Mt Uncle Distillery's rum has picked up a swag of prizes. Its Botanic Australis Gin nabbed a gold medal at the 2019 Australian Gin Awards. Founded in 2001, it also makes a highly regarded vodka, whisky, cane spirit and marshmallow liqueur too — and this Far North Queensland distillery does so in quite the standout location. Nestled below the mountain that gives it this name, Mt Uncle Distillery sits on and sources much of its produce from an Atherton Tablelands farm. Here, you'll find a banana plantation, plenty of streaming sunshine, and alpacas, donkeys, goats, geese and peacocks, too. That's not a claim that every distillery can make, and it certainly makes Mt Uncle memorable. The distillery's tasting room is open seven days a week — and if you feel like roaming around the property while you're there, that's encouraged.
Whether sports is your pastime of choice or something that you go out of your way to avoid, Toowong's Wests Rugby Club is about to become one of the inner-west's must-visit eating spots. As part of the building's renovation, the folks behind local favourite The Corner Store Cafe have moved in. Don't worry, your favourite suburban hangout hasn't changed — it just now has a sibling down the road. Meet Pitch and Fork, and prepare to pull up a table and grab some cutlery. In fact, just sitting down in the new eatery's al fresco dining area brings plenty of pleasures of its own. When was the last time you ate breakfast, brunch or lunch under brick arches with a view of hills and greenery? You'll match those nice sights with a house-smoked ocean trout omelette, Sunshine Coast tiger prawns on a sourdough baguette, a turkey and pancetta clubhouse sandwich, a veal parmigiana burger, and healthy eggs Benedict with sautéed broccolini, kale, spelt toast and avocado mayonnaise, to name a few dishes. And coffee-wise, expect a hot cuppa of Parallel Roasters' finest to really kick your day into gear.
Do you guys ever think about watching the biggest movie of 2023 in the comfort of your own home? Barbie is a pink-hued dream on the big screen, where everyone should see it once — and it'll beam just as brightly via streaming from Tuesday, September 12. That's when the highest-grossing box-office hit of the year will hit digital, arriving on premium video on demand to rent and buy in Australia and New Zealand. By now, thanks to the pandemic, we all know the fast-tracked drill: these days, films make their way to home entertainment far faster than they used to before 2020. In Barbie's case, like everything from Dune, The Matrix Resurrections and Everything Everywhere All At Once to Elvis, Nope and Don't Worry Darling before it, it'll be both screening in cinemas and shining Kenergy onto your TV at the same time. You'll find Barbie available to stream via all the usual platforms — think: Google Play, YouTube Movies, Apple TV, Prime Video, Fetch, Foxtel Store, Microsoft and Telstra TV Box Office — in Australia and New Zealand. And, of course, you'll find a Greta Gerwig-helmed, Margot-Robbie-starring smash that sports rosy colours, does indeed bring the popular doll to screens, but couldn't be more smart and meaningful about it. Marking actor-turned-director Gerwig's third solo stint behind the camera after Lady Bird and Little Women, Barbie gets its namesake (Robbie, Babylon) struggling with life's big questions — and, when the film's key Barbie and Ken (Ryan Gosling, The Gray Man) drive through Barbie Land's gates to discover what's on the other side, struggling with Los Angeles as well. Splashing as much humour as pastel tones throughout its frames, Barbie is scripted by Gerwig and fellow filmmaker Noah Baumbach — her helmer on Greenberg, Frances Ha, Mistress America and White Noise, and real-life partner — and boasts a cast that's a gleaming toy chest of talent. All those on-screen stars help fill the feature with Barbies, including Issa Rae (Insecure) as president Barbie, Dua Lipa (making her movie debut) as a mermaid Barbie, Emma Mackey (Emily) as a Nobel Prize-winning physicist Barbie, Alexandra Schipp (tick, tick... BOOM!) as an author Barbie and Ana Cruz Kayne (Jerry and Marge Go Large) as a supreme court justice Barbie — plus Nicola Coughlan (Bridgerton) as diplomat Barbie, Kate McKinnon (Saturday Night Live) as a Barbie who is always doing the splits, Hari Nef (Meet Cute) as doctor Barbie, Ritu Arya (The Umbrella Academy) as a Pulitzer-winning Barbie and Sharon Rooney (Jerk) as lawyer Barbie. There's also a whole heap of Kens, including Simu Liu (Shang-Chi and the Legend of the Ten Rings), Kingsley Ben-Adir (One Night in Miami), Ncuti Gatwa (the incoming Doctor Who) and Scott Evans (Grace and Frankie). And, Michael Cera (Arrested Development) plays Alan, Emerald Fennell (The Crown) plays Midge, Helen Mirren (Shazam! Fury of the Gods) is the narrator, America Ferrera (Superstore) and Ariana Greenblatt (65) are humans, Jamie Demetriou (Catherine Called Birdy) is a suit, Will Ferrell (Spirited) wears a suit as Mattel's CEO and Connor Swindells (also Sex Education) is an intern. We expect that you know all of the above already given how well Barbie has been doing in cinemas, where it has also cracked the top 15 of all time — and become the first movie by a solo female director to make $1 billion at the global box office. And yes, we expect that you'll now get 'I'm Just Ken' stuck in your head again (and again and again). Check out the Barbie trailer below: Barbie will be available to stream from Tuesday, September 12 via platforms such as Google Play, YouTube Movies, Apple TV, Prime Video, Fetch, Foxtel Store, Microsoft and Telstra TV Box Office in Australia and New Zealand. It's also still showing in cinemas Down Under. Read our review.
New year, new set of holiday plans? If that's how you celebrate December flipping over to January every 12 months, then you're probably already scoping out where to head when 2023 becomes 2024. Here's some inspiration: Hamilton Island, Bali, Fiji and Tokyo, aka places that Virgin is slinging cheap fares to in its latest sale. This new batch of discounted flights spans more than 500,000 fares for both domestic and international legs. Prices start low, at $45, which once again gets you from Sydney to Byron Bay — the normal cheapest fare in any flight sale — and vice versa. From there, the domestic side of the sale covers everywhere from the Sunshine Coast and Hobart to Canberra and Broome. Fancy a trip to the Gold Coast, Cairns, Launceston, Alice Springs or Darwin instead? They're also on the list. This excuse to book a getaway runs until midnight AEST on Monday, October 23 — unless sold out earlier, with fares to Sydney, Melbourne, Brisbane, Perth and Adelaide also covered. That means paying $59 one-way from Melbourne to Launceston, $69 from Sydney to the Sunshine Coast and $109 from Brisbane to Hamilton Island. Also among the local fares: Sydney to Hobart from $85, Melbourne to the Gold Coast from $109, Sydney to Adelaide from $125, Brisbane to Melbourne from $129 and Perth to Broome from $189. Internationally, you'll need to go via Cairns if you're keen to head to Tokyo, starting at $699 return. Among the other global return options: Bali (from $449 from Adelaide or the Gold Coast, $559 from Brisbane, and $629 from Melbourne or Sydney), Fiji ($509 from Brisbane, $529 from Sydney and $579 from Melbourne), Vanuatu ($569 from Brisbane) and Samoa ($579 from Brisbane). And, Queenstown is also on the agenda, with both one-way and return legs. One-way from Sydney starts at $259 and return from $445, Melbourne at $265 and $425, and Brisbane $295 and $515. If you're wondering when you'll need to travel, the fares cover select periods between Tuesday, January 16–Thursday, August 29, 2024, with all dates varying per route. Inclusions also differ depending on your ticket and, as usual when it comes to flight sales, you'll need to get in quick if you're keen to spend some, part or all of next year anywhere but home. Virgin's latest sale runs until midnight AEST on Monday, October 23 — unless sold out earlier. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
What do a twisted woodland, enchanted big-screen stories, the best new art that the Asia-Pacific region has to offer, movies about mad science, the work of Queensland artist Judy Watson, the fashion designs of Iris van Herpen, and an exploration of the importance of plants to Indigenous and Torres Strait Islander peoples all have in common — and with Brisbane, too? They're each featured on the Queensland Art Gallery and Gallery of Modern Art's big 2024 program. GOMA's tribute to fairy tales was announced in 2022, and arrives before 2023 is out; however, as the newly announced full lineup for next year shows, it's just one of many reasons to visit South Brisbane — and, if you're making the trip from elsewhere in Australia, Brisbane in general — before 2025 rolls around. Running from Saturday, December 2, 2023–Sunday, April 28, 2024, Fairy Tales is quite the blockbuster, and comes with movie program Fairy Tales: Truth, Power and Enchantment at Australian Cinémathèque to match. The 100-plus-piece showcase and its corresponding flicks will focus stories that we all lapped up as kids, telling us about otherworldly critters, wishes, spells and more. From venturing into the woods to peering through the looking glass, and also pondering what happily ever after means — while featuring works by Henrique Oliveira, Patricia Piccinini, Jana Sterbak, Kiki Smith, Abdul Abdullah and Ron Mueck along the way, plus a costume worn by David Bowie in all-time classic Labyrinth, pieces from Where the Wild Things Are as both a book and a movie, and threads from 2012's Mirror Mirror by Eiko Ishioka, and more — this showcase is primed to entrance. [caption id="attachment_919713" align="alignnone" width="1920"] Henrique Oliveira / Brazil b.1973 / Baitogogo 2013 / Palais de Tokyo, Paris / Plywood and tree branches / 6740 x 1179 x 2076cm / Courtesy SAM Art Projects, Galerie GP&N Vallois, Galeria Millan / © Henrique Oliveira / Photograph: André Morin / This work is indicative of a new commission by Henrique Oliveira for the exhibition 'Fairy Tales' at QAGOMA.[/caption] Set to arrive while Fairy Tales is still working its magic are both Seeds and Sovereignty and mudunama kundana wandaraba jarribirri: Judy Watson. The first will run from Saturday, March 2–Sunday, September 8, 2024 also at GOMA, and feature artworks about not only Indigenous and Torres Strait Islander peoples bond with plants, but with Country. The second will take over Queensland Art Gallery to celebrate the Queensland artist's career, spanning four decades and highlighting her emphasis on Waanyi Country in northern Queensland, where her family is from. Also on display at GOMA until Sunday, September 8, 2024: sis: Pacific Art 1980–2023, which centres on contemporary pieces from the titular region — with Lisa Reihana, Yuki Kihara and Latai Taumoepeau among the artists with works on display. [caption id="attachment_923891" align="alignnone" width="1920"] Iris van Herpen / Netherlands b.1984 / Hydrozoa dress, from the 'Sensory Seas' collection 2020 / Collection: Iris van Herpen / Photograph: David Uzochukwu / © David Uzochukwu.[/caption] Midyear, Iris van Herpen: Sculpting the Senses will head to GOMA as well, in an Australian exclusive for the massive exhibition about the Dutch fashion designer, as organised by the Musée des Arts Décoratifs. It visits Down Under after displaying in Paris. "Set in direct dialogue with a selection of contemporary works of art, installations, videos, photographs and objects from natural history, the exhibition brings together more than 100 garments created by van Herpen, seeking new forms for femininity and challenging our notions of haute couture. It will include a recreation of van Herpen's Amsterdam studio and a space dedicated to her fashion shows, accompanied by a sound work by Dutch artist Salvador Breed," said curator Cloé Pitiot. "Iris van Herpen is one of the most avant-garde figures of her generation and Sculpting the Senses, organised by Musée des Arts Décoratifs, offers a sensory exploration of the pioneering Dutch designer's multidisciplinary practice. It's a creative universe that merges fashion, contemporary art, design and science," added QAGOMA Director Chris Saines. [caption id="attachment_923890" align="alignnone" width="1920"] Mit Jai Inn / Thailand b.1960 / Planes (Electric) (detail) 2019 / Oil on canvas / Dimensions variable / Installation view, 'Encounters', Art Basel Hong Kong, 2019 / Image courtesy: The artist and Silverlens, Manila & New York / © Mit Jai Inn.[/caption] Then, come Saturday, 30 November 2024–Sunday, April 27, 2025, it'll be time for The 11th Asia Pacific Triennial of Contemporary Art (aka APT11) at both GOMA and Queensland Art Gallery. While it's too early for specifics, artists and collectives hailing from Australia, Asia and the Pacific will have pieces on display — and a cinema lineup, events, live performances and the like will also be on the agenda. As well as its fairy tale flicks, the Australian Cinémathèque has plenty in store. The Magic of Monty Python will celebrate the obvious for two January weeks, then the films of Michael Powell and Emeric Pressburger — so The Red Shoes and Black Narcissus, for instance — will be in the spotlight from February–April. When May hits, those movies about mad science will start rolling until late June, such as The Bride of Frankenstein and The City of Lost Children. [caption id="attachment_923889" align="alignnone" width="1920"] Production still from The Bride of Frankenstein 1935 / Director: James Whale / Image courtesy: Universal Pictures.[/caption] QUEENSLAND ART GALLERY AND GALLERY OF MODERN ART 2024 PROGRAM: GOMA and Queensland Art Gallery: Saturday, December 2, 2023–Sunday, April 28, 2024 — Fairy Tales at GOMA Saturday, March 2–Sunday, September 8, 2024 — Seeds and Sovereignty at GOMA Saturday, March 23–Sunday, August 11, 2024 — mudunama kundana wandaraba jarribirri: Judy Watson at Queensland Art Gallery Saturday, June 29–Monday, October 7, 2024 — Iris van Herpen: Sculpting the Senses at GOMA Until Sunday, September 8, 2024 — sis: Pacific Art 1980–2023 at GOMA Saturday, 30 November 2024–Sunday, April 27, 2025 — The 11th Asia Pacific Triennial of Contemporary Art (APT11) at GOMA and Queensland Art Gallery Australian Cinémathèque: Saturday, December 2, 2023–Sunday, April 28, 2024 — Fairy Tales: Truth, Power and Enchantment Saturday, January 13–Saturday, January 27, 2024 — The Magic of Monty Python Wednesday, January 31–Wednesday December 11, 2024 — For the Love of It: A Curator's Pick Saturday, February 3–Saturday, April 27, 2024 — Technicolor Dreams and Transcendent Reality: The Films of Powell & Pressburger Friday, May 3–Sunday, June 23, 2024 — Mad Science For more information about the Gallery of Modern Art and Queensland Art Gallery's 2024 exhibitions, plus Australian Cinémathèque's 2024 lineup — all of which will occur at Stanley Place, South Brisbane — visit the venue's website. Top image: Still from 'Cinderella' (1922) dir. Lotte Reiniger, courtesy British Film Institute.
It’s a truly eye-popping spread of international art stars at the AGNSW’s summer blockbuster, Pop to Popism. Much of it will be familiar; you’ll see Warhol’s famous Marilyn series and Lichtenstein’s In the Car. But beyond the colourful brushstrokes of American artists picking apart consumer culture, you're bound to stumble across a few local and lesser known artists who were nowhere near the New York hotbed of creative activity. Though you might not find their works stamped on pencil cases and postcards in the gift shop, here’s a list of underrated artists you ought not to skip over. Alain Jacquet: Pop and the Dot Roy Lichtenstein spoke about breaking an image down into tiny abstract elements. But unlike his clean lines of handpainted dots, Alain Jacquet developed a more textured technique by allowing different coloured dots to bleed into each other. This French artist was part of a mini-movement at the tail-end of Pop Art. Like their American cousins, the European artists of the school of New Realism were interested in using the materials of everyday life and avoiding the traps of figurative painting. Jacquet’s reworking of Manet’s canonical Luncheon on the Grass deserves to be appreciated up close. Like a hazy summer dream, there is a real sense of warmth and vitality to his work. Annandale Imitation Realists: Pop and Protest In 1960s Sydney, the beginnings of a local Pop Art scene might be attributed to the Annandale Imitation Realists, a group describing themselves as a 'spoof art organisation'. Mike Brown, Colin Lancely and Tony Tuckson produced eclectic mixed media assemblages, drawing from a range of different sources. Breaking through the conservatism of public life, these edgy inner-westies were passionate crusaders for free expression. In fact, Brown was the only Australian artist to be successfully prosecuted for obscenity. While Warhol and Lichtenstein imitate the aesthetic of advertising, this group revelled in nonsensical statements, visceral messiness, and a disregard for authority. They represent an exotic and exuberant counterpoint to the Pop Art that was unfolding across the Pacific. Martha Rosler: Pop and Activism An overlooked figure in the male dominated world of pop art, Martha Rosler moves within the spectrum of social critique. Her incisive series House Beautiful: Bringing the War Home fuses together militancy and materialism. Using photomontage, she reconstructs advertisements aimed at housewives with scenes from the Vietnam War. It's a bizarre juxtaposition; the models are all smiles while soldiers and child casualties peep through windows. Like Richard Hamilton’s earlier and more famous collage, this is a satire of the modern home. But Rosler’s series feels a lot more pressing. She simultaneously tackles the outdated ideal of femininity and the ethics of a media saturated war. Vivienne Binns: Pop and Feminism With second wave feminism in full swing, Vivienne Binns shocked her Sydney audience by exhibiting paintings of vaginas in 1967. Becoming one of the first female artists to address sexuality, her intricate and brightly coloured works drew strong backlash. An abbreviation of vagina dentata, Vag Dens is one of the most significant paintings of this period. In terms of her style, it is as if Abstract Expressionism has entered the realm of '70s psychedelia and become infused with sexual empowerment. Still active today, Binns has a reputation as one of the most radical women on the Australian art scene. Martin Sharp and Tim Lewis: Pop and Deconstruction While you’re sure to see Martin Sharp’s shiny psychedelic posters of Bob Dylan and other famous faces, his collaborative works with Tim Lewis represent the point at which Pop Art began to turn in on itself. During the dying days of this global phenomenon, the Aussie duo was preoccupied with appropriating the big personalities of the movement. It's interesting to see the cartoonish and the cult of celebrity paired with aesthetic purists, like Mondrian, and tortured geniuses, like Van Gogh. Imposing the new faces of postmodernism onto the masters of modernism, they created playful works that prematurely historicise Pop Art with the kind of wry humour it probably deserves. Edward Ruscha: Pop and Language A mighty artist in his own right, Edward Ruscha is more of an associate than a proponent of Pop Art. Of course, one of the rivers running through this art movement is text: whether it be the onomatopoeic sound effects of Roy Lichtenstein, the capitalist slogans of Barbara Kruger, or the self-aware ramblings of Mike Brown. Though Ruscha's training was similarly grounded in commercial art, his word paintings are more visceral and experimental than his colleagues. For instance, he has been known to use odd materials like gunpowder and red wine in his work. Fascinated by "the raw power of things that made no sense," he combines the spoken sounds of language with the written word to create a kind of visual noise. Gilbert and George: Pop and Performance Although these cheeky Londoners have long been part of the Kaldor collection, it's interesting to see Gilbert and George reframed as a part of Pop to Popism. Beginning their career with a series of performances, they insisted that art is everything the artist does. By repeating the same set of activities every day, they turned their lives into a perpetual performance. Their later photo-based works have a strong graphic quality. Full of "words and turds", these brightly coloured self-portraits are highly stylised reflections of modern life. At the tail-end of the exhibition, it's hard not to love this pair of conservative rebels with their mix of English propriety and bodily glee. They might be thought of as the contemporary caretakers of Pop Art. Images: Martin Sharp, Alain Jacquet, Mike Brown, Martha Rosler, Vivienne Binns, Martin Sharp and Tim Lewis, Edward Ruscha, and Gilbert and George.
Throw away everything you knew about your typical suburban bakery because Paddock is none of that. Just a month or two young, Paddock Bakery is a special pocket on the Gold Coast that is more comparable to something you'd find in the hinterland of northern NSW than the highrises of a city. The new artisan bake house is quite literally set in a house. While Brisbane has Queenslanders aplenty, the GC is all 1950s fibros or newer, so it is impressive yet again that the owners found a weatherboard cottage to restore from ruin. With a white and grey colour scheme, the owners have sourced old butchers blocks, a railway table and scales to give the space a humble farm feel. Keeping mostly the shell, the home is almost split in two by a floor to ceiling glass wall that separates you from the imposing brick wood-fired oven and the food-prep going on around it. The glass wall means you are immersed in the creation of the bread and food where everything is being hand-made honestly before your eyes. With a massive herb garden round the side, it feels evident that Paddock wish to reconnect people with food – the paddock-to-plate trend. On the bakery side, Paddock primarily offers rustic organic sourdough loaves of all varieties, but most people will pop by for more than bread. This new social meeting place is a cafe offering fresh and healthy gourmet salads, gourmet sandwiches using slices of sourdough and a random selection of baked goods daily. Paddock Bakery is quick becoming known for its semi-sourdough doughnuts. It's first in best dressed and word has it that they sell out before 10am. On our two visits the salads ranged from a leafy mix with wood-fired pumpkin, to 'detox' filled with superfoods and a number of grain-based offers. You haven't known a sandwich until you've had haloumi and caramelised onion shoved between two slices of organic fresh-baked olive sourdough. Heaven. Locals have adopted Paddock in droves, riding in on bikes, by foot and by car. Join the peaceful crowd on the white chairs under the shady trees in the front courtyard, and catch a breeze while sipping coffee, eating doughnuts and enjoying the atmosphere.
The COVID-19 situation in Australia is changing every day, with the federal government first implementing a ban on non-essential events with more than 500 people and then mandating that everyone arriving from overseas self-isolate for 14 days. In response to the first restriction, events and venues around the country are cancelling and postponing their 2020 plans, as well as temporarily closing — including Brisbane's popular Eat Street Northshore. In a statement, the riverside spot announced that the Prime Minister's ban on gatherings of more than 500 people meant that "Eat Street Northshore will be closing temporarily". This is an indefinite shuttering, with no end date set as yet. The venue will reopen "when we have the all clear to do so," it continued. Eat Street Northshore's last day of operation was Saturday, March 14, with the site closed from Sunday, March 15 onwards. Usually, it runs between Friday–Sunday weekly, attracting large crowds to peruse its more than 70 food and drink vendors. https://www.facebook.com/EATSTREETNorthshore/photos/a.185572034962469/1454338751419118/?type=3&theater Eat Street Northshore joins a growing list of cancelled events and closed venues, with large swathes of cinemas shutting across Asia, the Middle East and Europe, and theme parks doing the same in Asia, Europe and the US as well. We've also seen the cancellation of Texan music and film festival South by Southwest and postponement of Coachella. More locally, the Melbourne Grand Prix, Melbourne International Comedy Festival, Tasmania's Dark Mofo, the Sydney Royal Easter Show and Vivid Sydney have all been cancelled. Eat Street Northshore's site at 221D Macarthur Avenue, Hamilton is closed until further notice. For more information, visit the venue's website. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
Sometimes, you can read a book and imagine exactly what a TV adaptation would look like. Anyone who thumbed their way through The Southern Vampire Mysteries before it was turned into HBO's True Blood can't make that claim, however. Created by Six Feet Under's Alan Ball, this undead-focused horror series drips with mystery, lust and gothic excess. And blood, obviously. It's a show set in a world where vampires aren't just a fantasy — and at a time when a synthetic product that shares the show's name has allowed them to live side-by-side with humans, in theory. At the centre of this vamp-fuelled intrigue sits small-town Louisiana waitress Sookie Stackhouse (Anna Paquin), who happens to be telepathic. She also happens to fall in love with 173-year-old vampire Bill Compton (Stephen Moyer). When their romance attracts the attention of the area's vampire sheriff (Alexander Skarsgård), that's when the drama begins.
The Good Place wrapped up its existential laughs in 2020. The Office and Parks and Recreation have both been off screen for a few years now, and Brooklyn Nine-Nine will soon be coming to an end, too. So, you might be wondering where you're going to get your 20-minute servings of warmhearted comedy from in the future (other than from rewatching all of the above shows again and again, of course). Enter: Rutherford Falls. Each of these sitcoms, including the newcomer that you've never heard of until now, have one thing in common: they involve writer and producer Michael Schur. He held both roles on The Office, co-created Parks and Recreation and Brooklyn Nine-Nine, and created The Good Place. Yes, he has a distinctive brand of humour — and it's a delight. With Rutherford Falls, the man behind a hefty amount of the past two decades' best comedies is reteaming with one of his past stars — and co-stars. Schur also actually appeared in The Office, playing Mose Schrute, cousin to Dwight. Here, he's working with Ed Helms again, who leads the new series as a descendant of the man his town was named after. Helms' Nathan Rutherford runs tours informing the public of his family's history, and his ancestor's founding of Rutherford Falls 400 years ago. He's also proud of the statue, nicknamed 'Big Larry', that sits in a prominent place. But when it is suggested that the sculpture should be moved, he isn't happy — all in a town that borders a Native American reservation and has hardly been respectful of that aspect of its heritage. As well as Helms, in his first ongoing TV part since The Office, the new comedy stars Jana Schmieding (Blast), Michael Greyeyes (I Know This Much Is True), Jesse Leigh (Heathers) and Dustin Milligan (Schitt's Creek). And, you'll be able to see if it lives up to its Schur-penned predecessors when it hits Stan on Friday, April 23, with its entire first season available to binge that day. Check out the trailer for Rutherford Falls below: https://www.youtube.com/watch?v=qmSK3XliTk4 Rutherford Falls will be available to watch via Stan from Friday, April 23.
On Saturday, August 24, First Nations artists are firmly in the spotlight at one of Brisbane's must-attend returning gigs. It was back in 2022 that Blak Social debuted Blak Day Out, which has popped up each year since. 2024's run is different, however — it's now called Last Night: Blak Day Out, it's free, it's taking place on King Street instead of at The Tivoli, and it's turning into a Bowen Hills street party. The focus at the all-ages festival remains the same — and also essential — with Blak Day Out celebrating Indigenous sovereignty, music and community, complete with a stellar lineup. Taking to the stage: Emma Donovan, 3% (aka Nooky, Dallas Wood and Angus Field) and Sue Ray, as well as BADASSMUTHA and The Ancient Bloods. DJ Kritty will be on the decks at the silent disco, while The First Creatives will be breaking out dance moves and live murals will also be painted during the event. Falling into 2024's Open Season series of performances focused around The Tivoli and The Princess Theatre — and postponed from June, when it was meant to launch the season — Last Night: Blak Day Out kicks off at 3.30pm, running till 9.30pm. Alongside tunes to listen to, you'll also have Indigenous retailers to shop, pop-up bars quenching your thirst and street food stalls tempting your tastebuds. [caption id="attachment_957834" align="alignnone" width="1920"] Lewis Bin Doraho[/caption] Top image: Lewis Bin Doraho. Updated Friday, August 16, 2024.
Australian grime fans have been dealt a disappointing blow: Stromzy has announced he is cancelling his highly anticipated upcoming tour. The UK sensation was set to grace Australian shores later this year on the much-delayed H.I.T.H World Tour alongside a run of festival dates as the headliner for Spilt Milk, but has confirmed in a statement released through the festival that he has pulled out of all of his international tour dates for the remainder of 2022. "It is with the heaviest of hearts that I have to inform you guys that due to circumstances beyond my control, I must cancel international commitments for the remainder of the year which includes my Australian and New Zealand tour," said Stormzy. "You guys have waited so patiently and I am so sorry that this has to happen after all these ups and downs. I love you guys and I promise I will be back as soon as I can with a show that's bigger and better than ever." Originally scheduled for 2020 before being pushed back multiple times for pandemic-related reasons, the run of dates was finally supposed to kick off in Perth on Wednesday, November 23, before hitting Sydney, Brisbane, Melbourne, Adelaide, Wellington and Auckland, as well as Ballarat, Canberra and the Gold Coast with Spilt Milk. While losing Stormzy is a huge blow for the festival, Spilt Milk has come through with another exciting international headliner in his place. Highly influential Grammy-nominated indie-pop singer and one of 2022's biggest breakout stars Steve Lacy has been added to the lineup for all three Spilt Milk dates. An original member of the popular funk and soul group The Internet, Lacy has worked with the likes of Kendrick Lamar, Solange and Tyler, the Creator. Following solo success with his debut album Apollo XXI as well as singles like 'Dark Red' which you've almost certainly heard on TikTok, the Californian singer-songwriter has found huge mainstream success this year with the release of his album Gemini Rights and its lead single ' Bad Habits' which currently sits at number two on the Billboard Hot 100 in the US. Alongside his appearances at Spilt Milk, Lacy has also announced a run of headline dates across the east coast of Australia. He'll be popping up at Melbourne's The Forum on Tuesday, November 22, The Tivoli in Brisbane on Tuesday, November 23 and Sydney's Enmore Theatre on Monday, November 28. Due to the lineup change, Spilt Milk will be offering refunds for anyone who requests one via Moshtix before 5pm Thursday, October 4. After that, you can also pop your tickets up for sale on the festival's resale facility. Those that want to head along to catch Lacy alongside previously announced acts like Flume, The Wombats, Spacey Jane, G Flip, Fisher and Peach PRC can access tickets via the Moshtix resale. Tickets for Steve Lacy's solo shows will go on sale via the Frontier Members pre-sale at 9am local time on Tuesday, October 4, before the general public tickets go on sale on Wednesday, October 5. [caption id="attachment_851188" align="alignnone" width="1920"] Jordan Munns[/caption] Stormzy has cancelled his run of Australian and New Zealand shows including his appearances at Spilt Milk. Refunds for Spilt Milk are available via Moshtix until 5pm, Thursday, October 4.
The Sydney Opera House invited Irish singer-songwriter Glen Hansard to sing inside the structure of its iconic sails and the result is stunning. Standing on a metal platform and surrounded by the strikingly brutal concrete ribs of the sails, Hansard sings a beautifully raw version of his acoustic song 'Stay the Road'. Written just across the harbour in the Rocks, 'Stay the Road' is the last track on Hansard's 2015 album Didn't He Ramble, which he's in Sydney at the moment to tour. He's playing – this time inside, rather than above, the Concert Hall – on Saturday 22 and Sunday 23 October. The video is part of a series called Nooks and Crannies produced with Intel Australia to showcase the inside of the Opera House. Image: Teresa Tan.
Timothée Chalamet has played a teenager falling in love over summer (Call Me By Your Name), King Henry V (The King), Paul Atreides (Dune and Dune: Part Two, Willy Wonka (Wonka), a cannibal (Bones and All), a love interest for Saoirse Ronan (Lady Bird and Little Women), a young man struggling with addiction (Beautiful Boy), the Vice President's son (Homeland) and more, but there's a look of fierce enthusiasm that comes over him when he's talking about a project that he spent more than half a decade working on, stars in and also produced: A Complete Unknown. Portraying Bob Dylan on-screen isn't a simple task. In fact, when I'm Not There attempted the feat in 2007, it enlisted six actors, including Australians Heath Ledger and Cate Blanchett (The New Boy), to share job. As evident from his hypnotic performance in A Complete Unknown — and his singing and guitar-playing, learned for the feature — Chalamet not only embraced but aced the challenge. For A Complete Unknown, he steps into Dylan's shoes from back when the movie's title proved true, then stays in them until four years later when that phrase definitely no longer applied. In 1961 at the age of 19, Dylan met his idol Woody Guthrie (Scoot McNairy, Speak No Evil), visiting him in hospital as a fan from Minnesota. Come 1965, after songs such as 'Blowin' in the Wind', 'The Times They Are a-Changin' and 'Subterranean Homesick Blues' had struck a chord, whether he'd go electric at the Newport Folk Festival was the source of huge controversy. Dylan did, as history will always remember. Chalamet, working with director James Mangold (Indiana Jones and the Dial of Destiny), brings that specific slice of the icon's life to the screen in a film that keeps garnering him award nominations. He's the young Dylan, arriving to chase his music dream with little more than the guitar that's rarely out of his hands. He's also the thrust-to-fame-swiftly Dylan, after mentorship from Pete Seeger (Edward Norton, Asteroid City), while cultivating a complicated relationship with the already-renowned Joan Baez (Monica Barbaro, Fubar), and as he's trying to maintain a relationship with artist and activist Sylvie Russo (Elle Fanning, The Great), who is based on the real-life Suze Rotolo. And, Chalamet wouldn't mind being Dylan again in the future, if the "incredible opportunity" came up. "The amazing thing about Bob Dylan is every chapter is interesting. This is almost the most fertile because it's the beginning," Chalamet advises. This is the period of his life where the least is almost available, especially in the early 60s, but you can make a movie out of almost any period of Bob's life." How does it feel to lead a Bob Dylan biopic and to have the man himself tweet about it? "I didn't know if he was ever going to say anything because, true to the reclusive artist that Bob is, I don't know if he'll ever see the movie, truthfully," Chalamet says. "But seeing that post was hugely affirming. When you're a young artist, I don't care how successful you are, to get a pat on the back from a legend — especially a legend of few words like Bob Dylan — it was a dream come true, literally. I mean, it was beyond my wildest dreams. It was an enormous pat on the back and affirmation, and a moment for me in my life and career to go 'okay, I'm doing the right thing'." Passion radiates from Chalamet, clearly. It does the same from Mangold, who returns to the music-biopic genre after 2005's Johnny Cash-focused Walk the Line — Cash is also part of this flick, with Boyd Holbrook (The Bikeriders) in the part — plus from Fanning and Barbaro, too. "Think about it: between the ages of 19 and 24, he wrote 15 or 20 of the most-important songs of the century," the filmmaker behind A Complete Unknown, who co-wrote the script with Jay Cocks (Silence), adapting Elijah Wald's 2015 book Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties, notes of Dylan to Concrete Playground. "That's pretty remarkable when you think about what probably we were all doing between 19 and 24 years of age." Fanning was a massive Dylan devotee going in; "I was huge Bob Dylan nut, and I had a poster of him on my wall and I was a fanatic, so I felt like I kind of manifested this part in in many ways," she shares about playing Russo, a take on Rotolo with the name changed at Dylan's request. For Barbaro with portraying Baez, she speaks about her gig, the IRL great that she's acting as and performing with Chalamet — after learning to sing and play guitar herself — with equally deep feeling. "It's an absolute career highlight for me," she tells us. As it works its way from Guthrie's hospital bedside to Newport, exploring who Dylan was at the time through his music and impact, the commitment from its many key forces echoes from A Complete Unknown as memorably as its wealth of tunes. Chalamet, Mangold, Fanning and Barbaro also spoke with us about how important it is that the movie isn't trying to paint one definitive portrait of its subject, the film's exploration of an artist evolving, speaking with Baez, Cash and Dylan's connection, parallels for the cast with reality and more. On How Mangold Knew That Chalamet Was the Right Actor to Bring This Period of Dylan's Life to the Screen James: "Well, 'know' is the strange word. I had an instinct that he'd be good. We don't know anything. I mean, we just try. And Timmy's phenomenally talented. Can sing. And I think has some of the mercurial, playful aspects of Bob in him, in his own personality. I thought he could find parallels. The act of playing a role like this isn't really the act of doing an impression or mimicry — it's really, to me at least as I feel it, it's about finding the harmonies between your own personality and the person you're playing, and finding a way to meet somewhere in the middle where you're still bringing your authentic acting self. You're not just doing an impression in which the performance is judged by how well you do Bob's mannerisms only, but how well you can fold that into who you are and come out with something authentic, and real, and soulful that exists in the space between. He's one of the best young actors of our time. And he's also a wonderful guy. And it seemed so logical, it seemed actually a no-brainer, to be honest. It seemed like a really exciting proposition. I cannot say I knew he would hit it so far out of the park that he would find such a great chord. We often present ourselves, as directors, we often try to get you guys to write about us like we knew everything in advance and we had a vision, and the vision comes to life — and we love it when you write about us that way. But in reality that isn't the way it is. We have a hunch. We have a hope. We have a prayer. And sometimes we're right and we keep it in the movie. Sometimes we're wrong and, if we can, we get it out of the movie. But the reality is that I had a hunch Timmy would be great. But I also demanded a lot of him. He had to learn over 40 songs and play them live, and be still in character acting, meaning it's not just 'can you learn the song and sing?' — it's 'can you learn the guitar, sing this song and do it like Bob Dylan in a scene while there's romantic tension or some other kind of dramatic energy going on?'. You're talking about a lot of chewing gum and riding bicycles and juggling at the same time. And Timmy's a pretty remarkable talent himself. And you're also talking about a young man in Timmy who has met with fame from an early age like Bob. So there are whole other levels where — and stardom and all that it brings — so that there were so many levels that he could bring insight and talent to this job." On How Crucial It Was to Chalamet That This is a Film About a Moment in Time and an Artist Evolving Timothée: "That's exactly it. This is a movie firmly about an artist evolving, as you so wonderfully put it. This is an interpretation. This is not a definitive act, and I think James Mangold, our director, always had a very solid eye on that. This is a man who's alive and well, who knows the history of how this went down. And a lot of the footage, not particularly from 1961–63, but definitely from 64 onwards, is available online and it's wonderful. It was very helpful to me in my interpretation of the character and of this period, but ultimately this is an interpretation. That's why Elle Fanning's character is a Sylvie Russo, as opposed to Suze Rotolo. This is more of a fable. And nonetheless, it's also, of course, a Bob Dylan biopic." On How the Film's Exploration of Artistic Evolution Resonates with Fanning Given That She's Been Acting Since She Was a Toddler Elle: "Yeah, technically two, because I would play my sister at a younger age in things, in flashback scenes — they would just call me in. But I think that's one of my favourite things, honestly, about this film and watching it as a whole. This slice of Dylan's life was so much about making artistic choices and not being pigeon-holed into one thing. So it's actually been a really nice reminder to me to follow my instincts. I always have followed my instincts pretty much. And when I haven't, it's like 'oh god, it's always best to do that'. And I love surprising people and picking parts that are going to surprise people, and surprise myself and challenge me. That's just what I want. I don't want to ever be put into a box of a certain genre or certain film. I mean, people will try to do that to everyone, because it's more palatable for people when you understand where they're coming from. That's what Dylan has done — he's never allowed anyone to do that to him. So it's been inspiring, and the movie is really about that, to be honest. So I loved watching the film for the first time, and seeing that journey was great. Because obviously I wasn't in every single scene, so it's fun to watch the scenes I wasn't in. But I try to push myself." On How Portraying an IRL Figure, and an Icon, Changed How Barbaro Approached Her Part Monica: "It was very big shoes to fill. She's an exceptional musician and I had no music training, so my main call to action was to learn to play guitar, and learn to sing, and get my proficiency up to a level where you would believe that I'd been doing that for years and years. And then also, the benefit is, as much as her voice is absolutely impossible to replicate, she had these iconic qualities that people referred to a lot. When they talk about her, they mentioned her tight vibrato and the key that she sings these songs in. And so just trying to expand my range and trying to sound like her — the finger-picking, that was a particular style that she played with. And just diving into those specifics to try to get that recognisability there was a huge part of the process." On Mangold Revisiting Johnny Cash On-Screen After Walk the Line — and Finding Someone New to Play Him James: "I really didn't give it much thought in terms of my own oeuvre, although I was aware that it was the second time this real-life character was appearing in my film. It just seemed a necessity, the more research I did. It wasn't really very featured at all in Elijah Wald's book, but the more research I did — and I also had the knowledge from making Walk the Line that Johnny Cash and Bob had been pen pals during this period — but the more research I did, and knowing that Cash was on stage in the wings when Bob went electric, was there and even lent his guitar, his acoustic guitar to Bob when he went back out on stage to sing his last song 'Baby Blue', the last acoustic song, at Newport 65, I thought 'well, what am I going to do with Johnny?'. And I asked Dylan's manager, Jeff Rosen, if they still had the letters that Johnny Cash had written to Bob. And they did. And he sent me scans of all these letters, which were magnificent — a kind of beautiful, romantic example of an artist a few years ahead of Bob, writing him fan letters and bolstering a sense of confidence in the young man about his writing and his ability from someone Dylan admired. And so this correspondence suddenly became central to me, because as I was trying to assemble — as much as I was trying to tell Dylan's story, he is a bit inscrutable, and I felt like you could learn more by also telling the story of those that surrounded Dylan, and the way his genius affected each of them differently. And what was so necessary about bringing Johnny into the story was that he's the devil on that shoulder. If you have Pete and Lomax and Joan Baez all on this shoulder saying 'stick with the team; don't cross over to that dangerous, suspicious popular music', you had Johnny Cash on the other shoulder who was saying 'track mud on someone's carpet'. Which was literally one of Johnny's lines in his letters to Bob. And that he made it his business to encourage Dylan to stay bold and to stay on the leading edge, was so wonderful to me. And then Cash also ironically had a band, and somehow got special dispensation to bring his band on the stage at Newport without anyone having a meltdown — which indicates or, I think, reveals, how Bob was a symbol. The reason they didn't want Bob to go electric was not because they hated all music with an electric guitar or a drum, but because he had become the centre pillar, holding up the tent of classical folk music. And if Bob turned, that meant the tent would fall." On Chalamet's Run of Playing Young Men Discovering the Reality of What Fame and Power Means as Paul Atreides and Bob Dylan — and Parallels with His Own Experience Timothée: "I think what's most fascinating about the world of Dune, and of this period of Bob Dylan that we explore in this film from 1961–65, is both were born of the open-mindedness of culture in America in the 1960s. Dune was written in this middle 60s period, it was written on the West Coast, but in a similar time in American history where people were groundbreaking with their creativity and open mindedness. And as far as relating to these roles, it's really not that fascinating to try to dissect or even to talk about, because the ways or parallels are apparent or not apparent, and I have no interesting perspective for anyone beyond the ways they're apparent to you or to me. And the ways they're not apparent are also apparent, because I'm not a space prophet and I'm not a lyrical prophet." On What Fanning Was Excited About, Coming to A Complete Unknown as a Huge Dylan Fan Since She Was a Teenager Elle: "Well, I was excited about multiple things. Jim and I were supposed to, he was supposed to direct me in a film many years ago, and so to be able to — that didn't work, but then he remembered me from that time and so asked me to come on for this. And I'd done a movie with Timmy before, so we were friends. I was huge Bob Dylan nut, and I had a poster of him on my wall and I was a fanatic, so I felt like I kind of manifested this part in in many ways. And obviously, the film was like five, well, more than five, years in the making. We were supposed to film it five years ago and then COVID and the strikes happened. So we had a lot of time to think about it. There were points where we thought it might fall apart — is everyone's schedules going to work? — so I was very happy that the schedules worked out that I was able to stay on and do it. [caption id="attachment_987697" align="alignnone" width="1920"] Kate Green/Getty Images for The Walt Disney Company Limited[/caption] And then, the thing is Sylvie, even though her name is different, she really she is Suze Rotolo. So she's not actually a fictionalised character, it's just that her name is changed because Bob Dylan himself, he talked to Jim a lot about the script and he's read the script — I haven't met him or talked to him — but he wanted her name changed. That was the one thing that he wanted, because he felt like she, and this is touched on in the movie a lot, that she was a private person. She never wanted to be a public figure. And Suze has now passed. So there was something, there was a weight to that, that I subconsciously always felt every day. Because I don't know if Bob will ever see this movie, but still if he does one day, I hope that I captured that essence of their first love, because obviously it was a very sacred and precious thing to him. And Suze wrote a novel, a memoir called A Freewheelin' Time, so I read that and had so much information about their relationship. And honestly, scenes from that book are verbatim in our story. So in a lot of ways, her story is very true to the trajectory of their relationship. Dates are changed, she wasn't in Newport in 65, but the fights that they had and the things that they shared together is very true to what the relationship was. Obviously Suze was, I guess, a muse, but I guess more inspired him many times over. There's so many songs he's written about her. And he really wasn't in the political scene, he wasn't into politics until he met Suze, because she was a real political activist at that time in the 60s, in the West Village and the youth movement and civil rights movement, she introduced that to Bob. I knew how special of a figure she was to him, so I wanted to honour that and make it true to first loves around the world that we have. Inevitably they don't work out, but keep 'em in your heart." On What Barbaro Drew From Speaking with Baez — and What It Meant to Her Monica: "I did have the chance to speak with her. I was nervous about reaching out, but I was so absorbed and obsessed with her and her life, and every corner of what I could find in any interview, memoir, documentary, and even within the songs and the way she sang them, that we were starting to film and I started having dreams about her. And I kept dreaming that we were hanging out and we always had a really good time. And so I think my subconscious was telling me that 'it's okay to reach out' — like 'you do understand her, I think, well enough to know that she'll have a conversation with you'. And I felt like it was a very Joan thing to do, to be bold enough to reach out so. So I did, and we spoke on the phone, and hearing the sound of her voice on the phone with me is one of the most-beautiful experiences I think I've ever had. It was emotional. It was everything to me, and she mentioned at one point that she was hoping I would reach out — and that just felt incredibly validating in my decision. And also I felt it made me feel like I really had understood something about her, and that I was on the right path. And the next day I performed 'Don't Think Twice' live, which was my first song live in front of a live audience on a big stage with guitar, with singing — difficult guitar song, too, that I had taken a year to learn with no prior experience. And so I was all bundled up and nervous for that, and then as we were doing takes of it, I just felt something release, and I felt like she had sort of — whether she knew it or not — sort of sent me on my way, and I was able to fully embrace the research I had done, but try to blossom into this character in the movie, and create as her and try things as her. I felt like somehow, even though she didn't give me permission, I felt somehow like I suddenly had it, had that permission to try things as Joan." A Complete Unknown releases in cinemas Down Under on Thursday, January 23, 2025. Images: courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.
Got a pooch who loves a bit of socialisation? Don't have a pooch but just the mere sight of a dog puts a swing in your step? A visit to the dog park is exactly what you need. Wembley Dog Park is located on the eastern side of Wembley Park and is a fenced-off area to give your furry friends sweet, off-leash freedom. Let the pups play, wrestle and roll around while you have a sit and chat — or roll around with them. The grassed, shady area has water taps, benches and even a ramp for you to test out your dog's skills and smarts.
Even Polyphemus the Cyclops needs sunglasses. Just because Polyphemus doesn't exist shouldn't stop us from dreaming up eyewear for him. That's what Italian artist Giuseppe Colarusso appears to be suggesting in one of the images from his ongoing series of reality-defying Improbabilita. The uniting theme of all the 50+ whacky visual concepts in this project? Unlikelihood. Sourced entirely from Colarusso's skewed yet strangely logical imagination, his bizarre inventions aim to draw a double-take from the viewer. At first glance these might be real things — until your improbability reflex kicks in. How about a set of cutlery with limp rope handles that totally negate their functionality? A sink without a plughole? Dice denuded of their dots? A hieroglyphics computer keyboard? A mix of real-life construction and Photoshopping, there are over 50 such concepts live on Colarusso's very entertaining website. Each item is easily worthy of the International Chindogu Society — chindogu being, of course, the Japanese art of the 'un-useless invention', a tradition which over the years has brought us such hilarious ingenuities as the butter gluestick. Funnily enough, like chindogu, Colarusso's surreal images more often than not raise the question of "Why doesn't this exist?" If you stop and think of the physical logistics of such a thing — for example, spaghetti in an ice cream cone — during that whimsical moment of pause before you realise why the object's existence is totally unlikely, for the briefest fraction of a second there, it's likely. Via Colossal.
It's been a big few months for new hotels around Australia, including just-opened spots and places that'll launch in the coming months and years. Sydney now boasts the first Down Under outpost for Ace Hotels, and will soon score Porter House Hotel, too — plus the local debut of The Waldorf Astoria in 2025. Melbourne has welcomed the design-driven AC Hotels, Newcastle is nabbing its own QT with a rooftop bar and a suite in a clock tower, and the Gold Coast is nabbing The Langham. There's also a new hotel in the works for the Barossa in the middle of a vineyard, and the Yarra Valley is getting one as part of a big gig venue. Don't go thinking that Brisbane is missing out, though — because that's where the new voco Brisbane City Centre comes in. The chain has just taken up residence on North Quay right next to Brisbane Quarter, which means that it's in a prime riverside position. And, to take advantage of that location, it features a views aplenty, as well as a rooftop pool. Brisbane's first voco hotel — and the second for Queensland, after voco Gold Coast — it also comes with 194 rooms, as well as hangout space Kraft & Co. There, you can drink coffee by day and kick back in a lounge bar by night. You'll find the latter on the ground floor, slinging everything from eggs for breakfast and brunch through to cocktails till late. Wherever you're spending your time at this new staycation spot, you'll be surrounded by a sleek fitout by Sydney-based interior design studio JPDC, which takes its cues from the hotel's riverside locale. Dark blue tones are a big feature, alongside neutral colours — and maximising natural light. Among the site's features, voco Brisbane City Centre also boasts an all-hours gym, plus 11 meeting and function spaces. And, as part of a sustainability push that also includes aerated shower heads and refillable Antipodes products, guests can zip around the city for free on handcrafted bamboo bikes from Wyld Bikes. Find voco Brisbane City Centre at 85–87 North Quay, Brisbane. For more information or to make a booking, head to the voco website.
Before they set up Heads of Noosa Brewing Co in 2019, we're guessing that brothers Lance and Craig Masterton drank their fair share of lager. They clearly have a passion for the low-temperature brew, because that's the type of beer their family-run Sunshine Coast outfit focuses on, with four types in its core range. While Heads of Noosa is a newcomer, it was in the works for nearly a decade before it opened its doors — and taking the time needed to make the best possible beers is still the company's mindset. You'll taste that in its filtered brews, including a Japanese lager that's refined and crisp, and a mid-strength that still tastes like its full-flavoured counterpart. At Heads of Noosa's taproom — in Noosa Heads, naturally — you can sip its beers and tuck into a concise menu of wings, calamari, mac 'n' cheese, sliders and more.
When something has been a part of the pop culture landscape for more than three decades, there really isn't much it won't have done. And The Simpsons has done plenty — over 700 TV episodes and counting, a 2007 movie, its own albums and singles, and video games, books and comics as well. Yes, the list goes on. Until recently, however, even the most diehard fans of television's favourite Springfield-dwellers mightn't have seen the titular family take to the stage in a burlesque and drag parody. But that's been happening for a couple of years now — and on Friday, November 24–Saturday, November 25 at the 2023 Wynnum Fringe, Brisbanites can choo-choo-choose to watch exactly that again. In case the show's name didn't make it plain, The Stripsons also claims to "put the strip in Springfield" — so, as iconic as Homer's blue pants and white shirt combo is, and Marge's green dress, too, you can expect to see them wearing much less. That's what happens when The Bad Collective takes on a childhood favourite and turns it into a firmly adults-only stage show of the highly satirical kind, as it has also previously done with Shreklesque. In a production that's also obviously in the same vein as The Empire Strips Back, The Stripsons doesn't just give Homer, Marge, Bart, Lisa and Maggie the comedic treatment, but also Millhouse, Ned Flanders, Principal Skinner, Mrs Krabappel, Mr Burns and Smithers as well — because The Simpsons has always been about more than its eponymous characters. The cast of burlesque, drag, musical theatre, dance and music talent donning yellow makeup includes Trigger Happy, Bebe Gunn, Lulu Lemans, Baron von Envy, Barbie Banks and Betty Lovecat, plus newcomers such as Indea Sekula, Kimi Young and Ella Nagel. The soundtrack for the two-hour show at George Clayton Park: all of the songs that you've had stuck in your head over the years thanks to The Simpsons, all accompanying a blend of dance, comedy, drag and striptease. (If "Dr Zaius, Dr Zaius, ohhhhh Dr Zaius" or "Who holds back the electric car? Who made Steve Guttenburg a star?" just popped into your brain right now, then you know what we're talking about.) And, that likely means everything from 'See My Vest' to 'Monorail' to 'We Put The Spring in Springfield' will get a whirl. Cross your fingers that 1991 hit 'Do the Bartman', which reached number one on the Australian charts, also shows up. [caption id="attachment_841043" align="alignnone" width="1920"] KTB[/caption]
RISING 2025 keeps inching closer, with the Melbourne music, art, culture and architecture festival set to take over the Victorian capital across Wednesday, June 4–Sunday, June 15 — and it isn't done adding to its lineup just yet. How do you close out 12 jam-packed winter days, not to mention an event where you could be playing mini-golf in Flinders Street Station Ballroom one moment, then enjoying Pakistani R&B and Punjabi rap the next? With a literally underground five-hour gig that's making Melbourne history. The fest has announced Track Work — Music From the Underground, which will take audiences to a brand-new location. Feel like you've seen live tunes at every venue in the Victorian capital there is? You haven't headed 20-plus metres below St Kilda Road to the yet-to-open Anzac Station for a gig before. First Nations label BAD APPLES MUSIC is behind the event, with Briggs, BARKAA, Birdz and Jayteehazard on the lineup. Headline sets, DJs, MCs: they're all on the bill at this daytime concert, which is running from 11am–4pm on Sunday, June 15. Also huge: the fact that admission is free. Alongside the entertainment, Track Work doubles as a chance to take a self-guided walk-through of the station — and to see Tracks, the new public artwork from Victorian First Nations artist Maree Clarke, which features the fur seal and fairy penguin among other animals that live in Bunurong / Boonwurrung Country's coastal climes. "Track Work is a uniquely Melbourne moment — a chance to experience two of the most important, original and charismatic voices in music in this country. Briggs, BARKAA and their BAD APPLES MUSIC family will reveal one of the city's most significant new spaces with a baptism of bass and beats in a free afternoon of DJs, MCs and celebration," said RISING Co-Artistic Director Hannah Fox, announcing the event. "As a powerful finale for RISING, we're thrilled to partner with Metro Tunnel Creative Program and BAD APPLES MUSIC to create something bold, fun, unexpected and unrepeatable." Also on the RISING lineup, as previously announced: a free installation by a teamLab alum, exclusive Suki Waterhouse gigs, Hedwig and the Angry Inch, Yasiin Bey with Talib Kweli, Portishead's Beth Gibbons, Aotearoa favourite Marlon Williams, Olivier-winning hip-hop dance work BLKDOG, Zoë Coombs Marr's new variety show, a film retrospective dedicated to Miranda July, Tropical Fuck Storm playing The Forum, Melbourne Art Trams' latest iteration and much, much more. [caption id="attachment_1005634" align="alignnone" width="1920"] Isaac Turier[/caption] Track Work — Music From the Underground takes place from 11am–4pm on Sunday, June 15, 2025 at Anzac Station, Melbourne, with entry via the Domain Road and Albert Road station entrances. Entry is free but booking is required via the festival's website. RISING 2025 runs from Wednesday, June 4–Sunday, June 15 across Melbourne. Head to the event's website for further information.
We Steal Secrets is the story of Wikileaks, and from the outset it fast becomes apparent how little you know of an organisation dedicated to transparency and the sharing of information. Directed by Alex Gibney (Enron: The Smartest Guys in the Room), the documentary mirrors the real-world by focusing on two key individuals: Wikileaks' Australian founder Julian Assange and Bradley Manning, the US soldier whose disclosure of classified documents thrust Assange onto the world stage. The stories of the two men are told with surprising sensitivity, particularly in the case of Manning, who — on account of his ongoing incarceration — is represented exclusively by typed words on a screen. Sent over the course of his deployment in Iraq, the catalogue of Manning's brief online exchanges with various hackers reveals an extraordinarily lonely soul unable to reconcile serious questions about both his own identity and what he perceived to be the ongoing cover-up of atrocities by the US Government. "I want people to see the truth," he wrote, just before leaking hundreds of thousands of classified documents to Assange. "It affects everyone on earth." In all, We Steal Secrets: The Story of Wikileaks achieves a fine balance in its depiction of two men whose lives became inextricably linked and, thereafter, changed almost certainly for the worse. We Steal Secrets: The Story of Wikileaks is in cinemas on July 4. Thanks to Universal Pictures, we have 10 double in-season passes to give away. To be in the running, subscribe to our newsletter (if you haven't already) and then email hello@concreteplayground.com.au with your name and address. Read our full review of We Steal Secrets here. https://youtube.com/watch?v=SdezJrNaL70
We've seen some pretty amazing accommodation locations in our time (caves, catacombs and ski jumps included), but none quite take the cake like atop one of the world's most recognisable and romanticised landmarks: the Eiffel Tower. Yep, the Eiffel Tower. This new accommodation option (way better than the Montmartre apartment you rented in 2014, sorry) comes from holiday rental website, HomeAway. They've created a casual luxury apartment up there that can fit you, five of your closest friends and only the one of the best views in the goddamn world. Airbnb, you've been one-upped. Of course, you can't actually book this on the site — you'll have to win your way in. In what promises to be the most epic of all Paris holidays, the winner and five friends will receive airfares from their nearest city to Paris and one night (as well as dinner and brekkie) in the luxury Eiffel Tower digs. They'll also chuck in another three nights accommodation in another HomeAway apartment so you don't have to fly to Paris just for one night — but, let's be honest, it's only going to be a letdown after your Tower stay. The trip must be taken from July 2-6, but unfortunately it's only open for US residents. Boo. The promotion follows a slew of similar competitions from Airbnb, the latest of which gave punters a chance to spend a night in a Parisian shark tank. So for our next holiday, accommodation booking companies, we'd like to request a bed in the Statue of Liberty's torch.
From a field of 52 finalists — including, for the first time in its history, an equal number of works from both male and female artists — the 2021 Archibald Prize has been awarded to Melbourne-based artist Peter Wegner for Portrait of Guy Warren at 100. An unanimous decision by this year's judges, Wegner's portrait of the centenarian and fellow artist won the gong in a fitting year, with the Archibald turning 100 in 2021 as well. "Guy Warren turned 100 in April — he was born the same year the Archibald Prize was first awarded in 1921," Wegner said. "This is not why I painted Guy, but the coincidence is nicely timed." "I have been working on a series of drawings of people who have turned 100, beginning with my Aunty Rita seven years ago. I've gone on to draw more than 90 centenarians," Wegner continued. "I chose to paint Guy Warren because he is one of the most incredible centenarians l have ever met. This portrait honours Guy in the 101st year of his productive and meaningful life." [caption id="attachment_814783" align="aligncenter" width="1920"] Winner Archibald Prize 2021. Peter Wegner, Portrait of Guy Warren at 100. © the artist. Photo: AGNSW, Jenni Carter.[/caption] Winning for the first time, Wegner was also a finalist in the 2020, 2016, 2011, 2004 and 2000 Archibalds. Warren won the prize himself in 1985 with a portrait of artist Bert Flugelman — and became an Archibald subject for the seventh time with Portrait of Guy Warren at 100. Wegner's win comes after 2020's history-making recipient Vincent Namatjira, who became the first Indigenous artist to receive the prize. In 2019, when Tony Costa emerged victorious, he did so with the first portrait of an Asian Australian to ever win the award. In 2021's main field, two artists also received high commendations: Sydney artist Jude Rae, who was recognised for her self-portrait Inside out; and Brisbane artist Pat Hoffie, who submitted Visaya in a c-collar, a portrait of her daughter. [caption id="attachment_814782" align="aligncenter" width="1920"] Winner Wynne Prize 2021. Nyapanyapa Yunupiŋu. Garak – night sky. © the artist. Photo: AGNSW, Mim Stirling.[/caption] The winners of the Wynne and Sir John Sulman prizes were similarly revealed today, Friday, June 4, spanning a number of other pieces. Yolŋu painter and printmaker Nyapanyapa Yunupiŋu took out the former — which awards the best landscape painting of Australian scenery or figure sculpture — for Garak – night sky. The piece represents Djulpan, the Seven Sisters star clusters that are also known as Pleiades, and marks the second time that Yunupiŋu has been a Wynne finalist. This is also the sixth year in a row that an Indigenous Australian artist has been awarded the Wynne prize. The category also hands out three other gongs, with Tjungkara Ken receiving the 2021 Roberts Family Prize for Seven Sisters, Noel McKenna winning the Trustees' Watercolour Prize for South Coast headland (2), Ottoman rose, and Leah Bullen awarded the John and Elizabeth Newnham Pring Memorial Prize for Arid garden, Wollongong. [caption id="attachment_814779" align="aligncenter" width="1920"] Winner Sulman Prize 2021. Georgia Spain, Getting down or falling up. © the artist. Photo: AGNSW, Mim Stirling.[/caption] The Sir John Sulman Prize goes to the best mural, subject or genre painting, and was this year awarded to Georgia Spain for Getting down or falling up. Limbs feature heavily in the piece, which was selected as the winner from 21 finalists by fellow artist Elisabeth Cummings. Across the three prizes, 2144 entries were received this year — the second-highest number ever after 2020. And, the three prizes received the highest-ever number of entries from Indigenous artists. The winning portraits and finalists will be on display at Sydney's Art Gallery of NSW from tomorrow — Saturday, June 4 — up until Sunday, September 26. If you don't agree with the judges, you can cast your own vote for People's Choice, which will be announced on Wednesday, September 1. ARCHIBALD PRIZE 2021 DATES Art Gallery of NSW, Sydney, NSW — June 4–September 26, 2021 Gippsland Art Gallery, Sale, Victoria — October 8–November 21, 2021 Hazelhurst Regional Gallery & Art Centre, Gymea, NSW — December 3–January 16, 2022 Maitland Regional Art Gallery, Maitland, NSW — January 23–March 6, 2022 Cowra Regional Art Gallery, Cowra, NSW — March 18–June 22, 2022 Manning Regional Art Gallery, Taree, NSW — July 8–August 21, 2022 If you can't make it to any of the above dates, you can check out the award winners and finalists of the Archibald, Wynne and Sulman prizes on the Art Gallery of NSW website. Top image: Winner Archibald Prize 2021. Peter Wegner, Portrait of Guy Warren at 100. © the artist. Photo: AGNSW, Jenni Carter.
UPDATE, August 12, 2022: Drive My Car is available to stream via Stan, Google Play, YouTube Movies, iTunes and Prime Video. More than four decades have passed since Haruki Murakami's debut novel reached shelves, and since the first film adaptation of his work followed, too; however, the two best page-to-screen versions of the author's prose have arrived in the past four years. It's easy to think about South Korean drama Burning while watching Drive My Car, because the two features — one Oscar-shortlisted, the other now the first Japanese movie to be nominated for Best Picture — spin the writer's words into astonishing, intricately observed portraits of human relationships. Both films are also exceptional. In the pair, Murakami's text is only a starting point, with his tales hitting the screen filtered through each picture's respective director. For Drive My Car, Japanese filmmaker Ryûsuke Hamaguchi does the honours, taking audiences riding through another of the Happy Hour, Asako I & II and with Wheel of Fortune and Fantasy helmer's layered, thoughtful and probing reflections on connection. Using Murakami's short story from 2014 collection Men Without Women as its basis, Drive My Car's setup is simple. Yes, the film's title is descriptive. Two years after a personal tragedy, actor/director Yūsuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to bring Chekhov's Uncle Vanya to the stage in Hiroshima, and the company behind it insists on giving him a chauffeur for his stay. He declines— he'd asked to stay an hour away from the theatre so he could listen to recorded tapes of the play on his drive — yet his new employers contend that it's mandatory for insurance and liability reasons. Enter 23-year-old Misaki Watari (Tôko Miura, Spaghetti Code Love), who becomes a regular part of Yūsuke's working stint in the city. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours. It doesn't rush to get to its basic premise, either. Before the film's opening credits arrive 40 minutes in, it steps through Yūsuke's existence back when he was appearing in a version of Uncle Vanya himself, married to television scriptwriter Oto (Reika Kirishima, Japanese TV's Sherlock) and grappling with an earlier heartbreak. His wife is also sleeping with younger actor Takatsuki (Masaki Okada, Arc), which Yūsuke discovers, says nothing about but works towards discussing until fate intervenes. Then, when he sits in his red 1987 Saab 900 Turbo just as the movie's titles finally display, he's a man still wracked by grief. It's also swiftly clear that he's using his two-month Hiroshima residency as a distraction, even while knowing that this exact play — and Oto's voice on the tapes he keeps listening to — will always be deeply tied to his life-shattering loss. This prologue does more than set the scene; there's a reason that Hamaguchi, who co-wrote the screenplay with Takamasa Oe (The Naked Director), directs so much time its way. Where tales of tragedy and mourning often plunge into happy lives suddenly unsettled by something catastrophic or the process of picking up the pieces in the aftermath — typically making a concerted choice between one or the other — Drive My Car sees the two as the forever-linked halves of a complicated journey, as they are. The film isn't interested in the events that've forever altered the plot of Yūsuke's life, but in who he is, how he copes, and what ripples that inescapable hurt causes. It's just as fascinated with another fact: that so many of us have these stories. Just as losing someone and soldiering on afterwards are unshakeably connected, so are we all by sharing these cruel constants of life. The reality that anyone can have a history as complex and as coloured by pain is a lesson for Yūsuke to learn. Although he makes a living plumbing the depths of human emotion through art, and cathartically so, reading those same feelings into the people around him — recognising the same highs and lows in their experiences, as in his own — is a thornier path to chart. But in his daily treks to and from his theatre rehearsals, he starts making the trip towards that realisation as Misaki sits behind the wheel of his trusty Saab. Initially, neither speaks, with Oto's line readings via cassette breaking the silence. Yūsuke saves his words for the International cast he auditions and then directs, each relaying Uncle Vanya in their native tongues (or, in one instance, by an actor who is deaf and signs her dialogue). Slowly, though, the drives find their own language, as Misaki opens up about her past and vice versa. Forget Green Book and Driving Miss Daisy, American Oscar-applauded films similarly about drivers, passengers and unexpected camaraderie — Drive My Car is in a lane of its own, and not just because it isn't a simplistic and saccharine attempt to weave a heartwarming story out of racial reconciliation. Hamaguchi takes his central pair and his audience on a patient, engrossing and rewarding trip that cuts to the heart of dealing with life, love, loss, pain, shame and despair, and also sees how fickle twists of chance — a recurrent topic in the director's films — unavoidably dictate our routes. Another thing that the filmmaker does disarmingly well: ponder possibilities and acceptance, two notions that echo through both Yūsuke and Misaki's tales, and resonate with that always-winning combination of specificity and universality. Drive My Car is intimate and detailed about every element of its on-screen voyage and its character studies, and also a road map to soulful, relatable truths. Sitting — while driving and during rehearsals — is a recurrent sight in Drive My Car. It's fitting; this is a film to sit with. The movie's lengthy duration lets viewers take in its gorgeously shot visuals as they might revel in landscape spied from a car window, whether cinematographer Hidetoshi Shinomiya (Ju-on: Origins) is lensing the road as it winds by the Seto Inland Sea, spending time with the feature's core duo or chronicling Yūsuke's efforts at the theatre. Crisp, poetic and revealing even in a visit to a waste treatment facility, Drive My Car's naturalistic imagery provides a striking canvas for its affecting performances, too, with Nishijima and Miura as quietly expressive as any film — and any Murakami adaptation — could hope of its actors. In one of the picture's most stunning sequences, they chat by steps near the ocean, and the camera sees everything about their characters, and simply existing, and also tussling with life's pain, in each emotionally loaded closeup and sweeping, waterside wide shot. These are moments that drive a movie to greatness, and this moving and perceptive masterpiece is filled with them.
Eight venues, eight stages, 40 bands, zero cost to get in. That's the maths behind the Mountain Goat Valley Crawl, which has been gracing Fortitude Valley's finest hangouts since 2016. Since that first-ever festival, the event has also celebrated another equation: brews aplenty plus an ace live soundtrack and free entry equals a mighty fine way to spend a day bar-hopping in Brisbane. For its 2024 edition, the sprawling music and beer festival has another packed day of tunes and drinks in store on Saturday, February 10, when attendees can jump between eight Valley spots to see a huge heap of bands. Think of it as good night out with the multi-venue itinerary already taken care of for you. Also pivotal: the fact that walking in eight doors won't cost you a cent, meaning that you'll only need your wallet for brews. [caption id="attachment_878321" align="alignnone" width="1920"] Nick Mick[/caption] This is the type of fest where the experience is as important as the lineup. That doesn't mean that the Mountain Goat Valley Crawl skimps on its roster of talent, though. 2024's just-announced bill is headlined by These New South Whales, Mia Wray and Peach Fur, with Asha Jefferies, Chutney, Flamingo Blonde, Friends of Friends and Jet City Sports Club also set to take to the stage. Joining them: Oscar the Wild, Platonic Sex, RAAVE TAPES, Sesame Girl, Tentendo and more. This time, the simultaneous sonic fun takes place at Black Bear Lodge, The Brightside, The Brightside — Outdoors, Greaser, Stranded, The Zoo, Suzie Wongs Good Time Bar and Valley Loft. As always, the agenda includes running between each to sip frosty beverages and catch crackin' sets, with the entertainment once again sponsored by a brewery. The whole shindig kicks off at 5pm, so the only thing left for you to do is clear your calendar for an ace evening of tunes, brews and hopping around the Valley. MOUNTAIN GOAT VALLEY CRAWL 2023 LINEUP: ACTS: These New South Whales Mia Wray Peach Fur Asha Jefferies Chutney Flamingo Blonde Friends of Friends Jet City Sports Club Oscar the Wild Platonic Sex RAAVE TAPES Sesame Girl Tentendo (DJ set) 01 Thurman Bean Magazine Blue Diner Coldwave Dancingwater Eleea FELONY. Fenrir Gemini Talk Ghost Mutt King Ivy Lottie McLeod Mt Nadir Naaki Soul Neish SAIK Salarymen SAMMM. Seeing Violet Selve Socket SPACE&AGES Sunder The Silver Spurs The Sweaty Bettys Tomorrow's Forecast Yawdoesitall VENUES: Black Bear Lodge The Brightside The Brightside — Outdoors Greaser Stranded The Zoo Suzie Wongs Good Time Bar Valley Loft The 2024 Mountain Goat Valley Crawl takes place on Saturday, February 10, 2024 in Fortitude Valley. Entry is free, but you'll need to RSVP for free tickets online. Top image: Nick Mick
There's no such thing as an ordinary coat of paint at Brisbane Street Art Festival. Here, every brushstroke, spray and roll contributes to a new work of art. There's also no such thing as an average Brissie roadway or public space at this annual fest. Everywhere in the River City becomes a canvas when it's BSAF time — so, in 2024, from Saturday, May 4–Sunday, May 19. For nine years now, this autumn event has celebrated splashing outdoor art around far and wide across Brisbane. This year's festival will welcome more than 20 featured artists to literally paint the town red — and plenty of other colours — amid a program that doesn't just showcase celebrated talents showing off their skills, but also helps impart the tricks of the trade to everyone who wants to follow in their footsteps. [caption id="attachment_894226" align="alignnone" width="1920"] Macami[/caption] The big drawcard: live murals, as artists take to various patches of Brisbane across the two weeks to create new pieces while you watch. Superordinary at Northshore Brisbane, which also acts as a base for the fest, will gain three live murals. Other sites to head to: Howard Smith Wharves, where five new pieces will be brought to life — and also QUT Gardens Point, The Tivoli, Portside Wharf, Constance Street in Fortitude Valley, RNA Showgrounds, Garden City and The Barracks. Doing the painting is a who's who of the local, national and international street art scenes, including Guirao, who hails from Spain but is now based in Melbourne; the Japan-born Spectator Jonze; Damien Mitchell, who spent ten years in New York; and Brisbane icon Sofles, who boasts more than 20 years in the industry. The likes of Davis Lee Pereira, The Brightsiders, Emily Devers, Kaho and Lisa Dot are also on the lineup, while Brissie's own Sethius Art will add a bin chicken sculpture to Superordinary. [caption id="attachment_894223" align="alignnone" width="1920"] Fintan Magee by @mellumae[/caption] "Since the beginning of the Brisbane Street Art Festival in 2016, Brisbane has worked its way into becoming one of the world's most significant street art cities. This is only growing with the diverse lineup of artists we have for the festival in 2024," said BSAF Festival Director Lincoln Savage. His latest program kicks off with the traditional launch party, also at Superordinary, then spans street art cycling tours, panels on gender bias and the use of art in shared spaces, an exhibition dedicated to First Nations talents, plus workshops on everything from aerosols, calligraphy, collages and tufting to brushwork, graffiti writing, lettering and sticker art. And to cap it all off, Felons Brewing Co will host the closing party, as it also usually does. [caption id="attachment_715977" align="alignnone" width="1920"] Drapl and Treazy, Aimee Catt[/caption] [caption id="attachment_894227" align="alignnone" width="1920"] Macami[/caption] [caption id="attachment_659368" align="alignnone" width="1920"] tuyuloveme[/caption] [caption id="attachment_894229" align="alignnone" width="1920"] Macami[/caption] [caption id="attachment_715976" align="alignnone" width="1920"] Aimee Catt[/caption] [caption id="attachment_894228" align="alignnone" width="1920"] Macami[/caption] The 2024 Brisbane Street Art Festival runs from Saturday, May 4–Sunday, May 19. For more information, head to the event's website. Top image: Macami.
This article was written on Yuggera Country. If you'd like to send a physical letter that acknowledges that fact, now you can. Since the end of August this year, Gomeroi woman Rachael McPhail has been leading a campaign to get Australia Post to recognise First Nations place names — and this week, coinciding with NAIDOC Week, the government enterprise has released guidelines on how you can include traditional names when you're addressing letters and parcels. As McPhail outlined in the first post from her @place_names_in_addresses Instagram account on August 31, "every area in this country had an original place name, prior to being given its colonial town/city name, and I believe that it's important to acknowledge this". She explained that she had started including traditional place names when filling in her address in online orders, and noted that it's a small gesture with a meaningful impact. "Adding in the nation or country that you are on is something easy that all Aussies can do to be more inclusive of our Indigenous history. I would love for @auspost to make the original place name a standard part of address information in Australia, the same as your house number and postcode," she commented. Now, Australia Post have announced that Aussies can follow McPhail's lead — and advised how folks should go about it so that your mail is sorted properly by its electronic letter sorting technology. Whether you're including a traditional place name in the address field or the sender field, or both, you should write it directly underneath the recipient or sender's name. Then, below that, you should then include the street address, town or suburb. View this post on Instagram A post shared by Australia Post (@auspost) Following this format will ensure that the mailed item is delivered correctly, and without delay, all while acknowledging Australia's traditional owners. If you're now wondering where to find the appropriate First Nations place name — either for your own address, or for whoever you'd like to send a letter or package to — Australia Post recommends visiting the Australian Institute of Aboriginal and Torres Strait Islander Studies' map of Indigenous Australia on its website, Aboriginal and Torres Strait Islander Land Councils, or Cultural Centres in your local area. Speaking to the ABC about Australia Post's guidelines, McPhail said that she is also campaigning for a "comprehensive and accurate database of traditional place names that you can cross reference with post codes, but has been verified by elders in all the communities around Australia". For more information about Australia Post's addressing guidelines, visit its website. For further details about the campaign to get First Nations place names recognised by Australia Post, head to its Instagram feed.
When a film bears the name American Sniper – and the memoir it adapts includes The Autobiography of the Most Lethal Sniper in US Military History in its title – certain things are unsurprising. To judge a movie by its moniker and a book by its cover, patriotism is expected, as are ample scenes seen through the crosshairs of a riflescope. Clint Eastwood’s latest feature delivers both. The true tale inspiring jingoistic fervour is that of Chris Kyle (Bradley Cooper), a Texan rodeo cowboy turned Navy SEAL. In four tours of Iraq post-9/11, he was credited with 160 confirmed kills. His fellow soldiers anointed him with the nickname 'Legend', continually proffering their thanks and idolatry. With each deployment, the worries of his wife, Taya (Sienna Miller), grew, as did the distance in their marriage. As the man who played Dirty Harry, Eastwood is no stranger to portrayals of men steeped in violence, or to positioning their deeds as those of necessity. Symbolism torn from many a western and war movie included, he takes to the story with passion and without subtlety. With his protagonist pledging allegiance to “God, country and family”, in that order, he paints Kyle as a hero, and shapes the feature as a tribute. Treading the fine line between condoning certain actions and representing reality is a tricky task, and one Eastwood’s feature does show signs of struggling with. Only slivers are glimpsed of a more complex and conflicted train of thought than the feature’s primary narrative. Shadows of martial discontent flicker over supporting characters, but the enemy is not within, in American Sniper's case, as an insurgent enemy sniper threatens the unit. It's a dramatic tension that's technically well-executed but thematically questionable. Similarly, Kyle’s difficulties on the home front are tinged with the weight his work bears on his conscience, explained as regret over the lives he couldn’t save, rather than any troubles with what he did and saw. And then there's the Iraqi problem. Whenever the viewpoint of the other side threatens to interject, such as with the plight of a local family forced to inform against a villain, empathy is absent. American Sniper presents one perspective only, so the occupied people of Iraq remain strangers. While Eastwood’s Flags of Our Fathers did the same, here there’s no Letters from Iwo Jima to offer balance. Performance-wise, the duty-bound feature isn’t helped by Cooper’s lead turn, even if an Academy Award nomination seems to indicate otherwise. He looks the part, complete with a hulking swagger and an aversion to his usual charm, but his rendering of Kyle is as one-note as the bulk of the storyline. Similarly, Miller plays the stereotypical neglected wife in a paint-by-numbers performance. Of course, countless films – war and otherwise – spin one-sided yarns of good-versus-evil and even do so well; however, American Sniper is never anything less than uneasy. The sand-swept action that clouds the frame, the unwavering conviction and the sentiment of the ending are predictably blatant and sometimes brutal – and so is the accompanying discomfort.
Sunday afternoons, The Triffid and a Sarah Howells-selected roots lineup go hand-in-hand — or they have since the Newstead hangout started asking the ABC radio host to help curate their end-of-weekend acoustic gigs back in November 2014. So, it was only a matter of time until the venue decided to turn their regular shindigs into a festival. Meet the Newstead Roots Festival, aka a beefed-up version of the events everyone already knows and loves. With Bullhorn, Dubmarine, Cheap Fakes, Bobby Alu, Bearfoot, Leanne Tennant, Black Rabbit George and Claire-Anne Taylor on the bill, playing on both the main stage and out in the beer garden, it's the ultimate Sunday roots session — and even better if you don't have to go to work on Monday.
UPDATE: MAY 5, 2020 — Fat Dumpling is offering delivery via UberEats is available for both its Fortitude Valley and Bowen Hills outposts. Its Bowen Hills digs is open for takeaway and you can score 20 percent off if you order through the restaurant and pick up in person. To order, call (07) 3216 1261. Dumpling lovers, rejoice! There is yet another player when it comes to the Valley dining scene, adding to the likes of Harajuku Gyoza and Brunswick Social. Step off Brunswick Street and into the tiny hole in the wall that is Fat Dumpling and you'll immediately feel as though you've just stepped off a hidden laneway into a quirky cool Melbourne eatery. With exposed red brick walls; a giant white painted hand with chopsticks; and funky, Asian-inspired interior embellishments (figurine soldiers and oriental adornments), this place is screaming nonchalant eclectic vibes. The front of the restaurant is occupied by a handful of dining tables built mainly for two, while up the back you'll find an impossibly small kitchen where you'll see these guys turning over bamboo baskets and plates of pan-fried deliciousness nonstop. Of course, with dumpling in their name, you'd expect it to be their specialty. Choose from poached, steamed and pan-fried with fillings of pork and cabbage, fish, prawn and chives, chicken and asparagus, or vegetarian. But it's the pork xiao long bao (which only come steamed) that are highly recommended. Arriving like small money bags expertly rolled and twisted at the top to capture the filling and soupy juices, it is super tasty, and a serve of eight pieces is far too easily devoured. Dishing up a small selection of other Chinese-style dishes such as shallot pancakes (crispy, golden and simply delicious), salt and pepper prawns, Chinese broccoli (the sauce is ridiculously moreish) and a sweet pork belly makes Fat Dumpling a great destination for a quick post-work meal or a pre-night out feed.
It's never too late to learn something new, and we're not just talking about the ins and outs of superannuation. Rather, turning your brain to studying — and possibly launching yourself into a new career — has never been so easy. Open Universities Australia (OUA) helps you find a degree to fit your goals and study it online. So, no matter your physical proximity to the university running the course, or your life commitments, you can make it happen. Whether you're a first-time student, an aiming-to-finisher, or just looking to extend your career options by adding another notch to your belt, we know that half the battle can be figuring out what you actually want to study. Rather than spending hours trying to nut it out, why not use the time you've already dedicated to your favourite television show? Chances are, your favourite genre might give you a pretty good clue as to what you're into. Read on to discover eight possible careers based on a small-screen hit, then go tell your mum that you weren't wasting time after all. YOU LOVE: THE HANDMAID'S TALE Consider studying: Bachelor of Psychological Science and Sociology with University of South Australia (UniSA), Bachelor of Behavioural Studies with Swinburne University or Master of Public Policy and Management with Flinders University. Well, things are pretty bleak at the moment in Gilead. And they have been for June (Elisabeth Moss) since the show — an adaptation of Margaret Atwood's novel of the same name — began. An oft-bleak reflection of parts of our world in the modern day, The Handmaid's Tale isn't a happy watch, but it is an important one — and from it arises a wider commentary on policy, oppression and herd mentality. If you really want to unpack everything that's happening to June, or if the eerily familiar (and frustrating) circumstances have lit a fire in your belly, consider studying a degree in policy, social studies or psychology, available online through OUA. YOU LOVE: BROOKLYN NINE-NINE Consider studying: Bachelor of Criminology and Criminal Justice with Griffith University or a Master of Criminology with Macquarie University. You only need to spend a little time on social media to know that Brooklyn Nine-Nine has become a cult TV offering — there are memes everywhere. The comedy has a surprising amount of heart behind Detective Jake Peralta's (Andy Samberg) antics and the joke-a-minute vibe (if you didn't laugh at that Backstreet Boys cold open, then you don't have a sense of humour). Although it's cloaked in fictional comedy, this show covers some seriously diverse crimes. This, plus the backlog of true crime documentaries on your to-watch list, prove that there are seriously interesting stories out there and some wild stuff that happens in the world. If you want to hustle your case-cracking prowess into a career, explore a degree in criminology with Griffith University. Or, if you've already got a bachelor's degree and notched up some work experience in the field of security, you can jump into a masters with Macquarie University. YOU LOVE: GAME OF THRONES Consider studying: Bachelor of Arts (Creative Writing) with Curtin University, Master of Writing with Swinburne University or Master of Arts (TESOL) at Bond University. Just because it's over doesn't mean it's really over — the characters of Westeros and Jon Snow's immense sadness can live on in your heart long after the final episode. And we've found a way for you to continue your obsession with the epic fantasy series based on George R.R. Martin's books. You can learn to appreciate the intricacies of the world he created or, even better, create your own Westeros (maybe one where slightly less characters die) by taking on a creative writing course online through OUA. You can start from the very beginning with Curtin University's bachelor degree, which allows you to explore different styles including poetry, short fiction and screenwriting. Or, you can hone your already established craft with a masters with Swinburne University of Technology or Bond University. The latter explores the principles of the English language and will grant you a teaching qualification, too. YOU LOVE: CHERNOBYL Consider studying: Diploma in Science with University of New England or Associate Degree in Engineering at University of South Australia. It's the one everyone has been talking about, and it recently rated the best TV show of all time on IMDb. Chernobyl, which explores the catastrophic incident at a Ukrainian power plant in 1986, breaks down a particularly harrowing chapter of history. The disaster had far and long-reaching consequences and the show gets you thinking about what happens when science and human error combine to fail us. If your brain is ticking over with nuclear reactor designs or chemical equations, it might be time to hit up OUA to embark on a new career in science or engineering. YOU LOVE: SEX EDUCATION Consider studying: Bachelor of International Public Health with University of NSW or Master of Public Health with Curtin University. Netflix's very funny, very sweet British show has basically everything you need for a weekend binge show: good writing, a great cast and a storyline tackling critical gender and sexuality issues among young people. Oh, and Gillian Anderson. Sex Education tells the story of Otis (Asa Butterfield) trying to making it through high school while contending with his mother (Anderson), who is a sex therapist working from home. A show that anyone, young or old, can find something to relate to in, Sex Education is a worthy reminder that health and sexual education should be taught comprehensively to young people. If you think you could fill those very important shoes, considering studying a public health degree with a leading uni online through OUA, which could open you up to career opportunities in government agencies, research or community health programs. YOU LOVE: RICK AND MORTY Consider studying: Bachelor of Arts (Animation and Game Design) with Curtin University or Bachelor of Information Technology (BIT) in Games Design and Development with Murdoch University. Yeah, we know — it's a silly one. But it's pretty damn funny. Rick and Morty was created by Justin Roiland and Dan Harmon, of Adventure Time and Community respectively, and it's not for the underage (or faint-hearted). Following mad scientist Rick and his grandson Morty as they go on interdimensional adventures, the show is wacky, original, and a little gross. But, it may also get you thinking about the rising popularity of adult cartoons, and the animation teams behind their increased profile. So, if you've always had an artistic streak that you'd like to nurture into a full-blown career, have a search through the online options through OUA for animation and game development. YOU LOVE: THE GOOD PLACE Consider studying: Bachelor of Education (Primary, Secondary or Early Childhood) with Curtin University. One of the most clever shows in recent years has to be Michael Schur's The Good Place. From the man who brought us Parks & Recreation and The Office comes a comedy starring Kristen Bell as Eleanor — an unremarkable person during her life on earth who wakes up in The Good Place, or a heaven-like utopia, being shown around by Michael (Ted Danson). Three seasons of moral questions, philosophical quandaries and people just being human ensue. While a lot of it is silly fun, The Good Place does provide a solid vessel for the discussion of ethics, via creative uses, and exploration of belief. It also hammers home, while we watch Chidi attempt to teach Eleanor moral philosophy, that the world needs more good teachers. Live your dream and explore your own moral questions by becoming one. YOU LOVE: SUITS Consider studying: Bachelor of Laws with University of New England and Juris Doctor with Flinders University. Pre-prince days for Meghan Markle brought us Suits, an Aaron Korsh-created legal drama focusing on Mike Ross and Harvey Specter, lawyers working at a large firm in New York City. While Mike (Patrick J. Adams) goes in entirely untrained and manages to pull off working large cases without a sweat, we don't encourage that — in fact, we'd strongly urge you to look into a law degree, which you can study online through OUA. Combine your interests in watching endless episodes of Suits (there are nine seasons), besting someone in a verbal argument and, if you like Mike, helping the underdog by getting a law degree. The two-piece suits await. Explore hundreds of degrees from leading Australian universities available online through Open Universities Australia. You could have a new skill by the end of the year. Hop to it.
Thinking about Japan's greatest animation studio, and one of the men who helped it earn that status, has been a bittersweet experience of late. Both Studio Ghibli and Hayao Miyazaki may have made their final films; however, we'll always have their bustling back catalogue of beautiful, handcrafted fables. That's what the Gallery of Modern Art is focusing on: the good times and great works gone by, including movies about flying pigs, a goldfish princess and a warrior raised by wolves. As part of GOMA's Cult Japan film lineup at the Australian Cinematheque, they're mounting a Miyazaki retrospective that steps through his output from his first-ever feature, 1979's Lupin III: The Castle of Cagliostro, to his last, 2013's The Wind Rises. In between, expect all the cinema delights you love, and all the ones you might not yet have caught up with, too. The wondrous worlds of Spirited Away and Howl's Moving Castle are certain highlights, and you owe it to yourself to meet the cute and charming My Neighbour Totoro, journey through Nausicaä of the Valley of the Wind, and subscribe to Kiki’s Delivery Service, if you haven't done so already. Most are being shown on 35mm, a rare treat in this day and age of digital projection. Yes, when it comes to movie magic, this program really does have it all.
Sometimes, the world handily delivers answers to questions you didn't even know you ever had. You might not have actively wondered to yourself "what'd happen if New Zealand treasures Taika Waititi and Rhys Darby played pirates?", for instance, but we're betting you're now keener than a buccaneer searching for a bottle of rum to discover how it turns out. Best add Our Flag Means Death to your 2022 must-watch list, then. Arriving sometime in March on Binge in Australia — with release details in NZ yet to be confirmed — the HBO Max sitcom sees Darby lead the show as Stede Bonnet, who was a real-life pirate who took to the seas in the early 18th century. The reason that his story is getting the streaming treatment? Bonnet was a 'gentleman pirate', as the just-dropped first teaser trailer for Our Flag Means Death dubs him. He left his life of privilege to rove the oceans, which this comedy is set to have plenty of fun with. As the initial sneak peek shows, Bonnet has some bold ideas about how life onboard should run — bold compared to the usual pirate stereotypes, that is. And, that's set to see him clash with a very famous name from pirate history: Blackbeard, which is who Waititi will be playing. The two immensely funny NZ talents are joined by a long list of co-stars that includes Ewen Bremner (First Cow), David Fane (Paper Champions), Nathan Foad (Bloods), Joel Fry (Cruella), Samson Kayo (Truth Seekers), Rory Kinnear (No Time to Die) and Leslie Jones (Death to 2020). And, while Our Flag Means Death is the brainchild of writer, showrunner and executive producer David Jenkins (People of Earth), Waititi directs the pilot — and executive produces, lending his name and support to another up-and-coming comedy after doing the same with Reservation Dogs last year. And yes, that means he's directing Darby yet again, as he's already done in everything from Flight of the Conchords and What We Do in the Shadows to Hunt for the Wilderpeople. Check out the trailer for Our Flag Means Death below: Our Flag Means Death will start streaming in Australia via Binge in March — we'll update you when an exact date is revealed. We'll also update you when release details in New Zealand are announced. Top images: Aaron Epstein/HBO Max.
Sydney's Art Gallery of NSW has taken its weekly after-hours session online — and the next two editions are all about NAIDOC Week, a celebration of Aboriginal and Torres Strait Islander culture and achievements. On Wednesday, November 11, you can join a discussion between author and presenter Yumi Stynes, Aboriginal rights activist and proud Bundjalung woman Vanessa Turnbull-Roberts, and four-time Archibald Prize finalist Blak Douglas (aka Adam Douglas Hill). Douglas' 2020 portrait of Dujuan Hoosan, star of the documentary In My Blood It Runs, is on show at the AGNSW until Sunday, January 2021, alongside Vincent Namatjira's award-winning depiction of sporting star Adam Goodes — the first-ever portrait by an Indigenous artist to take out the top gong in Archibald Prize history. The following week, on Wednesday, November 18, curator of Aboriginal and Torres Strait Islander art Coby Edgar will chat with artist and Arrernte woman Marlene Rubuntja, whose stunning sculptures feature in the gallery's new exhibition entitled Joy. Both sessions will be streamed on the AGNSW's Facebook page and Youtube channel. If you're in Sydney and can make it to the gallery, you can also head along to a free Indigenous-led guided tour of the Yiribana Gallery. [caption id="attachment_789035" align="alignnone" width="1920"] Blak Douglas, 'Writing in the sand' (2020). Copyright the artist. Photo by Felicity Jenkins, AGNSW.[/caption]
Since Australia started easing out of COVID-19 lockdown, the country's internal border restrictions have earned plenty of attention. With tactics to stop the spread of the coronavirus implemented at a state-by-state level, each Aussie state has navigated the situation in its own way when it comes to letting non-residents visit. In Tasmania, that has meant some strict quarantine requirements — which, for non-Tassie residents who weren't classified as essential travellers, entailed spending 14 days in government-designated accommodation. But, for most of the country, quarantine is no more. From Monday, October 26, travellers from Queensland, the ACT, SA, WA, the NT and New Zealand, which are deemed low-risk areas, are allowed to hop on a plane and head across the Strait. After you've filled out a Tas e-Travel form, of course. [caption id="attachment_784489" align="alignnone" width="1920"] The Flaming Lips, Mona, Hobart, Mona Foma 2016. Photo Credit: MONA/Rémi Chauvin. Image Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.[/caption] Some good new for Sydneysiders: this will be an option for you, too, come Friday, November 6. On this date, Tasmania is set open its borders and airports to NSW travellers, pending further public health advice. In other words, if there's an outbreak before then, it might reverse the decision — but if NSW continues its stretch of relatively low levels of community transmission (there have been just three new cases in the past four days) we'll be good to go. "What we want to see in a jurisdiction that we open up to is less than five cases of unknown transmission in the last 28 days," Premier Peter Gutwein said in a press conference. "New South Wales over the last 28 days has had six only in a population of nearly eight million people, so they are on top of this." If you're in Melbourne, sadly the changes won't apply to you just yet. Premier Gutwein noted that the state still hopes to open up to Victorians from December 1, but that they're pleased to "see them driving their numbers so low" and will "be responsive to the evolving situation there". Kiwis legally must complete at least 14 days of managed isolation or quarantine when returning to New Zealand. Travellers will also be tested for COVID-19 during the two-week stay. The New Zealand Government has raised its travel advice to "do not travel" — the highest level — regardless of destination. Keen to start planning an adventure south? Mona Foma has announced it'll return to Launceston and Hobart in January — and we've pulled together this list of exciting food and drink spots in the state's northeast. Visitors from low-risk areas (currently Queensland, the ACT, SA, WA, the NT and NZ) are allowed to visit Tasmania without quarantining. You must fill out a Tas e-Travel form a maximum of three days before you arrive. The state is set to open to NSW from Friday, November 6. To find out more about the status of COVID-19 in Tasmania and the state's corresponding restrictions, visit its online COVID-19 hub. Top image: Bay of Fires via Lia Kuilenburg for Tourism Tasmania.
UPDATE, January 28, 2022: Good Love Festival has postponed its 2022 festival from February 5 to May 7. This article has been updated to reflect that change. Clear your diary, grab your sneakers and prepare to spend some time dancing to reggae by the water — because on Saturday, May 7, 2022, Good Love Festival is headed to Doug Jennings Park on the Gold Coast. New Zealand's huge One Love Festival actually made its local debut back in 2020; however, it's now had a name change — and it's popping up in 2022 in a different GC location. The festival is quite the big deal across the ditch, attracting more than 20,000 festival-goers each year for a decade before the pandemic. And, the reggae-focused fest clearly enjoyed its first trip to our shores, so now it's returning fo another day of Jamaican-influenced tunes. This time, the lineup is set to span Katchafire, Stan Walker, Kora, Sons of Zion, Nesian Mystik, The Black Seeds, 1814 and House of Shem. Also on the bill: Tomorrow People, Krisy Erin & Mike Mayz, Swiss & Tree, and DJ TIKELZ.
Not one, but three, designers have put their two-wheeling brains together to come up with tokyobike's latest offering: the company's first ever Designer Series. It's a trio of bikes that will make you seriously want to shell out (and at this price, you'd be skipping more than a few meals). The first, a schmick golden number, is the work of Everything Elevated, who are based in New York and Oslo. It's a single speed with dropped handle bars that gets its inspiration from early minimalist track racing bikes. The second you'll want with you next time you're in Paris. Calico Wallpaper, a Brooklyn-based company run by couple Nick and Rachel Cope, based their concept on the bikes you see in 1930s French films. It's so comfy you can ride all day. The dreamy blue, white and burnt orange paint job reflects the transition from dawn to dusk. Not good at making decisions? The third in the series is your pick. It's white on one side and grey on the other. Joe Doucet, award-winning Brooklyn-based designer, is behind this third bike, with half-canvas, half-rubber handles, which are handmade in Italy. This kind of design doesn't come cheap. Each limited edition bike will set you back $2,500 a pop. Orders are available online. Images: Tokyobike.
It's now been 25 years since a certain modern-day retelling of Shakespeare's The Taming of the Shrew had us all swooning over Heath Ledger and wishing that we were Julia Stiles. Yes, that'll make you feel old. And if you're one of the scores of Aussie teens who devoured smash-hit flick 10 Things I Hate About You when it first came out — and then about a million times on VHS since — you've probably taken up every occasion there is to celebrate the 1999 movie. Your next chance: Yatala Drive-In's Valentine's screenings — aka an excuse to hop in the car, head down the highway and revisit the timeless high school-set tale. Yatala's movies-on-wheels site is hosting two nights of special throwback showings, which is perfect for you and your 90s-worshipping significant other or a car full of pals (because you'll pay $40 for a carload of up to six people anyway). Head along on from 7pm on the date itself, Wednesday, February 14 — or from the same time on Saturday, February 17. Prepare to revisit all those late-90s feels as you catch those classic movie moments — from the cheer-worthy smashing of Joey Donner's car to that pre-formal pregnancy suit. You can pack your own food for the session (Ms Perky would definitely recommend bratwurst), but BYO booze obviously isn't allowed. Otherwise, you can make the most of Yatala's 50s-style diner.
She's inked everyone from Miley Cyrus to Post Malone, and she could adorn your skin with art next — for free, at a three-day tattoo event taking over the Brisbane Convention and Exhibition Centre. Celeb tatt artist Lauren Winzer is hitting the River City for the Brissie leg of the Australian Tattoo Expo, which runs from Friday, June 9–Sunday, June 11. And yes, free tattoos are 100-percent on the agenda. For the event, Winzer is teaming up with Bepanthen Tattoo aftercare ointment, which is where those tatts without spending a cent come in. She'll be busting out ink from a capsule collection — which includes sunrises, lavender, waves, ice cream cones and other options — and leaving you with a lasting memento. If you get one, you'll definitely always remember this event. View this post on Instagram A post shared by Lauren Winzer (@laurenwinzer) Of course, Winzer has plenty of company: more than 250 fellow tattoo artists will be showcasing their skills, and live performances by Sideshow Cabaret will backdrop all of that body art. And if you're not up for getting a tatt yourself — for free or otherwise — you can chat to the country's top folks in the field, find out about different styles and genres, explore the world of body piercing and watch tatt competitions.
Between Saturday, June 15 and Sunday, June 23, the Brisbane Convention and Exhibition Centre is hosting a sales event of most peculiar stock. Strange things they are, full of pages, rampant with words and with covers of the most beautiful colours. You can't charge them, they don't run out of battery, their brightness is unalterable, and they won't smash when you drop them and have them lost forever. Lifeline Bookfest is back for another round of vintage bargains and startling ranges of everything from Australian Women's Weekly Cookbooks to a bit of cheeky erotica. If you're been before, you'll know there are warehouse quantities of books for sale – your grade five diary is probably hidden under a copy of Shantaram, and you'll come across at least three copies of Cooking with Days of Our Lives. Prices range from cents to the big bucks — bring a trolley and your glasses and absorb yourself in books.
Tasmania may sit forgotten and ridiculed on the outskirts of our borders, but every January it truly shines. Attracting tens of thousands of visitors from all over the country, MONA's annual Festival of Music and Art is a cultural icon. Now, in its seventh year, it's still bringing in the goods. The just-released 2015 lineup will include legendary post-punk outfit Swans, Dan Deacon, Amanda Palmer, Paul Kelly and — because why not — author Neil Gaiman. And that's not even mentioning the art. Curated by Brian Ritchie of the Violent Femmes, the musical program is incredibly eclectic — a tasting plate of genres for those not quite so fascinated with predictable summer festivals like Laneway or Future. In 2015 you can relax whileNeil Gaiman reads you a story accompanied by the ambient sounds of Jherek Bischoff, go local with Paul Kelly's Soul Sessions featuring Dan Sultan and Kira Puru, or melt your brain with some Dan Deacon goodness. MOFO caters to all. The art on display will be just as strange. UK group Architects of Air will be bringing their giant inflatable sculpture — read: artsy bouncy castle — EXXOPOLIS down south from the Brisbane Festival. Melbourne artist Atticus J. Bastow is acting as maestro to an orchestra of iPhones. Johannes S. Sistermanns will be wrapping thing (and possible people) in cling wrap to create terrifying sound art. Then, Alvin Curran will combine both art and music while mobilising rafts and dinghies to make music on the Derwent River. "We are thrilled that the audience for MOFO has developed to the point where we can present this dazzling array of creativity and know the people are ready, willing and able to come along for the ride," said Ritchie. "It’s a party with brains, heart and soul." For a little look at what you're missing, check out our write-up from last year's Dark Mofo. January's festivities are bound to be about the same with 100 per cent more sunshine. What's not to love? MONA FOMA will run from January 15-18, 2015 in Hobart. Tickets are on sale now via the festival website. Full lineup: Alvin Curran Allan Halyk And Adam Wojcinski Amanda Palmer & The Tasmanian Symphony Orchestra Amir Farid Anna Von Hausswolff Architects Of Air Ava Mendoza Atticus J. Bastow Ben Frost Brendan Walls Chordwainers Dan Deacon David Francey Trio Debashish Bhattacharya Emma Dean And The Hungry Truth Faux Mo Francesca De Valence Gabriella Smart Genevieve Lacey Jim Moginie Johannes S. Sistermanns Li Binyuan Marduk Martine Corompt And Philip Brophy Melisandre Michael Kieran Harvey MOFI Eastern Sho MOMA (mona Market) Neil Gaiman Omar Souleyman Paul Kelly Presents The Merri Soul Sessions – Featuring Dan Sultan, Clairy Browne, Kira Puru & Vika And Linda Bull Phillip Johnston Rektango Robyn Hitchcock Ruth Roshan And Tango Noir Senyawa & Lucas Abela Shonen Knife Speak Percussion Swans The Clean Tim Hecker Xylouris White Young Wagilak Group & Australian Art Orchestra Zammuto
Half the fun in camping is the fact that you're forced to get grubby, as you and your fellow campmates collectively get back to nature and forgo the modern luxury of a shower. This is all well and good for a few days, until everyone gets a little sweaty, a little dirt-caked and probably a little grumpy. You see, the problem with showers is that they're usually set pretty firmly in one place. They need a water source, drainage, electricity — basically, they're the first thing you forgo when you leave the safety of a modern building. But the geniuses at Tokyo-based startup Hotaru are set to change that, with a portable water-recycling shower that can be set up almost anywhere. So how does it work? The shower holds about 19 litres of water, which is then purified and reused for the next person who hops in. Hotaru claims that a family of three could each take a five-minute shower each day for up to two weeks. That's over 40 showers on less than 20 litres of water. While the possibilities for where the shower can go are pretty endless, it does need to be hooked up to a power source — although, according to Hotaru, a car will do the trick. This new sustainable shower was spotted by TechCrunch at SXSW this week, and is expected to go to market sometime next year. It's not only great news for campers, but the technology could really change how we recycle and make the most of our water. Via TechCrunch.
Play music, make calls, take photos, open doors and share your location – all with the flick of a single switch. That's the idea behind Flic, a new wireless, portable button developed by a group of Swedish entrepreneurs that can be programmed to work with just about any smart device that you please. The 28mm diametre button works in conjunction with a smartphone app that allows you to assign it a particular function – such as snoozing your alarm, dialing pre-set phone numbers or switching on the lights in your smart home. Each button can be programmed with up to three different functions (single click, double click and hold) and has a reusable adhesive back so it can be fastened wherever is convenient. The creators of the device offer up a few more potential applications in the promotional video, below. Be warned though: the cheese factor is pretty high. https://www.youtube.com/watch?v=MDsjBh2xOgQ While we're still not entirely convinced that getting your phone out of your pocket is really all that strenuous, this little button does look pretty cool. According to the specs listed on their website, the button's silicon overmould means that it is able to withstand weather and dust, and can be used both indoors and out. It also comes in a number of different colours, and operates on a replaceable coin battery that lasts up to five years. You can currently preorder a Flic button for US$34 plus $5 shipping. You can also get discounts if you order more than one – just in case you were planning on decking out your house like the inside of a spaceship.
When the Emporium said goodbye to its old Fortitude Valley digs and relocated across the river at South Bank, it took its luxe look and feel with it. The relocated hotel is staycation central — but even if you can't book a room and make an indulgent night of it, you can still drop by the venue's glitzy new Piano Bar every day of the week. A cascading gold and crystal chandelier, plenty of shiny black mirrored surfaces and — of course — a piano are just the beginning at this cosy but lush spot, which is located on the hotel's ground floor. Naturally, live music is a highlight. Hear a pianist tickle the ivories from 5pm on Wednesdays, Fridays and Saturdays, and from 2pm on Sundays. On Thursdays from 6pm, and Friday and Saturday nights from 8pm, live jazz also echoes through the space. While you're enjoying the decor and the soundtrack, make your way through the Piano Bar's hefty 14-page drinks list. Classic cocktails (all $19), including four types of martini, take pride of place, but wine, beer and spirits lovers won't leave disappointed. If you're fond of whisky — Japanese, American and single malt — there's much to tempt your tastebuds. Piano Bar also offers a small food menu, starting with a cheese and finocchiona salami toasted sandwich ($12), as well as smashed avocado with poached eggs and smoked salmon ($16), all for brunch from 10am. All-day options include a whole baked camembert wheel ($20), poached king prawns ($20), a steak sandwich made with black angus beef sirloin ($28) and Clyde River rock oysters in half-dozen ($27) and full-dozen ($54) serves. Or, choose from one of five desserts — such as the signature zebra eclair with pineapple compote and liquorice curd ($9), and the 'Ferrero vs Tiramisu' ($18).
UPDATE: APRIL 21, 2020 — This popular bakery is still open for pickups in store and delivery around Brisbane, so you can still get gluten free doughnuts, brownies and salad bowls delivered to your door. Just visit the website to place an order. If you're a fiend for pastries but you're not so keen on gluten, then you're probably a Nodo fan. In addition to its signature dessert dish — gluten-free doughnuts that are baked, not fried — it whips up plenty of other treats. And, it's serving them up at its revamped Newstead cafe, which first opened back in 2015 and has just undergone quite the facelift. It's the latest step for the busy Ella Street spot, which initially started out slinging takeway doughnuts, then expanded to take over the space next door. In its new, concrete-heavy form — think concrete counters and polished concrete floors, plus clean lines and light-filled spaces aplenty — it now boasts an upgraded kitchen and bakery, as well as more seating. There's also table service if you're eating in and a grab-and-go system if you're nabbing a bite on your way out the door. While doughnuts and other baked goods remain Nodo's main focus, the relaunch brings something new, food-wise. That'd be brunch, so prepare to stop by mid-morning. Hungry diners can tuck into baguettes stuffed with crab and egg scramble, kimchi waffles topped with popcorn chicken, souffle hotcakes with yuzu gel and stacked brisket cheeseburgers. Then, wash it down with Coffee Supreme coffee or one of six types of healthy shakes, including chocolate, mint choc chip, coffee and caramel. Just save some room for the doughnuts, obviously.
Bluesfest has lifted the lid on its first artist announcement for 2019, the festival's 30th anniversary, and heading the stampede are famed American singers Jack Johnson and Ben Harper, who will play with his band The Innocent Criminals. Both artists will be performing exclusively at Bluesfest, with Johnson making his third appearance at the festival after first appearing in 2001 and again in 2014. Speaking of the noughties, both artists are sure to bring hefty dose of nostalgia along with them — expect both 'Diamonds on the Inside' and 'Banana Pancakes' to make an appearance. Other acts taking to the stage at Tyagarah Tea Tree Farm over the weekend include Aussies Kasey Chambers and Richard Clapton, six-piece soul band St. Paul and The Broken Bones and Grammy Award-winning jazz and funk collective Snarky Puppy. American singer and record producer George Clinton will perform one of his last live shows ever, before retiring in May, alongside his funk collective Parliament-Funkadelic. Anyway, here's the full lineup (so far). Better start making Easter plans because tickets are already on sale. BLUESFEST 2019 LINEUP Jack Johnson Ben Harper and The Innocent Criminals Ray Lamontagne George Clinton & Parliament-Funkadelic Snarky Puppy Kasey Chambers St Paul and The Broken Bones Nahko and Medicine for the People Tommy Emmanuel Colin Hay Arlo Guthrie Keb' Mo' Tex Perkins Allen Stone Richard Clapton Russell Morris Kurt Vile and The Violators Vintage Trouble The Black Sorrows The California Honeydrops Trevor Hall I'm With Her Larkin Poe Irish Mythen Elephant Sessions Greensky Blugrass Rockwiz Live + more to be announced. Bluesfest 2017 will run April 18 to April 22 at Tyagarah Tea Tree Farm, Byron Bay. More details and ticket info here. Image: Gavin Conaty and Andy Fraser.
The pointy end of this year's awards season is here. Every 12 months, and for months and months, the film industry celebrates the best and brightest movies that've graced cinemas — and now streaming as well — across a spate of accolades culminating in the Academy Awards. Exactly which movies the Oscars will shower love on is about to be revealed, with the gongs' 95th ceremony taking place on Monday, March 13, Australian and New Zealand time. Of course, sometimes the finest flicks, performances, directors and other talents truly do nab these coveted prizes, as seen with Parasite and Nomadland in recent years. Sometimes, movies initially considered surprises gather momentum, such as 2022's Best Picture win for CODA. And sometimes, the very best movie of the past year doesn't even get a look in — yes, Decision to Leave was criminally ignored among 2023's nominees, and no we'll never get over it. Whatever films you adored in 2022, some might end up with Hollywood's ultimate accolade — and plenty of deserving winners will be anointed. Will this be the year that Cate Blanchett earns a third Oscar? That the Academy shows how much it loves actors playing real-life people — again? That a Marvel movie wins an acting Oscar? That movies about donkeys steal the show? Could two categories, at least, make history? We've done some assessing and prognosticating; here are our predictions: BEST MOTION PICTURE The nominees: All Quiet on the Western Front Avatar: The Way of Water The Banshees of Inisherin Elvis Everything Everywhere All At Once The Fabelmans Tár Top Gun: Maverick Triangle of Sadness Women Talking Should win: Everything Everywhere All At Once Could win: Top Gun: Maverick Will win: Everything Everywhere All At Once Every year delivers a heap of phenomenal movies — if you think otherwise, you're just not watching enough — and 2022 was no different. And, some of those films are competing in this very category, including the sublime and lingering The Banshees of Inisherin. Still, nothing else among the ten contenders boasts the energy that Everything Everywhere All At Once sports. Everyone remembers when they first saw Everything Everywhere All At Once. Not every film earns that feat, but this Michelle Yeoh-starring date with the multiverse is simply unforgettable. It should win. It will win. But, the Oscars do have a history of loving blockbusters such as Titanic and The Lord of the Rings: The Return of the King — and Top Gun: Maverick might ride its need for speed to the top spot. BEST DIRECTOR The nominees: Martin McDonagh, The Banshees of Inisherin Daniel Kwan and Daniel Scheinert, Everything Everywhere All At Once Steven Spielberg, The Fabelmans Todd Field, Tár Ruben Östlund, Triangle of Sadness Should win: Daniel Kwan and Daniel Scheinert, Everything Everywhere All At Once Could win: Steven Spielberg, The Fabelmans Will win: Daniel Kwan and Daniel Scheinert, Everything Everywhere All At Once After awarding its Best Director prize to Chloé Zhao and Jane Campion over the past two years, tripling the number of women who've earned the award — from a paltry one to a just-as-dismal three — in 94 years, the Academy once again went back to deciding that ladies weren't among the past year's top helmers. To say that's disappointing is an understatement: Sarah Polley's Women Talking and Charlotte Wells' Aftersun both earned nominations elsewhere, but apparently directed themselves. The Daniels, aka Kwan and Scheinert, made a stunner with Everything Everywhere All At Once, and should be rewarded as a result. Don't discount Steven Spielberg for his supremely personal The Fabelmans, though — which, yes, we also said last year when he was competing for West Side Story. This'd be his first in almost a quarter-century (since Saving Private Ryan), and the Oscars do love sharing the love with this gong, awarding something that doesn't win Best Picture or get much else. PERFORMANCE BY AN ACTRESS IN A LEADING ROLE The nominees: Cate Blanchett, Tár Ana de Armas, Blonde Andrea Riseborough, To Leslie Michelle Williams, The Fabelmans Michelle Yeoh, Everything Everywhere All At Once Should win: Michelle Yeoh, Everything Everywhere All At Once Could win: Michelle Yeoh, Everything Everywhere All At Once Will win: Cate Blanchett, Tár Of course Cate Blanchett should 100-percent receive her third Oscar for Tár. Yes, she already has two, for The Aviator and Blue Jasmine. This isn't her last shot at adding another to her mantle, and she'll win more from here. But she genuinely is better than she's ever been playing this conductor drama's definitely not-real namesake. And, she likely will win. She deserves to. But in what'd be her first Academy Award — she's as the first nominee in the category who identifies as Asian, too — Michelle Yeoh also deserves the trophy for Everything Everywhere All At Once. It's a movie that knows how much of a star she is to the point that it even baked it into its concept, and a film that definitely wouldn't be what it is without her. Also, forget the controversy surrounding Andrea Riseborough's To Leslie nomination; she won't win, but she's earned her spot. PERFORMANCE BY AN ACTOR IN A LEADING ROLE The nominees: Austin Butler, Elvis Colin Farrell, The Banshees of Inisherin Brendan Fraser, The Whale Paul Mescal, Aftersun Bill Nighy, Living Should win: Colin Farrell, The Banshees of Inisherin Could win: Brendan Fraser, The Whale Will win: Austin Butler, Elvis Play a real person, go home clutching a statuette after Hollywood's night at nights: that's how things have turned out for Colin Firth, Daniel Day-Lewis, Matthew McConaughey, Eddie Redmayne, Leonardo DiCaprio, Gary Oldman, Rami Malek and Will Smith since 2010. And Austin Butler is that electrifying in Baz Luhrmann's Elvis as, of course, Elvis Presley. His onstage efforts in the concert scenes alone are goosebump-giving levels of spectacular. Colin Farrell's work in The Banshees of Inisherin is far less flashier, of course, but no less exceptional. In a movie filled with exquisite portrayals — three of his costars are nominated, too — he's never less than magnetic, especially at conveying pain and confusion. The Brenaissance may nab Brendan Fraser the accolade for The Whale, though, because Hollywood loves a comeback — even if Fraser hasn't ever been far from screens. PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE The nominees: Angela Bassett, Black Panther: Wakanda Forever Hong Chau, The Whale Kerry Condon, The Banshees of Inisherin Jamie Lee Curtis, Everything Everywhere All At Once Stephanie Hsu, Everything Everywhere All At Once Should win: Kerry Condon, The Banshees of Inisherin Could win: Angela Bassett, Black Panther: Wakanda Forever Will win: Jamie Lee Curtis, Everything Everywhere All At Once Give the cast of The Banshees of Inisherin all the awards. Better Call Saul star Kerry Condon is heartbreaking in the Irish dramedy — playing the kind but frustrated sister who can see both sides to its central feud, and whose own wants and needs are always ignored by the either chatting or fighting men around her. And, she might capitalise upon Everything Everywhere All At Once's Jamie Lee Curtis and Stephanie Hsu competing against each other. That said, give the cast of Everything Everywhere All At Once all the awards as well. Curtis has momentum fresh off a Screen Actors Guild win, in what's somehow the acting veteran's first-ever Oscar nomination, but Hsu would be just as worthy a winner. Golden Globe-recipient Angela Bassett may just make history for winning as the first-ever Marvel performance, however — she is Black Panther: Wakanda Forever's powerhouse. PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE The nominees: Brendan Gleeson, The Banshees of Inisherin Brian Tyree Henry, Causeway Judd Hirsch, The Fabelmans Barry Keoghan, The Banshees of Inisherin Ke Huy Quan, Everything Everywhere All At Once Should win: Ke Huy Quan, Everything Everywhere All At Once Could win: NA — because Ke Huy Quan will win. Will win: Ke Huy Quan, Everything Everywhere All At Once Last year, the Best Supporting Actress category was a lock for months. Ariana DeBose was always going to win for West Side Story, and she did. This year's equivalent is the Best Supporting Actor race, with Ke Huy Quan set to shine for one helluva return. As he's spoken about in plenty of speeches as he keeps collecting well-deserved trophies, the Everything Everywhere All At Once star went from childhood fame in Indiana Jones and the Temple of Doom and The Goonies to virtually nothing before The Daniels came along. Quan helps give Everything Everywhere All At Once its heart and soul, and he'll give the speech of the Oscars: mark our words now. If there is an upset, Brendan Gleeson and Barry Keoghan from The Banshees of Inisherin loom as the biggest threats, albeit vying against each other, and Brian Tyree Henry's nomination for Causeway should be the first of many. BEST ORIGINAL SCREENPLAY The nominees: The Banshees of Inisherin, Martin McDonagh Everything Everywhere All At Once, Daniel Kwan and Daniel Scheinert The Fabelmans, Steven Spielberg and Tony Kushner Tár, Todd Field Triangle of Sadness, Ruben Östlund Should win: Tár, Todd Field Could win: Everything Everywhere All At Once, Daniel Kwan and Daniel Scheinert Will win: The Banshees of Inisherin, Martin McDonagh Every year has them: the films that could earn a swag of Oscars, and would against different company, but only end up with a gong or two. In 2023, it looks as if Tár and The Banshees of Inisherin are those two movies. The latter should be rewarded for Martin McDonagh's layered original screenplay, and the former also deserves to be — Todd Field's Tár script is a masterclass in complexity. McDonagh has two screenwriting nominations before, for In Bruges and Three Billboards Outside Ebbing, Missouri. Field has the same for In the Bedroom and Little Children. The Daniels might just pip them both for Everything Everywhere All At Once — or, if Spielberg doesn't win Best Director, maybe this is where The Fabelmans gets the icon some love. BEST ADAPTED SCREENPLAY The nominees: All Quiet on the Western Front, Edward Berger, Lesley Paterson and Ian Stokell Glass Onion: A Knives Out Mystery, Rian Johnson Living, Kazuo Ishiguro Top Gun: Maverick, screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; story by Peter Craig and Justin Marks Women Talking, Sarah Polley Should win: Women Talking, Sarah Polley Could win: All Quiet on the Western Front, Edward Berger, Lesley Paterson and Ian Stokell Will win: Women Talking, Sarah Polley Women Talking might've directed itself to a Best Picture nomination in the Academy's eyes, but it didn't write itself. Adapting Miriam Toews' 2018 novel of the same name, which draws on events in a Bolivian Mennonite colony from 2005–9, actor-turned-filmmaker Sarah Polley should earn her first win from two screenwriting nominations — the first was for 2008's Away From Her — for her powerful efforts, which do indeed make women talking the most important thing imaginable. Edward Berger, Lesley Paterson and Ian Stokell's work scripting All Quiet on the Western Front — adapting it again from the 1929 anti-war novel — should put up a fight, though. And who doesn't want to live in a world where Rian Johnson picks up a gong for Glass Onion: A Knives Out Mystery? It won't happen, as it didn't with his Knives Out nomination either, but a win here would be glorious. BEST INTERNATIONAL FEATURE FILM The nominees: All Quiet on the Western Front Argentina, 1985 Close EO The Quiet Girl Should win: Close Could win: Argentina, 1985 Will win: All Quiet on the Western Front Sometimes, the Academy recognises that movies in languages other than English are regular movies, too, nominating them for Best Picture as well as the field currently called Best International Feature Film. Obviously, that should just be standard, but this is one such year. In fact, All Quiet on the Western Front has scored recognition all over the place, notching up nods in nine categories. It'd be an immense surprise if the German-language flick doesn't garner the international prize. Still, courtroom drama Argentina, 1985 picked up the Golden Globe, and could repeat the feat at the Oscars. From the five nominees, sensitive, tender and stunning Belgian effort — and Cannes award-winner — Close is hauntingly exquisite from start to finish, and a standout among impressive titles. Again, as already mentioned, Decision to Leave should be here (and everywhere). BEST ANIMATED FEATURE The nominees: Guillermo del Toro's Pinocchio Marcel the Shell With Shoes On Puss in Boots: The Last Wish The Sea Beast Turning Red Should win: Marcel the Shell With Shoes On Could win: Turning Red Will win: Guillermo del Toro's Pinocchio There's never a lack of Pinocchio films on our screens, and Guillermo del Toro's Pinocchio was just one in 2022. What a version it is; a feat of gorgeous stop-motion, and a movie that inescapably belongs to its Nightmare Alley and The Shape of Water director. It's also a spin on Frankenstein in its own way, marvellously so. And, it's a wonder that'll make an ace Best Animated Film winner — but so would the sweet, adorable, thoughtful, intelligent and meta Marcel the Shell With Shoes On, which is even better as a feature film than as a viral smash. Pixar is a heavy-hitter in this category, of course, so Turning Red is definitely in with a shot. BEST DOCUMENTARY FEATURE The nominees: All That Breathes All the Beauty and the Bloodshed Fire of Love A House Made of Splinters Navalny Should win: All the Beauty and the Bloodshed Could win: Fire of Love Will win: Navalny What a year it is for documentary filmmaking when All That Breathes and A House Made of Splinters look unlikely to nab the Best Documentary Feature Oscar — and when Moonage Daydream wasn't even nominated. This field comes down to Navalny, Fire of Love and All the Beauty and the Bloodshed, each of which are astonishing in their own ways. The scope of All the Beauty and the Bloodshed, and the empathy within it, means that this Venice Golden Lion-winner about photographer Nan Goldin really should emerge victorious. But, telling French volcanologists Katia and Maurice Krafft's tale using wonderful archival footage, Fire of Love was one of 2022's best films. Expect Navalny to win, with this portrait of Vladimir Putin opponent Alexei Navalny also a gripping thriller. BEST ORIGINAL SCORE The nominees: All Quiet on the Western Front, Volker Bertelmann Babylon, Justin Hurwitz The Banshees of Inisherin, Carter Burwell Everything Everywhere All At Once, Son Lux The Fabelmans, John Williams Should win: Babylon, Justin Hurwitz Could win: The Fabelmans, John Williams Will win: Babylon, Justin Hurwitz More often than you might expect, a year rolls around where neither John Williams or Hans Zimmer get Oscar nominations. One of the Newmans — cousins Thomas or Randy — tend to fill the gap, or Alexandre Desplat. This year is Williams' turn as a contender again, earning his whopping 53rd nod. He's won five times so far from that, and The Fabelmans might be his sixth. This is a jam-packed field with no weak links, but Justin Hurwitz should add to his two La La Land wins. His score for Babylon is propulsive, vibrant, energetic and largely responsible for the film's mood. Yes, it's jazzy, naturally — his latest collaboration with jazz-loving director Damien Chazelle is set in Jazz Age Hollywood, after all. BEST ORIGINAL SONG The nominees: 'Applause', Tell It Like a Woman (Diane Warren) 'Hold My Hand', Top Gun: Maverick (Lady Gaga and BloodPop) 'Lift Me Up', Black Panther: Wakanda Forever (music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; lyrics by Tems and Ryan Coogler) 'Naatu Naatu', RRR (music by MM Keeravaani, lyrics by Chandrabose) 'This Is a Life', Everything Everywhere All At Once (music by Ryan Lott, David Byrne and Mitski, lyrics by Ryan Lott and David Byrne) Should win: 'Naatu Naatu', RRR (music by MM Keeravaani, lyrics by Chandrabose) Could win: 'Lift Me Up', Black Panther: Wakanda Forever (music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; lyrics by Tems and Ryan Coogler) Will win: 'Naatu Naatu', RRR (music by MM Keeravaani, lyrics by Chandrabose) Maybe you're the kind of Oscars watcher that uses the song performances to grab a bite. Forget your usual routine — don't miss this year's rendition of 'Naatu Naatu'. The infectious and joyous track from RRR will win, and should, for a movie that should've had a better showing in the nominations. Despite Bollywood's stature, an Indian film has never been nominated outside of Best International Feature Film before, so this'll be a history-making victory. Still, Black Panther: Wakanda Forever's 'Lift Me Up' could sweep in; Rihanna's slot at the Super Bowl didn't hurt its fortunes. And Lady Gaga's 'Hold My Hand' from Top Gun: Maverick is also in with a good chance. BEST CINEMATOGRAPHY The nominees: All Quiet on the Western Front, James Friend Bardo, False Chronicle of a Handful of Truths, Darius Khondji Elvis, Mandy Walker Empire of Light, Roger Deakins Tár, Florian Hoffmeister Should win: Empire of Light, Roger Deakins Could win: Empire of Light, Roger Deakins Will win: Elvis, Mandy Walker Another field where every entry is excellent, the Best Cinematography category could also make history. Horrifically, it wasn't until the 2018 ceremony that a female cinematographer — Mudbound's Rachel Morrison — was even nominated. Australia's own Ari Wegner received the award's second-ever nomination to go to a woman in 2022 for The Power of the Dog, but didn't win either. Fellow Aussie Mandy Walker should go one better for Elvis; however, she has stiff competition. Cinematography great Roger Deakins does stellar work with Empire of Light; a movie about the power of cinema set in a cinema, it has to look perfect, and it does. And James Friend could sneak in for All Quiet on the Western Front, especially if it doesn't capitalise upon all of its nominations in other fields. BEST FILM EDITING The nominees: The Banshees of Inisherin, Mikkel EG Nielsen Elvis, Matt Villa and Jonathan Redmond Everything Everywhere All At Once, Paul Rogers Tár, Monika Willi Top Gun: Maverick, Eddie Hamilton Should win: Tár, Monika Willi Could win: Top Gun: Maverick, Eddie Hamilton Will win: Everything Everywhere All At Once, Paul Rogers Thanks to editing wins at the BAFTAs, Critics Choice, Film Independent Spirit and American Cinema Editors Awards, Best Film Editing is Everything Everywhere All At Once's category to lose — but there's one caveat around Paul Rogers' likely win. Also at the ACE Awards, Top Gun: Maverick 's Eddie Hamilton won, because that ceremony gives out gongs for dramas and comedies separately. So, if Top Gun: Maverick takes the Academy's breath away, don't be surprised. Elvis, The Banshees of Inisherin and Tár also benefit from exacting splicing — indeed, everything in this field except The Banshees of Inisherin delivers a masterclass in overt editing with style and purpose. Wondering where to watch this year's Oscar contenders? We've put together a rundown for both Australia and New Zealand.
