In Brisbane across the weekend of Saturday, August 31–Sunday, September 1, 2024, temperatures are set to hit the 30s. It's forecast to be 35 degrees to end winter, then 33 degrees to start spring. Here's one way to cope: by escaping into the cool confines of a cinema and seeing the latest movies for just $5 a pop. If you've missed a few flicks at the pictures lately because your wallet hasn't wanted to play ball, call Dendy Cinemas' latest special a case of great timing. For two days only, the chain is offering up discounted tickets that'll solve your problem. Across both dates, regardless of whether you purchase online or in person, you'll only pay $5 for your movie of choice at Portside and Coorparoo. Or movies. Picks include Alien: Romulus, Trap, Deadpool and Wolverine, Inside Out 2, Blink Twice, Kneecap, The Crow and It Ends with Us, so there's plenty to watch if you're keen to spend as much time in a darkened room as possible. The special isn't available for special events, Dendy Arts sessions or premium lounge sessions, but you're certain to find something to watch regardless. A PSA: book online and there will be a fee; however, your basic ticket will still just be $5. And if you'd a premium lounge seat, they're cheap as well at $20.
Dinner then gelato? A movie followed by some ice cream? Grabbing a scoop just because? Whichever takes your fancy, everyone in South City Square's vicinity can put La Macelleria's artisanal desserts on their list, with Matteo Zini and Matteo Casone's Brisbane-based chain boasting an outpost in Woolloongabba. The Logan Road digs still keep La Macelleria's footprint at four, with its Coorparoo Square venue closing down. So, Zini and company have retained a presence in the city's east, but in a different new precinct (and with another cinema, this time Australia's first-ever Angelika Film Centre, nearby). Don't expect to wander inside the latest La Macelleria, however. This is a pint-sized joint, putting its focus on scooping up gelato rather than giving patrons somewhere to sit. Setting up shop in a precinct that also includes hole-in-the-wall taqueria Los Felix, Italian bar and eatery Sasso, Chinese Peruvian joint Casa Chow, Palm Springs-inspired gin-pouring garden bar Purple Palm, and European-influenced wine bar and wine shop South City Wine, La Macelleria's South City Square venue arrives just in time for ice cream season — aka Queensland's warming spring and summer weather when Brisbane's best gelaterias and ice creameries get an even bigger workout than usual. Joining La Macelleria's existing Teneriffe and West End joints, plus its Mermaid Waters venue as well, the new spot to get a scoop boasts the same creamy artisanal Italian gelato that has made the brand such a hit, of course. Think: flavours such as tiramisu, salted caramel, raspberry cheesecake, mandorla al caffe (aka roasted almond and roasted coffee beans) and bacio Australiano (white chocolate with caramelised macadamia chips).
Nestled into South Bank's River Quay, The Jetty boasts one of the best locations in Brisbane thanks to its waterfront frontage and river vantage. Not content to rest on its picturesque laurels, the bar and eatery has undergone a huge revamp — changing its layout, menu and opening hours. Visitors to the long-time favourite will find a new layout that separates the venue's dining and drinking areas, providing two spaces in one. Pull up a stool at the L-shaped bar for a few afternoon or evening beverages, or take a seat in the restaurant for a leisurely meal. Amidst the timber, metal and tiled decor, the choice is yours. The fresh look and newly demarcated sections come with fresh menus to match, courtesy of chef Rhett Willis. Bar selections include oysters, salumi and soft-shell crab, plus panna cotta, chocolate brownies and sticky fig pudding for dessert, while sit-down options range from starters of papaya salad and charred beef rib with chilli caramel, to mains of wagyu burgers, steak frites and nicoise seared tuna. As for tipples, carafes of punch, Pimms and sangria sit alongside coconut espresso and lemon and vanilla martinis, as well as eight other cocktail concoctions and a hefty range of beer, wine and spirits. Further, in good news for people who like their breakfast and coffee with a scenic view, The Jetty South Bank has become the only shop on the restaurant strip to open at 7am daily. Early morning offerings include pastries and takeaway caffeinated brews. It's been a big few months for places called The Jetty — now, or previously. The Jetty South Bank's renovation and new food range comes hot on the heels of a big change for the place formerly known as The Jetty Oxford, which was rebadged and revamped as all-day Italian joint Il Molo back in May. Find The Jetty South Bank at River Quay, 4 Sidon Street, South Bank or visit their website for further details.
For eight weeks this autumn, Hamilton will boast two places to see movies. Only one will get you catching a flick outdoors, under the stars and by the river, however. That cinema: Sunset Cinema, which first popped up at Northshore in 2023 and is returning to get its projector whirring again from late-March through till mid-May in 2024. While sunset doesn't usually follow moonlight, Brisbane's outdoor cinema scene is one place where it does, with Sunset Cinema hitting town a month after Moonlight Cinema wrapped up its latest season. The latter gets a summer run in Roma Street Parkland each year, while the former opts for autumn in Hamilton. It's been a busy period to see a movie beneath the evening sky in general in the River City, with Brissie now home to a permanent year-round openair picture palace over at Brisbane Powerhouse. For Sunset Cinema's 2024 stint in the Queensland capital, films will screen at Dock D, largely from Wednesday–Saturday. The season kicks off on Thursday, March 21 with rom-com Anyone But You, then ends on Sunday, May 11 with Kung Fu Panda 4. In-between, everything from more Sydney Sweeney in Madame Web to twice the Timothée Chalamet thanks to Wonka and Dune: Part Two is on the lineup — and also Barbie, Ghostbusters: Frozen Empire, Godzilla x Kong: The New Empire, Wicked Little Letters and Amy Winehouse biopic Back to Black as well. Filmgoers can also see Kingsman director Matthew Vaughn's latest spy caper Argylle, the Mean Girls musical starring Australian actor Angourie Rice (The Last Thing He Told Me), witness Barbie's Kingsley Ben-Adir transform into a reggae icon in Bob Marley: One Love and catch Eric Bana's second stint as Aaron Falk in Force of Nature: The Dry 2. A number of double features filled with retro classics are on the bill, so the OG Mean Girls will show with Clueless, 10 Things I Hate About You with Romy and Michele's High School Reunion, and the Buffy the Vampire Slayer movie with Jennifer's Body. Or, there's Finding Nemo paired with Toy Story, then The Princess Bride with The Wizard of Oz. BYO picnics are encouraged, but the event is fully licensed, so alcohol can only be purchased onsite. For that, Oxford Landing is providing the wine, Manly Spirits Distillery Co the gin for G&Ts and Mountain Culture Beer Co the brews. Didn't pack enough snacks? There's hot food options, plus plenty of the requisite cinema treats like chips, chocolates, lollies and popcorn. Choose a VIP seat in the sunset lounge, which comes with premium bean lounges and the best view of the screen, and your popcorn will be bottomless, in fact. Sunset Cinema is doing headphones for its audio, so you'll be listening in via bluetooth once the flick kicks off at last light (with gates opening at 5.30pm). And, your movie-loving dog won't miss out, with the picture palace pooch-friendly, but Rover will need to stay on a leash.
Sydney has just joined the likes of Bangkok, Hainan, Hanoi, Shanghai and Singapore as a home to the luxury hotel group Capella. The award-winning accommodation provider officially opened Capella Sydney today, Wednesday, March 15, bringing 192 luxury rooms to a historic inner-city building. Housed within the sandstone Department of Education Building on the corner of Bridge Street and Loftus Street just across from Macquarie Place Park, the expansive hotel adds another dose of lavish luxury to Sydney's hotel scene. The restoration and reimagination of the century-old building took seven years in the hands of the Pontiac Land Group. The nine-storey building has been transformed with a glamourous interior brought together by muted tones of white and brown giving the hotel both a vintage and timeless quality. "Pontiac Land has always been passionate about creating meaningful developments that contribute and help shape their communities. Capella Sydney was an ideal opportunity for us to sensitively repurpose this culturally significant landmark in the heart of downtown Sydney and transform it into a more public offering as a leading luxury hotel for everyone to be able to experience," says Pontiac Land Group Chief Executive Officer David Tsang. Guests are greeted with a flurry of acquired and commissioned art within the lobby including works from the likes of Judy Watson and Otis Hope Carey, as well as a robotic light installation titled Meadow from Dutch art duo DRIFT. Once you've navigated the lobby, you'll find elegant guestrooms fitted with Italian Frette linen, a standalone bathtub and sustainable vegan amenities created in partnership with Haeckels. And, there's plenty to love outside your room as well. There are two shared spaces for guests to unwind in, a spa offering relaxing rejuvenation treatments, a fitness centre, a heated 20-metre indoor pool and two dining areas. The first is the more laidback McRae Bar. While this hotel bar is still overflowing with luxury, boasting gold trimmings and a hefty cocktail menu, it's hard to compete with the sheer exuberance of Brasserie 1930. This European-influenced dining room comes from the acclaimed hospitality crew behind Bentley Restaurant and Bar, Monopole, Yellow and Cirrus, offering the likes of oysters, brown-butter scallops, beef tartare, Eastern rock lobster, whole roasted duck and three different steak options ramping up to the $110 Coppertree Farm rib eye. To mark the opening, Capella is kicking things off with a special Capella History Journey package. The $1500 experience for two includes a night's stay in a deluxe guestroom, breakfast at Brasserie 1920, a bespoke welcome amenity, a Capella Culturist experience that will take you on a curated journey through the history of the building and Sydney's Sandstone Precinct, 24-hour access to the fitness centre and valet parking. The package is bookable until Friday, June 30. Capella Sydney is now open at 35–29 Bridge Street, Sydney. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world.
When you're at a bar deciding what to drink, is it easier to pick a sip when you're pouring the beverages yourself? That's a question that the new Tippler's Tap will answer. The Brisbane beer-loving venue is moving to a new 300-square-metre South Bank spot seven years after it first opened on Grey Street — and 11 years after it initially launched in its now-closed OG Newstead site, too — and a serve-your-own-beer setup will be a massive drawcard. Shifting one shop over, Tippler's Tap South Bank 2.0 will feature 25 taps in total, all rotating their tipples. For those keen to pour their own pints, 14 will be dedicated to self-serve beers, and another four will be all about self-serve cocktails, using the Pour My Beer system for the first time in Brisbane. The new site will welcome in patrons from Friday, June 2, complete with five 65-inch screens showing live sports to keep you entertained while knocking back drinks. Not a fan of AFL, NRL and the like? The TVs will be concentrated in half of the bar, with the other side all about hanging out after work, for lunch or just because — while eating Tippler's Tap's American-style bites, such as hot dogs, burgers, sliders, wings, onion rings, loaded fries and cheeseburger spring rolls, of course. "When creating this new venue, I wanted to make a bar that my mates and I would want to drink at. The goal here was creating a sense of community around craft beer, sports and quality people, and that's exactly what I think we've achieved," says Tippler's Tap Managing Director Hayden Williams. "Since we started, our main goal is to build strong relationships with brewers and locals, and this expansion has allowed us to do this on a much greater scale," Williams continues. To launch the new digs, Tippler's Tap is throwing a party on opening day, complete with demonstrations from Slipstream Brewing, Black Flag Brewing and Aether Brewing — and samples. Doors open at 4pm, with demos from 6pm. Find the new Tippler's Tap South Bank at 184 Grey Street, South Brisbane, from Friday, June 2 — open 11am–10pm Sunday–Thursday and 11am–12am Friday–Saturday.
Soaking away the day, your troubles and your worries is Soak Bathhouse's speciality. At the chain's venues in Mermaid Beach and West End, heading in for a dip means seeing your woes dissipate in warm water — at least temporarily. As everyone who has sat in heated H2O knows, there are other few things as calming in life. On Wednesday nights all throughout spring, however, this wellness brand has found a way to ramp up the relaxation even further. From 5–8pm each hump day, to help you forget about your midweek work stresses, Soak Bathhouse is doing Soak & Sound sessions at both its sites. On offer: a soak, of course, plus live music and drinks. When it kicked off in winter, the event took its cues from après-skí hot-tub sessions — and, while there was no snow then or now, you will still get the warm water part of the equation, plus acoustic tunes and beverages. Bookings are required, just for a $49 soak session during the three-hour window. Do that and you'll get the Soak & Sound experience thrown in at no extra cost.
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.
Beau was afraid. In Ari Aster's third feature — another excellent and unforgettable film after Hereditary and Midsommar — Beau was anxious and unsettled and agitated and knocked off-kilter, too. Sheriff Joe Cross is all of these things also, with Joaquin Phoenix (Joker: Folie à Deux) again taking on a key role for a writer/director responsible for some of the best movies, and viewing experiences, of the 21st century. Along with the filmmaker's initial two pictures, Beau Is Afraid earns that description, as does Eddington, Aster and Phoenix's mid-2020-set, COVID-era-probing, brilliant and chilling and equally very amusing latest collaboration. Its focus: a small New Mexico spot struggling when normality as everyone knew it just months prior has vanished and seems as if it might never return. The Sevilla County official at Eddington's centre is as much a man interrupted, as his community is — but the Cross way of coping is to flout and defy anything that doesn't match his preferred status quo. His dislike of incumbent Mayor Ted Garcia's (Pedro Pascal, The Fantastic Four: First Steps) way of handling the pandemic, aka respecting social-distancing restrictions and mask mandates, inspires the Sheriff to take action, entering the race to lead the town (population: 2345) himself. Eddington is a western, as well as being an unnerving thriller and a hilarious dark comedy; Aster has Cross and Garcia headed for showdowns and standoffs more than once. With a Best Actor Oscar for Joker to prove it, Phoenix has been enjoying a recent stint of playing characters who are fixated, obsessed, unyieldingly determined and driven to act of late — since before the outstanding You Were Never Really Here, but that's firmly a recent example prior to his time as Arthur Fleck and now Joe Cross. He hasn't necessarily noticed that trend, he tells Concrete Playground, or recognised that anything particularly draws him in that direction. "I've never thought of it that way, but you say that and I go 'I don't even know what the last two movies I made are'," Phoenix advises. "But maybe you're right. I don't know why. I think I'm always just — it is an instinct. I either react to something that I'm reading it or I don't. And I don't really analyse why." Eddington is easy to spot trends and parallels in and around. Given that it peers into very recent history, to a period forever seared and scarred into memories — and has the era's paranoia and polarisation in its sights, spotting how neither have subsided since — that's by design. Another piece of mirroring comes via Aster's filmography. Chatting with Concrete Playground in 2018 when Hereditary released, he described his debut as "a family tragedy that curdles into a nightmare". Grief over a mother and grandmother begets worse in the feature that won Toni Collette (Mickey 17) a deserved Best Actress Gotham Award — in a movie, too, that cemented itself as an instant horror great. That "curdling into a nightmare" idea resides in each of his features, Eddington included. "I think that could be one way of describing this film," Aster tells us. "I would say that this is a film about a bunch of people who are all very paranoid, and who have very clear but kind of oppositional ideas of what is happening. And everybody's picture of the world is pretty sinister. Then, by the end of the film, the film itself becomes gripped by this paranoia — and so the movie too becomes paranoid." He continues: "and in that way, the film goes off the rails in a way that I like. It's got a long, sustained climax, which I like, especially in a genre film. It's easy to make this film, in an interview like this, sound like eating your vegetables — but it's supposed to be fun, even though what it's talking about is no laughing matter. But the film is about the circus of America, and the tilt-a-whirl goes faster and faster until the teacups start flying off." Cross' blatant and inescapable acrimony for Garcia, Joe's depressed wife Louise (Emma Stone, Kinds of Kindness) embracing online conspiracy theorists and becoming particularly enthralled by the charismatic Vernon Jefferson Peak (Austin Butler, The Bikeriders), local teens staging Black Lives Matter rallies to share their anger over the death of George Floyd, tech company SolidGoldMagikarp's plans to build a data centre on Eddington's outskirts, doomscrolling feeding the pervasive sense of distance between townsfolk: these all help that rotating ride spin. As the whirring of conflicting attitudes and opinions that's unbalancing its setting gains speed, Aster's film digs into America's contradictions, patently, as well as conservative-versus-liberal clashes. Internet hokum's easy spread, our immensely tech-reliant lives and AI earn attention; giving up power to the powerful without realising it, too. Anti-fascist activism, performative bandwagon-jumping, ignoring health-protection rules when folks are dying, not knowing how to cope with this chaos: they're also among the swirl. Aster doesn't see it as a horror movie; however, Eddington is as perceptive a portrait of 2020 and the times since as had reached screens so far, and as disquieting yet clear-eyed. The path to the feature started with an old idea predating the pandemic, which also came up while talking to the director, as did piecing the narrative together, living in a world where no one agrees on what's true anymore, reteaming with Phoenix and more — alongside chatting with Phoenix about that repeat collaboration and reuniting with filmmakers of late, interrogating fear and anxiety with Aster, what he recognised in the script, and bringing humanity and humour to Cross. On How Aster Following His Instincts in the Early Days of the Pandemic, and Picking Up an Old New Mexico-Set Idea, Lead to Eddington Ari: "Well, I feel like we're living in a very, very weird time. And the human capacity for adaptation is amazing, and everything becomes normal very quickly, and things that might be obvious become less so once they become ambient. And I just found that I wanted to pull back as far as I could, and try to describe this new reality that we're living in as well as I could — which is that everybody is living in a different version of reality, and we totally distrust anybody and anything that falls outside of our little bubble of certainty. And we've become unreachable to each other. So I wanted to make a film about that. And I'm from New Mexico — and that's really what the project was that had already been there waiting for me, which is that I have just been wanting to make my New Mexico movie. And I wanted to make a western. And it felt like the right framework for this." On Whether Returning Collaborations with Directors, Such as Ari Aster Here, Todd Phillips on Joker: Folie à Deux and Ridley Scott on Napoleon, Help Phoenix Challenge and Extend Himself as an Actor Joaquin: "I think that's what you would hope for, right, because it's almost like a long relationship, just the value of growing with somebody and changing — and somebody that learns to read you better after time. We all put our best foot forward when we first meet people and are working with them, and I think after some time we start really showing ourselves and there's real value in mining that. With Ari, it's weird, because I had one of those experiences where when I first met him, when I first just talked to him on the phone, I instantly knew that he was — I don't know, a friend just doesn't even sound like it's enough. I just knew that we were going to be working together closely, and I knew that he was somebody that I loved the way that he talked. And I understood him, like I felt like I really understood. And I think he understood me. And so there's real value in that — and I hope, I think, that he did and does challenge me in ways that are really beneficial to me and helpful." On When Aster Realised That He Wanted to Reteam with Phoenix on Eddington Ari: "After working with Joaquin on Beau Is Afraid, I really wanted to work with him again. Before Beau, he was one of my favourite actors and somebody that I very seriously wanted to work with. But when I was writing Eddington, at least the first pass of it, I hadn't worked with Joaquin yet, didn't know him yet, and so I didn't really have anybody in mind. But after we shot Beau, then I rewrote Eddington and spent a lot of time in New Mexico, travelling around, going to different small towns and meeting different people, public officials, Sheriffs of different counties, police chiefs, Mayors — went to different pueblos — and tried to get as broad a picture of the political climate of New Mexico as possible. And then once I had incorporated all of that and I had a script, it was clear to me that I wanted to at least try Joaquin again and see if he was interested. And happily he was, and I really think he does something really special with this character, Joe Cross, the sheriff of Eddington — or the sheriff of Sevilla County. Eddington is a town in Sevilla County. These are made-up places. But I think what he does here is really wonderful. He brings so much humour and humanity to this character. And I think part of the trick of the film — or I don't know if it's a trick, or if it's just something that is important to the film working — is that you have to kind of like this guy, whether you have his politics or not. There's something winning about him. And then, of course, as the film goes on that should get more complicated — our relationship to him should change." On Whether There's Something Unique to Digging Into Fear and Anxiety with Aster Joaquin: "I don't think he's exploring these traits because they're good for a character, for a movie, but it feels like it's a genuine curiosity for him. And maybe it's part of his experience, or maybe it's the experience of people that he knows. I don't know why he has that curiosity — or I don't know if it's an obsession — but definitely it's a curiosity to explore those feelings, and I don't know where it comes from. I've never asked him 'is that your personal experience, or ... ?'. I think oftentimes writers obviously observe things in others and become fascinated by it. So there's definitely a real drive and curiosity. And so I think when you're — there's not a standard way of playing that for Ari, right? It always has to be something very detailed and specific. And I'm struggling with trying to come up with an example, probably because there's so many and they're all running together. But I wish we could come up with an example of a scene. Like even in the scene where I'm — it's such a brief moment, you may not even remember — but I go back to the police station and somebody that was in the police station that was locked up is no longer there. It was really this very quick scene that's in the midst of the most-manic moment. And it was a long process for us that went throughout the day, as we discussed all the possibilities of what would be going through the character's mind and then how that is translated to somebody else as he speaks or whatever actions he takes. And so I think with Ari, it always feels that we are trying to find something that feels very specific and unique to that character in that moment — versus a blanket approach to anxiety or fear." On the Crucial Elements to Create a Film About Living in a World Where No One Can Agree on What's Real Anymore Ari: "For me, the most-important thing was to pull back as far as I could, because what I wanted to talk about was the environment, right — and I feel like we've become so atomised, and things have become so complicated and so intensely partisan, that it felt very important to move back and just try to get a picture of the landscape. And to see just how many of those particles were floating around not actually meeting each other. And then it's a genre film, and so it's built on conflict. And so the question then became 'well, what happens when these atoms start bumping up against each other? What comes out of that?'. And the answer is almost always violence, because there's nothing in the ether to hold anybody together anymore. And so that was, I guess, the challenge, but also the thing that felt necessary." On Phoenix Seeing Himself and Reality in Eddington When Aster First Sent the Script His Way Joaquin: "My first reaction was 'I recognise so much of myself and my family and my friends and my neighbours in all of these characters, and that makes me uncomfortable at times. But I'm laughing and I can't stop laughing'. That was my first reaction. And then I think I was like 'oh yeah, it's us'. And as ridiculous as we were, we were scared. Like, everyone was scared. Whether they should have been scared or whether we overreacted, it doesn't really matter. In that moment, it was kind of like waking up from a nightmare and they're like 'yeah, in the moment, it really felt like that monster was going to get me and I was scared. And all the things I did in that that moment, it was just how I reacted. I couldn't help it.' And I think in some ways, it made me just have a lot of forgiveness and understanding for how we behaved." On Putting the Pieces of Eddington Together — Including the Societal Landscape, America and Western Society's Pervasive Polarisation, and COVID-19 — in a Western-Meets-Thriller That's Also Darkly Humorous Ari: "First of all, the film is set in 2020. It's a period piece, set in June 2020, and so it helps to have something as specific as that, right, because then you're asking 'okay, what is happening right now? Who are the players here?'. And of course, I would have liked to have included far more characters, but I jammed as many people as I could into the film without sacrificing coherence or narrative clarity. But it all felt pretty intuitive that we begin with the arguments of the day, the most popular ones, which had a lot to do with masking and personal freedom versus public safety and health. And from there, things start unraveling and spinning out. And then you have these more fringe figures coming in. And I think what's interesting about this moment, even right now in 2025, is that this counterculture had been building up in America for a long time that the prevailing culture at the moment wasn't aware of. And that counterculture meanwhile was being fed and agitated, and was growing. And now that counterculture has kind of taken over. And it's all become very, very distorted and strange. It's so interesting that the right kind of adopted the language of 1960s–70s radicalism. Everything has become — I want to use the word farcical, but none of this is any laughing matter. It's feels pretty catastrophic, what's happening. And it's also why the western felt right, because it is about the building of America and forging new societies. And it feels like right now we're living through the collapse of something — we're on the cusp of something, something new. And I think everybody's feeling it and there's a lot of anxiety and a lot of fear. And for some people, a lot of excitement. I wrote this film in a state of anxiety and fear." On Whether Trying to Convey the Humanity of Joe and Also Bringing Humour to the Part Helped in Stepping Into His Shoes Joaquin: "Nothing ever feels easy. You just feel that — yeah, it doesn't feel easy, but it seemed like very much from the beginning, I could not create any separation between me and Joe. Like, that if I at any point stood above him in judgment, I would lose it, I would lose him. And so it just felt important to humanise him as much as possible. I wanted to surprise anybody that might have a preconceived idea of what conservative Sheriff in a small town might be like, and so that definitely felt like my directive. But what helped me, probably most of all, was meeting with real Sheriffs. Ari and I went on a trip together in New Mexico and spent some time, and there were a few people that I met that I really connected with that seemed like great examples of who Joe could be. So it felt to me that as much as there's something very humorous and absurd about so much of this film, I wanted to make sure that Joe was really grounded and that he was recognisable to people that actually know a Sheriff like Joe." On Whether Aster Considers Eddington to Be a Horror Film — and What's at the Heart of the Film That Scares Him, Be It Humanity's Embrace of Existential Risks, Including Not Just Health But Also AI, or Stopping Questioning the Powerful Ari: "No, I don't consider it a horror film. No. But, I do think it's talking about something that scares me. There's a lot that scares me. I'm scared that the people who are leading us don't seem to believe in the future. You mentioned AI, and I would say if you asked me to say in one sentence what this film was about, I might tell you it's about a data centre being built. And that's happening on the periphery of the film, but it's really pretty central. And all these stories are really just data for this giant wooden wheel — to churn into what? What is coming? The film is about people navigating a crisis, but all the while, there's this other crisis that's incubating in a lab over here. And who knows, the utopian dream of what this thing could bring might be true. It might come to pass. But we really don't know what's coming. And yeah, I think that what's happening all over the world — and it's happening in the United States, but it's happening everywhere — it's something that's already happened to us, which is that we've been fortressed off. And I think that's very scary that we're completely unable to reach each other, and we're living out an experiment that has already failed badly. And it doesn't seem like anybody at the levers has any interest in slowing this thing down. It feels like, on the contrary, it's only accelerating." Eddington released in cinemas Down Under on Thursday, August 21, 2025.
Call it wild, weird and wonderful. Call it surreal and sublime, too. Whichever terms you want to sling Dark Mofo's way, there's no other event quite like it on Tasmania's cultural calendar — or Australia's. 2024 felt the winter arts festival's absence, after it sat out the year to regroup for the future ahead. Get excited about 2025, however, because Dark Mofo has confirmed that it'll be returning in June. "Dark Mofo is back. For our 11th chapter, once more we'll bathe the city in red and deliver two weeks of inspiring art, music and ritual," said Dark Mofo Artistic Director Chris Twite, announcing the event's 2025 dates, and advising that limited pre-release tickets for Night Mass, which fills downtown Hobart with art and music, will be on offer from 10am on Tuesday, November 5, 2024. "Night Mass is a beast, and this year it will evolve once more — worming its way through the city with new spaces, performances and experiences to dance, explore or crawl your way through," Twite continued. Not only Night Mass is returning, but so is the full Dark Mofo setup, largely taking place across Thursday, June 5–Sunday, June 15, 2025. The one exception: the Nude Solstice Swim, one of the festival events that still went ahead in 2024. Next year, it'll get everyone taking a dip on Saturday, June 21. Winter Feast, which also took place in 2024, will be back in 2025 as well — as will the Ogoh-Ogoh, plus a yet-to-be-announced (but sure to be jam-packed) art and music program that'll be revealed next year. If you spent a few days in 2023 attending a Twin Peaks-inspired ball and seeing a giant teddy bear with laser eyes — watching a stunning new take on Dante's classic examination of hell, purgatory and paradise, too — then you went to Dark Mofo's most-recent full run. Organised by Tasmania's Museum of Old and New Art, the winter arts festival fills Hobart with all manner of surprises every year, other than its gap year in 2024. When the break was announced, it was done to ensure that event could "move forward in a viable manner", said Twite at the time. "The fallow year will enable us to secure the future of Dark Mofo and its return at full force in 2025" was the promise, and it's being lived up to. The year off came after a hit 2023 run that saw Dark Mofo smash it with attendances and at the box office — notching up record figures, in fact. Despite the event's success, the crew behind it have been working towards "a more sustainable model for a full return in 2025, and set the foundation for the next ten years", taking rising costs and other changing elements into consideration. Dark Mofo returns from Thursday, June 5–Sunday, June 15, 2025 and for the Nude Solstice Swim on Saturday, June 21. Head to the festival's website for further details. Winter feast images: Jesse Hunniford, 2023, courtesy of Dark Mofo 2023. Nude Solstice Swim images: Rémi Chauvin, 2023, courtesy of Dark Mofo 2023.
"A pink, glittery, existential dance party in their heart." That's what Greta Gerwig hopes that audiences will find when her third film as a solo director splashes its rosy — and rose-hued — frames across the silver screen. The movie in question is Barbie, marking Mattel's six-decade-old doll's live-action debut. And, no matter how you feel about the toy itself, the feature boasts no shortage of reasons to get excited: the Lady Bird and Little Women filmmaker guiding the show; the fact that Gerwig co-wrote the film with her Frances Ha, Mistress America and White Noise helmer Noah Baumbach; Margot Robbie not only starring but producing and originating the project; a killer cast, including Ryan Gosling as Ken; and the self-aware sense of humour that's bounced through not one, not two, but three trailers before the picture hits cinemas Down Under on July 20. Gerwig and Robbie know that Barbie is a product with history. First reaching stores in 1959, as one of the first-ever dolls that weren't of babies, the plaything has sparked more reactions than the toy itself sports outfits — and this figurine in all of its many guises has never been short on wardrobe options. As a flick, Barbie aims to unpack those swirling responses and, yes, play with them. The feature's marketing tagline might be adamant that "if you love Barbie, this movie is for you" and also "if you hate Barbie, this movie is for you", but Robbie adds to it. "It's also a film for people who feel indifferent about Barbie. But when I pitched that to marketing, it didn't really roll off the tongue in the same way." The Australian Babylon, Amsterdam and The Suicide Squad actor shared her thoughts in Sydney, as did her Maggie's Plan, Jackie and 20th Century Women star-turned-filmmaker helmer Gerwig. In the leadup to the picture's release, Barbie is going global, with a trip Down Under one stop on the feature's promotional tour. Also visiting: Issa Rae and America Ferrera, with the Insecure and Superstore talents popping up on-screen alongside Robbie. Rae plays President Barbie, while Ferrera is Gloria, one of the film's few non-doll characters. Weeks out from Barbie hitting cinemas, the Gerwig-directed, Robbie-led, Rae- and Ferrera-costarring movie has already achieved a feat that would likely seem unthinkable if any other talents were involved: this is one of 2023's most-anticipated cinema releases. Actually, Barbie scored that status months out — years even, after the Gerwig-and-Robbie pairing was locked in back in 2021. Audiences are eager, but the folks that've been given the chance to bring this Barbie flick to them couldn't be more thrilled, too. Talking about the film at a beachside Bondi event at Icebergs, where the venue's famous pool even scored a temporary Barbie-themed makeover, the team's enthusiasm is palpable. "It's a movie that I think can really cut across generations and gender," notes Gerwig, who advises that the feature has been made for everyone aged eight to 108. Also covered at Gerwig, Robbie, Rae and Ferrera's Australian press conference: making a "wild, bananas Barbie movie", the huge opportunity to play with something so globally recognised, expanding the character, challenging stereotypes, following Wonder Woman's lead and breaking all of the Barbie rules. ON HOW IT FEELS NOW THAT BARBIE WILL SOON BE IN CINEMAS Greta: "At this very moment, just being in this setting and being with all of you — and the beach, and we're in Australia, and all these talented people — I really am feeling like what a spectacular life this is. It's overwhelming and amazing, and I just feel very grateful that Margot came to me almost four years ago and said 'do you want to you write a Barbie thing?'. And I'm grateful that in my postpartum haze four years ago, I said yes. It's just been such an extraordinary confluence of so many people coming together who are just outrageous and smart and talented — and that we got to make this wild, bananas Barbie movie is just an extraordinary blessing." ON WANTING TO MAKE A BARBIE MOVIE IN THE FIRST PLACE Margot: "I was aware that the Barbie IP was floating around, had gone up and running, and hadn't come to full fruition. So we've been keeping tabs on the property, and when there seemed like there was an opening, we jumped at the opportunity. We sat down with the Mattel CEO, Ynon [Kreiz], and that was five years ago, and pitched what we as our production company would want to do with a Barbie movie. And I knew even at that time that I would want to do it with someone like Greta Gerwig. She was the dream writer/director for it. I didn't know if she was going to say yes to it, but there are very few people in my mind that I want to make a Barbie movie with, Greta being the top of the list — and thank goodness she said yes. But the reason we went after the property is because it seemed like a very big and exciting and scary opportunity. It's globally recognised — the word itself is globally recognised. And not only that, people have very strong feelings about Barbie in a lot of cases. So it felt like a really exciting place to start a film, and start with the audience, where they already feel a certain way — perhaps that, at the very least, they have associated childhood memories with it. And it seemed like we could do something special with it." ON BEING A PART OF BARBIE'S ON-SCREEN WORLD Issa: "It was spectacular. Greta approached me and, just in our interview-slash-meeting, told me that she envisioned a world, a Barbie world, where I was President. I was super flattered by that, and also questioned her taste in political leaders. But it's a world that is perfect and beautiful — and seeing her brilliant writing, and the cast attached, it was a no brainer for me. So I was just honoured to to play in the world." America: "It was Margot and Greta's involvement that made me interested in what the script was. It was irresistible to be invited to — to take a peek into the world that these two incredibly talented and intelligent, respected women in our fields were going to do with Barbie. I never imagined myself in a Barbie movie, and I just opened the script and I was laughing on page one and then I was crying — and then I was laughing and crying. I had so many feelings and, truly, my first thought was 'are they even going to let Greta make this?'. I did not go into it feeling invested in Barbie — I didn't grow up playing with Barbies, I didn't feel represented in the world of Barbie — but Greta and Noah's brilliance created a world that made it relevant to me. And it is really exciting to get to be a part of a moment that is expanding such a dominant, influential female iconic character in our global culture, to include more of us. And also to include people with perspectives that aren't necessarily positive and kind toward the very long legacy and history that Barbie has." ON TACKLING A CHARACTER WITH SUCH HISTORY — AND BREAKING ALL THE BARBIE RULES Greta: "I grew up with a mum who didn't love Barbie, which only made me more interested in Barbie. So I had a lot of hand-me-down Barbies — a lot of Barbies who were Kate McKinnon's version, like their clothes were all on backward. That Barbie is very close to my heart. When we signed on to write it and I went to the Mattel headquarters, they opened up all the archives and took me through everything from 1959 till now, and the designers and the people who work there were just really fun to talk to and really interesting. But I would say that actually what we we did is, if there were rules, I think we broke all of them. That was part of it, in a way: 'tell me what your sacred cows are and I will do something naughty with it'. Margot, as a producer, was so instrumental in the whole process of just saying 'I want to make this. I want to make her version of this movie, her vision and and really protect it'. But yeah, if anything, it was an introduction to all the rules so they could be broken." America: "I remember when Greta and I first started speaking, she gave me a list of movies to watch to get in the vibe and the feel and the tone, and actually one of the movies I watched was a documentary called Tiny Shoulders about the expansion of the brand. I learned so much watching that. I did know a little, but through the making of this movie and the little bits of research that are either in the movie or that you caught researching it, it's really phenomenal to get a sense of how long the Barbie legacy has been — and how there have been times in the legacy where she was a revolution, and other times where she was behind her times and she needed to catch up. Just the mere fact that she was the first doll a girl could play with that wasn't a baby doll is something that I didn't really ever know. So there was there was an appreciation right from the start of how long her legacy is and how varied her place in our culture has been." ON CHALLENGING THE BARBIE STEREOTYPE Margot: "I definitely didn't want to portray Barbie as being vapid in any way. The thing about our how our story is constructed is that Barbie can be anything — Barbie can be president, Barbie can be a Nobel Prize-winner, you see all this stuff at the beginning of the movie that sets up how incredibly intelligent Barbie is. But at the same time, she hasn't been exposed to so many of the concepts that she's going to be exposed to in the real world. So it was a fine line between playing naivety without it coming across as unintelligent, because I didn't want it to seem ditsy— and that's just not interesting to play. It's not interesting to watch, either. There are times in the movie where we lean into stereotypes — we literally call my Barbie 'stereotypical Barbie' — so we're very much leaning into some stereotypes so that we can, in a way of being self-aware, play up the comedy, and also have a deeper conversation about some sort of issue. But then there are other times where you're like 'okay, if we play up that particular stereotype, it's going to be boring for people for the hour and 40 minutes that they're watching this movie'. It was an interesting challenge to find 'okay, what how do we portray the fact that she hasn't been exposed to certain things that she's going to learn along the way, but it doesn't mean that she's not intelligent?'." ON GETTING HELP FROM WONDER WOMAN — AND PASSING THAT HELP ON Margot: "Obviously I want the movie to do well because we all worked so hard and we love it so much. But I think it is important when a movie like this does do well — like, if Wonder Woman hadn't done what Wonder Woman had done, I don't know if people would have given us the budget we got to. And if this does well, then the next person who wants to make [something female-led]. It's so important." Greta: "We were just saying this the other day. I think all the time, I was like 'I'm so grateful that Patty Jenkins made Wonder Woman'. And yeah, whoever comes next, it will be..." Margot: "I remember when they were trying to come up with comps [comparable films] for this movie, and there's not that many. And it's important to have them. It makes a difference on the business side of things to have those comps, and have the proof in the pudding that they've made money and done well. Hopefully we can be an extra stepping stone for the next thing." Check out the trailer for Barbie below: Barbie releases in cinemas Down Under on July 20. Images: Barbie press tour photography by Caroline McCredie for Warner Bros/NBC Universal. Barbie film stills via Warner Bros.
2026's Down Under live music calendar already boasts David Byrne, Lorde and G Flip, to name just a few big-name acts hitting the stage. Now, in another of the year's must-see tours, Nick Cave and The Bad Seeds have announced a slate of shows in Australia and New Zealand in January and February. The group's Wild God tour is finally making its way to this part of the globe, after dates across UK, Europe and North America in 2024 and 2025. Fans can get excited about a two-and-a-half-hour show focused on the band's 2024 record Wild God, but also spanning their four-decade career. 'Red Right Hand' and 'Into My Arms' have indeed been on the set list so far. Fremantle Park in Perth will host the first Aussie gig on Saturday, January 17, with Cave, Warren Ellis and company then heading to Adelaide Entertainment Centre on Tuesday, January 20. Two shows will take over The Domain Sydney on Friday, January 23–Saturday, January 24, before a single-night stop at Victoria Park in Brisbane on Tuesday, January 27, then three concerts on Friday, January 30–Sunday, February 1 at Alexandra Gardens in Melbourne. In New Zealand, Nick Cave and The Bad Seeds are headed to TSB Arena in Wellington over Thursday, February 5–Friday, February 6, in their only NZ gigs — which are taking place in association with the Aotearoa New Zealand Festival of the Arts. "I can't wait to get to Australia and New Zealand with The Bad Seeds and to bring you our epic Wild God show. It's been a long time coming, and I've missed both Australia and New Zealand very much. It will be a wild and mighty joy," said Cave, announcing the Aussie and NZ leg of the tour. Cave and Ellis last hit the stage Down Under sans the rest of The Bad Seeds on the Aussie run of their Carnage tour in 2022, supporting the 2021 album that shared the tour's name — which actually marked Cave and Ellis' first studio album as a duo. Bandmates across several projects since the 90s — including Nick Cave and The Bad Seeds, and Grinderman — Cave and Ellis are Aussie icons, with careers spanning back decades. Together, they also boast more than a few phenomenal film scores to their names as well, including for The Proposition, The Assassination of Jesse James by the Coward Robert Ford, The Road, West of Memphis, Far From Men, Hell or High Water and Wind River. Nick Cave and The Bad Seeds Wild God Australia and New Zealand Tour 2026 Saturday, January 17 — Fremantle Park, Perth Tuesday, January 20 — Adelaide Entertainment Centre, Adelaide Friday, January 23–Saturday, January 24 — The Domain, Sydney Tuesday, January 27 — Victoria Park, Brisbane Friday, January 30–Sunday, February 1 — Alexandra Gardens, Melbourne Thursday, February 5–Friday, February 6 — TSB Arena, Wellington Nick Cave and The Bad Seeds' Wild God tour hits Australia and New Zealand in January and February 2026. Tickets go on sale at 10am local time in each city on Friday, August 29, 2025 — for more information, head to Nick Cave's website. Images: Megan Cullen.
For over a century now, HOYTS has been connecting Aussie audiences with all the big screen hits they've ever needed, and for the cinema chain's 116th birthday, it's giving a little something back to weekend moviegoers. In every HOYTS cinema around Australia this weekend, all day and night, tickets will be going for just $8, or $25 for HOYTS LUX tickets — now's the time to try watching a movie in recliner seating with cocktails, wine and gourmet food delivered straight to your seat. With 49 cinemas across the country, this is a treat we can all make the most of. HOYTS General Manager of Customer Engagement Brad Eaton said "We're extremely proud of our long legacy in cinema and this weekend is all about celebrating with our loyal guests. Whether you're after a new blockbuster or a fun experience with the family, there's something for everyone so all can take advantage of this exceptional offer." [embed]https://www.youtube.com/watch?v=XkgMaS5gbaA[/embed] So what's worth watching? New releases include Benedict Cumberbatch and Olivia Colman at their dysfunctional best in The Roses, Austin Butler getting caught in a crime caper in Caught Stealing and Liam Neeson saving the world (absurdly) in The Naked Gun. Not one but two small-screen series are getting big-screen finales at the moment, with Downton Abbey: The Final Chapter and Demon Slayer: Kimetsu no Yaiba- Infinity Castle both screening this weekend. [embed]https://www.youtube.com/watch?v=vAtUHeMQ1F8[/embed] Prefer something to get your pulse pounding? Settle in for The Conjuring: Last Rites, The Long Walk or Weapons. If you've got kiddos in tow, they might be keen for Sketch or The Bad Guys 2. And if you missed any of this year's winter blockbusters — Superman, F1 The Movie, The Fantastic Four: First Steps and Jurassic World: Rebirth are all still wrapping up their theatrical runs. Find your nearest HOYTS cinema and get tickets to a screening of your choice here.
For those following a vegan diet, plenty of obvious items are off the menu: meat, dairy products and eggs in particular. So is anything made with gelatine, given that the substance is derived from collagen from animal body parts — which rules out many a sweet treat, too. Gummy and jelly lollies are definitely usually made with gelatine; however, with its newest release, The Natural Confectionery Co is giving vegans an animal product-free alternative. Already known for completely avoiding artificial colours, flavours and sweeteners, plus high-fructose corn syrup as well, the company is now launching a gelatine-free, vegan-, vegetarian- and flexitarian-friendly version of its fruity jelly lollies. If that's your next snack taken care of, you'll find packs of Vegan Fruity Flavoured Jellies in supermarkets from mid-August — starting with Coles and independent stores, then hitting Woolworths from mid-September. They'll cost you $4 for a 200-gram packet, which boasts five varieties of lollies inside: apple, blackcurrant, peach, pineapple and raspberry. The new addition to The Natural Confectionery Co's range comes in response to demand. "We couldn't ignore the requests from Aussies asking for a vegan-friendly option," explains Lauren Fildes, the Cadbury-owned company's Marketing Director for Candy, Biscuits and Meals. If you're a fan of the brand's other types of lollies — its snakes, fruity chews and sour worms, for example — you'll have to cross your fingers that they eventually get a vegan version as well. [caption id="attachment_779206" align="aligncenter" width="1920"] Peter O'Connor via Flickr[/caption] Find The Natural Confectionery Co's Vegan Fruity Flavoured Jellies in Coles and independent supermarkets from mid-August, and in Woolworths from mid-September — costing $4 for a 200-gram pack.
Taylor Swift has already played Australia in 2024, as the entire country knows. Billie Eilish will hit the country's stages in 2025. Arriving in-between: Olivia Rodrigo, with the former Disney talent — see: Bizaardvark and High School Musical: The Musical: The Series — bringing her huge GUTS world tour Down Under in October 2024. When we say huge, we mean it. With the addition of four Aussie dates alongside new gigs in Bangkok, Thailand, Seoul, Hong Kong, Tokyo and Singapore, the tour now spans 82 concerts around the globe. In Australia, Rodrigo has a two-night date with Melbourne and then another two with Sydney. Fans elsewhere, you'll be needing to travel. Touring in support of her second studio album that's also called GUTS, three-time Grammy-winner Rodrigo is hitting Rod Laver Arena Wednesday, October 9–Thursday, October 10 to start her Aussie visit. The next week, from Thursday, October 17–Friday, October 18, she'll play Qudos Bank Arena. In both Sydney and Melbourne, New Zealand singer-songwriter Benee will also take to the stage in support This is 'Drivers License', 'Good 4 U' and 'Vampire' singer Rodrigo's first arena tour, as well as her first tour Down Under — and she'll have her debut album SOUR to work through as well. The GUTS tour started in Palm Springs in February, saw Rodrigo do four shows at Madison Square Garden in April, and is currently making its way around the UK before heading to Europe, back to the US, then to Asia and Australia. Olivia Rodrigo GUTS World Tour 2024 Australian Dates: Wednesday, October 9–Thursday, October 10 — Rod Laver Arena, Melbourne Thursday, October 17–Friday, October 18 – Qudos Bank Arena, Sydney Olivia Rodrigo is touring Australia in October 2024. Ticket presales start at 1pm on Wednesday, May 15, and general sales at 1pm on Thursday, May 16 — head to the tour website for further details. Images: Chris Polk, Polk Imaging.
Australia's hot springs fiends and bathing connoisseurs have a lot to be excited about — if a trip to Victoria is in your future, or will be now. First, we learned the much-loved Peninsula Hot Springs crew was planning a new wellness and bathing precinct for East Gippsland, the Metung Hot Springs. Then, a proposal for a 900-kilometre trail linking the state's hot springs and other bathing spots was unveiled. And now, it's time to actually start planning those Gippsland-based bathing adventures, because the Metung Hot Springs has announced an initial launch date, with bookings to open in a matter of days. The first phase of the $100-million precinct's long-awaited grand opening is slated for Saturday, October 29 — and you can jump online to book a visit from Monday, September 19. Much like its Mornington Peninsula sibling, the Gippsland site is set to be one giant haven of wellness and indulgence, nestled on 25 acres surrounded by coastal bushland and located within strolling distance of the quaint lakeside village of Metung. Guests will be able to soak in cliff-top barrels overlooking Lake King, let off steam in various architecturally designed saunas (including a floating one), pamper themselves at the day spa and rejuvenate while bathing in pools filled with geothermal water. There'll be bush walks to wander, plunge pools to get your blood pumping, and all-day dining options to refuel in between dips, too. Located four hours out of Melbourne, Metung Hot Springs will also feature onsite accommodation, including safari-style glamping tents each decked out with its own private balcony and geothermal bathing barrel. As announced earlier, the bathing precinct is also joining forces with — and renovating — the nearby former Kings Cove Golf Course, soon to relaunch as the Metung Country Club. It'll have its own resort-style accommodation and facilities, and a revamped clubhouse and restaurant, with 'stay, bathe and golf' packages on offer across the two sites. [caption id="attachment_869322" align="alignnone" width="1920"] Metung Hot Springs glamping[/caption] Meanwhile, those looking to indulge in some 'me' time can immerse themselves in the offerings of the onsite day spa, centred on authentic Larn'wa Aboriginal Lore wellness rituals incorporating native botanical spa products. The hot springs project is being brought to life with the help of $1.5 million in funding courtesy of the Victorian Government's Gippsland Tourism Recovery Package, as well as an additional $1.5 million from the federal and state governments' Local Economic Recovery Program In other related news, Victoria's proposed bathing and hot springs trail is set to start taking shape over the coming summer months, with the latest map and venue updates available to scope out online. Keen on multiple trips south to hit the hot springs? Back on the Mornington Peninsula, Alba Thermal Springs and Spa is on track to open its own doors in a matter of weeks, now taking spa and bathing bookings from September 26 onwards. Metung Hot Springs will open to customers from Saturday, October 29 at 73 Storth Ryes Avenue, Metung, Victoria. Online bookings are open from Thursday, September 19.
Musicals don't get much bigger than Les Misérables. That's been evident on the stage for more than four decades. When the production has been adapted for the screen, too, it's also been clear. In Australia, next comes Les Misérables: The Arena Spectacular, which will put on a show set in 19th-century France on a three-city tour from April 2025. Do you hear the people sing? Audiences in Sydney, Melbourne and Brisbane definitely will when the production gets the music of the people, plus the songs of angry men, echoing. A stacked cast and a 65-plus-piece orchestra will bring Les Misérables: The Arena Spectacular to life at ICC Theatre, Rod Laver Arena and the Brisbane Entertainment Centre, with the format heading Down Under after playing the UK and across Europe. Starting on Wednesday, April 30 in the Harbour City, Australia is getting a five-week-only run, before the show travels through Asia — including Japan, Taiwan and China — and then returns to Europe, with American and Canadian seasons also planned. What makes this an arena spectacular, other than the venues that it's playing? The production isn't just taking the stage iteration of Les Misérables as is to sizeable sites — as a concert, it has been specifically created and designed for such locations. Les Misérables: The Arena Spectacular was born to celebrate a hefty milestone for the song-filled theatre take on Victor Hugo's famous 1862 novel: the London production of Les Misérables reaching its 40th year in 2025. Yes, it's West End's longest-running musical. But the arena spectacular's origins hail back earlier, to not long after Les Mis debuted on the stage in 1980 — and also have ties to Australia. "I have long dreamt of taking an Arena Tour of Les Misérables around the world, but I am especially thrilled to be bringing it back to Australia where the outrageous of idea of doing Les Mis as a concert began," explains producer Cameron Mackintosh. "When I first did the stage production of Les Misérables in Sydney in 1987 — with the wonderous Marina Prior as Cosette (only two years after its London opening) — we were invited to do a concert in Sydney's Domain in January 1989 as part of the Sydney Festival. It was very early in the life of Les Misérables, so we had no idea if anyone would turn up, let alone know the music, as the show had only been playing for a year in the 1000-seat Theatre Royal. But, to our astonishment, 135,000 people turned up and embraced the show with a mighty roar — it was a night I will never forget, and the concert was born." On its three Aussie stops, Les Misérables: The Arena Spectacular will star Tony-winner Alfie Boe and British talent Killian Donnelly sharing the role of Jean Valjean, while Michael Ball — who featured in the original London 1985 production — plus Bradley Jaden are doing the same with Javert. Prior is back as Madame Thénardier, as part of an international cast that also includes Little Britain's Matt Lucas as Thénardier, Rachelle Ann Go as Fantine, Jac Yarrow as Marius and Beatrice Penny-Touré as Cosette. Les Misérables: The Arena Spectacular Australian Dates 2025 From Wednesday, April 30 — ICC Theatre, Sydney From Wednesday, May 14 — Rod Laver Arena, Melbourne From Wednesday, May 28 — Brisbane Entertainment Centre, Brisbane Les Misérables: The Arena Spectacular is touring Australia from April–June 2025. Ticket presales start at 1pm local time on Tuesday, November 19, 2024, with general sales from 1pm local time on Friday, November 29, 2024. Head to the production's website for more details and to sign up for the waitlist. Images: Danny Kaan.
Thanks to a certain chest-bursting franchise that first hit screens more than four decades ago, Ridley Scott has long been synonymous with science fiction. So when the veteran filmmaker jumps onboard a sci-fi TV series — featuring androids again, but no aliens this time around — it's definitely something worth paying attention to. That show is Raised by Wolves, which is set in a dystopian future in the 22nd century, when the earth has been destroyed by war. Two androids, known only as Mother and Father, head to the planet Kepler-22b with two human embryos in their care, with the obvious aim of restarting civilisation. While it's immediately apparent that little will go as planned — that's just not human nature — don't go thinking that you'll be able to pick this striking, big-thinking series' every twist and turn.
When you drink a spritz, it might get you dreaming of Italy, the country that gave the world the summery tipple. Sip one of the cocktails at South Brisbane's Como and you'll definitely be thinking about the other side of world. A ten-option spritz menu that themes its sips around different Italian regions — Venice, Rome, Milan, Sicily and Bologna included — will do that. As its name makes plain, this spot takes inspiration from a specific part of the European country in general: Lake Como. Cue Euro summer vibes all year long and no matter the weather in Brisbane or in Italy, all on Melbourne Street. Seasonal produce is in the spotlight, with the small bites beginning with oysters, sago chips, crispy polenta with mushroom, pan brioche with raw kangaroo loin, fried calamari and caviar. There's also a selection of cured meats and focaccia, which are recommended to be paired. Or, from the antipasto range, tuck into beetroot tartare and yuzu-marinated swordfish. Among the pastas, spaghetti champagne lobster stands out, albeit with a hefty price tag to match; pappardelle with wild boar ragu and rigatoni with mussels will also tempt your tastebuds. For mains, porchetta, duck breast and market fish sit alongside two types of wagyu and dry-aged black angus sirloin. And as for dessert, watermelon yoghurt, raspberry sorbet and cheese all feature. If you can't choose what to eat, two degustation menus are on offer, including one for groups that spans six courses for $110 a head and an eight-dish feast that'll set you back $149 per person. Pizzas are available for takeaway via the restaurant's Fish Lane entrance all day from Tuesday–Sunday, while Como's bar also operates from open till close six days a week. But for dining in, you'll need to make a date for lunch from 12–2.30pm and dinner from 5.30–9.30pm. As well as spritzes, Como's drinks selection boasts multiple takes on the negroni, classics on request, non-boozy cocktails and eight pages of wine choices — with Italian, Australian, New Zealand, French, American and Spanish drops all getting their own menu sections. The mood is refined but laidback, encouraging patrons to while away their visit with their nearest and dearest. You can start at the bar, then settle in at a table. Also, if you let the staff know when you book, Como will cater to your timing if you're heading in before seeing a show somewhere around South Bank.
Bluesfest has officially cancelled its 2026 event. In a statement on Friday, organisers attributed the decision to "rising production, logistics, insurance and touring costs, combined with softer ticket demand and international uncertainties." "For more than three decades, Bluesfest has brought extraordinary artists and audiences together in Byron Bay while also driving significant tourism and economic activity for the Northern Rivers and New South Wales," Festival Director Peter Noble said. "This makes the decision incredibly difficult. After careful consideration, we concluded we could not proceed in a way that would meet the standard our audiences, artists and partners expect." The festival had a stacked lineup planned for 2026. Headliners included Parkway Drive, Erykah Badu, The Wailers, Earth, Wind & Fire, Sublime, Counting Crows, The Black Crowes, Buddy Guy, and more. Bluesfest director Peter Noble announced last year that 2025 would be the final year, however, shortly after, he said that declaration was as much a call to action as a resignation to fate. "Do we have to say it's the last Bluesfest to get people to focus on us?" he asked at the time. Confirmation of Bluesfest 2026 then came on the same day that the Australian Greens unveiled a $20 million-a-year rescue plan to keep the country's festival scene alive and kicking. With 109,000 punters through its gates in 2025, the announcement comes as a major shock to the music community. Head to the website for more information. This article first appeared in Rolling Stone Australia. Subscribe to the Concrete Playground newsletter to get more stories straight to your inbox.
When it comes to forming habits, three weeks is often bandied about as the right amount of time to cement a new part of your routine. With annual massive music, technology, screen and gaming festivals, perhaps three years is a better fit. After initially making its debut in 2023, then returning in 2024, SXSW Sydney will be back again in 2025. Mark your calendar accordingly. You can now call the huge event a fixture of not just the Harbour City's cultural calendar, but also Australia's. The dates for its third iteration: Monday, October 13–Sunday, October 19. Although there's no lineup details as yet, attendees can expect big things again after 2024's fest built upon 2023's successes. The second-ever SXSW Down Under featured 1400 conference sessions, 95 screenings, 315 performances and 150 games. It also hosted more than 92,000 unique visitors, with folks attending from 56 countries. In terms of total visits, the seven-day festival notched up 300,000 — including 190,000-plus people heading along to the 163 events as part of the free programming in Tumbalong Park. Darling Harbour, Chippendale and Broadway will be among the places playing host to SXSW Sydney in 2025, but more details there are still also yet to be revealed. "SXSW Sydney 2024 was a great success on all fronts, and was bigger than its debut year in attendance numbers and sessions throughout the week," said SXSW Sydney Chair Geoff Jones, announcing the 2025 dates. "We look forward to paving the way for more innovators across the tech and innovation, music, screen, games and creative industries by providing these creators with an opportunity on a global stage." Whatever graces the bill in 2025, it'll follow on from Black Mirror's Charlie Brooker, Chance The Rapper, Future Today Institute founder and CEO Amy Webb and Nicole Kidman in 2023, plus The Kid LAROI, human rights lawyer Jennifer Robinson, author Johann Hari, The New Boy filmmaker Warwick Thornton, The Babadook composer Jed Kurzel, Grace Tame and Tim Minchin in 2024 — and heaps more. SXSW Sydney 2025 will run from Monday, October 13–Sunday, October 19 at various Sydney venues. Head to the SXSW Sydney website for further details. Images: Paul McMillan, Jess Gleeson, Brendon Thorne/Getty Images for SXSW and Nina Franova/Getty Images for SXSW Sydney.
In the on-screen sea that is the never-ending list of films and television shows constantly vying for eyeballs, Taika Waititi and Rhys Darby have frequently proven gem-dappled treasure islands. When the immensely funny New Zealand talents have collided, their resumes have spanned four of the most endearing comic hits of the big and small screens in the 21st century so far, aka Flight of the Conchords, What We Do in the Shadows, Wellington Paranormal and Hunt for the Wilderpeople — and now, with HBO Max pirate parody Our Flag Means Death, they've given viewers another gleaming jewel. The brainchild of writer, showrunner and executive producer David Jenkins (People of Earth), this show was always going to swashbuckle its way into streaming must-see lists — and into comedy-lovers' hearts — based on its concept alone. The inimitable Darby stars as Stede Bonnet, a self-styled 'gentleman pirate' and a great approximation of Flight of the Conchords' Murray if he'd existed centuries earlier. Meanwhile, Waititi dons leather, dark hues aplenty, an air of bloodthirsty melancholy and a glorious head of greying hair as Edward Teach, the marauder better known to the world as Blackbeard. While the latter is a household name — pop culture has been inserting him into stories for decades: Ian McShane played him in Pirates of the Caribbean: On Stranger Tides and Hugh Jackman did the honours in Pan, for instance — Bonnet will be a new discovery to most of Our Flag Means Death's audience. Also a real-life figure, he left his life of wealth, privilege and comfort to rove the oceans. That's a scenario that this ten-episode comedy has plenty of fun with, complete with Bonnet's onboard library decked out with classics and summer linens-filled auxiliary wardrobe. In its first three episodes, Our Flag Means Death establishes its fish-out-of-water situation — or its tale about a ruffled shirt-wearing aristocrat seemingly out of his depths while sailing across treacherous waters, to be more accurate. Bonnet is not one for the usual pirate stereotypes, and that takes some adjusting to by his crew. Among those with him on the Revenge: Lucius (Nathan Foad, Bloods), his righthand man and official scribe; Buttons (Ewen Bremner, First Cow), a seasoned seafarer and source of advice; Black Pete (Matthew Maher, Marriage Story), who constantly claims to have worked with Blackbeard; the fire-obsessed Wee John Feeny (Kristian Nairn, aka Game of Thrones' Hodor); and the initially secretive Oluwande (Samson Kayo, Truth Seekers) and Jim (Vico Ortiz, The Sex Lives of College Girls). Scene-setting and ensemble antics abound in the series' opening instalments, including a run-in with a British navy captain (Rory Kinnear, No Time to Die) with ties to Bonnet's past, and another a fellow pirate captain-turned-bar owner (Leslie Jones, Death to 2020) and one of her husbands (Fred Armisen, Los Espookys). But then Blackbeard arrives, taking over the Revenge with his first mate Izzy (Con O'Neill, The Batman) — and Our Flag Means Death starts becoming a rom-com. From the outset, it's already a gloriously inclusive and emotionally astute comedy. Bonnet wanting his crew to be in touch with their feelings, rather than simply solve everything with swords and violence, is one of the aforementioned ways that he bucks expectations. But that trend deepens and grows as its two key swashbucklers gravitate towards each other, riding the waves from adversaries to co-captains to potentially something more. From its first trailer, Our Flag Means Death delivered answers to questions that no one knew they had, such as "what'd happen if Waititi and Darby played pirates?" and "what if Waititi and Darby played pirates alongside Spud from Trainspotting and Hodor?". Now that the results have played out across an entire season — all of which is available to stream in Australia via Binge and in New Zealand via Neon — it's sweeter than a bottle of rum to a buccaneer (or oranges to fend off scurvy, which definitely get a mention in the show). Smartly, Our Flag Means Death doesn't just satirise pirate archetypes. It isn't content with finding easy laughs at the whole 'gentleman pirate' caper, either. Instead, it's a comedy about plundering one's own depths to find out who you really are, where you truly belong and who should comprise your chosen family — whether you've been set up for a life of luxury, you're the world's most fearsome scourge of the seas or you're simply roving the oceans with them. When Waititi's Blackbeard steps into the story, meet-cute and all, less of its focus resides upon its other supporting characters. When you've got comedic greats such as Waititi and Darby bouncing off of each other — as they do from episode four onwards, and with pitch-perfect comic chemistry — you let them have the spotlight. Still, subplots that flesh out the remainder of the Revenge crew's histories wholeheartedly link in with Our Flag Means Death's focus on reinvention and rediscovery, and its open heart. Relationships are laid bare, and secrets, too. In the process, cliches are dismantled, correct pronouns are used, and everyone helps build a thoughtful and sincere comic caper. Indeed, add Our Flag Means Death to the list of delightful sitcoms that beam with warmth, even when it's soaking cat flags (yes, that's a pirate banner adorned with a feline) with blood. Stellar talent doesn't always equate to a must-see, something special or both, of course; however, Our Flag Means Death ticks all of those boxes — and the who's who that is its guest and supporting cast also includes fellow Conchords alum Kristen Schaal, Big Mouth's Nick Kroll, Arrested Development's Will Arnett, and Aussies Claudia O'Doherty (Sarah's Channel) and Angus Sampson (Bump). With Waititi also helming the pilot and executive producing, his winning ways with TV comedies continue, too, after a top-notch few years that've included the What We Do in the Shadows television spinoff and Reservation Dogs as well. Ahoy, streaming lovers — let Our Flag Means Death sail into your queue right now. Check out the full trailer for Our Flag Means Death below: Our Flag Means Death's first season is available to in Australia via Binge and in New Zealand via Neon. Images: Aaron Epstein/HBO Max.
Parties, art, music, performances, food, stripping bare for a swim to celebrate the winter solstice: that's the Dark Mofo way, and so is weaving its anything-can-happen vibe, its beloved regular highlights, and its array of expectation-exploding shows and events into a ritual as much as a festival. The Tasmanian winter arts fest is a place to commune, with attendees and with its boundary-pushing program alike. Challenge, confrontation, evoking a strong response: Dark Mofo is a place for that, too. The festival sat out 2024, spending the time to regroup for the future ahead instead. Late that year, it announced its return for 2025, however. The full program will be unveiled at the beginning of April, but organisers have already announced the first new work. When attendees look at Nathan Maynard's We threw them down the rocks where they had thrown the sheep, they won't forget it. Set to premiere at Dark Mofo 2025 — which runs from Thursday, June 5–Sunday, June 15, 2025, except for the Nude Solstice Swim on Saturday, June 21 — the new commission by the multidisciplinary Trawlwoolway artist will take over a Hobart CBD basement. Inside, expect a commentary on cultural theft and erasure via Maynard's mass installation, using sheep heads to make a statement. "Languishing in museums and their storerooms are the remains of ancestors of First Nations people from all around our globe. They have been stripped of identity and, without consent, treated like specimens for study and scientific inquiry," explains the artist. "We threw them down the rocks where they had thrown the sheep speaks to the sadistic power white institutions flex when they deny First Nations people the humanity of putting our ancestor's remains to rest in the physical and the spiritual." When Dark Mofo's 2025 comeback was first revealed, so were the returns of a number of its beloved festivities: the aforementioned Nude Solstice Swim; Night Mass, which fills downtown Hobart with art and music; culinary highlight Winter Feast, which popped up in 2024 despite the festival around it taking a break; and the Ogoh-Ogoh. If you're wondering if the world missed Dark Mofo, the response to Night Mass alone so far says it all. When 6000 pre-release tickets were made available late in 2024, they were snapped up in less than four hours. "Taking the year off in 2024 was a difficult decision, but Dark Mofo is back with renewed energy and focus, ready to deliver an enormous program spanning two packed weeks this June," notes Dark Mofo's new Artistic Director Chris Twite. "It was encouraging to sell over 6000 Night Mass tickets in less than four hours during our pre-release late last year, indicating that demand for the festival remains strong. We are hoping for a similar response when we release the full program on the 4th April." Back in November, Twite gave a few more hints at what's in store this year. "Dark Mofo is back. For our 11th chapter, once more we'll bathe the city in red and deliver two weeks of inspiring art, music and ritual," he advised when announcing the event's 2025 dates. "Night Mass is a beast, and this year it will evolve once more — worming its way through the city with new spaces, performances and experiences to dance, explore or crawl your way through." Dark Mofo returns from Thursday, June 5–Sunday, June 15, 2025 and for the Nude Solstice Swim on Saturday, June 21. Head to the festival's website for further details — and check back here on Friday, April 4, 2025 for the full lineup. We threw them down the rocks where they had thrown the sheep images: Jesse Hunniford, 2025. Image courtesy of Dark Mofo 2025. Night Mass images: Jesse Hunniford and Andy Hatton, 2023, courtesy of Dark Mofo 2023. Winter Feast images: Jesse Hunniford, 2023, courtesy of Dark Mofo 2023. Nude Solstice Swim images: Rémi Chauvin, 2023, courtesy of Dark Mofo 2023.
When Brisbane favourite Longtime shut up shop, it marked the end of an era. The Ann Street restaurant had only been open since 2014, but the Thai joint had amassed a hefty following. Thankfully, when one door closes, another one opens — in this case, new upscale eatery Same Same from the same crew. The focus on street-inspired Thai cuisine remains the same — think salt and pepper tofu sliders, and whole crispy fish with sweet four chilli dressing — however Same Same has plenty of surprises in store. This isn't just a case of transplanting a successful concept to a new spot and giving it a new name. Other food highlights include grilled scallops lathered in a curry butter, banana blossom salad with fermented shrimp salad and grilled sweet soy chicken. Or, you can pick from five types of curry, featuring the likes of lamb shanks, angus beef cheeks, and Queensland grouper. The Longtime chicken burger has made the jump over, sitting on the bar menu, while the dessert lineup is worth a trip all on its own — with coconut pana cotta, tamarind pudding with butterscotch sauce and condensed milk ice cream ($12), and mango sticky rice with coconut foam and toasted sesmae on offer. Dining with seven or more others? Then you'll need to tuck into the $79 or $120 banquet menu. You'll receive a selection of Same Same's most popular dishes, including some of the aforementioned ones — ranging from snacks and mains through to dessert. Located in the same Ada Lane strip as The Calile — one of the best hotels in Brisbane — its location also makes an imprint, joining the busy James Street precinct. Spread across two levels, it's a place with clean lines, concrete and wicker design flourishes, and, on the ground level, a long bar curving around an open central kitchen. Drinks-wise, expect a heavy focus on riesling, rose and rhone on the 140-bottle wine list, as well as a nice range of natural, organic and biodynamic Aussie drops. Given the restaurant's overall Thai flavour, Thai-inspired cocktails are also a highlight. And, if you're particularly keen on having a few beverages, Same Same's upstairs level is home to dimly lit bar LOS — and more than 110 tequilas. It's open from Thursday to Sunday until late. The team has also opened a collection of other restaurants in Brisbane, including Bianca, Honto and Agnes — if you fall in love with Same Same, perhaps give the rest of these a go as well. Appears in: The Best Restaurants in Brisbane
Among the many great filmmaker-actor pairings that cinema has gifted the world, Ryan Coogler and Michael B Jordan have spent more than a decade cementing their spot on the list. It was back in 2013 that the two first joined forces, one for his feature directorial debut and the other for his first lead film role, on Fruitvale Station. Each time that a new Coogler movie has arrived since, including 2015's Creed, then 2018's Black Panther and its 2022 sequel Black Panther: Wakanda Forever, Jordan (Creed III) has been a key part — and after playing Oscar Grant, Adonis Johnson and Killmonger for his go-to helmer, Jordan is at the heart of 2025's Sinners, too. Five pictures into their collaboration now, how does Coogler manage to double down on working with Jordan? Literally, actually. This time, in the director's first horror film, he has cast his favourite actor in two roles. Sinners focuses on brothers — twins, in fact, called Elijah and Elias — who find more than familiar faces awaiting when they try to start afresh upon returning to their home town. They also find much greater troubles than have been haunting them in their lives elsewhere. This is a movie set in America's south in the Jim Crow-era, as well as a film where being able to enjoy blues music at their local bar is a welcome escape for Sinners' Black characters. But as the just-released second trailer for the feature makes clear, there's more than a touch of the supernatural to Coogler's new flick. Yes, things get bloody. Cast-wise, the movie also gets stacked, with Hailee Steinfeld (The Marvels), Wunmi Mosaku (Loki), Delroy Lindo (Unprisoned), Jack O'Connell (Back to Black), Jayme Lawson (The Penguin) and Omar Benson Miller (True Lies) co-starring. Sinners marks the first time that Coogler hasn't either explored a true story, jumped into an existing franchise or brought an already-known character to the screen — and alongside him working with an original tale, he's also telling a personal one. Inspiration came from members of his family, including for the film's setting and pivotal use of music. But Coogler also considers every feature that he's made to be personal. Asked at a press Q&A about the movie and its new trailer if this tops the list in that regard, he advises that "it's interesting because at each point in my life, that statement has been correct — but never like this one". [caption id="attachment_988567" align="alignnone" width="1920"] Gage Skidmore via Wikimedia Commons[/caption] "I don't want to give all of this away, but each time I make something — and none of the films that I worked on have had the horror or the thriller element like this one has — but each time I'm conquering a fear, a personal fear of mine, and this one is no different," Coogler also shared. For Sinners, Jordan isn't the writer/director's only returning collaborator. For a picture that's partly shot on IMAX — "I got to get some advice from Chris and Emma, who are masters of the form," Coogler offered, speaking about Christopher Nolan and his producer and wife Emma Thomas — he also reteamed with pivotal talents behind the lens. Cinematographer Autumn Durald Arkapaw (The Last Showgirl), production designer Hannah Beachler (Renaissance: A Film by Beyoncé), editor Michael P Shawver (Abigail), composer Ludwig Göransson (Oppenheimer) and costume designer Ruth E Carter (Coming 2 America) each return from either Black Panther, Black Panther: Wakanda Forever or both — some, such as Göransson and Carter, with Oscars for their past efforts working with Coogler. The filmmaker also chatted about his clearly rewarding creative partnership with Jordan, Sinners' origins, its mix of genres and supernatural elements, and his aim with using large-format visuals — plus how Stephen King's Salem's Lot proved pivotal, the eeriness of twins, why making movies is a form of catharsis for him and more. On Making Five Films Now with Michael B Jordan — and How Their Collaboration Pushes Coogler Creatively "It's incredible. With Mike, he was a working actor when I met him. He had been on some incredible television shows, basically been a professional actor since he was a school-aged kid, but he hadn't had a feature-length role where he was the lead just yet. So when we worked together on Fruitvale, that was his first time in a lead role in a movie, and it was my first time making a movie — so in many ways, we've grown up together in the industry, in these situations. I've definitely found a kindred spirit in him. He's somebody who's incredibly gifted. In some ways, it's god-given: his charisma, his ability to channel empathy without even trying. But the other facets are the things under his control: his work ethic, his dedication to the craft. And the other thing is his constant desire to want to push himself, to increase his capacity, to continue to stretch. Having both those things rolled up into one, and being somebody who's around the same age, we became work friends and eventually have become like family since. It's an incredible gift to have somebody like that, who you can call up and say 'hey, I've got a new one for you, what do you think?'. And I know he is always trying to look for new challenges constantly. He doesn't want to rest on his on his laurels. And I thought that this role would be something where we could challenge each other." On Injecting Personal Elements Into Coogler's First Horror Film "Each time I've made a film, it's become more and more personal. With this one, I was really digging into two relationships. One with my maternal grandfather, who I never met, he died about a year before I was born — but he was from Merrill, Mississippi, and eventually moved to Oakland, married my grandmother, and actually built the house that our whole family was based out of in Oakland. And I had an uncle named Uncle James who I came up with my whole life, he actually passed away while I was in post-production on Creed, and he was from another town in Mississippi — and he wouldn't really talk about Mississippi unless he was listening to the blues, unless he had a little sip of old Italian whisky, then he would reminisce. And I miss him profoundly. With this film, I got a chance to dig into my own ancestral history here in the States — not dissimilar to what I was doing with the Panther films, like that generational ancestral history, this is right there for me. And I had a chance to really go to the south and scout and think. And the film is about the music that was so special to my to my uncle — and I couldn't be happier with the film that we'll be able to show you guys in a few months." On the Movie's Supernatural Aspects "The film is very genre-fluid. It switches in and out of a lot of different genres. Yes, vampires are an element of the movie. But that's not the only element. It's not the only supernatural element. The film is about more than just that, and I think it's going to surprise folks in a good way. My favourite films in the in the genre, you could take the supernatural element out and the films would still work — but the supernatural element actually helps to heighten it, helps to elevate it. So I was aspiring to make something in that in that tradition. And the film has elements of all of the things that I that I love. It's really a personal love letter for me to cinema, to the art form, specifically the theatrical experience. It's interesting working in a post-COVID time, when everybody was sequestered — and I know I found myself missing that experience of experiencing things in a room with folks I didn't know, but still reacting in the same way, or maybe reacting in different ways and getting to enjoy that. The film is meant to be seen in that capacity." On Using Large-Format Visuals, Such as Shooting in IMAX, to Draw Audiences In "The whole effort was for the experience to be immersive. We wanted to let folks experience this world. And for me, it's the world that my grandparents were a part of. It's the world that they came up in. And it's a time that's often overlooked in American history, specifically for Black folks, because it was a time associated with a lot of things that maybe we're ashamed to talk about — but I got to talk to my have conversation with my grandmother, who's nearly 100 years old, and do some really heavy research, and it was exciting. To bring that time period to life with the celluloid format that was around then, but with the technological advancements that IMAX can provide, it's really exciting — really exciting." On How a Stephen King-Penned Vampire Novel Proved an Influence "A big inspiration for the film is a novel called Salem's Lot, and in the novel — it's been adapted quite a few times and in some really cool ways, but what's great about that novel is when Stephen King talks about it, for him it was Peyton Place, which is another novel, meets Dracula. What happens when a town that's got a lot of its own issues, a lot of interesting characters, meets up with a mythological force of nature and it starts to influence the town? So that idea for me was a great way to explore some of the real things in this place that my grandparents and uncles who influenced my life came from — but also that a lot of American pop culture came from, right there. One of the things we explore in the film is blues music and blues culture, and that became so many other things that affect what we do today. So it was great to be able to explore that. And that music has a has a very close relationship with the macabre, so to speak, with the supernatural. You hear stories about Tommy Johnson and Robert Johnson selling that souls to be able to play the guitar the way they do — the deals being struck. It was called the devil's music — and the dichotomy of these incredible singers, even still to this day, they learned how to make music in the church, but yet they chose to make music that maybe was frowned upon." On the Catharsis of Making Movies for Coogler "I'm blessed to have been able to have found this medium. I found it out by accident. But where I can work out deep, philosophical, existential questions that I may be struggling with, I get to work them out while contributing to an artform that that means so much to me and my family. Watching movies for us was a pastime, and it was a way to connect, it was how we travelled. So I feel like the luckiest person on the planet — but yeah, it is a form of therapy. Each film brings me closer to understanding myself and the world around me, I think." On Jordan Portraying Twins — and Why Twins Feel Supernatural "These are guys who there's nothing supernatural about them outside of them being identical twins. Now, when you dig into the research on twins, it is pretty strange. We still don't totally understand how we have specific identical twins, because it's not something that can be inherited. It's an anomaly. What we did on this was I hired a couple friends of mine who are filmmakers, Noah and Logan Miller — we hired them as twin consultants. They're about the same age as me and Mike, and they were able to talk to Mike and myself while we were working on the script, and he was working on prepping the characters, on what it is like to have an identical twin. Some of that work was just fascinating — like this idea of ever since you achieved consciousness, there was another version of you, right there, right there in front of you, sharing space. And how they see the world — how they see the world as 'us versus everybody else'. The other aspect of it is the fact that they're not totally different. They're actually are quite alike. They're different in subtle ways that Mike found. But it's an absolutely brilliant performance — both performances. I can't wait for folks to see him. It's Mike unlike I've ever seen him before, and I know him pretty well." On Why the Time Was Right for Coogler to Tell an Original Story "I think in terms of timing — and timing is everything, it can really make or break a project, now more than ever. But for me, in being a writer/director, the timing first has to start with me. And it felt like I was at a point in my life where I did want to try to do something original. And I realised I had been working on things that were based on pre-existing things, maybe a real-life situation, maybe a pre-existing franchise and cinema, a pre-existing comic-book franchise, and so I felt the itch to want to try. I could kind of feel like the kids are growing up, I'm getting older, I can feel time on my on my backside. So it turned out to be the perfect timing for me, personally. And at terms of looking around at the world and where we are, those two things seem to be lining up. But at the same time, you don't have any control over that one. You've got to kind of start with yourself. Even then, I did want to still play with archetypes. I guess it's original, but I'm dealing with a lot of archetypes — not just a vampire, but the supernaturally gifted musician, the twins. When I was coming up, every neighbourhood would have those twins who were well-known, sometimes notorious, just had a reputation as local celebrities. That idea is something that we're exploring in this, and a lot of other ideas. So I'm still digging into pre-existing things and culture as best I can, but synthesising them through my own personal lens." Sinners releases in cinemas Down Under on Thursday, April 17, 2025.
Don't go asking for a cuppa at Paddington's new hangout. Despite its name, King Tea is all about tapas, not warm brews. Inside the dining hall-like space, visitors will find classic snacking dishes and Spanish wines — and, thanks to its moniker, a dose of local history. The latest venture from co-owner Dane Huitfeldt, also known for Remy's and Hai Hai Ramen, King Tea references a popular Queensland tea brand that was once advertised all over Brisbane. In fact, one of its signs once adorned the space above 100 Latrobe Terrace, which was then a tea and tobacco bar near the tram depot. Accordingly, when it came to opening a new place at the site, the label struck a chord. "We just liked the idea of a name that didn't try to reflect a particular style of venue and was also a nod to the history of the building, and the local area in general," he explains. Huitfeldt hopes King Tea will remain a social space in its new iteration. "It's intended to be as comfortable for groups having a large shared meal as it would be for a couple of people having a quick drink and bite on the way home," he says. Currently open evenings from Wednesday to Sunday, the bar is still a work in progress, with the rear of the building still being completed, and plans in the works for the shared laneway with Hai Hai Ramen. In the interim, eager diners can expect made-to-share servings of croquettes and other tapas staples, as well as a free snack happy hour from 5–6pm every Friday afternoon. Nodding to its Spanish influences, it's the nibbles that are on offer for nothing. Free tapas while you drink Spanish wine — a pretty great incentive to check out the Latrobe newcomer. Find King Tea at 100 Latrobe Terrace, Paddington. Check out their website and Facebook page for further information.
For every series of dime-a-dozen ladies boutiques there's a trailblazer or two at the front of the pack, and while Brisbane may still have a lingering reputation as a big country town, the local fashion scene is nipping at the heels of its southern neighbours. Whether it's uber-talented Australian designers or enlightened buyers helming these boutiques, their wares will have you headlining your own catwalk show in no time. Blonde Venus Blonde Venus has honed its reputation for cutting edge fashion for over 20 years, and isn't stopping any time soon. Stocking innovative designs in clothing, shoes and accessories from the likes of Karen Walker, Provensen, Lover and Antipodium, Blonde Venus is a must-see for every Brisbane fashionista. 707 Ann Street, Fortitude Valley 4006; www.blondevenus.com.au Maiocchi These charming dresses, designed and manufactured here in Brisbane, will flatter the figure and warm the heart with their handmade detailing and creative touches. With stores now also open in Paddington and the CBD, this quirky company has taken Brisbane by storm. 715 Ann St, Fortitude Valley 4006; www.maiocchi.com.au Haut Boheme The brainchild of designer Chantelle Cox, Haut Boheme focuses on unique styling and bucking the trends. Clean lines, a neutral palette and extravagant accessories reign supreme in this cosy Winn Lane store. 5C Winn St, Fortitude Valley 4006; www.thehautboheme.tumblr.com Side Street Home to one of Brisbane's best $20 racks, Side Street stocks a wide range of pieces to suit any occasion (and budget), from casual maxi dresses to fabulous kaftans and evening gowns. You're bound to find something just perfect for your own wardrobe. 1/237 Given Tce, Paddington 4064; www.sidestreet.com.au Jules & Roc Manning Cartel, Natasha Gan, Life With Bird, Alice McCall — Jules and Roc showcases some of Australia's brightest design talent. Also stocking shoes and accessories, the in-house stylists will make sure you never leave the house looking less than perfect. Shop 12, 65 James Street, Fortitude Valley 4006; www.julesroc.com.au The Soot. Concept Store The Soot. Concept Store stocks its own Brisbane-based label, Soot, as well as the wares of other local designers, including Ash to Gold. The bright palette and unique pieces will have you lingering for far longer than your wallet would like. Shop 7, 65 James Street, Fortitude Valley 4006; www.soot.com.au Fallow You could walk past the entrance to Fallow a million times without noticing. Do keep an eye out though, because this darkly inviting boutique is packed with avant-garde clothing and accessories from both Australian and international designers with a nose for the more curious things in life. 1, 354 Brunswick Street, Fortitude Valley 4006; www.fallow.com.au
Here at Concrete Playground, we're big proponents of the night-time economy. Cities that keep things moving after dark often offer the best in food, beverages and culture. And while Australians are notorious morning people (who love their 8am flat whites), data from Visa has shown that we still find a lot of value in getting out in the evening. The Visa Australia Night-time Economy Index 2025 is a new in-depth analysis measuring data such as spending, vibrancy, venues open and even the number of nightworkers who are boosting the economy after dark. According to the data, Melburnians are getting off the couch the most frequently and spending their hard-earned dollars on bars, restaurants, and late-night feeds. Sydney and its surrounding metro areas also nabbed 12 of the 20 top night-time hotspots, proving that the city is slowly bouncing back from its lockout laws. Of course, it's not exactly surprising that the two most populous East Coast cities are ruling the after-dark economy. However, there are also several regional areas, such as Newcastle and Lake Macquarie, that are tapping their cards once the sun sets. Canberra is also increasing its evening spending, thanks to tourists and the opening of more eateries. To learn more about the future of the night-time economy and what's trending after dark right now, Concrete Playground's Managing Editor, Eliza Campbell and Staff Writer Alec Jones shared their insights. CP: Melbourne was named the number one night-time hotspot in Australia according to data from Visa. Does this surprise you? Eliza: It doesn't surprise me at all. This city has an inherent underground nature that invites you to always be exploring and looking beyond the surface — particularly after dark. And nightlife isn't limited to weekends, either. Between gallery exhibitions, secret music gigs and speakeasy bars, there's something to get lost in at all hours, any day of the week. CP: 12 out of 20 of the night-time hotspots were in Sydney and its metro areas. What's your favourite thing about Sydney after dark? Alec: This began to pick up in late 2023 after we all shook off the last of lockdown fever, but it's that feeling of merriment in the air. It's like static electricity. Walking past busy bars and restaurants in suburbs like Darlinghurst, Surry Hills, and Newtown, hearing the chatter and seeing people share food and drinks with their friends and family, it never fails to make me smile. CP: What's one trend you're seeing emerge in the night-time economy that excites you? Eliza: The resurgence of secret gigs and DJ sets. I love the idea of last-minute announcements to see some of the world's best artists in intimate settings — first-come, first-served. There's less of a distinction between going to a live gig and going to a bar now. We want once-in-a-lifetime cultural experiences that blend seamlessly into the fabric of our city's nightlife, and I'm so here for it. Alec: Venues in Sydney that are really performing are the ones with a loyal audience, but also a hook. Something you can't find anywhere else, whether it's on the menu or just in the space. People aren't going out just to get drunk or have a feed; they're doing it to go to these specific places. [caption id="attachment_885691" align="alignleft" width="1920"] Above Board[/caption] CP: What's your top tip for planning the perfect night out? Eliza: Have a rough outline of the kind of evening you want to have — but leave room for spontaneous adventures. There's nothing worse than not knowing where to go or what to do next, but equally, some of the best nights are all about the memories you make getting from point A to point B. CP: What's a venue or precinct that gets the night-time experience right? Alec: YCK Laneways in the Sydney CBD has actually done a great job of revitalising an area that doesn't really scream "nightlife." The bars in that area are some of the most interesting venues you'll find in the city and are all within walking distance of one another (and your bus or train home). Eliza: One of my favourite Melbourne venues that absolutely nails the night-time experience is Collingwood's Beermash — and its (somewhat secret) adjoining speakeasy bar, Above Board. Beermash spotlights independent craft beer and wine producers and lets you take-away or drink-in at bottleshop prices. Al fresco drinks on the Smith Street terrace can be followed by award-winning cocktails upstairs in what's, in my opinion, one of Melbourne's most unique hidden bars. From casual and fun to cosy and intimate — the perfect evening trajectory. View this post on Instagram A post shared by Beermash (@beermash) [caption id="attachment_1025682" align="alignleft" width="1920"] Hyde Park[/caption] CP: How is nightlife intersecting with other parts of culture (like art, fashion, live music) in interesting ways right now? Eliza: What's interesting about the intersection of nightlife and culture right now is that there's less separation than ever before. With the rise of low- and no-alcohol trends, nightlife in 2025 isn't just about partying or bar-hopping anymore. People still want to experience their city after dark — but that now spans the full spectrum of the arts: galleries and museums staying open late, fashion infiltrating the food and drink scene, and live music spilling out from bandrooms into public (and often free-entry) spaces across the city. CP: Where's your favourite after-dark venue? Eliza: An after-dark venue needs good music, good drinks and just the right amount of grunge. For me, that's Heartbreaker in the CBD. Catch me screaming post-punk revival with a negroni in hand in the early hours of the morning. View this post on Instagram A post shared by Heartbreaker Bar 💔 (@heartbreakerbar) Alec: Crows Nest on the lower North Shore has exploded since the Metro station opened, Parramatta is packed with great venues, and love it or hate it, Bondi continues to be iconic without trying very hard. Ask a local who lives in a different part of Sydney from you and follow their advice. [caption id="attachment_994726" align="alignleft" width="1920"] Carriageworks[/caption] CP: What do you hope to see more of in our after-dark spaces from both venues and councils? Eliza: I'll always scream and shout about supporting the Arts. Free entertainment like live music, performance and exhibitions not only supports our incredible local arts community but also helps people stay connected to the endlessly inspiring, exciting and thought-provoking creative industries — especially in tough political and economic climates. The more we can bring people together, the better. Alec: Regular events like night markets consistently draw big crowds from locals, but what if instead of the same old gozleme and chips-on-a-stick stands, we got famous restaurants from around Sydney to get involved? That'd help connect communities with food and drink they can't usually find on their side of whatever the closest bridge is (we don't cross any of them enough). CP: For people who say, "There's nothing to do after 9pm anymore", what would you tell them? Alec: You're not trying very hard. You can find something really cool if you just look a little bit harder. Eliza: I'd say, "Where are you? Obviously not in Melbourne." Discover the vibe near you. Lead image: FG Trade Latin / Getty
One of Brisbane's historic sites is enjoying a new life. Since 1889, the building at 271 Grey Street in South Brisbane has been a police station, a squatter's den and a Spaghetti House, as well as a Ship Inn and, most recently, Little Big House. In its latest guise, the two-level Queenslander remains a watering hole. It's still benefiting from the significant spruce up that the building received as Little Big House, in fact. But head by now for a drink, a bite or to while away an afternoon doing both and you'll be hitting up a London-inspired gastropub. Alex Derrick has taken over the heritage-listed spot, renamed it The Rose & Crown and gleaned inspiration from more than two decades spent in Britain — including working in pubs, and winning awards for doing so. Drop in for a drink and you can get a brew of cask beer, with The Rose & Crown the only place in Queensland pouring it straight from the cask. In digs decked out by the aforementioned Bella Derrick, an interior stylist — complete with nods to the UK, of course, and a new three-metre olive tree taking pride of place in the garden — you can also sip your way through the 40-selection wine list, which includes pudding wine. Or, there's the pub's house lager, a heap of other beers on tap and by the bottle, two types of spritzes, and classic cocktails such as margaritas and gimlets. The food menu owes a debt to Britain, naturally. Expect to tuck into scotch eggs, homemade steak and ale pies, pork scratchings, grilled sardine and tomato tarts, beer-battered fish with mushy peas, and Cumberland sausages with mashed potato and onion gravy. Every Sunday, roast dinners are available all day — in beef, chicken and nut varieties, complete with Yorkshire puddings — while dessert options span sticky date pudding and treacle tart. The Rose & Crown also hosts a weekly pub quiz. Prefer belting out a tune instead (whether or not it is by a British artist)? Make a date with the karaoke room. Screens around the place show sport, while live music is on the bill. Also, soaking in a London vibe here comes far cheaper than an airfare to the other side of the world. Images: Axis Productions.
When decorations surround you everywhere you look, carols (and Mariah Carey and Wham!) are the standard soundtrack no matter where you happen to be and tinsel keeps glittering in your line of sight, festive season can feel like an all-encompassing maze of merriment. Head to South Bank from mid-December 2024 and you'll experience that sensation at its most literal. In an all-ages-friendly addition to Brisbane CBD's usual end-of-year shenanigans, the riverside precinct is hosting a Christmas maze, where you'll get wandering and get into the spirit of the season all at once. It's beginning to look a lot like Christmas around town already, but that'll ramp up from Friday, November 22 through till the end of January 2025. Brisbane City's festive fun for this year also features a free light and sound experience at Queen's Wharf, markets, an openair cinema by the water, carols, parades, tiny doors and more, mixing new ways to get jolly with old favourites. With the maze, a variety of experiences will be on offer right up until Friday, January 31, 2025 in South Bank Piazza, changing depending on whether you have kids in tow or are excited about kidulting. While that's a fresh addition to the lineup of Christmas events, South Bank will also welcome back its popular openair Christmas cinema from Saturday, December 14–Sunday, December 22, and its Christmas markets on Little Stanley Street from Friday, December 13–Sunday, December 22. Across Saturday, December 14–Sunday, December 22, the nightly parade will mosey down Little Stanley Street, too, and carols will be sung on South Bank's Riverside Green. Festive-themed performers are set to do the rounds of the precinct as well, photos will be available with Santa and Mrs Claus — by the beach — and there'll also be Christmas workshops for both kids and adults (think: making cookies, wreaths and decorations, for starters). This year's Christmas in Brisbane celebrations will kick off at Roma Street Parkland, however, with the return of The Enchanted Garden with its lights, lasers and soundscape. Before November is out, King George Square's Christmas tree will also be lit. Then, once December kicks in, it's time for the Lord Mayor's Christmas Carols at Riverstage — with a satellite event at Victoria Park / Barrambin — and lights decking out City Hall. The BrisStyle twilight Christmas market is also back. Queen Street Mall's portion of the lineup includes pop-up performances, Uptown's windows will get a makeover for the occasion and, as for the tiny doors, they're all handmade and will be scattered throughout the city from Sunday, December 1–Tuesday, December 24, ready for you to find and marvel at their cuteness. For its first year in existence, Queen's Wharf's contribution to the joy comes courtesy of Sono Lumo — Festive Nights of Sound & Light. Expect an audiovisual show to dazzle the city at dusk across ten nights between Wednesday, December 4–Sunday, December 15 (except for Monday, December 9–Tuesday, December 10), accompanied by DJs and live performances. Brisbane City Council's 2024 Christmas program will take over the Brisbane CBD from Friday, November 22, 2024–Friday, January 31, 2025. Head to the Visit Brisbane website for further details.
Recently, a wave of international hotel chains have been choosing Melbourne as the first spot to drop their luxury accommodations in Australia — Lanson Place and The StandardX. And the latest to join the fold is 1 Hotels, which is preparing to open a luxury hotel at the newly revitalised Northbank Precinct in May 2025. Located right on the Yarra River, the pet-friendly hotel will be home to 277 guest rooms and 114 hotel-branded residences, a slew of drinking and dining destinations, a resident-only rooftop and a lavish day spa. The level-five spa will have a large sauna, steam room, jacuzzi and swimming pool, plus its own gym with in-house trainers. As with 1 Hotels in London, Hollywood and New York, this Melbourne site will include swathes of reclaimed and recycled materials as well as stacks of plants and other natural elements. All in all, you'll find over 2000 plants scattered throughout 1 Hotel Melbourne, plus there'll be direct access to a 3500-square-metre riverside park. This park is part of the new Seafarers Rest precinct, which sits within the broader Northbank Precinct. This oft-forgotten wedge of land between Flinders Street and the river — located opposite Southbank and accessed via the Seafarers Bridge — is preparing for a massive glow-up. And 1 Hotel will be one of its main attractions. 1 Hotel Melbourne is slated to open in May 2025, and will be found at 9 Maritime Place, Melbourne. For more information, you can check out the hotel's website.
It added booze to bowling, turned mini-golf courses into bars, and gave mashing buttons and hitting the arcade an alcohol-fuelled makeover as well. That'd be Funlab — and, if you like indulging your inner kidult over a few drinks, odds are that you've hit up its venues such as Strike, Holey Moley, Archie Brothers Cirque Electriq, and B Lucky and Sons over the past few years. That's the company's remit, after all: taking the kinds of activities that you enjoyed back when you weren't old enough to knock back cocktails, then adding the hard stuff. And, that's exactly what it's doing at Hijinx Hotel, its next venture. No, you can't stay there — but the world-first concept will see you hanging out in a space that's been decked out like a hotel, and then solving mental and physical puzzles as you wander through it. Funlab has dubbed Hijinx Hotel a 'challenge room hotel'. So, each of its 15 rooms will be filled with challenges for you to work through — with points awarded for how well you do within four minutes. Some rooms will see you play Twister or The Floor is Lava. Others will be decked out like the Titanic. There's one called the cereal ball pool room as well, which sounds chaotic. Basically, if you're a bit of a sleuth or you're never known to turn down a dare, you'll be in luck. Set to open in Alexandria in Sydney on June 3, Hijinx Hotel aims to riff on the escape room concept — but serve up fun that's far less stressful. Design-wise, it will look still like a hotel, even if you can't slumber there. There'll be a faux hotel reception and all, and the venue will take its aesthetic cues from the likes of The Grand Budapest Hotel and Willy Wonka's chocolate factory. Based on the renders so far, there's also a bit of an Overlook Hotel vibe — but sorry, The Shining fans, this new hangout isn't meant to be sinister. And yes, obviously there's a bar. Actually, there'll be three. Exactly what'll be on the menu hasn't yet been revealed, but expect booze and bites to eat. Whether you're a Sydneysider now planning your next stint of kidulting or you live elsewhere and you're making plans for a trip to the Harbour City, Hijinx Hotel visitors will find the venue alongside a huge new Holey Moley that'll feature 27 holes — including some that are ten times the size of those at other spots. And if you're wondering exactly where both newcomers will sit, they're joining the location that currently boasts Archie Brothers Cirque Electriq. Usually, Funlab launches its new concepts in one city, then shares the love across other east coast capitals. So Melburnians and Brisbanites, cross your fingers that Hijinx Hotel will eventually pop up closer to home. Find Hijinx Hotel at 75 O'Riordan Street, Alexandria, Sydney, from June 3 — we'll update you with further details when they're announced. For further information about Funlab, head to the company's website.
As temperatures soar over the summer, it can be hard to keep fit. No matter how early you go, your morning jogs are stifling. You hardly feel like moving. And it's way too hot for your usual weekend hike. More often than not, you'll find that you just want to head indoors and stay cool — but that doesn't mean your workouts need to take a hit. From team sports to solo workouts, there's a tonne of options in Brisbane for keeping fit over the summer. Check out how you can beat the heat with these eight indoor workouts — and not one of them takes place at a traditional gym. URBAN XTREME, HENDRA Bet you didn't know you could go skiing in Brisbane. At Urban Xtreme, you can try your hand at snowboarding or skiing, and brush up on your skills without having to brave the cold or even leaving the city. The slopes features full-length mirrors so you can check out and improve your technique, and its suitable for all levels of experience. As if this isn't enough, Urban Xtreme also features parkour, climbing, a ninja warrior course, trampolining and laser tag. That should just about fill out your summer with midweek active activities. URBAN CLIMB, MILTON, NEWSTEAD AND WEST END Urban Climb has a number of climbing gyms in Brisbane. Milton and Newstead are bouldering-only gyms (short, unroped climbs that don't require a partner), while West End is the flagship location with both roped climbing and bouldering facilities, and heaps of fitness and technique classes. Or mix it up and combine the powerful movements of climbing with the intuitive flow of yoga in a single workout — there are heaps morning and evening yoga classes at West End, and Urban Milton even has a self-serve yoga booth if you can't make the classes. Once you're there, staff will have you sending routes like Alex Honnold in no time. It's an extremely popular climbing gym, so you'll never be in want of a belay partner. STAFFORD SKATE CENTRE, STAFFORD Roller skating is both a charming old-school blast from the past and a novel way to exercise. If it's been a while since you've tied up your skates, head into Stafford Skate Centre for a session on the weekend or a Friday evening. The evening sessions are an especially good option for avoiding the sweltering temperatures — but, whenever you go, the centre's huge fan will be keeping you cool with you skate. If you're serious about getting fancy, the rink also holds learn to skate classes on Saturday mornings and Wednesday evenings, which means you'll be scooting around South Bank like a pro in no time. So, don your most flamboyant duds and get rolling — admission is only $13. ICEWORLD, ACACIA RIDGE AND BOONDALL When you really need to beat the heat, there's nothing as ice-cold as ice skating. It's fun with friends or a date, but you can also zoom around solo and still have a great time. Iceworld boasts Olympic-sized rinks at both of its locations. And, if you're a little wobbly, classes are available. You can also try your hand at ice hockey, curling, speed skating, synchronised skating, and figure skating. Which is enough to keep anyone occupied all year round. Wear your gloves and a warm coat and, if you really want to pretend it's winter, you can even get a hot chocolate at the cafe afterwards. CRANK INDOOR CLIMBING, MACGREGOR If you're an Australian Ninja Warrior fan, you have to pop into Crank for your next workout. Crank has produced several of the show's top performing ninjas, and you can even get some training from them at Crank's in-house ninja warrior course on Wednesday nights. Crank also boasts a small traditional gym, a parkour gym, as well as yoga classes, a ceiling rope and, of course, climbing and bouldering — so it's really a one-stop shop for anyone into alternative fitness. With huge industrial fans throughout the venue, it's also nice and cool throughout summer. BOUNCE, TINGALPA Trampolining is a high intensity activity and a great choice for ramping up your cardiovascular fitness. It's also a total throwback to your childhood, which is reason enough to hit Bounce for a session the summer. Bounce features several specialised trampolines, so whether you want to jump high, do an obstacle course, shoot hoops or whack people with beams, there's something for you. Even 10-30 minutes of jumping has huge health benefits, so it's a good post-work activity for a quick heart rate lift. SKYZONE, MACGREGOR Having trouble deciding between rock climbing and trampolining? There's no need to at Skyzone in Macgregor. Loosen up with an hour on the tramps, then finish with an hour of concentrated climbing for around $34. The climbing section of the gym is less serious than other climbing gyms and is more about novelty than anything else — you can climb up a giant twisting plant like Jack and the beanstalk, try your hand at a maze climb or compete for glory on a two-person speed climb. It's open until 9pm throughout the week, so you can do an after-work summer session. And if you're on a budget, Skyzone has cheap as chips unlimited trampolining on Monday nights for just $10. ROCKSPORTS INDOOR CLIMBING, FORTITUDE VALLEY Rock climbing is a full-body workout that's becoming more popular by the day — probably because it feels more like play than fitness. And even if you don't have a climbing buddy on-hand, it's suitable for a solo session, too — just ditch the rope for a bouldering pad. Rocksports was Brisbane's first climbing gym and has a chill and welcoming atmosphere — and it offers technical classes and yoga sessions to complement your climb. Once you get good, you also have the option of taking things outdoors with lead climbing trips taught by qualified instructors.
John Malkovich took time off from being John Malkovich to be Everyone Else for a change. Shot by Sandro Miller in Los Angeles, a new series of photographs dubbed Malkovich, Malkovich, Malkovich recreate some of the most iconic portraits in recent history — from John and Yoko to Che Guevara, Dorothea Lange's Migrant Woman to Andres Serrano's Piss Christ. According to the exhibition statement, Miller decided to undertake the project in 2013, wanting to honour the photographers whose work had inspired him and shaped his career. After selecting thirty five images to recreate, Miller got in touch with his ol' mate Malkovich — who apparently immediately agreed. "John is the most brilliant, prolific person I know," says Miller. "His genius is unparalleled. I can suggest a mood or an idea and within moments, he literally morphs into the character right in front of my eyes. He is so trusting of my work and our process… I'm truly blessed to have him as my friend and collaborator." All at once creepy and genius with Malkovich rocking an excellent Marilyn and a spot-on Dali, the series is actually less about Malkovich than it is an homage to the photographers responsible for the portraits themselves: Dianne Arbus, Annie Leibovitz, Art Shay, Dorothea Lange, Alberto Korda. That being said, it's supremely satisfying to see Malkovich in dress-up like this — his Jack Nicholson and Albert Einstein are top notch. Sandro Miller, Albert Watson / Alfred Hitchcock with Goose (1973), 2014 Sandro Miller, Philippe Halsman / Salvador Dalí (1954), 2014 Sandro Miller, Alberto Korda / Che Guevara (1960), 2014 Sandro Miller, Andy Warhol / Green Marilyn (1962), 2014 Sandro Miller, Andy Warhol / Self Portrait (Fright Wig) (1986), 2014 Sandro Miller, Annie Leibovitz / John Lennon and Yoko Ono (1980), 2014 Sandro Miller, Arthur Sasse / Albert Einstein Sticking Out His Tongue (1951), 2014 Sandro Miller, David Bailey / Mick Jagger "Fur Hood" (1964), 2014 Sandro Miller, Herb Ritts / Jack Nicholson, London (1988) (A), 2014 Sandro Miller, Andres Serrano / Piss Christ (1987), 2014
After a year that saw the deaths of Mitch Lucker and Tony Sly rock the Californian music world, the appearance of The Story So Far on Australian shores is a welcome sight indeed. Currently working on album number two with New Found Glory rhythm guitarist and lyricist, Stephen Lee Klein, The Story So Far are far from being a conventional pop-punk band. With honest, sincere and emotional songs infused with catchy and melodic tones toeing the line between hardcore and hard rock, the Bay Area band have been making waves since they broke into the limelight and are expected to do great things. The band's trip to The Zoo will be just one of two stops in Brisbane on a tour that will take them to Australia's biggest cities. Fans can expect to hear favourites from Under Soil And Dirt, as well as classics from While You Were Sleeping and their split EP.
It has been more than two decades since Harry Potter and the Philosopher's Stone first brought its magic into our lives, and muggles still share one particular dream: to attend Hogwarts. Yes, it's a fictional setting. Yes, we all know that. But that still hasn't stopped all manner of places trying to make the school an enchanting reality, from HP-inspired wizarding schools to huge brunches held in Great Hall-like spaces to activewear decked out in house colours. London's Warner Brothers Studio Tour is going one step further as part of its The Making of Harry Potter exhibit: it's letting visitors try on authentic Hogwarts robes. Short of casting a spell to go back in time and star in one of the eight Harry Potter films — or somehow finding your way onto the Fantastic Beasts' set — that's as close as you're going to get to some actual Hogwarts action. The specific tour wizard obsessives will want to take is the Behind the Seams experience, which dives into the costumes created for the movie franchise — all 25,000 of them. Sketches, finished outfits and stories about their creation are all part of this wander through a workshop-like environment, with threads worn by Cedric Diggory, Professor Sprout and even Voldemort on display. That's all great and bewitching, but the main attraction is the chance to pick your house colours and pop on a robe that featured in one of the movies. We'd tell you to BYO wand, but you've probably already thought about that. Anyone finding themselves in London over the next few months can take the Behind the Seams tour between May 23 and July 22, with sessions running daily until June 2 and then every weekend afterwards. Tickets cost £65, which includes the one-hour costume frenzy — but no, you can't wear your Hogwarts garb for the whole hour, sorry — as well as the standard studio tour, complete with a walk through the Forbidden Forest and a wait on Platform 9¾. For more information, visit the Behind the Seams website.
Following in Taika Waititi and Jemaine Clement's footsteps isn't easy, but someone had to do it when What We Do in the Shadows made the leap from the big screen to the small. New format, new location, new vampires, same setup: that's the formula behind this film-to-TV series, which is now streaming its fifth season via Binge in Australia and Neon in New Zealand. Thankfully for audiences, Matt Berry (Toast of London and Toast of Tinseltown), Natasia Demetriou (Eurovision Song Contest: The Story of Fire Saga) and Kayvan Novak (Cruella) were enlisted as the show's three key bloodsuckers in this US spinoff from the New Zealand mockumentary, all in roles that they each seem born for. The trio play three-century-old British aristocrat Laszlo, his 500-year-old creator and partner Nadja, and early Ottoman Empire warrior Nandor, respectively, who all share an abode and the afterlife in Staten Island. In cinemas, the film version of What We Do in the Shadows already proved that the concept works to sidesplitting effect. Vampire housemates, they're just like us — except when they're busting out their fangs, flying, avoiding daylight, sleeping in coffins, feuding with other supernatural creatures and leaving a body count, that is. On TV, What We Do in the Shadows has been showing that there's not only ample life left in palling around with the undead, but that there's no limit to the gloriously ridiculous hijinks that these no-longer-living creatures can get up to. Based on every season so far, including season five, here's hoping that this vampire comedy continues forever. It was true as a movie and it's still true as a television show: What We Do in the Shadows sparkles not just due to its premise, but when its characters and cast are both as right as a luminous full moon on a cloudless night. This lineup of actors couldn't be more perfect or comedically gifted, as season five constantly demonstrates. Berry's over-enunciation alone is the best in the business, as is his ability to play confident and cocky. His line readings are exquisite, and also piercingly funny. While that was all a given thanks to his Toast franchise, Year of the Rabbit, The IT Crowd, Snuff Box, The Mighty Boosh and Garth Marenghi's Darkplace history, What We Do in the Shadows is a group effort. Demetriou and Novak keep finding new ways to twist Nadja and Nandor's eccentricities in fresh directions; their characters have felt lived-in since season one, but they're still capable of growth and change. Some ensemble comedies only shine when their talents combine. Some let one or two stars do all of the heavy lifting. As stellar as Berry, Demetriou and Novak each are, What We Do in the Shadows is the sharehouse ideal of a TV comedy: everyone contributes no matter if they're together or alone. That includes Harvey Guillén (Werewolves Within) as Nandor's long-suffering and ever-dutiful familiar Guillermo, and Mark Proksch (The Office) as energy vampire housemate Colin Robinson. At the series' outset, Guillermo could've just been a tagalong offsider and Colin that exhausting friend everyone has, but with vampire-centric spins. Guillén and Proksch are now not only scene-stealers — especially the former's looks to-camera and the latter's deadpanning — but the source of some of the show's savviest jokes and the subjects of a few of its best episodes. With its game cast making everything they touch a comic gem, TV's iteration of What We Do in the Shadows has never been afraid to take risks as its episodes have soared by. In season four, that meant watching Colin grow up again from a baby — and it was hilarious. Over its run, the show has also seen Guillermo discover that he descends from the undead-hunting Van Helsings, a precarious history given his usual companions. He still desperately wants to be a bloodsucker himself, however. Indeed, that continuing conflict is season five's starting point, with a bitten Guillermo not quite sinking his teeth into anyone yet, worrying about why and also struggling with keeping his possible transformation a secret from Nandor. If Nandor finds out that Guillermo has been turned by his convenience-store cashier pal Derek (Chris Sandiford, Moonfall), wounded pride and a fractured friendship won't just be the end result. As the familiar discovers, being given the chomp by anyone other than the vamp he serves is a faux pas punishable by death — his own, and his master's out of deep shame — in otherworldly circles. This plot strand is season five's new direction for Laszlo, too, as he commits to helping understand why Guillermo isn't feasting on necks like a typical bloodsucker. As he experiments and assists, Nadja endeavours to battle a hex. She also learns that a Little Antipaxos neighbourhood exists right there in Staten Island, gaining a tonic for her frequent homesickness. Season five's storylines get Colin draining souls on the local campaign trail, running for the borough's comptroller purely to feed during debates and other political events. Plus, The Guide (Kristen Schaal, The Bob's Burgers Movie) makes her presence known — more than that, she'd like to be seen as one of the gang — after her time as an envoy to the Vampiric Council, then aiding Nadja with running her vampire nightclub. Visits to the mall and to space, staging a pride parade with perennially clueless neighbour Sean (Anthony Atamanuik, Little Demon), trying to get Nadja's ghost laid: that all happens in early episodes across this latest season. So does What We Do in the Shadows' best staple, aka this supernatural crew bickering, bantering and roasting each other. Case in point: season five finds occasion for Laszlo and Nandor to squabble over whether wit and charm or hypnotism is the best way to bend humans to a bloodsucker's will. What We Do in the Shadows' characters are so well fleshed-out now, and so delightfully performed, that having two of them argue and attempt to one-up each other remains gleaming comedy. The show's writers aren't slumbering. Sharpness and silliness still combine in gags everywhere — about Laszlo learning that he's Kim Cattrall in a Sex in the City quiz, just for starters, and in having Nadja's spirit ask speed-daring partners "how do you feel about taking the virginity of a dead ghost?" as well. Spending eternity with someone, or a quintet of seasons to-date, means loving hanging out with them, though, and this show is understandably mesmerised. Check out the trailer for What We Do in the Shadows season five below: What We Do in the Shadows' fifth season streams via Binge in Australia and Neon in New Zealand.
Already home to everything from raindrop cakes to Nutella gyoza and salted caramel gyoza — and known to experiment with lemon meringue dumplings and marshmallow dumplings as well — Harajuku Gyoza clearly likes getting creative with its sweet treats. The chain is also fond of trying out new things with its savouring dumpling range, too, as its mac 'n' cheese and pepperoni pizza versions showed; however, it obviously has a soft spot for the kind of desserts that you won't find on any old menu. From Thursday, September 1, that includes Japanese air cheesecakes, the latest addition to the Australian gyoza brand's dessert lineup. You might've seen them online. Afterwards, you might've tried to whip them up yourself as well. The viral recipe hails from the back of a cream cheese packet in Japan, and has won fans thanks to its simplicity — but getting someone else to make it is even easier, naturally. Harajuku Gyoza now has its own two takes on the dessert available, both for $6. One comes dusted with kinako powder and paired with a pot of brown sugar syrup for you to pour over the top. Or, you can opt for the matcha variety of the fluffy air cheesecake, which features a white chocolate and matcha sauce. Whichever you choose, you'll find them at the chain's four stores — two in Brisbane, one on the Gold Coast and one in Sydney. And if you fancy tucking into the new gyoza after devouring two old favourites — cheeseburger gyoza, which is stuffed with burger pieces, aged cheddar, onion, pickles, mustard and tomato sauce; and mozzarella gyoza, which is filled with the obvious, then deep-fried and sprinkled with Twisties salt — that's up to you. Harajuku Gyoza's Japanese air cheesecakes are available at all Australian stores — at Darling Harbour in Sydney; at South Bank and the CBD in Brisbane; and in Broadbeach on the Gold Coast — from Thursday, September 1.
In The Accountant 2, Christian Wolff is back, as is Ben Affleck (Air) in the role. Jon Bernthal (Daredevil: Born Again) returns as the numbers-whiz character's killer-for-hire brother Braxton, too. The first film's Cynthia Addai-Robinson (The Lord of the Rings: The Rings of Power) and JK Simmons (Juror No 2) also reprise their parts. Behind the camera, director Gavin O'Connor not only helms the follow-up to his own 2016 release, but makes his third movie in a row — including The Way Back, which isn't part of the franchise — with Affleck starring. Screenwriter Bill Dubuque (Ozark) is among the familiar folks backing up for another The Accountant flick as well. With so many tried-and-tested talents onboard, this thriller sequel's return to the world of its titular figure — a forensic accountant with autism who started the initial picture fixing the books for criminal organisations — could've just taken rinse-and-repeat approach. That wouldn't have meant making a movie that's as much an odd-couple buddy comedy, however, by playing up the chalk-and-cheese relationship between Affleck and Bernthal's characters. Balancing intense action scenes with line dancing likely wouldn't have been in the mix, either. Also, Addai-Robinson's Marybeth Medina, who is now a Deputy Director in the Treasury Department, may not have been so central — indeed, Affleck calls her "the lead in the movie". No one involved in The Accountant 2 was interested in making a comeback just to do what they've already done. That's particularly true for Affleck, who so rarely steps into a character's shoes twice — except as Batman and Bruce Wayne in the now-defunct DC Extended Universe, and also as Holden McNeil in the View Askewniverse. Boot scootin' to 'Copperhead Road' as a way of flirting is also a brand-new development for him, and one that not everyone was convinced would make the final cut. "I was like 'this scene will never work'," advises Bernthal. "I was like 'there's no way that's going to work. Like, why is he? Like, what? How is this — what does this scene have to do with anything?'. And as soon as I saw him go out there, I was singing that song. I love that song. I love that. It was so good." "If you asked Jon before we shot that scene, he was saying 'this is going to get cut from the movie'," adds O'Connor. "There's no way. I was like 'why are we even here?'," responds Bernthal. The moment does hit its mark, and also perfects what The Accountant 2 is shooting for character-wise with Christian and Brax. One is trying to connect with others, including romantically — this isn't the only sequence in the film about Christian's love life — and finds that his penchant for numbers and patterns is an unexpectedly ideal fit for line dancing. The other is attempting to assist his brother to embrace more than just his routine. Together, the siblings are also endeavouring to repair their long-fractured relationship. [caption id="attachment_1001142" align="alignnone" width="1920"] Eric Charbonneau/Amazon MGM Studios via Getty Images[/caption] When The Accountant 2's team get together to chat about it at a press conference for the movie — returnees Affleck, Bernthal, O'Connor and Addai-Robinson, plus franchise newcomer Daniella Pineda (Cowboy Bebop) — they're animated and enthusiastic. The film benefits from their passion, even as it combines its comic turns, dancing and brotherly bonding with the fact that it's still an action-thriller that plunges into dark territory. This time, Christian's skills are needed, as are Brax's, after an acquaintance's murder. In a narrative that involves human trafficking, Marybeth is on the case, enlisting the brothers' assistance as she searches for the culprit, and also investigating how the situation connects to a family from El Salvador. Why was Affleck keen to return? When did O'Connor start thinking about which elements of the first film he wanted to pick up in a second flick, and where things would be different? How did humour work its way in — and what was Bernthal's response to the buddy-comedy aspect? The group answered these questions, too, while also digging into why Affleck sees Addai-Robinson's Cynthia as the movie's protagonist, the movie's action scenes and emotional arcs, and, yes, the line dancing. On Why Affleck Was Keen to Add a Very Rare Sequel to His Resume Ben: "This is a movie where, after the first one, it was successful and I was really proud of it, but it had a longer life in terms of the just real-life feedback that I get from people, what movies they would mention when they come up to me. And so I definitely was aware 'oh wow, that movie seems to still be being watched'. I think it's also a function of the fact that streaming really started to take off after this movie, so people had the opportunity to pick what movie they're going to watch, that sort of thing. And also I just love this character. I really enjoyed playing it. Gavin and I both very much were drawn to the idea of bringing Jon back and expanding on that, because we both really were like 'this guy's fabulous and we love it' — and I think we both felt like there was a lot more to do. And the only thing that I think, that I would rephrase from your question, is they really brought me back. Bill and Gavin spent a lot of time in the intervening years developing and putting together, in a quite typical-of-Gavin, meticulous, patient, detail-oriented, character-driven way, what it could be. Because both were quite mindful of not wanting to repeat it, not wanting to just 'oh hey, they like the first one, let's just figure something out and do another one'. So everything about it was appealing to me." On When O'Connor Started Thinking About Which Aspects of The Accountant He Wanted to Bring Back for a Sequel — and What to Change Up Gavin: "Just a lot of conversations with Bill in regard to — there's certain DNA that it was important to preserve. And then after that, it was a lot of left turns and just try to refill the tank in a very different way. And I in no way wanted to recycle the same thing that we did in the first film, so it was it was just a matter of 'how do we just start recreating the character in a way that is putting them on a different journey, integrating Brax, wanting to bring Cynthia back?'. We knew the key in the ignition was to kill Ray, because I wanted it to be personal for both of these guys. And most importantly, and we had these conversations, I just want to make a movie that was fun and entertaining — and put people in the seats, and go to a movie theatre and the lights come down, and have a communal experience where they can walk out of the theatre and go 'man, that was a fucking ball. That was just a great. That was a great time at the movies'. And that's really what we were going for." On Playing Up the Odd-Couple Buddy Comedy — and When Bernthal Found Out That That Would Be the Case Jon: "I don't know that I was ever really told that. I don't know that." Ben: "It was bait and switch." Jon: "Look it was — it was, yeah, little bit, a little bit. I was like 'what?'. But Bill's writing is so unbelievably strong. And Gavin and I, we're very close. And you work with Gavin, he's always going to whittle it down and try to get to the truth of the character, and there's no stone left unturned. It was a real thrill for me to get back. And I think with Ben, it just kind of happened that way. I mean it's there, it was very much supported by Gavin to let moments linger and let it exist naturally, and play the moments in between the beats. He's unbelievably funny and he has such a — it sounds corny, he's just mastered this character in such a way that there's just so many little moments of truth that are going on that you love, but can also drive you crazy from the right point of view. And I feel like we were really — I was really — let off the leash to have a real opinion about that." [caption id="attachment_1001143" align="alignnone" width="1920"] Eric Charbonneau/Amazon MGM Studios via Getty Images[/caption] Gavin: "I don't think we ever said like 'oh, it has to be funny', when I say I wanted the movie to be fun and entertaining. Jon and I had so many sitdowns were we would just be dissecting the character, and 'what's the intention of this scene?' — but once you just put these guys together, they both have specific wants. And if you're not getting your wants — and both these guys are slightly, the characters are slightly bonkers, right, in certain ways, so if they're not getting their wants, if you just let them do their thing, it was such a fertile environment for them just in the scenes that it just created. They weren't trying — the reason I think it works is because they weren't trying to be funny. No one was trying to be funny. They were so engrained in their characters and they had very specific wants. And if you're not getting that, it's like banging your head against the wall." Ben: "And also Jon took pleasure in torturing me. So that was really just funny." On What Addai-Robinson Was Able to Explore in Her Role the Second Time Around Cynthia: "I think I always viewed Marybeth as the entry point for the audience, because she's observing and seeing all these things unfold around her and reacting in kind. And myself as an actor, same thing. I think back to working on the first movie: I was nervous and I was kind of out of my depth in a way, just trying to present as if I wasn't, which I think, for Marybeth, it was a similar type of situation. And here we are, eight years later, when we started on the sequel — and Marybeth has evolved, grown. She's in this elevated position within the Treasury Department. And for myself as a person and an actor, I felt like I had also grown, and it was like 'all right, I'm going to be returning to a situation that's familiar. I feel a little bit more comfortable, a little bit more confident'. And so that was really nice for me to feel like 'okay, I'm feeling like I can handle what I'm now getting thrown at me' — which is, again, this dynamic with Ben and Jon's characters. And just again being, for the audience, that point of entry. So all of their shenanigans, I also got to just bear witness to and be like 'all right, these guys are kind of crazy and they're also kind of challenging my view of how to serve justice', really." [caption id="attachment_1001144" align="alignnone" width="1920"] Eric Charbonneau/Amazon MGM Studios via Getty Images[/caption] Ben: "The secret of this movie is that Cynthia is the protagonist, really. She's the lead in the movie — she's the entree for the audience, which means we get to play character parts. And there is a kind of relief from not having to carry a certain — there a whole bunch of expectations and stuff that go with being the lead in the movie, because as Cynthia says, the audience is really projecting themselves onto you. And so we're like a dual aggravant in some ways to her. And if you look at the math of the story, it's about her being brought into this, seeing this person be killed, trying to find out what it was and what she has to go through to get there, and the resolution of her story. And that's something that I find very artful and interesting, where this person is the lead of the movie and you have these dual character actors in there. So that affords Jon and I the luxury of doing this two-hander odd couple. " On Bringing a Heightened Level of Female Action to the Film Daniella: "I would say this is definitely next-level. I mean, it's not necessarily a character you see all the time. I feel like it's kind of changing a bit. I saw a video the other day of these two American eagle chicks in a nest, and one of the siblings just takes out the littler one, takes out the nest, and I was like 'oh hey, I know that girl. That's all nice'. But at the same time, you want to see that eagle hunt and you want to see that eagle fly — and there is something really compelling about watching a predator do their thing. At the same time, I felt like there's more to her. There's more layers there. So she's not just a stone-cold killer. It's the type of role that I would like to see more women get to play. They're certainly here in the real world. And I love to beat the shit out of Cynthia — but we were hugging, we were hugging in-between takes, and it was nice. I got really lucky. I had a good partner. It was fun, it was fun — but as she'll tell you, it was brutal." Cynthia: "It is pretty good — and what's very satisfying is we've now had opportunities to see the movie with audiences, and when you hear an audience audibly gasp, then you know you're doing something right. Because it means that the stakes and how invested people are in these characters, they are literally leaning forward, and with each blow, each hit, it's like 'aaaahhh'. So I think that's a nice vote of confidence to hear those gasps." On How The Accountant 2's Action Stands Apart From Affleck and O'Connor's Past Projects Ben: "To me, what makes it interesting, and what made me think that we could do something that would actually connect with an audience in the sense that they feel something for what's happening, is because Gavin's approach is not about 'this is a shot where visually it looks cool because of XY and Z elements, and we're going to construct it in such a way', and then you have to reverse-engineer why in the world you would be doing something that would lead you to that place. It's always driven from 'what does each character want? Why are they doing this?'. There's a grounded reason for it. And then his gift is to take that and make that visually compelling." Gavin: "Yeah, and not try to make it feel stunt-y — or some of these, we can cite action movies that are great, but it just feels like the action is in front of the characters. And for us, and the same with the girls, we were always coming from character. So what we were always tracking when we got to the third act was like 'how were these guys working together? How are they now united?'. We knew what the stakes were. We knew what they wanted. So inside of the action and the choreography, really, it was about the emotional line between the two brothers and how are they going to try to accomplish this together? And that was really what the conversations were about. The action is like dance, right? It's just doing it in beats. But action isn't emotional — and disposable violence, who cares about it, right? So it was really evoking emotion because you care about the characters." On How Bernthal Approached His Character's Emotional Arc — and Balanced It with the Demanding Action Sequences Jon: "You can't lie in a fight. You just can't lie — it's all, what you want is right there. And so if you're going for it, you've just got to know what you're going for and why you're going for it. I think more than any director I've ever worked with, Gavin has an appetite and an availability, and a hunger, to go back and to really get into what makes these guys tick. He'll talk to you as long as you want to talk to him about where these guys came from. And what's so beautiful about this being a second film — I think for me with Braxton, he's really shrouded in mystery in the first one. There was a point, you really don't know too much about him, but you have these amazing flashbacks to see how these two boys were raised and what their relationship was with their dad. And it really is the crux of what is really bothering both of them, and what's really bothering Brax: the roles that we've always filled for each other, getting each other's back, having to be there for each other, the lack of being there for each other. So then for it to culminate — it just doesn't culminate just in a gunfight, it culminates in 'hey, I'm there for you. I'm getting your back. You're getting mine. We're joined forever'. And it's a way, for lack of a better word, of showing how much you love somebody — and violence can actually be that sometimes." On Affleck's Line-Dancing Scene Ben: "That was one of the fun things about this thing, was the idea that here's a guy who's trying to figure out — he wants to have a relationship with a woman, he's trying to figure out how to do that, how to put yourself out there. He's not comfortable extending himself. He doesn't really know how to flirt exactly. He's not comfortable, like so many of us — it's not easy for anyone figuring out relationships, particularly the very early part where you're trying to gauge 'what does this signal mean? Is this person looking at me? Do they like me? Am I going to humiliate myself if I go over there?'. And what he does is kind of a lovely thing, which is he uses something that he's comfortable with — which in that case is the ability to recognise and identify the pattern of line dancing, because it is so structured and patterned — to participate in this. And it's the perfect way that he's comfortable to stand next to this woman who he's attracted to and wants to connect with, because it's kind of like parallel play with little kids. You don't have to look at somebody and engage them, but you get to be with them and do something next to them, and he finds a way that he's comfortable doing that. And it required, yeah, a lot of me. I probably am not going to get a lot more demands for my line-dancing work. I don't know. The phone hasn't rung yet. But it was really fun to — I think what's charming about it is when somebody puts himself out there to do something, at least I hope, that they're not necessarily great at, but they're trying. And I mean, really at the end of the day, that's sort of all any of us can do. Some of us are great at things — like Jon, the fighting comes easy to him. The action scenes with him are like playing in a basketball movie and this guy, you're like 'oh, you played professional basketball — okay, great'. And whereas these women of action, like you said then Danielle, they trained like crazy and brought incredible aptitude. Those fight scenes are a function of tremendous commitment and dedication and emotional perseverance that was astonishing. And for me, I'm coming at this line dancing thing like 'I don't really have the natural gifts but I'm willing to try.' I would say they did a hell of a lot better with the action I did with the line dancing. Luckily for me, it wasn't supposed to be good." Gavin: "The other thing about the scene that we were trying to accomplish, that was really important, is obviously there was that happening but we just left the plot of the movie. It was like 'we're going to leave the plot for a while', because that whole scene is really about the brothers. They've been in all this conflict driving up to that scene, and then at the end of the scene on the Airstream he says 'let's go get drunk'. And then that scene became 'they're still kind of in conflict trying to figure it out' — but once he goes to dance, Brax is like, that started to unite the two brothers, and it was just baby steps to get these guys there. So that was the other thing." Ben: "And it anchors the audience, having him celebrate for his brother, like that's who you're connecting to." Gavin: "Totally. Totally, yes. 'Yeah, 'that's my big brother up there'. It's beautiful." The Accountant 2 opened in cinemas Down Under on Thursday, April 24, 2025. Film stills: courtesy of Warrick Page, Amazon MGM Studios / Prime Video © Amazon Content Services LLC.
It's been a big year for Brisbane's hospitality scene, with one particular group having a highly successful run of opening new and exciting venues. The French Exit marks the third venue opening in 2025 for the Anyday group, whose stable of beloved restaurants and bars now totals a whopping eight. The French Exit is Anyday group's ode to Paris. A dimly lit, romantic and inviting space, classic French dishes and a standout wine list go a long way to making you forget you just strolled off the street in Brissy. "The French Exit will transport you to a classic Parisian bistrot in the heart of Brisbane CBD. The dishes will have that classic familiarity for those who have travelled to the city but focused through the lens of Brisbane. Expect classic executions of timeless dishes designed to awaken nostalgia and excite the palate," says Anyday Culinary Director, Ben Williamson. This latest opening sees Anyday group's foray into CBD dining, with The French Exit occupying the ground floor of the heritage corner site at 169 Mary Street. Tamsin Johnson, a renowned interior designer, has expertly reimagined the space to evoke feelings of comfort and decadence. "Not only is she a close friend, but she also has an incredible ability to blend elegance with character in a way that perfectly suits the atmosphere of a French bistro. Tamsin has this knack for creating spaces that feel equally timeless and welcoming, with just the right amount of playfulness. Having her involved made the whole process feel collaborative, personal, and a lot of fun, and the result is a space that truly reflects her talent and our shared vision." The kitchen, led by John-Paul Fiechtner and Ryan Carlson, under the direction of Ben Williamson, pays homage to classic French techniques while also allowing space for creativity to flourish. Local and seasonal produce provides the foundations for the menu, which showcases the best of Brisbane's growers, makers, artisans and producers. Images: Parker Blain.
It's official: we Australians really love our coffee. None of that Starbucks swill for us; we know the real thing when we taste it and we aren't willing to settle for anything less. In even better news, coffee snobbery is no longer a Melbourne-centric thing. Brisbane's caffeine scene has spent the past few years growing up, and we reckon our humble city now boasts some of the best coffee in the business. Check out our top 10 picks and see if you agree. Ltd Espresso In less than two years, Ltd Espresso has reached lofty heights in Brisbane's coffee scene. A humble A-frame located outside Ltd's front door has gained near cult status for its daily jokes, puns and pearls of wisdom (which are also broadcast over social media) and the smooth Cleanskin coffee blend keeps customers coming back. Grab a bottle of cold press coffee to keep in the fridge for later. 362 Brunswick St, Fortitude Valley Death Before Decaf This new coffee hub offers something that sets it apart from all other entries on this list: 24 hour caffeination. That's right; whether your cravings hit at 3pm or 3am, you'll find an open door and a hot coffee at Death Before Decaf. You can take your Bellissimo coffee with you or take five in the comfy leather sofa or milk crates out front. Shift workers, musicians and other creatures of the night have never been so awake. 3/760 Brunswick St, New Farm Dandelion & Driftwood Husband and wife team Peter and Penny Wolff have created a coffee-lover's dream at this Hendra cafe. Peter is a roaster with over 30 years experience, while Penny has judged at the Australian International Coffee Awards, and these credentials shine through with the two signature blends (aptly named 'Dandelion' and 'Driftwood'), tasting notes, rotating single origin options, and a 'Brew Bar' of opportunity. Shop 1, 45 Gehler Rd, Hendra Reverend's Fine Coffee When the owner of your coffee local is a former pastor, you come to expect a divine brew, and cappuccinos topped with real grated chocolate sure do fit the bill. The house blend is as appealing as the rustic interior, and a cafe menu is also available for those who don't want to caffeinate on an empty stomach. 372 Brunswick St, Fortitude Valley Elixir Coffee Taking superb coffee further into the Northern Suburbs is Elixir, a hugely popular café and roastery in Stafford where you can watch coffee beans being roasted as you enjoy breakfast and a cuppa. Owners Jason and David Narciso practically have coffee running through their veins, such is the quality of their caffeine pedigree, and they have recently inked a deal with Paleo Cafe that will see award-winning Elixir coffee served up in Paleo Cafes around Australia. 10-12 Hayward St, Stafford Bunker Coffee Talk about hole-in-the-wall…Bunker Coffee is a blink-and-you’ll-miss-it coffee hub (located in an real WWII bunker!) serving up espresso, filter coffee, iced coffees and authentic hot chocolate. Open from Monday to Friday and located a hop, skip and a jump from Milton Train Station, Bunker is a hit with weekday commuters. Bunker’s brother, John Mills Himself, has also recently opened in Brisbane’s CBD. 21 Railway Terrace, Milton Gramercy Espresso This semi-hidden cafe oasis is located just inside the Edward St entrance to the Wintergarden. The coffee is sourced from Sydney’s Reuben Hills roasters, and is a delight whether hot or cold. And bonus points, the folks at Gramercy make their own almond milk. A mouth-watering selection of cakes and pastries are also on offer, so don’t leave your sweet tooth at home. Wintergarden, 219 Queen St, Brisbane Blackstar Coffee Hailed as kings of the cold-press, Blackstar don’t take short cuts when it comes to providing their rich and earthy blend. In a story that has become a Brisbane legend, the Blackstar boys returned from a coffee-excursion in New Zealand, and with little more than flavour memory tried to replicate the finely crafted coffee they left overseas. Needless to say, success ensued and these days you can you can grab a brew from Blackstar in West End, Contessa in the City, or at the Queen Street markets. 44 Thomas St, West End Fonzie Abbott Espresso The Fonzie Abbott crew are serious about their beans, roasting their own blend at the Fox Street Factory in Albion. You’ll taste Fonzie’s brew if you order a coffee at establishments including Bitter Suite, Papa Jack’s, Noosa Chocolate Factory and Primal Pantry, as well as at the Fonzie Abbott café in Hamilton. While you’re there, grab a fresh croissant or a slice of banana bread to enjoy while you soak up the rustic surroundings and the goings on of Racecourse Rd. 1/30 Racecourse Rd, Hamilton Spring Hill Deli Spring Hill Deli is another fine establishment that has realised that using real chocolate on top of cappuccinos makes them approximately 1000% better. We probably don’t need to say much more, but if you still need convincing, the beans come from celebrated locals Cup Coffee Roasters and the moreish food menu is the perfect accompaniment. 537 Boundary St, Spring Hill View all Brisbane Cafes.
Located on Boundary Street in West End, Archive is the people's pub. There are couches for snuggling, pool tables for those wanting a challenge, outdoor seating for the Vitamin D deficient, and there's Next Door Cellars where they serve a range of high-end craft beers for the beer aficionado. Living up to its name, the walls are lined with shelves of books and covered in old comic strips. With live music and large (but pleasant) crowds, Archive is the perfect location for catching up with a group of friends on any day of the week. Archive offers daily specials and events including bingo on Mondays, trivia on Tuesdays and $10 chicken schnitzels on Sundays. Classed as a beer boutique, they offer a range of local and imported craft beers on tap including White Rabbit, Stone and Wood Pale Lager and Babbs beers like the Cherry Poppin Blonde. The food menu is standard pub fare with a twist. They serve delicious, large pizzas to fill a grown man like the Three Cheese, which comes with ham and chilli pineapple salsa. There's also the tomato and goats cheese cannelloni, which is hearty and perfect for warming the soul on a cooler evening (or comforting you when you are hungover).
Auckland is a city built on stories. Some are told in theatres that once hosted Bette Davis and Bob Dylan. Some on the slopes of former volcanoes. The rest, you'll have to find for yourself in the city's cobbled streets and galleries. Tāmaki Makaurau (Auckland's) charm blooms beyond the tourist stops. Past the Sky Tower and steeple of St Patrick's Cathedral, you'll spot an unassuming vintage facade. Here, at 53 St Patrick's Square, The Motor House forms the foundation of Hotel Indigo Auckland. Once a showroom for Cadillacs and motorcycles, it now acts as your key to the city. Inside midtown's tallest building, warm wood panels, Māori art, and leather touches make an unexpected home out of the building's industrial bones. [caption id="attachment_1037197" align="alignleft" width="1920"] Hotel Indigo Auckland[/caption] But the best part? The hotel's position puts you at the heart of the city. Here, your neighbours are indie bookstores, laneway bars and suburban swimming spots. Here's how to plan a weekend getting lost in the hills, islands and laneways of Tāmaki Makaurau. [caption id="attachment_1037201" align="alignleft" width="1920"] Maungakiekie[/caption] Wide Open Spaces Auckland was built around the valleys and ridgelines of 53 ancient volcanoes. You can see it in the sprawling, green knolls of Maungakiekie. Also known as One Tree Hill. These Teletubbyland-esque hills act as Auckland's best viewing platform. Back in the city's heart, find Khartoum Place. Shady trees and a fountain's trickle make it a pocket of calm that locals retreat to. Check out the tile artwork in honour of the Women's Suffrage Movement in New Zealand and have a break to caffeinate. Take a short stroll and you'll find yourself at the wharf. Catch a ferry 40 minutes off the coast and you'll land a world away on Waiheke Island. Sundrenched vineyards, shaded olive groves and your footprints on white sand beaches await. Or, dive right into the harbour at the Karanga Plaza Tidal Steps: a totally free swimming area on the shores of the city. Take Notes on the Culture Follow any street in Auckland, and you'll find yourself at a crossroads of culture. Here, Māori culture threads through so much of the city, linking with European history in the wharves, cafes and museums. Auckland Art Gallery Toi o Tāmaki is home to the world's largest collection of New Zealand art. Enter through majestic kauri tree columns to spend a day working through four levels of exhibitions. Plan your visit to Aotearoa in November, and you'll catch the Elam School of Fine Arts annual graduate show. Take a stroll through midtown and you'll find a slew of independent bookshops like Unity Books, Time Out Bookstore, and Hard To Find Books. Read local stories spun into poems or get lost in the whodunnits of local crime author legend Ngaio Marsh. [caption id="attachment_1039738" align="alignnone" width="1920"] Hotel Indigo Auckland[/caption] Dine Like the Locals Vulcan Lane was once an unnamed and muddy track. Today, it's a meeting point of some of Auckland's best bars, cafes, restaurants and boutique shopping. The Queensferry Hotel was one of the first to move in over 200 years ago. It's Auckland's oldest pub, but its menu is modern and best enjoyed al fresco while people-watching. Each Thursday, the laneway comes alive with free jazz performances from local music schools and seasoned pros. Follow the warm cathedral light down St Patrick's Square and you'll find Bistro Saine. Here, beyond the art-filled lobby of Hotel Indigo, you'll find this modern take on the classic European bistro is a destination in its own right. Leather banquette seating, antique tableware and perfectly cooked steak makes it easily to forget you're not in Paris. [caption id="attachment_1037203" align="alignleft" width="1920"] The Civic Theatre[/caption] Read the Stars The 1930s were Auckland's golden age. Theatres, cinemas and music halls were soundtracked by Māori soprano Ana Hato and The Beatles. Legendary spots like Everybody's, The Roxy, and Peter Pan Cabaret may be gone, but their legends live on in the feel of the streets. The Civic Theatre is perhaps the magnum opus of Auckland's golden age. Inside, giant, golden elephants and carvings of Buddha line the walls alongside gaudy chandeliers. Above it all—for no reason other than opulence—is a replica of the Auckland night sky at 10pm on Saturday, April 20, 1929. Bette Davis, The Rolling Stones, Nick Cave, Bob Dylan, and even the Dalai Lama have visited. Nowadays, you can catch a musical or comedy show there. [caption id="attachment_1037204" align="alignleft" width="1920"] Hotel Indigo Auckland[/caption] The Perfect Base When your step count is nearing new heights, Hotel Indigo Auckland makes for the perfect place to rest your tired feet. The hotel's historic home, The Motor House, plays the role of muse. In each corner, you'll find nods to the past. From the scaffold-inspired wardrobes and vintage fixtures to the factory facade still bearing the names of its former owners, you can feel the stories of Auckland past in each inch of the hotel. Step out from the lobby and you'll be met with a view of the Sky Tower and Auckland at your feet. Want to stay in the thick of it? Find out more about Hotel Indigo Auckland here. Lead image: Hotel Indigo Auckland
Peering at Yayoi Kusama's work doesn't just mean being surrounded by dots, pumpkins and tentacles; stepping inside her infinity rooms; and spying mirrors, balls, flowers and rainbow hues aplenty. It also means relishing every moment with her immersive art. One trip to a Kusama showcase, whether at her own Tokyo museum or elsewhere, is never enough. However long an exhibition's season runs for, it's not long enough, either. Melbourne's NGV International, the host of Australia's largest-ever Kusama retrospective, understands this — and it is giving art lovers more chances to enjoy the artist's wonders. Yayoi Kusama, as the current exhibition is called, opened on Sunday, December 15, 2024 and runs until Monday, April 21, 2025. That end date isn't being delayed, sadly, but the gallery is extending its hours instead across the showcase's final weeks. Revealed on Friday, March 21, the news was unveiled a day before a significant occasion: Kusama's 96th birthday on Saturday, March 22. Of course, this'd be exciting no matter when it was announced. From Saturday, April 5–Wednesday, April 16, the exhibition will operate from 8am–6pm. Melburnians, if you fancy exploring Kusama's work before or after the nine-to-five grind, this is your chance. Over the Easter long weekend, you'll have even longer to head by, which is also great for visitors from elsewhere making the trip to Melbourne for the break. From Thursday, April 17–Monday, April 21, the exhibition will be open from 8am–midnight daily. The National Gallery of Victoria's spectacular tribute to Kusama includes the Japanese icon's brand-new Infinity Mirrored Room–My Heart is Filled to the Brim with Sparkling Light among its ten immersive installations, breaking the world record for the number of such pieces by the artist assembled in one spot. In total, there's 200 pieces on display, taking over the St Kilda Road gallery's entire ground floor with a childhood-to-now survey of its subject's creative output. Across the eight decades of art on display, some pieces have never been seen Down Under until now. Some are sourced from private collections, and others from Kusama's own personal stash. Here's yet one more drawcard: the NGV is throwing Friday-night parties as part of the exhibition, too, running until Friday, April 18. Kusama's five-metre-tall dot-covered Dancing Pumpkin sculpture in NGV International's Federation Court, the artist's Ascension of Polka Dots on the Trees wrapping the trunks of 6-plus trees in pink-and-white polka-dotted material: they're also key elements of one of the most-comprehensive retrospectives devoted to the artist to be staged globally. Other highlights include NGV International's glass waterwall going pink, but with black rather than white dots; Kusama's new version of Narcissus Garden, which dates back to 1966 and features 1400 30-centimetre-diameter silver balls this time around, sitting in front of the waterwall and in parts of Federation Court; and the yellow-and-black spheres of Dots Obsession hanging over the Great Hall. Then there's the artist's sticker-fuelled, all-ages-friendly The Obliteration Room, where audiences young and old pop coloured dots everywhere — 'obliterating', as Kusama calls it — to cover an apartment interior that's completely white otherwise. Flower Obsession is another participatory piece, returning from the 2017 NGV Triennial. Again, you're asked to add to the work. Here, red flowers are applied to a domestic space — and again, obliterating it is the mission. If you adore the artist's way with mirrors, you'll want to see 2016's Chandelier of Grief, which features baroque-style chandelier spinning within a hexagon of mirrors; 2013's Love Is Calling, where tentacles in different colours spring from both the floor and the ceiling; and 2017's The Spirits of the Pumpkins Descended into the Heavens, which gets viewers peering at glowing pumpkins as far as the eye can see through a small peephole. In Invisible Life, convex mirrors line a twisting and multi-hued corridor. With its six-metre-tall tendrils — which are covered in polka dots, naturally — the yellow-and-black The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe from 2019 is striking without using a looking glass (or several), and has made its Australian premiere. Prefer flowers instead? Set within a dotted space, All My Love for the Tulips, I Pray Forever from 2013 sees a trio of giant tulips loom over audiences. Overall, Yayoi Kusama steps through the artist's 80-plus years of making art via a thematic chronology. While a number of pieces hail from her childhood, others are far more recent. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s; plenty from the past four decades: they all appear. Yayoi Kusama displays at NGV International, St Kilda Road, Melbourne until Monday, April 21, 2025 — including from 8am–6pm between Saturday, April 5–Wednesday, April 16, and from 8am–midnight between Thursday, April 17–Monday, April 21. NGV Friday Nights: Yayoi Kusama runs each Friday until Friday, April 18, 2025. Head to the NGV website for more details and tickets. Images: Visitors and artworks in the Yayoi Kusama exhibition at NGV International, Melbourne until 21 April 2025. © YAYOI KUSAMA. Photos: Danielle Castano, Sean Fennessy, Tobias Titz and Kate Shannassy.
Coffee fans, the future of grabbing a cuppa is here. Get sci-fi-like visions of technological brews out of your head, though. Nothing can replace the real thing just yet. At Pablo & Rusty's first Brisbane store, the Sydney-based roaster is committed to doing whatever it takes to make sure its black, caffeinated liquids really are the best they can be. And that means more than offering a stellar range of beans and blends — though you'll find those on the menu, including a single origin offering that rotates weekly, and comes as a double shot, batch-brewed or nitrogen-infused and chilled. In fact, it's the act of paying for your hot beverage that'll get you talking, particularly if you try to hand over notes and coins. Whether you go for the strong stuff, opt for a tea or tisane, prefer a 35% blend hot or iced chocolate, or want a pastry or treat with your drink, Pablo & Rusty's Mary Street cafe is a cash-free zone. Grab your own reusable Frank Green mug, and then swipe it each time you drop by. Because cups aren't actually a form of currency, it'll be linked to your credit card — and it'll remember your preferred coffee order as well.
Bar Francine looks like it should be a secret, but it's long since become a West End institution. Housed in a weatherboard cottage that's been standing for close to 70 years, the venue was once a neighbourhood milk bar. During the fit-out, original tiles were uncovered beneath layers of concrete, then carefully chiselled back by hand, setting the tone for a space that feels lived-in, personal and deeply local. Inside, timber floors, simple furniture and a compact bar create a room that rewards sitting close, talking longer and letting the evening unfold. Windows swing open to the laneway, music hums softly, and the atmosphere feels more like being welcomed into a friend's place than stepping into a restaurant. The food offering is deliberately fluid. The menu changes as it needs to, shaped by season, instinct and what the kitchen is excited about cooking. Influences lean European without being rigid or nostalgic, with dishes moving easily between small plates and more substantial options. Wednesdays are reserved for "Neighbourhood Night", a set menu that shifts in style and influence, while the rest of the week runs à la carte, built for sharing and lingering. On Fridays and Saturdays, Golden Hour brings bar snacks and simple cocktails into the mix, setting the tone for an easy start to the evening. Wine plays a central role, with an all-Australian list built around small producers and genuine relationships. The focus is on people as much as place, with particular support for women-led wineries and independent makers. Wines are poured at the table, encouraging conversation and discovery, and the list rotates frequently to reflect season, availability and what's tasting best right now. Bar Francine succeeds because it's confident in its scale, relaxed in its service and thoughtful in everything it does. Come for a casual drink, stay for dinner, or do both. Either way, it's proof that great dining doesn't need spectacle – just care, intention and a room that feels right.
Stages graced with international acts? Check. A hefty lineup led by Lizzo, Flume and Mumford & Sons? Check again. Gumboots aplenty, everyone from Pussy Riot to Tony Armstrong, and three wild days at North Byron Bay Parklands? Tick them off the 2023 Splendour in the Grass checklist, too. A graveyard, though? No one had that on their Splendour bingo card, but it's part of this year's fest thanks to ABC series War on Waste, which is drawing attention to fast fashion. Sometimes, you need to see a problem to truly grasp it. That's an approach that folks have been applying to the vast piles of textiles that end up in landfill for some time — in 2022, Joost Bakker filled Melbourne's Federation Square with 3000-plus kilograms of fashion waste, for instance. A cemetery symbolising discarded clothing items is another eye-catching away to get everyone thinking about the issue, with this pop-up gracing Splendour for its full 2023 run from Friday, July 21–Sunday, July 23. "Fast fashion has exploded! We've moved to ultrafast fashion, even though 30 percent of clothing in the average wardrobe has not been worn in the last year," said War on Waste host Craig Reucassel. "We're throwing out ten kilograms of fashion per person each year. To make only the cotton clothes that we throw out each year would take as much water as there is in Sydney Harbour. Meanwhile, over 60 percent of our clothes are made from plastic derived from fossil fuels." "Through this activation, we hope to engage the festival community in meaningful conversations about the impact of fast fashion and inspire them to embrace more sustainable and ethical practices. Buy less and wear it longer!" Reucassel continued. Splendour attendees will spot the graveyard opposite the Forum and Comedy Club, acting as a commentary on the 227 million kilograms of clothing that goes to Aussie landfills every year. The site's tombstones jokingly pay tribute to items bought and scrapped quickly, yet won't decompose for hundreds of years, and offer facts about the problem. Everything featured has been recycled or repurposed, and all materials used will be recycled or repurposed again after Splendour is over. As well as getting festivalgoers thinking about their outfits, the cemetery pop-up is timed to promote War on Waste's third season, which hits the ABC from Tuesday, July 25. Splendour in the Grass runs from Friday, July 21–Sunday, July 23, 2023 at North Byron Bay Parklands — head to the festival website for further details and tickets. Images: Georgia Jane Griffiths.
Google's innovation in geo-location tools and imaging has significantly changed how we view and interact with our world. What with Street Art View, allowing users to tag their favourite street art; People Finders connecting friends and loved ones in times of disaster; and artists capturing incredible images from Google Earth, Google blurs physical existence with digital presence to connect us in amazing ways. Whether you want to check out a destination before hitting the road or travel to the other side of the globe without leaving your seat, Google Street View can take you there. With the launch of an all new look and enhanced interactivity, real-world navigation from your net browser has never been so awesome. When you load up Google Maps, areas outlined in blue highlight where Google Street View is available. Google's loveable stick-figure Pegman will light up yellow too. Drag him onto your desired location to view the 'hood, and click on the arrows on the ground to take a little stroll. Back in 2007 at Street View's inception, only select major cities had the feature. Since then, teams of photographers have worked tirelessly to compile incredible images from around the world. Stitched together, the images form 360 degree panoramas which afford gorgeous glimpses of far away places - so good it feels like you're really there. https://youtube.com/watch?v=MwCrjfmCgO0 [Via Mashable]
