. For further details — or to purchase tickets and view the festival's programmed films during the above dates — visit the SFF website. Top image: Sea Fever.
When Parasite became a smash that just kept winning awards — including Cannes' Palm d'Or, Sydney Film Festival's annual prize and a heap of Oscars — news arrived that the best film of 2019 would also get the TV treatment. So far, that hasn't come to fruition, sadly. But another stone-cold South Korean thriller masterpiece is now on its way to the small screen: Park Chan-wook's Oldboy. 2024 marks 21 years since the Decision to Leave, The Handmaiden, Joint Security Area, Thirst and Stoker director gave the world the first screen adaptation the Japanese manga of the same name — and also a middle chapter to his Vengeance Trilogy, following 2002's Sympathy for Mr Vengeance and preceding 2005's Lady Vengeance. Now, after an American movie remake popped up in 2013 directed by none other than Spike Lee (Da 5 Bloods), Oldboy is making the leap to television. Just as with the US flick, the TV show will be in English. "Lionsgate Television shares my creative vision for bringing Oldboy into the world of television," said Park in a statement, as reported by Variety. "I look forward to working with a studio whose brand stands for bold, original and risk-taking storytelling," he continued. Park will produce the series, adding another small-screen effort to his resume alongside 2018's The Little Drummer Girl and 2024's The Sympathizer. Park's Oldboy kicks off in 1988, when Oh Dae-su (Choi Min-sik, Big Bet) gets too drunk to attend his daughter's fourth birthday, even ending up at the police station. He doesn't get home from there, instead becoming imprisoned in a hotel room for 15 years by kidnappers intent on keeping him alive. When freedom finally comes, so does a bloody revenge quest. "Park is one of the most visionary storytellers of our generation, and we're excited to partner with him in bringing his cinematic masterpiece to the television screen," said Lionsgate Television's Executive Vice President and Head of Scripted Development Scott Herbst about the new TV show. While there's no word yet about how closely the storyline will adhere to the original — and nothing on casting, either, or when the show will release — Herbst also advised that "this series adaptation of Oldboy will feature the raw emotional power, iconic fight scenes and visceral style that made the film a classic." There's obviously no sneak peek yet for the Oldboy TV series — but find the trailer for Park's film above and Lee's film below: The Oldboy TV series doesn't yet have a release date — we'll update you when more details are announced. Via Variety.
Back in 2020, which now seems a lifetime ago, St Jerome's Laneway Festival celebrated 15 years since Danny Rogers and Jerome Borazio first decided to fill a Melbourne alleyway with tunes. The beloved fest marked that milestone with a characteristically jam-packed lineup that made its way to Sydney, Adelaide, Brisbane and Fremantle, as well as Auckland — but since then, it's been quiet thanks to the pandemic. After two Laneway-less years, the festival has finally locked in dates for its 2023 return — plus new venues for four of its five Australian stops. The festival will kick off in Auckland, returning to Albert Park for the long weekend of Auckland Anniversary Day on Monday, January 30. From there it will arrive in Brisbane on Saturday, February 4, Sydney on Sunday, February 5, Adelaide on Friday, February 10, Melbourne on Saturday, February 11 and Perth on Sunday, February 12. Across these five Australian dates, the Brisbane venue is the only one that has remained consistent from the festival's 2020 run of shows, taking to Brisbane Showgrounds again. The Melbourne leg of the festival has been forced to move away from its previous home at Footscray Park and will now pop up at the newly opened Epsom Road venue The Park in Flemington. The Park has an on-site train station and is located just 15 minutes from the CBD. [caption id="attachment_655626" align="alignnone" width="1920"] Anthony Smith[/caption] In Sydney, after 10 years at Sydney College of the Arts and Callan Park, Laneway 2020's Sydney date shifted to The Domain. Now for 2023, it's moved again and will be making its home at the Sydney Showground. Sydneysiders will associate the Showground with the Sydney Royal Easter Show, but this won't be its first time hosting a major touring music festival, as it was once the regular home for the now-defunct Big Day Out. The South Australian leg has moved from Port Adelaide's Hart's Mill to the Adelaide CBD's Bonython Park, and, in the biggest move, the Western Australia leg will be going down at the recently revamped Wellington Square. "The Laneway Festival team is constantly looking for ways to improve and enhance the patron and artist experience and each of the sites will allow us to bring in A+ production and facilities. We are absolutely pumped to host music fans and our favourite ever line-up on these new sites," Laneway Festival co-Founder Danny Rogers said. If you're hanging out to know who will be gracing the stage next year, you'll have to wait a couple more days. The lineup is set to drop at 7.40am this Wednesday, September 21. In 2020, the lineup was headed up by the likes of The 1975, Charli XCX and Earl Sweatshirt, as well as a host of local favourites like Ruel, DMA's and Ocean Alley. View this post on Instagram A post shared by St. Jerome's Laneway Festival (@lanewayfest) St Jerome's Laneway Festival will return to Auckland, Brisbane, Sydney, Adelaide, Melbourne and Perth between Monday, January 30 and Sunday, February 12. Head to the festival's social pages for all the info on its 2023 edition and for next year's lineup when it drops this Wednesday, September 21.
Lime Cordiale are sleeping at your door, Bel Heir are kissing the devil whilst Magic Man are simply enjoying every day — as you should this weekend. You've earned it. 1. 'SLEEPING AT YOUR DOOR' - LIME CORDIALE Welcome spring! We have endured the cold winter months just to feel your warm, sun-filled embrace and it has been a wonderful first week. Farewelling winter also means that our speakers are set to be overrun by upbeat tracks that everybody can dance to all summer long, and Lime Cordiale have delivered one that will be on repeat until the cold returns. 'Sleeping At Your Door' is a 3 minute 18 second long bundle of energy and if it leaves you craving more, then do not fret, as their new album was released today. Keep it up spring! 2. 'MAD' - DE VERRE Hypnotising is the best adjective to describe De Verre's debut musical offering. The Southern Californians have delivered a sensual number dripping in allure. It is intoxicating, arousing and soothing all at once, with a video to match. This one is for later in the evening; step aside Barry White. 3. 'KISS THE DEVIL' - BEL HEIR Since Bel Heir announced that they would release a new track on the first Tuesday of each month for the rest of 2013, I have been looking forward to their monthly treat. If 'Kiss The Devil' is anything to go by, then we have three more incredible songs on their way. So have a listen to this track and if you haven't already noted the first Tuesday of October, November and December by the end of it then do so now. Also, extra kudos for their excellent band name. 4. 'HEALTH' - STILL PARADE Still Parade released a beautiful song 'Actors' in May and then went silent, until now. 'Health' is refreshingly simplistic, pulling you onto an emotional roller-coaster that has just the right amount of twists and turns. If they are going to produce gems like this, then I think we should all be okay with letting them disappear for four months at a time to return with musical magic. 5. 'EVERY DAY' - MAGIC MAN Speaking of magic, Magic Man has decided to pull out the guitars and drums and play them harmoniously to create 'Every Day', a track set to lighten 2013 road trip playlists. The band has a similar sound to HAIM, which is a compliment and a half so be sure to pick up their EP You Are Here on Tuesday, 10 September, whilst you wait for HAIM's debut.
The last time that Alien and Ghostbusters legend Sigourney Weaver appeared on-screen, she played a 14-year-old Na'vi girl in Avatar: The Way of Water. The next time that the iconic actor pops up, she'll be in Australia, in a seven-part streaming drama. That series: The Lost Flowers of Alice Hart, which sees Holly Ringland's 2018 novel get the miniseries treatment, and casts Weaver as the grandmother to the titular nine-year-old, who has just lost her parents in mysterious circumstances. On the page and on Prime Video — where The Lost Flowers of Alice Hart will debut on Friday, August 4 — Alice moves to Thornfield flower farm after the life-changing tragedy, and starts to find solace among its wildflower blooms. But her new home is also the place where secrets about her family and their past start to blossom. The just-dropped first teaser trailer for the series emphasises that it hails from the producers of Big Little Lies and Nine Perfect Strangers, if you're wondering about the show's mood. Lambs of God's Sarah Lambert, Mustang FC's Kirsty Fisher and A League of Their Own's Kim Wilson penned the scripts, while Penguin Bloom's Glendyn Ivin directs every instalment. As well as Weaver as Alice's grandmother, The Lost Flowers of Alice Hart stars Alycia Debnam-Carey (Fear the Walking Dead) as its namesake, plus Ayla Browne (Nine Perfect Strangers) as the younger version. The cast from there is a who's who of homegrown talent, including fellow Nine Perfect Strangers alum Asher Keddie, Leah Purcell (The Drover's Wife The Legend of Molly Johnson), Tilda Cobham-Hervey (Hotel Mumbai), Xavier Samuel (The Clearing) and Alexander England (Black Snow). Frankie Adams (The Expanse), Charlie Vickers (The Lord of the Rings: The Rings of Power) and Sebastián Zurita (How to Survive Being Single) also feature, and the first glimpse at the show unsurprisingly highlights the Aussie backdrop, all the swirling lies and its big-name stars. When it hits Prime Video, The Lost Flowers of Alice Hart will join the streaming platform's growing Australian-made lineup, which keeps dropping local fare in 2023. Already in queues: Class of '07, about the mayhem that follows when an apocalyptic tidal wave hits during an all-girls college's ten-year reunion; and the exceptional Deadloch, a Tasmania-set murder-mystery comedy from The Kates. Check out the first teaser trailer for The Lost Flowers of Alice Hart below: The Lost Flowers of Alice Hart will start streaming via Prime Video from Friday, August 4.
More than three decades since it was first published, the Watchmen series of comics is still considered one of the all-time greats of the medium. Brought to the page by writer Alan Moore and artist Dave Gibbons, the premise says plenty: in an alternative version of the world we all live in, superheroes definitely exist — but their presence has drastically altered history. Here, the Cold War turned out differently, caped crusaders largely work for the government and anyone else enforcing law and order while wearing a costume has been outlawed. Now, imagine that tale told with a satirical edge that deconstructs the superhero phenomenon, and you can see why it has hordes of devotees. Back in 2009 when comic book flicks were just starting to pick up steam — and when 22-film franchises were a mere dream — Watchmen was turned into a movie by Zack Snyder (who was fresh from 300, but hadn't made the jump to Batman v Superman or Justice League yet). Sequels clearly didn't follow; however, HBO is now hoping that the story will flourish on the small screen, enlisting Lost and The Leftovers co-creator Damon Lindelof to make it happen. Obviously, with Game of Thrones finishing, the network is in the market for a new pop culture phenomenon. This isn't just a straight adaptation. Apparently the series "embraces the nostalgia of the original groundbreaking graphic novel of the same name while attempting to break new ground of its own," according to HBO. An exact release date hasn't yet been revealed, other than fall in the US (aka spring in Australia and New Zealand) — but if you can't wait until then, HBO has dropped the first teaser for the new series. It's your first chance to catch a glimpse of the show's stacked cast, which includes Jeremy Irons, Don Johnson, Tim Blake Nelson, this year's Best Supporting Actress Oscar winner Regina King, Hong Chau, Louis Gossett Jr and Aussie actress Adelaide Clemens. Check out the trailer below: https://www.youtube.com/watch?v=zymgtV99Rko Watchmen will air on HBO in the second half of the year, with an exact release date yet to be announced. We'll keep you updated — including about air dates Down Under.
When a beaming face is described as "the worst smile I have ever seen in my life", it isn't quickly forgotten. The grins in Parker Finn's films aren't meant to be easily shaken. That line springs from the writer/director's debut feature, which wasn't his first to wonder what might happen if someone couldn't stop seeing the same Cheshire Cat-like expression everywhere to nerve-shredding effect. Before Smile became the highest-grossing horror movie of 2022 — and before the box-office smash spawned 2024 sequel Smile 2 — Finn played with the same concept in his 2020 short Laura Hasn't Slept. Australian actor Caitlin Stasey (Class of '07) plays the eponymous character, who can't get some shuteye as the film's title notes. As she explains to a therapist when the short begins, closing her eyes means having nightmares about a smiling face. When Smile then starts, Laura is in the frame again, still struggling with a grin that no one wants to see. The concept from there: that being taunted and haunted by the eerie smile that can appear everywhere and on anyone is both deeply unsettling and contagious. Smile's point of focus is psychiatrist Rose Cotter (Sosie Bacon, Mare of Easttown). In Smile 2, it's mega pop star Skye Riley's (Naomi Scott, Anatomy of a Scandal) turn. When the supernatural force at the centre of Finn's work so far is smiling, which is whenever it's on-screen no matter the face it has taken, the unlucky target's whole world feels anything but warm. Horrific, terrifying, distressing, tormenting: those terms all fit as well. So discovers Skye a year after a car accident ended her last tour, also leaving her both injured and grieving. She's on the comeback trail when Smile 2 kicks off, with a new album out and a fresh run of live gigs to come. Then a smiling malevolent evil won't leave her alone — and the spiralling that follows as she endeavours to understand what's happening, what's real and what isn't, and how to stop it, all plays out in the public gaze. These are flicks to see with an audience, even if Laura Hasn't Slept made the program at 2020's SXSW in Austin, which took place solely online due to the pandemic. It still won a Special Jury Award in the Midnight Short program, then clearly caught Hollywood's attention. Finn himself loves seeing viewers react to his movies. His latest chance to do just that came via Smile 2's Australian premiere. It was also his latest connection with SXSW, this time at SXSW Sydney 2024, where the film screened as one of the SXSW Sydney Screen Festival headliners. [caption id="attachment_976458" align="alignnone" width="1920"] Don Arnold/Getty Images for Paramount[/caption] "It's the best. I think that, especially as a writer/director, it's incredibly delayed gratification when you're trying to make a film. It takes years to do it. The whole reason that I make films is for audiences, and that moment when you finally are putting it out in the world, I love watching the film with audiences," Finn tells Concrete Playground following a screening that he advises was "fantastic, great crowd, really fun". He continues: "so to hear everybody screaming or laughing or gasping or going silent all at the same moment, it's the best". Also featuring Lukas Gage (Dead Boy Detectives), Rosemarie DeWitt (The Boys), Ray Nicholson (Licorice Pizza — and, yes, the son of Jack Nicholson), Dylan Gelula (Hacks), Peter Jacobson (Fly Me to the Moon) and Raúl Castillo (Cassandro), plus Smile's Kyle Gallner (Strange Darling) returning, Smile 2 skews bigger, bolder and gorier than its predecessors. It reinforces a clever connection at the heart of the franchise, too: that seeing people happy and smiling when you're having a tough time, with or without a supernatural force at work, can be hellish itself. We also chatted with Finn about what makes an unshakeably scary smile for him, the inspiration for the franchise, researching pop stars, casting an incredibly committed Scott as Skye, his hopes for the future of all things Smile and more. On What Makes a Perfectly Unnerving Smile That Creeps You to Your Bones "The smiles in the film are all human performance. We're not adding any VFX or CG to these. And for me, it's that uncanny sort of smile that feels like it should be friendly. But the way that we frame it, the way that we have the throughline of how the actors perform it — for me it's the disconnected eyes from the smile that don't break staring at you, it just creates so much tension and stress for me. I find it really creepy." On What Inspires a Maniacally Smiling Figure to Pop Into Your Mind When You're Dreaming up a Serial Killer-Like Supernatural Entity "I think that what's so great about, for me, the concept of Smile is that of course there's turning the warm, friendly gesture on its head, and turning it into something cruel and upsetting — but what I really love about it is this idea of how we employ smiles almost as a mask. And what we put out into the world, we're trying to say 'hey, everything's okay' and it's hiding what's really going on on the inside. In the world of Smile, I love that if you look on the other side of that coin, the smiling faces are also hiding something on the other side, belying what's really behind that smile, something quite evil. And for me, I love that dichotomy." On Making a Connection Between Skye Spiralling and How a Smile Can Feel Taunting If You're Struggling "The reason I want to tell these stories, I love all these big supernatural elements, but it's really about this character's story and really trying to put the audience in this character's shoes. Which was an interesting challenge for this film because Skye is a mega-famous pop star, which is not necessarily a relatable scenario for most people. But I wanted to go behind that velvet rope and tie them to this human being who's quite broken and dealing with really fraught emotions. And I wanted people to really be able to connect with her and relate with her as a human being, and to feel the stress and the anxiety and the walls closing in as she's spiralling out of control, trying to use all the techniques of filmmaking to make the audience feel what Skye feels." On the Research That Went Into the Pop Star Side of the Story, Including Diving Into Pressures, Expectations and Constant Public Scrutiny "I think we're at this peak parasocial relationship with celebrity, and nothing is bigger in celebrity or fame right now than pop. So some of these pop stars have been elevated to the status of a demigod. And I was so interested about what's going on behind the scenes, the real person behind that. How can you deal with that level of expectation? So I dove headfirst into research. I watched every documentary that I could. I read every essay, every article, every interview and just kind of immersed myself in that world of pop. And so much from that research directly wormed its way into the script and into the film. It really helped guide a lot of what I wanted to do." On Enlisting Naomi Scott to Play Skye — and Her Performance at the Pop Star's Best and Worst Moments "I think that Naomi was the perfect storm for this character. She inherently has this X-factor gravitas to her, where I believe this mega pop star, that she could really be this character. But at the same time, she's capable of these incredibly raw, human moments, as she's hitting rock bottom. And it happens to be that she's this incredibly talented singer, she can perform choreography, she can do all these amazing things. She's such a force of nature, and the role was incredibly demanding, and it was an absolute dream to get to work with her." On Creating an Unsettling Mood and Tone That Kicks in Immediately and Doesn't Subside "Mood and tone, and this creeping sense of dread, is something that is really important for me to build into these films. I wanted to make sure that in both films, we, from the opening frame, feel incredibly anxious — and that the movie, what we're exploring with some of the themes and motifs, I want to create that emotionality for the audience, to make them feel what the movie is doing to the characters. It's all about this precision use of filmmaking tools. Obviously performance, what we're doing with the camera, sound design, everything, to just build this stress that just keeps bubbling and boiling more and more and more — and it turns into this powderkeg that's ready to explode by the end." On Finn's Dream for the Concept When He Was Starting Out with Laura Hasn't Slept "The dream was that it got into SXSW. That was as far as I had gotten — as far as thinking 'hey, how is this film going to live and be presented to the world?'. I made that short to stand alone. But while I was in post on it, I had this idea that eventually became the first Smile. The short had really inspired that journey towards Smile. But I think that short and everything that happened after, that's a very rare example where reality way, way, way overshot any expectations I had. So it was like a pinch-me, dream-come-true moment." On Going Bigger in Scope, Scares, Tension, Intensity, Gore, Shocks and Boldness with Smile 2 "Of course I wanted to challenge myself. For me, I only want to make films that I'm terrified to make. I think that's how I'm going to get the best out of myself. But making that jump from the first Smile to Smile 2, it's a much bigger film and I bit off a lot more. But I always love to try to punch above my budget and above our schedule, and go maximalist with everything. So we have more resources, yes, but we also are doing so much more, this so much more movie to make — so it was still just about putting that one foot in front of the other and trying to create the best experience for the audience possible." On Where Finn Would Like to Take the Smile Franchise From Here "I think we'll have to see. I think there's a lot of really exciting directions that that Smile could go. Right now, I'm really excited to see how audiences react to Smile 2. If we're so lucky to have audiences connect with it, I love the idea that these movies could just keep getting more and more off the rails and insane, and really doing new, unexpected versions of what Smile is. That would be important to me, to keep it very fresh and exciting and unexpected." Smile 2 opened in cinemas Down Under on Thursday, October 17, 2024.
Some events feel like they've always been part of Brisbane's cultural scene, and Stones Corner Festival is one of them — even though it'll only host its seventh fest when it returns in 2022. That's the sign of something special, with this street party swiftly becoming one of the city's must-attend festivals. It's been sorely missed during the pandemic, too. Come Sunday, May 1, Stones Corner Festival will once again unleash a day of food and music on the inner east when it finally makes a comeback after a two-year hiatus. And when that happens, the event is going big. On the lineup: Sneaky Sound System, The Porkers and Quentin & The Tarantino's, as well as Good Will Remedy, Jollee, Full Power Happy Hour, Sofia Isella & Cheap Date. That's who you'll be listening to — or dancing in the street to, to be more accurate — however, the music bill is only part of the Stones Corner Festival fun. You can also expect more than 20 craft breweries pouring beers, including Little Creatures, 4 Pines, Slipstream, Balter, Eumundi, Brookvale Union, Mountain Goat and Green Beacon. Four Pillars Gin, Your Mates Brewing Co, Heads of Noosa and Better Beer will be on hand as well, so you'll have sipping options. Eating-wise, a heap of food trucks will pop up to keep your stomach lined — including with burgers, paella, tacos and pizza. And as for what else awaits on the corner of Logan and Old Cleveland roads — and during the Labour Day long weekend, handily — there'll also be market stalls via The Market Folks. If you're planning a big one, that public holiday the next day is oh so convenient. Also, entry remains free, but giving a gold coin donation to the MND and Me Foundation is recommended. STONES CORNER FESTIVAL 2022 LINEUP: Sneaky Sound System The Porkers Quentin & The Tarantino's Good Will Remedy Jollee Full Power Happy Hour Sofia Isella Cheap Date Stones Corner Festival takes place from 12–10pm on Sunday, May 1 on Logan Road, Stones Corner.
MELT might be well and truly over for 2017; however that doesn't mean that Brisbane Powerhouse won't keep highlighting queer arts and culture all year round. The latest theatre work to grace their stage is I Am My Own Wife, which takes its tale from the real-life plight of a German transgender woman who survived both the Nazis and Communism. The 2004 Tony Award winner for best play and best lead actor — and Pulitzer Prize winner for drama in the same year, too — was written by playwright Doug Wright based on his conversations with Charlotte von Mahlsdorf. Sharing its name with her autobiography, I Am My Own Wife dives into what it takes to retain your identity under oppression, and to survive as well. A one-person show is the end result, with Ben Gerrard stepping into Charlotte's shoes for this production. A story like no other and a demanding performance are certain to combine, with Gerrard — who audiences might recognise from TV's Molly and Outland, as well as Wolf Creek 2 on the big screen — not simply playing the main part, but taking on more than 30 characters. Image: Harvey House Productions.
With social distancing and public gathering rules in place across the country, Mother's Day is going to look a little different in 2020. While the annual celebration of mums isn't usually associated with fried chicken, KFC is, this year, bucking the trend and launching a 'mum-umental' celebration of chook. This Mother's Day weekend, KFC is slashing 25 percent off its entire menu — and delivering it to your door. So, order some finger lickin' good chook and Zoom your mum to tell her you love her (and maybe send her a gift, if you haven't already). The limited-time offer is available from select KFC stores nationwide and runs from Saturday, May 9 till midnight on Monday, May 11. To get your hands on some cheap 11 secret herbs and spices, head to Menulog's website or use the Menulog app and enter KFC4MUM at checkout. The deal is only valid when you spend $30 or more. While your food is on its way, you can meditate with KFChill, a wellness website that lets you unwind to the sound of chicken frying, gravy simmering or bacon sizzling away in a pan. Yes, it'll make you hungry. You can't road trip to the world's first drive-thru-only KFC or marry your loved at the famed chicken chain this weekend, but 25 percent off a Zinger Burger, Original Recipe Chicken and potato and gravy is sure to lift your spirits. Plus, Popcorn Chicken is a pretty good snack for when you're binging Tiger King or streaming this year's Oscar-winning flick. KFC is offering 25 percent off its entire menu via Menulog from Saturday, May 9 to 11.59pm on Monday, May 11. To order, head to the Menulog website and enter KFC4MUM at checkout. The deal is only valid for orders of $30 or more.
HBO's Cordyceps infection isn't going anywhere soon — not for the seven more weeks that The Last of Us' first video game-to-TV season has left to air, and not for a further season after that either. In excellent news for fans of the PlayStation title, the Pedro Pascal (The Unbearable Weight of Massive Talent)- and Bella Ramsey (Catherine Called Birdy)-starring show it has inspired, and both, the US network behind it has officially announced that its first massive hit of 2023 will return for a second season. This development is hardly surprising, but still obviously hugely welcome. When it comes to mashing buttons, the 2013 game also inspired a 2014 expansion pack and 2020 sequel. Also, even just two episodes in so far, HBO's version has been attracting viewers faster than any sudden movement attracts zombies. When the series' debut episode aired on Sunday, January 15 in the US and Monday, January 16 Down Under — where it screens and streams via Foxtel and Binge in Australia, and on Neon in New Zealand — it became HBO's second largest debut ever. The first? A little show called House of the Dragon in 2022. In America alone, The Last of Us' movie-length first instalment has notched up more than 22 million viewers, while its second episode earned 5.7 million viewers just on one night — more than a million than that premiere chapter, and giving HBO its largest-ever growth from week one to week two of any series it has ever made. In other words, even after leaping to television with a huge gaming fanbase behind it, The Last of Us' popularity is spreading. Given how impressive the HBO series' first season is — how thoughtful, character-based, well-cast, and committed to exploring not just what's happening in its contagion-ravaged dystopian world but why life is worth fighting for — that too is unsurprising. For newcomers to the franchise on consoles and as a TV series, it's set 20 years after modern civilisation as we know it has been toppled by a parasitic fungal infection that turns the afflicted into shuffling hordes. Pascal plays Joel, who gets saddled with smuggling 14-year-old Ellie (his Game of Thrones co-star Ramsey) out of a strict quarantine zone to help possibly save humanity's last remnants. There wouldn't be a game, let alone a television version, if that was an easy task, of course — and if the pair didn't need to weather quite the brutal journey. As a television series, The Last of Us hails from co-creator, executive producer, writer and director Craig Mazin, who already brought a hellscape to HBO (and to everyone's must-watch list) thanks to the haunting and horrifying Chernobyl. He teams up here with Neil Druckmann from Naughty Dog, who also penned and directed The Last of Us games. Alongside Pascal and Ramsey, the series also boasts Gabriel Luna (Terminator: Dark Fate) as Joel's younger brother and former soldier Tommy, Merle Dandridge (The Flight Attendant) as resistance leader Marlene and Aussie actor Anna Torv (Mindhunter) as smuggler Tess. And, Nico Parker (The Third Day) plays Joel's 14-year old daughter Sarah, Murray Bartlett (The White Lotus) and Nick Offerman (The Resort) feature as isolated survivalists Frank and Bill, Storm Reid (Euphoria) pops up as Boston orphan Riley, Jeffrey Pierce (Castle Rock) plays quarantine-zone rebel Perry and Yellowjackets' Melanie Lynskey also guest stars. HBO hasn't announced when season two will arrive, but cross your fingers that it drops early in 2024. Check out the full trailer for The Last of Us below: The Last of Us screens and streams via Foxtel and Binge in Australia, and on Neon in New Zealand. Read our review of the first season. Images: Liane Hentscher/HBO.
Seems we can't get enough of giant floating ducks. But this one could power an entire city. Hoping to make the city of Copenhagen carbon neutral by 2025, a crack team of British artists and designers (Hareth Pochee, Adam Khan, Louis Leger, Patrick Fryer) have pitched one quacker (sorry) of a multipurpose, sustainable energy-producing tourist attraction. Shaped like a giant sea duck and geared up to dabble in Copenhagen Harbour, the proposed 12-storey high structure has been envisioned in lightweight steel, covered top-to-webbed-toe in solar panel plumage. This futuristic duck's not just a planet-saving device though, it has public art aspirations. Collecting the sweet, sweet sunshine during the day for conversion, the 'energy duck' would become an art installation at night with LED lights snuggled within the solar panels. The LEDs are designed to march in time to the hydro turbines within the duck, choreography that reminds the city that sustainability is working while they promenade. Art-meets-sustainability design at its most novelty, the duck is one of the resulting proposals from the Land Art Generator Initiative, a genuinely great project fusing art and design for alternative solutions to renewable energy production. But why a colossal sea duck? First and foremost, the design gives a big nod to the city's local wildlife, whether the local ducks accept their new oversized friend or not. But there's science afoot in this ducked-up idea. According to designboom, the entire design hinges around the different H2O elevations within and without the floating vessel. The duck will store that sweet collected energy in its belly. When the city needs a little power boost, the base of Ol' Quacky is flooded to trigger the necessary amount of electricity for a national grid. Want to get a little closer to the supercharged aquatic adventurer? You'll be able to board, wander through and chill out in the duck's innards, checking out those wondrous PV panels and enjoying the fact that you're hangin' in a duck. Of course, the duck is still just a proposal, but as far as giant floating ducks go, this one seems the most permanent and planet-saving we've seen yet. Via Time and designboom.
Take note: the Madisons are a Brisbane band of babes galore. They are not to be confused with Madison Avenue, that early millennium outfit with the scary woman fronting them. Though, unless you’re hard of hearing and sight, the two bands couldn’t be any more different. Madison Avenue: weirdly sexually-charged elevator music. The Madisons: well, they don’t have any music online yet but I’m sure it’s not as bad as that video I just linked. But if you really want to know about the Madisons (and you do, you really really do) then you should hop skip and/or jump down to Woodland this Friday, where they’ll be carving up the stage for Round Two of Ladies Night. In addition to The Madisons' shred, The Thousands/4ZZZ’s Emily and Sarah, Michaela from Nite Fields and even the Madisons’ own Chloe will be dishing out tunes until the wee hours. Girls girls girls!
Scenic sights, food-filled days and nights, a jam-packed program teeming with event highlights: that's how winter starts each year in the Scenic Rim. For the month of June, this world-renowned southeast Queensland region gets into festival mode, celebrating the eating and drinking options that the area is known for. When you're not touring farms, for instance, you're tucking into farm-to-table feasts. When you're not settling in for long lunches and fire-cooked meals, too, you're learning how to make cheese, saying cheers to spirits, meeting camels or picking edible flowers. That's the Scenic Rim Eat Local Month way, as attendees can enjoy from Friday, May 30–Sunday, June 29 in 2025. By the numbers, this year's fest is going big, with more than 100 food events on the itinerary — and almost 40 of them newcomers to the program. Among that total figure, there's also over 40 long lunches, dinners and degustations; 64 on-farm activities; and 25 workshops and classes. As Scenic Rim Regional Council Mayor Tom Sharp explains it, "Eat Local Month provides the opportunity for our local community, visitors and people from all ages and backgrounds to enjoy an authentic paddock-to-plate experience, and to renew their connection with our natural environment and agricultural production." "Traditionally, growers have taken their product to market; however, we are seeing an increase in consumers wanting to connect with where their food comes from and buy direct from the producers and growers in region. People are not only tasting the freshness and quality of the product, but gain an understanding of the farmers' experience, their lifestyle and their dedication to quality produce," Sharp continues. "From its modest beginnings in 2011, this event has provided a boost to our rural sector, helping to create jobs and drive our region's prosperity. However, it also increases the appreciation for those who put food on our tables and where our food comes from." It falls at the end of 2025's Scenic Rim Eat Local Month, but the fest-within-a-fest celebration that is the Winter Harvest Festival remains one of the event's standouts, taking over Kalbar for three days. Beforehand, across a region that spans from Beaudesert, Kerry and Mount Alford to Beechmont and Tamborine Mountain, too, camel tours, vodka tastings, becoming a brewmaster for a day, high tea and cocktails in a rainforest, a market put on by Towri Sheep Cheeses and learning to make citrus liqueur are among the month's offerings. Also included: a fest dedicated to fermented food, taking to the sky in a hot-air balloon, crafting your own rum, picnicking and walking with alpacas, meandering along an edible garden trail and marking the winter solstice with a camping cookout. If you've ever tasted carrot ice cream, that's likely because you've hit up Scenic Rim Eat Local Month before — or Scenic Rim Eat Local Week, as it was known until 2022. This is the only time of the year that Moffatt's Fresh Produce whip up the unique dessert. The event's annual Kalfresh Carrot Day is also on the agenda, and is always popular. This is a part of the world where 600 million of the orange vegetables are grown each year, after all. For extra motivation to attend, 12 big culinary names have given 2025's festival their tick of approval, with Scenic Rim Eat Local Month's ambassador chefs starting with Alison Alexander, Brenda Fawdon (Picnic Real Food Bar), Cameron Matthews (Mapleton Public House), Caroline Jones (Three Girls Skipping), Daniel Groneberg (Kooroomba Vineyard and Restaurant) and Elliot Platz (Monte Land Wine Bar). Pastry chef Glen Barratt is also among the figures getting behind this treat for lovers of food, drink and gorgeous surroundings, as are Jack Stuart (Blume Restaurant), Javier Codina (Moda), Josh Lopez (Lopez at Home), Olivier Boudon (Roastbeef and The Frog at The Overflow Estate 1895) and Richard Ousby (Cru Bar & Sixes and Sevens). Scenic Rim Eat Local Month 2025 runs from Friday, May 30–Sunday, June 29 at various locations in the Scenic Rim. Head to the festival's website for more information and tickets.
Finding a beach Down Under isn't hard. According to Tourism Australia, this nation girt by sea has 11,761 such coastal spots. But each year, only one is named the best beach in the country by beach expert Brad Farmer AM. When you stop being envious about his dream job, you can use his selection as travel inspiration for this year's sun-, sand- and surf-fuelled getaways. Your 2024 destination: Squeaky Beach. The Wilsons Promontory spot in Victoria has taken top place on Farmer's annual top ten for the year ahead, after South Australia's Stokes Bay, which is located on Kangaroo Island, earned the honours for 2023. Past winners include Misery Beach in Western Australia in 2022, Cabarita Beach in New South Wales in 2020, Nudey Beach on Fitzroy island in Far North Queensland in 2018 and Cossies Beach in the Cocos (Keeling) Islands, in the Indian Ocean, in 2017. [caption id="attachment_939139" align="alignnone" width="1920"] Mark Watson[/caption] Squeaky Beach emerging victorious as Australia's Best Beach for 2024 is the first time that a Victorian beach has placed number one on the ranking. Farmer, who is one of Tourism Australia Friends of Australia, called the location 220 kilometres out of Melbourne — which is a three-hour drive — an "acoustic squeaky-clean delight of compressed quartz and silica sand underfoot" and "one finely tuned favourite to its many fans". "The crashing waves and clear waters of Squeaky Beach stretch for some 700 metres, gracefully enclosed by impressively coloured granite boulders at either end. It's also one of the region's most photographed beaches for good reason. It's simply beautiful," Farmer continued. He also gave Victoria's Bells Beach an honourable mention after his first-place pick — which would make the OG 1991 Point Break proud. [caption id="attachment_939141" align="alignnone" width="1920"] Kramer Photography[/caption] Officially in second spot on 2024's list is The Farm in Shellharbour in New South Wales, followed by Tasmania's Cockle Creek, which is Australia's southernmost beach, in third. Spreading the love around the mainland and beyond, Farmer's fourth placing went to Madfish Bay in Western Australia, his fifth to Pulu Blan Madar Island in the Cocos (Keeling) Islands and sixth to Cylinder Beach on Queensland's North Stradbroke Island. Lord Howe Island's Lagoon Beach came in seventh, South Australia's Long Beach in Robe sits at eighth and Queensland's Cow Bay in Far North placed ninth. Tenth takes the rankings to the Northern Territory, to Casuarina Beach in Darwin. [caption id="attachment_939131" align="alignnone" width="1920"] @jmax[/caption] "The list of 'best beaches' attracts headlines both here in Australia and in key international tourism markets around the world. That's why I take the chance to uncover some of those destinations that might not be well-known but are home to some of Australia's and, in my opinion, the world's best beaches," explained Farmer. "The year's list includes at least one beach from each state, the Northern Territory and even an Australian external territory, which is well off the coast of Australia, but the search for best beaches extends far and wide and one island on the far-flung archipelago caught my eye." [caption id="attachment_939136" align="alignnone" width="1920"] Colby James[/caption] "Of course all of the 'best Australian beaches' for 2024 are worthy of the recognition and so are the many thousands of others in Australia and off our coast, making it a tough, sometimes controversial job to come up with a list of just ten but it has been an honour to do just that once again," Farmer said. You know what to do from here: start making holiday plans that involve your togs. Given the spread of spots across the top ten in the 2024 Australia's best beach list, Aussie in every state and territory except the Australian Capital Territory can hit up one of the year's picks without travelling interstate. For motivation to travel further afield, though, you can't get much better. [caption id="attachment_939137" align="alignnone" width="1920"] Jaxon Roberts[/caption] The Top Ten Best Australian Beaches for 2024: 1. Squeaky Beach, Wilsons Promontory, Victoria 2. The Farm, Shellharbour, New South Wales 3. Cockle Creek, South East, Tasmania 4. Madfish Bay, Great Southern, Western Australia 5. Pulu Blan Madar Island, Cocos (Keeling) Islands 6. Cylinder Beach, North Stradbroke Island, Queensland 7. Lagoon Beach, Lord Howe Island, New South Wales 8. Long Beach, Robe, South Australia 9. Cow Bay, Far North, Queensland 10. Casuarina Beach, Darwin, Northern Territory [caption id="attachment_939133" align="alignnone" width="1920"] @in focus studios[/caption] [caption id="attachment_939134" align="alignnone" width="1920"] @_markfitz[/caption] [caption id="attachment_939135" align="alignnone" width="1920"] @visualjon[/caption] For more of Brad Farmer's beach tips, head to his Best Australian Beaches website. Top images: travelsoftnt, @lillypollard and P Fleming. 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.
No one went to Splendour in the Grass in 2024, after the Australian music festival announced its dates and lineup, then ditched its plans. No one attended Groovin the Moo this year, either, after it went through the same cycle of reveals and cancellations. Harvest Rock hadn't gotten to the stage of unveiling its bill, but it is now the latest Aussie fest to pull the plug on its event for this year, also joining Spilt Milk, Summergrounds Music Festival and Dark Mofo. "After two years of eating, drinking and dancing in Adelaide, we've made the difficult decision to postpone Harvest Rock 2024," announced the festival team in a statement on both the event's website and its social media channels. "This decision was made to ensure that Harvest Rock continues to deliver the experience that our local, national and international fans have come to know and love into the future," the message continued. View this post on Instagram A post shared by Harvest Rock (@harvestrockfest) If you're wondering when Harvest Rock will be back, there's no confirmation of that as yet. "We look forward to delivering another amazing Harvest Rock in the future," the statement also advises. It was back in 2022 that Secret Sounds, the crew behind Splendour in the Grass, gave Australia another massive multi-day music festival. The big aim: to get everyone dancing in a park in Adelaide each spring, including interstaters heading to South Australia to enjoy the fest's travelworthy lineups. The first year welcomed Jack White, Groove Armada, The Avalanches, Crowded House and Courtney Barnett, for starters. 2023's second spin featured Jamiroquai and Beck doing Australian-exclusive shows, plus everyone from Sparks and Nile Rogers & Chic to Bright Eyes and Paul Kelly. [caption id="attachment_969733" align="alignnone" width="1920"] Ian Laidlaw[/caption] A two-day blend of music, food and wine — well, it is in SA — Harvest Rock has also spanned Adelaide's top restaurants and eateries serving up dishes, a culinary-focused stage and wine tastings in the two years that it has taken place. Upon debut, it instantly proved a success, attracting 15,000 attendees per day; however, that hasn't made it immune to Australia's spate of recent music festival cancellations. While Harvest Rock hadn't revealed its 2024 lineup, it did make tickets available for this year in 2023. If you snapped some up, you'll receive an automatic refund via however you purchased them within 14 days. Harvest Rock 2024, which was set to take place at Rymill Park / Murlawirrapurka and King Rodney Park / Ityamai-itpina, Adelaide, is no longer going ahead. Head to the festival's website for further details.
A new blockbuster exhibition is headed Sydney's way, delving into one of the most famous figures in history. Whether you loved learning about the past at school or prefer to get your history fix via flicks like The Mummy, there's something about Tutankhamun that always intrigues — and now more than 150 objects from the ancient boy king's tomb are coming to the Australian Museum. Set to grace the museum's walls in 2021, Tutankhamun: Treasures of the Golden Pharaoh marks a century since King Tut's treasure-laden resting place was first discovered by British archaeologist Howard Carter back in 1922. The exhibition's world-premiere season is currently running in Los Angeles — and while exact Sydney dates are yet been announced, it'll head to our shores for a six-month period, with the New South Wales capital becoming one of only ten cities around the world to play host to the showcase. Golden jewellery, elaborate carvings, sculptures and ritual antiquities will all feature, in an exhibition that "is exclusively focused on interpreting the significance and meaning of artifacts from Tutankhamun's personal tomb and includes," according to the Los Angeles season's website. Visitors can expect to set their sights on a ceremonial bed that historians believe was made for the pharaoh's funeral, a life-sized wooden statue of Tut and a jewelled container that held his liver. Given it's the world's largest Tutankhamun exhibition outside of Egypt — featuring 60 pieces that have never previously left the country — it's a rather big deal. It's also the final time that these items will leave Egypt, as they're set to be permanently housed in the new Grand Egyptian Museum in Giza, which is due to open this year. Tutankhamun: Treasures of the Golden Pharaoh's trip to Sydney will be made possible by a $50 million upgrade to the Australian Museum, which will enhance the facility's ability to host large-scale exhibitions. "Repurposing existing storage space will see the significant expansion of the touring exhibition halls to 1500 square metres across two levels – allowing the Museum to host either one big blockbuster or two exhibitions simultaneously," said museum director and CEO Kim McKay. Tutankhamun: Treasures of the Golden Pharaoh will display at the Australian Museum in Sydney in 2021, with dates yet to be revealed. For more information, keep an eye on the Australian Museum website. Images: AP Images / King Tut: Treasures of the Golden Pharaoh at the California Science Centre.
If you've got a hard earned thirst for some spiffy beer merch, the folks at Victoria Bitter have you covered — and that's been the case for a couple of years. Hankering not just for any old branded VB gear for your wardrobe, but for a retro knitted Christmas sweater? Then you'll be pleased to discover that the famed Carlton & United Breweries beer has just added a new woolly piece to its range. Called the Very Best Christmas Sweater, VB's new jumper looks exactly like you'd want a festive VB piece of apparel to look — and yes, it comes covered with stubbies and snowflakes. Naturally, it makes great use of the brand's red, green and white colour scheme, too. Indeed, the beer's logo has really just been screaming for the Christmas treatment. If you're eager to celebrate Christmas in July by sinking a few brews, you now have the perfect outfit for it. That said, only 500 will be available to purchase. The first 100 have already sold out after going on sale this week, but 400 more will be up for grabs — for $80 each — sometime in the week commencing July 13. Keep an eye on VB's 'Big Cold gear' website for further details. [caption id="attachment_775621" align="aligncenter" width="1920"] Victoria Bitter[/caption] Also on offer: the rest of the brand's retro-styled collection, which nods firmly to the brew's lengthy history quenching the thirst of hardworking Aussies. There are crewneck jumpers, t-shirts, hoodies, beanies and caps, all emblazoned with that instantly recognisable logo. Alongside all the clothes, you'll also find VB jigsaw puzzles — plus glasses, water bottles, coolers, speakers, bar mats and even fridges. Victoria Bitter's 'Big Cold Gear' line is available for purchase online, including its Very Best Christmas Sweater. Top image: Victoria Bitter
If there's one thing that 2020 could use to help distract us from the year's struggles, it's a big dose of rampaging, ravenous dinosaurs. That's the Jurassic Park franchise's remit, of course, and while it won't release its latest live-action big-screen outing until 2021, the series is expanding to Netflix via an animated show. Yes, when it comes to an island filled with dinosaurs, humanity just won't learn. Since Michael Crichton's Jurassic Park hit bookstores in 1990, spawning not only Steven Spielberg's 1993 blockbuster film, but two direct sequels and the recent Jurassic World movies, people just keep clamouring to share the same landmass as re-animated prehistoric beasts. That remains the case in Netflix's Jurassic World: Camp Cretaceous, which links in with the events of 2015's initial Jurassic World flick — and to the franchise's familiar setting, Isla Nublar. This time, six teenagers have been chosen to attend a new adventure camp on the other side of the remote deathtrap. If you've seen the movie, you already know that the dinos break loose, because of course they do. That leaves the plucky youths fighting to survive. As for what happens next (hint: it'll involve stampeding beasts and fleeing humans), you'll find that out when Camp Cretaceous hits the streaming platform on September 18. Executive produced by Spielberg — as well as Jurassic World executive producer Frank Marshall, plus two-time series director Colin Trevorrow — the show is aimed to help fill the gap until Jurassic World: Dominion film releases in 2021. You're probably already excited about that movie, given that it brings back Sam Neill, Laura Dern and Jeff Goldblum; however no one is going to complain about more excuses to watch out-of-control dinosaurs. Camp Cretaceous forms part of Netflix's family slate, so you can probably expect less scares than usual — although the official teaser below is a little creepy. And as for who is voicing Camp Cretaceous' characters, the cast includes Paul-Mikél Williams, Jenna Ortega, Ryan Potter, Raini Rodriguez, Sean Giambrone and Kausar Mohammed as the campers — as well as The Good Place's Jameela Jamil and Set It Up's Glen Powell as camp counsellors. Check out the official teaser trailer below: https://www.youtube.com/watch?v=TKJwbsx1BSc Jurassic World: Camp Cretaceous will hit Netflix on September 18, 2020.
Before our always-on devices and the internet meant that everyone could discover almost anything in seconds, how did anyone know about spectacular surfing spots that weren't in their own backyard, or near enough — and about what people were doing on those waves? When the sport was just becoming popular in Australia in the 50s, taking advantage of the fact that this is indeed a nation girt by sea, how did word of where the best breaks are spread, and the latest techniques? The answer to these questions sits at the heart of Australian documentary You Should Have Been Here Yesterday. To be exact, the solution to sharing tips on where and how to hit the waves provides the bulk of the film. By rustling up 16mm cameras however they could, the era's surfers shot their own footage, then screened the results far and wide to eager crowds. Filmmaker Jolyon Hoff — also a surfer — now splices his latest feature together from such material. First, he made another surfing-related film — and if it wasn't for 2009's Searching for Michael Petersen, about one of the country's legends of 70s surfing, You Should Have Been Here Yesterday wouldn't exist, either. "It all started with that film. I was a film student when I first started making that film — and Michael Peterson was the ultimate iconic mythological character of 1970s Australian surfing. But when I went to make the film, he was also schizophrenic and whenever he saw a camera or an interview, he couldn't talk to people, he couldn't be around people, he found that very difficult," Hoff tells Concrete Playground. [caption id="attachment_981744" align="alignnone" width="1920"] Steve Otton[/caption] "When you're setting out to make a film about someone like that, you've got to find some footage — and you've got to find some surfing footage. You can't show the rubbish stuff because it's the icon, he's this mythological character. So that journey took me to Dick Hoole's garage up behind Byron Bay," Hoff continues. Inside, he went into one of the surf photographer and fellow filmmaker's rooms, which was filled with 16mm films and surfing paraphernalia. "And we found some footage of Michael, but that whole time — and this is what, 2007, maybe 2008? — I was looking around at all these other film reels and thinking 'wow, I wonder what other gold is hidden in those?'. So that's where the kernel of the idea began." More than a decade and a half later, You Should Have Been Here Yesterday weaves that rediscovered gold into a cinematic poem that takes inspiration from non-surfing docos Moonage Daydream and Mountain. As Bret Morgen's stunning David Bowie tribute and Australian director Jennifer Peedom's ode to towering peaks both are, it's also designed to be as immersive as a movie can be. The best surfing films can't replace the real-life experience, of course, but they can make you yearn to catch waves yourself — or to see them ebb and flow in front of you with the naked eye. They also give non-surfers and surfers alike a close-up look at one of the planet's great joys, and ensure that a quote from Point Break always rings true: "surfing's the source, it'll change your life". [caption id="attachment_981743" align="alignnone" width="1920"] Hamish Ludbrook[/caption] Australian lives were changed by surfing, and Australia was as well, as You Should Have Been Here Yesterday explores via its gorgeous restored footage. As clip after clip of waves rolling across the Aussie coastline fills the screen, scratches and other markers of the material's heritage still visible, voices give the imagery context. Morning of the Earth director Albe Falzon, surfer and surfboard shaper Wayne Lynch, 1993 Women's World Champion Pauline Menczer, author Tim Winton and others get talking. The documentary covers how jumping on a board became the nation's new youth culture, the response to the filmed material at the time, how surfing connected the land Down Under to the world, the sport's local commercialisation, the reaction to women riding the waves and more. You can also see You Should Have Been Here Yesterday as compiling examples of behaviour that's oh-so-familiar today: people taking the art of capturing their experiences, and of sharing stories as well, into their own hands. They filmed waves; today, anyone with a phone can record anything. We chatted to Hoff about that, too, and about making movies about surfing, why surfing has such big-screen appeal, his inspirations, retaining the imperfections in the imagery and what surfing culture means to Australia. [caption id="attachment_981747" align="alignnone" width="1920"] Andrew McAlpine[/caption] On Getting Into Making Documentaries About Surfing and Australian Surf Culture "I'm a lifelong surfer, and then by trade I'm more of a filmmaker — I'm a filmmaker who surfs rather than a surfer that makes films. With Searching for Michael Peterson, I was fascinated by the idea of heroes and legends, and what it is about these people that captures our imagination, that we just become so enamoured about this person and somehow project all of our ideas onto that person. So that film was really about heroes and myths, and why we're drawn to these kind of people, troubled people in particular. This film, You Should Have Been Here Yesterday, it was a little bit different. It was a bit of a response to something that I feel. Well, it's a few things. I feel that surfing undersells itself in a whole lot of ways. So back in the 60s and 70s, surfing was the leading youth culture, and youth culture was part of this movement within Australia where everything was changing. Everything was shifting as a country — modern Australia, I'm talking about — we were becoming more confident, we're starting to do things for ourselves, making our own films, our own art movement, the Australian film industry began. And surfing was right there at that moment. [caption id="attachment_981746" align="alignnone" width="1920"] Bob Evans[/caption] We were a leader in so many things that are now deeply part of the Australian cultural DNA — when we headed up the coast and experimented with not working for the man, and healthy living and connecting to country, connecting to nature. Beginning to explore Eastern philosophies and different ways of living, all of this was part of surfing. And surfing was there, because the young people were so desperate to go catch waves, it was there before the hippies and before a lot of those other more well-known movements. So in one way, I wanted to remind surfers who we are and how important that was as part of a shift in modern Australia — and maybe remind the rest of the world to look back at that time in Australia, a beautiful time in Australia. It feels to me like an adolescent period of Australia. There was this freedom, but also this naivety, like an adolescent — full of energy and going everywhere, but we made some mistakes. At the same time, there were beautiful things about that period. I'd like maybe as Australia moves forward to look back and go 'what was brilliant, what was fantastic about that that period in Australia?'. So that was the motivation behind this film." [caption id="attachment_981750" align="alignnone" width="1920"] Steve Otton[/caption] On the "I Need to Make This Movie" Moment with You Should Have Been Here Yesterday "I think it gestated a long time. I must have thought about that moment when I was in Dick Hoole's garage in 2007 and 2008, thinking what other gold is on those film reels. Film technology became better, so you could go back and rescan that old 16mm film. I became a father, I've got teenage children, my interest in that generational change and how information is transferred across generations became stronger. I think these ideas are just always kicking around in the brain and little pieces pop together. The first moment would be would be Dick Hoole's garage, and the idea that maybe there's some gold, some really important pieces of Australian history, in those film real scattered around his garage. [caption id="attachment_981754" align="alignnone" width="1920"] Andrew McAlpine[/caption] And it is important. It was important. Those surf filmmakers that went out and started filming their mates, their friends, that was the first time kids started filming themselves, ever. Before that you would have seen ABC, channel networks, Channel 9 or whatever it was, government propaganda — that was the only film footage you saw. And this was kids going 'we're not interested in that bullshit. This is what we think is important. This is what we think is invaluable'. Then they got their hands on cameras, and at great expense and great lengths, to film those moments, whether it's surfing or life or what their friends were doing. And that's the process that's gone through until now. You see now that kids everywhere, whatever they're doing, they're filming their friends and they're sharing it with each other. And that whole conversation is taking place. So they really changed the landscape, and it was part of this process of change in that mediascape that's just continuing at at a rapid rate now." [caption id="attachment_981748" align="alignnone" width="1920"] Alan Rich[/caption] On the Appeal of Surf Films as a Genre — Especially on the Big Screen "It's just beautiful. It's just incredible shots. There are a whole lot of things within those early surf films that, to me, are everything that film is about. So in those days, you couldn't see surfing anywhere else. So if you're a surfer and you're in New South Wales, you want to know what the Queenslanders were doing or what was happening in Hawaii, you had to go to the surf film — you couldn't see it anywhere else. So in that way, it became the way that we shared stories and transferred information. [caption id="attachment_981751" align="alignnone" width="1920"] Esta Handfield[/caption] Then those kids from New South Wales would see what somebody's doing in Hawaii, and then they try and copy it, and then they'd come out with a new way, and then that film would go back. And so, along with the conversation, it became really important as a community-building exercise — and cinema as a community-building and information-, knowledge-sharing kind of place. To me, that's what storytelling and filmmaking is all about: bringing us together around these stories. But surfing specifically, you've got giant waves, you've got water, everything's moving all the time. It's like one huge, giant special effect. If you can have a giant wave 50-foot high on the screen in front of you and it comes crashing over you, it's still just an amazing, visceral feeling. [caption id="attachment_981760" align="alignnone" width="1920"] Andrew McAlpine[/caption] Surf films are a genre. This film is more of an experimental form than your standard surf adventure film. But surf films as adventure films do have a genre. They're about escapism. Surfers left the cities in Australia in our film in the 50s and 60s to go and explore new ways to live, and I think that still there's a yearning to be out there in nature, and to be enveloped by nature and to be free. So much of our lives is driven by work and consumerism, and we're always constantly being put in a box, that you have to behave like this and that, and follow this rule and follow that rule. And surfing and catching waves, and other adventure sports as well that have grown from this, just provide this opportunity to feel free of all of that, and to be connected to nature and connected to the world in those place, rather than stuck in these regimented boxes that so many of us find ourselves in." [caption id="attachment_981753" align="alignnone" width="1920"] Dennis MacDonald[/caption] On You Should Have Been Here Yesterday Taking Inspiration From Moonage Daydream and Mountain "Because we had all of this archive footage — we had 150 hours of archive footage, and it was all beautiful. And so we wanted to, like Moonage Daydream and Mountain, we wanted to get at an idea. Mountain is using absolutely stunning footage to get at an idea of why are we drawn to the mountain. Why are you drawn to climb a mountain? It's a madness in many ways. Why would you do that? It's dangerous. You could die. It's cold. I don't climb mountains, but it was trying to get at the idea of what it is that draws us to these places. And so in that way, Mountain by the incredible Jen Peedom, an amazing Australian filmmaker, inspired us. And then Moonage Daydream, just the form, that was just so radical — that form of 'hey, you don't need to have talking heads. You don't need somebody to come up and tell you what to think at any one moment. You can just sit back and absorb a film'. Moonage Daydream is an experience. It was a cinematic experience. You come out of that and you're jingly jangly — you're like 'what did I just see?'. [caption id="attachment_981761" align="alignnone" width="1920"] Bob Evans[/caption] I was really hoping to get that feeling of surfing across, and that idea of being in nature and being connected to the world. So Moonage Daydream really gave us the confidence that we could do this film. For the first 90 percent, 95 percent of the film, there's no talking heads. It's just footage and voice. And I love that everybody in the audience takes their own journey through the film. It evokes something in them. They're not told 'this is what you should be thinking now. This is the moment'. Usually the talking head comes up and tells you 'well, that was a really great moment, we were all amazed'. I don't want to be derogatory, it's a really great filmmaking technique, but I wanted people to take their own journey through it and experience it. I tried make an experiential film." [caption id="attachment_981755" align="alignnone" width="1920"] Bob Evans[/caption] On Retaining the Imperfections in the Restored Footage So That It Really Does Look Like a Treasure Trove of Material On-Screen "We love it. It was too much to fix it all up, and then why would you? It would have cost a fortune and taken years. And I love that idea of everything not being perfect. Some of the most-imperfect footage is some of my favourite, actually — some of the scratchy stuff that you can just barely see. I think those imperfections speak to where it's come from — that it was lost and it was made by essentially amateur filmmakers, and it was made by kids. And they went out there and they gave it a good shot. It wasn't polished. It was innocent and naive, the films. It was innocent and naive times. And then the footage, this is what we've managed to capture. [caption id="attachment_981757" align="alignnone" width="1920"] Dick Hoole[/caption] So I really just adore those imperfections. Maybe it's getting older or something, and I go 'oh well' — and I look around at all the older people around me, and I think we're all, once we've been through things, once we've been on journeys, we all collect all these imperfections along the way. The footage is like that. We love it, and we couldn't do anything different. So we cleaned it up. Kade [Bucheli, who also worked on Hoff's 2022 documentary Watandar, My Countryman, about former Afghan Refugee and photographer Muzafar Ali] spent 14 months scanning. And literally the process, it's a physical process — like white gloves and cleaning it, and fixing splices, and then maybe a little bit of a certain solvent. But that was it. And then when we got it as good as we could physically, then we scanned it, and went 'well, we've given it love and care'. [caption id="attachment_981758" align="alignnone" width="1920"] Bob Evans[/caption] It feels as it should to me. I've seen some films that have been restored. What they do with surfboards now, the analogy is maybe surfboards — they fix up the old surfboards, and then sometimes they fix up the old surfboards to the point that they look brand new. And then everyone goes 'oh, it just looks brand new. I loved that little ding or that little bit of discolouration or that mark that it had'. So I think it's like that. And I've seen that in some restorations as well, that it just ends up looking like any old digital kind of modern-affected piece, and you're losing something that's now a part of that artefact. Those blemishes now belong to that footage. They are what that footage is now." [caption id="attachment_981759" align="alignnone" width="1920"] Alan Rich[/caption] On What Surfing Culture Both Means to Australia and Says About Australia "I don't know what it means to Australia, but what I think about is that — I'm talking modern Australia, we came over here and then really post-Second World War, we started to get more confident, and that's when the kids decided they were going to head out of the cities. And they found these beautiful places up and down the coast, and around Australia. And then they came to them to surf, to ride waves. But I have begun to think — I'm really interested in this idea of connection to Country. And I see that surfers are getting more and more connected to these places. They revere these places. We go on pilgrimages to these places. We love these places. And I sometimes question whether it's the land, this ancient land that we find ourselves on, calling us to come — and to come to us. Because surfers, we don't go there to farm it or to make money or anything. We go there to have joy, to meet friends, to have beautiful times together. Or maybe for solace, to dive into the water and wash away our difficulties. [caption id="attachment_981752" align="alignnone" width="1920"] Andrew McAlpine[/caption] So I think it's a part of the process of this country beginning to speak to us as a people, as a modern Australian people, and draw us away from that really big British empire or imperialist force that keeps us really locked into these very regimented lives. Surfing's been a leader culture in a lot of different ways, and I feel that maybe in this way, maybe in the most humblest of senses, maybe it's the beginning of a connection to Country that Indigenous people have had for 40,000, 60,000 years. And maybe it's the beginning of us being able to understand what maybe a sacred site means, or what maybe it means to be connected to Country. So I think it's a little window into that. But it could be a whole lot more, a whole lot of other things as well." You Should Have Been Here Yesterday opened in Australian cinemas on Thursday, November 21, 2024. Top image: Dick Hoole.
Artists, skaters, music goers and scenesters unite. I Used to Skate Once is back this Thursday evening for its eight annual instalment. Located within the walls and alleyway behind the Zoo, I Used to Skate Once is an art show comprising local, interstate and sometimes international artists, displaying handcrafted designs for skateboard decks. The aim this year however, is to mix things up slightly and showcase up and coming local talent with a smattering of old favourites thrown in for good measure. The night includes a host of local bands to serenade the viewing public, market stalls for the shopping inclined, a variety of food for the hungry and of course drinks for everyone else. Kicking off at 7.00pm, be sure to arrive a little early if you know you really want to see the art on display, as generally, it reaches capacity fairly quickly. Surely the hallmark of a damn fine event.
A trip to the tropics isn't complete without a wander through Rusty's Markets in Cairns. Open every Friday, Saturday and Sunday, at Rusty's you'll find everything from exotic fruits, tropical tasting plates, freshly baked bread and more. With over 45 years of trade under its belt and more than 180 stalls to visit, there are plenty of reasons locals love to load up on fresh food at this bustling marketplace. During summer Rusty's is abundant in tropical fruits including lychees, rambutans, dragonfruit, coconuts, mangoes, custard apples, jackfruit, black sapote and more. The top-tier produce found at Rusty's also attracts many of Tropical North Queensland's finest chefs who can often be spotted roaming the stalls as they source the best locally grown ingredients for their restaurants. Make sure you stock up on fresh fruit for your day exploring the local waterfalls — there's nothing quite like polishing off a bag of lychees or rambutans while cooling off at a freshwater swimming hole.
When lockdowns and restrictions started becoming a reality in 2020, a heap of cinemas around Australia began jumping online. Venues as varied as Sydney's Golden Age, Melbourne's ACMI and Australian-wide chain Event Cinemas launched their own streaming services, as did Palace Cinemas and the team behind the Ritz, Lido, Classic and Cameo cinemas — not just when the pandemic first hit, but as it kept impacting movie-going as we know it. That wasn't merely a 2020 or early 2021 trend, and it isn't simply limited to city or big national chains. Indeed, Australia has just scored another digital spot to check out movies from home, with Theatre Royal Castlemaine in regional Victoria adding its own platform to your viewing options. Watch something on this one, however, and you'll be supporting a 167-year-old venue that's been open since 1854 and operating as a cinema since the silent movie era. The first films flickered across its screen back in 1919, and it's now one of the oldest continuously operating theatres in the southern hemisphere. Theatre Royal Castlemaine's streaming site is called Royal Flix and Chill, and it's curated by cinema co-owner Felicity Cripps, some movie-loving friends of the venue and Castlemaine Documentary Festival Director Claire Jaegar. It's a pay-per-view platform, so you'll just fork out for what you want to watch on a title by title basis — with more than 100 films currently on offer, and five new additions set to join the catalogue each month. At the time of writing, highlights include recent fare such as A Quiet Place Part II, The Father, Antoinette in the Cevennes, The Godmother and The United States vs Billie Holiday — plus flicks from the past few years like Parasite, For Sama, Dunkirk, Get Out and Shoplifters. Or, there's also older titles such as Donnie Darko, City of God, There Will Be Blood, Tampopo, Chinatown, The Big Lebowski, The Professional and Twelve Monkeys; Australian movies like High Ground, Firestarter — The Story of Bangarra and Bran Nue Dae; documentaries such as Honeyland, Ai Weiwei: Never Sorry and Studio 54: The Documentary; and European cinema highlights including Cold War, Dogman and Toni Erdmann. "The cinema is one of the toughest arms of our business. We are one of the last remaining single-screen venues in the country and that is because it is so hard to make ends meet when there is so much available to view in the digital world. But it's also very special and as a long-standing 'picture palace', we want to do all we can to keep it going," said Cripps. "That's where our virtual cinema comes in. A way to connect with people who may not be able to physically attend our cinema and a way to show more arthouse and international films with less overheads, it's intended to compliment the in-house offering and draw a wider audience with a uniquely curated library of amazing cinema, available to everyone." For more information about Theatre Royal Castlemaine streaming platform, or to start watching, head to the Royal Flix and Chill website.
SBS has launched their newest cooking program, The Chef's Line, employing a competition format that gives an inside look at how commercial kitchens really operate. The nightly program follows four amateur cooks and four professional chefs over the course of a week as they battle it out to prove who does it best. Every week, the show features four chefs from a particular restaurant, ranging from the apprentices and the chef de parties, to the sous chef and the head honcho. Each night, the contestants go head to head with one member of the chef's line, and the contestant with the least impressive dish is graciously shown the door. On Thursday nights, the last amateur standing unleashes their skills against the head chef. The dishes are judged blindly by Australian food icons Dan Hong, Mark Olive, and Melissa Leong, who take turns each night to either taste and decide the winner, or get about the kitchen, having a chat with the competitors. The week culminates with program host Maeve O'Meara heading to the restaurant in the spotlight for a behind-the-scenes peak at their chef's line in action. It's a pretty interesting twist on something viewers have seen plenty of lately — aka the contemporary cooking competition — as there's less emphasis placed on drama and things going wrong. Instead, The Chef's Line has the kind of vibe you'd expect when a few mates cook up some wicked food in the kitchen. With the relatively small number of contestants getting a complete refresh each week, there's no time to develop a narrative arc of intrigue and cutthroat competition, so the show relies on simply showing some home cooks making rad dishes while hanging out with chefs who make the same dishes for a living. Which, really, is what a cooking show is all about: good food and good people make for good watching. With a multicultural focus, the program brings a new cuisine to the fore every week, ensuring a swathe of various challenges as contestants aim for authentic, global dishes. Week one ran from April 3, championed Vietnamese cuisine, and took its chef's line from the guys behind Dandelion in Melbourne, as led by Geoff Lindsay. "It's a really wonderful way to celebrate diversity," said the program's creator, Chris Culvenor, calling the unique format a "celebration of the diversity of Australian food culture." The Chef's Line airs on weeknights on SBS at 6pm. If you're keen on the great dishes whipped up on the show, recipes will be made available from sbs.com.au/thechefsline.
In the lead-up to International Women's Day on Sunday, March 8 — which celebrates the achievements of those who identify as female and how far we have come in the fight for gender equality for everyone — you can read books written by some of Australia's best female authors. For free. The catch? You just need to find them. Books on the Rail has teamed up with female-identifying Australian authors to drop signed copies of their novels on trains, buses, trams and ferries all over Sydney, Melbourne and Brisbane this week. Expect to find works written by Maxine Beneba Clarke, Clare Bowditch, Dr Anita Heiss, Jamila Rizvi, Carly Findlay, Kitty Flanagan, Gabbie Stroud and Holly Wainwright, among others. With a goal to get more people reading books by Australian women, the week-long initiative will see the famous authors hiding their own works. So, as well as picking up a new free read, you might get to meet one of your literary idols. For hints on what, where and when, keep an eye on the Books on the Rail Instagram Stories — it looks like a few copies of Jane in Love by Rachel Givney are already travelling around Sydney. Another one to look out for is Vivian Pham's The Coconut Children. https://www.instagram.com/p/B9D3hzEnJzN/ Launching in Melbourne back in 2016, Books on the Rail sees a diverse collection of books set loose on trains, trams, ferries and buses around Australia — kind of like a roving public transport library. You can also become book ninja yourself. Find out more in the Books on the Rail Facebook Group. Free novels will be dropped on buses, trains, trams and ferries around Sydney, Melbourne and Brisbane until Sunday, March 8. For hints, keep an eye on the Books on the Rail Instagram Stories.
We all have one local café that lets us schlep in and order a plate of eggs just before the kitchen closes. It might not be the fanciest joint, and you might still be wearing the clothes you slept in, but hey — it gets the job done. But brunch doesn't always deserve to be relegated to such a perfunctory food experience. Because, sometimes, you've got to find a brunch spot that kicks it up a gear. Sometimes there are occasions that deserve a bit more pizzazz. Maybe it's your best friend's birthday, or your sister just returned from Europe. Maybe your co-worker is having a baby, or your Dad is celebrating a significant birthday. Or maybe you are finally catching up with that group of friends who have been spamming the group chat with demands to see each other since Christmas. We've partnered with American Express to discover the best brunch spots to celebrate the big stuff. Crisp white linen, free-flowing bellinis, breakfast degustations. It's time to get your Amex Card out and get fancy. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
This November, you can score a bottle of vino for as little as $8.50 a pop thanks to Vinomofo's epic Black Friday Sale. Running from 10am Thursday, November 26 till 10am Monday, November 30, the sale will see up to 70 percent off a heap of local and international wines — and it'll all get delivered straight to your doorstep for free. If you haven't already heard the word, Vinomofo is an online wine-slinger for those who love wine, but without all the pretension that sometimes comes with viticulture. 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 sale will include more than 100 wines, with Vinomofo adding additional daily wine deals over the weekend, too. Think delicate pinot noir, easy-drinking rosé, celebratory bottles of sparkling and full-bodied shiraz 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 Black Friday Sale — for a limited time only.
When lunar new year arrived earlier in February, the year of the tiger kicked into swing — but 2022 just might be the year of the red panda, too. Pixar's next animated flick about a girl who turns into a red panda, called Turning Red, hits streaming in March, and Taronga Zoo has just announced that it's now home to a couple more of the IRL critters. And if you'd like to spend your time checking out the latter right now, no matter the weather or where you live, the Sydney spot has also launched a red panda cub cam. The word you're looking for? Or the sound, to be more accurate? Yes, it's "awwwwwwwwwwwwwwwwww". The two cubs were born back on December 8 to mum Amala and dad Pabu, and don't yet have names, but you can now watch them from home whenever you like. Taronga's red panda cub cam is free, too, and features videos of the little cuties being born, plus weekly highlights showcasing what they've been up to. So, you can't live-stream them all day every day, but you can still get a huge dose of adorableness. The camera is currently trained on the cubs' purpose-built, soundproof nest box, where they've been living with Amala since birth. Expect to see plenty of mum as well, with Taronga's Carnivore Keeper Rebecca Baldwin advising that she's usually on hand looking after her little ones. "Amala is very attentive and nurturing. Through the monitoring of our CCTV cameras, we can see that she is constantly grooming and cleaning the cubs and is encouraging them to take their first wobbly steps within the security of their nest box," said Baldwin. "Whilst they are still small and weighing only a couple of hundred grams, the cubs are spending their time within the security of their nest box which makes for great viewing. They won't start to venture out under the cover of darkness until they're about 12 weeks old," said Baldwin. Taronga already lets you fill your time staring at capybaras, seals, meerkats, otters, sumatran tigers, lions and elephants, all without leaving your home, thanks to its online TV channel — but if it keeps adding cameras, we'll keep watching. Taronga Zoo Sydney and Taronga Western Plains Zoo Dubbo started their online streams in 2020 for obvious reasons, and also releases regular videos across its Facebook, Instagram and YouTube channels — and makes keeper talks and other clips available online as well. To watch Taronga Zoo's red panda cub cam, head to the zoo's website. To check out Taronga TV, head to the channel's website — or keep an eye on its videos on its Facebook, Instagram and YouTube pages.
