Michelangelo's David means a whole lot of things to Western culture. He's a perfect specimen of the Renaissance man, all toned and taut and towering. He's a biblical hero; defeating Goliath in awe-inspiring fashion and becoming the original underdog. We've marvelled at his perfection for generations and now, he may be brought down by the fact he has weak ankles. It's poetic, really. Italian researchers have recently found a number of weak spots in the iconic statue's ankles they claim could be fatal — in as much as anything can be fatal to a statue — in the coming months. At a whopping 5,572kg, the BBC report David could collapse under his own weight if disturbed by as much as nearby roadworks. With microfractures also appearing in his legs and supporting tree stump, David's prognosis doesn't look great for a number of reasons. Firstly, the marble Michelangelo used is of a poor quality and fragile at the best of times. Secondly, his pose is naturally off-centre and La Gazetta del Sud reported that he was positioned on a dangerous angle in the city's main square for three centuries. Thirdly, he's 510 years old. You'd be showing some wear and tear at that age too. This isn't David's first time in the wars either. During a riot in 1529 he lost the lower half of his left arm and in 1991 he suffered a smashed toe at the hand of another artist. These injuries have all been restored and David regularly undergoes superficial restorations in the way of cleaning. But addressing these structural problems is a whole separate issue — is it our place to interfere or should we let David go out gracefully? Some historians have previously argued that David should go into hiding in order to retain his aura and if that is to happen, now seems like the opportune time. "I'd like to see [it] disappear for a couple of hundred years, so it's expunged from our consciousness and our popular references," said historical novelist Sarah Dunnant. "[Then] it can be found again — like the Statue of Liberty at the end of the Planet of the Apes — and seen again with a sense of awe." Maybe this is the answer. David's been on his feet for an awfully long time and perhaps he deserves a break. Surely any attempts to amend the structural integrity of his marble would end in some kind of humiliating amputation or plaster leg cast. At what point do we let history run its course? Picture it: the man who slew Goliath in one mighty blow taken down by his Achilles' heel. How appropriate. Via BBC and ABC.
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.
Add three more names to the hefty list of big music stars heading Australia's way in 2023: Ice Cube, Cypress Hill and The Game. In what's basically a 90s and 00s hip hop and rap fan's dream come true, the trio are teaming up on the same bill for an Aussie arena tour, hitting stages Down Under in autumn. This isn't just any old nostalgia-dripping tour, either. It'll also mark the 30th anniversary of two influential albums: Ice Cube's Lethal Injection and Cypress Hill's Black Sunday. The former was the N.W.A member's fourth solo release, and included singles 'Really Doe', 'You Know How We Do It' and 'Bop Gun (One Nation)', while the latter gave the world 'Insane in the Brain', 'Hits from the Bong', 'When the Shit Goes Down' and 'I Ain't Goin' Out Like That'. Expect to hear plenty of those songs get a whirl in late March — and plenty more — starting at Melbourne's Rod Laver Arena, then jumping to the Adelaide Entertainment Centre, Qudos Bank Arena in Sydney and the Brisbane Entertainment Centre. For Ice Cube, the tour marks his first visit to Australia since 2018, when he became the first-ever rap artist to headline at the Sydney Opera House. "I love performing in Australia. It's been four long years since my last visit and I can't wait to return for a couple of history-making shows in 2023," said the rapper, aka O'Shea Jackson Sr (and yes, his son O'Shea Jackson Jr did play him in N.W.A biopic Straight Outta Compton). Ice Cube and Cypress Hill will be joined by The Game, who came to fame in the 00s in the West Coast scene. The US talents will also feature Aussie talent in support, with exactly who else will take to the stage yet to be announced. ICE CUBE, CYPRESS HILL AND THE GAME 2023 AUSTRALIAN TOUR: Thursday, March 23 — Rod Laver Arena, Melbourne Saturday, March 25 — Adelaide Entertainment Centre Sunday, March 26 — Qudos Bank Arena, Sydney Tuesday, March 28 — Brisbane Entertainment Centre Ice Cube, Cypress Hill and The Game will tour Australia in March 2023. Ticket pre-sales start at 2pm local time on Tuesday, November 22, with general sales from 2pm on Wednesday, November 23. Head to the tour website for further details.
Those currently working from home have probably seen two major changes to their routine: less shoes and more snacks. To help with the latter, Australia's much-loved biscuit maker Arnott's is opening its vault and releasing some of its coveted recipes — for the first time in history. First up in the snack expert's Big Recipe Release is the second best bikkie in the assorted creams pack: the Monte Carlo. The Kingston is, undeniably, number one. But, arguments aside, the Monte Carlo definitely goes quickly, and is definitely a great cooking project to tackle during lockdown. As you'd expect, the recipe does call for flour, but we've rounded up some of the spots selling the essential ingredient across the country, which aren't supermarkets. Australia's oldest baker will continue to release a new recipe for one of its famous biscuits every week until social distancing regulations are lifted. Next up, will it be the Tim Tam? Mint Slice? Pizza Shapes? We'll have to wait and see. In the meantime, though, here's the Monte Carlo recipe: ARNOTT'S MONTE CARLO For the biscuit 125 grams butter, softened 125 grams caster sugar ½ teaspoon finely grated lemon rind 1 teaspoon vanilla essence 2 tablespoons golden syrup 1 egg 40 grams desiccated coconut 240 grams plain flour For the cream 60 grams butter 150g pure icing sugar 2 teaspoons milk Raspberry jam Method Preheat oven to 170°C. Line a baking sheet with baking paper. In a medium mixing bowl, place butter, sugar, lemon rind, vanilla and golden syrup. Beat for approximately one minute. Add egg and beat for a further minute. Do not overbeat. Stir in sifted flour and coconut until well combined. Place half the dough mixture on a piece of baking paper and wrap to form a log. Repeat with remaining dough mixture. Place in refrigerator for 15 minutes or until slightly firm. Using a serrated knife, cut into 8 millimetre slices. Place on baking sheet and bake for 14 minutes or until golden. Allow to cool on tray for five minutes then place on a cooling rack to cool. For the cream filling, place butter, sugar and milk in a medium bowl and beat until light and fluffy. Sandwich cooled biscuits with jam and cream.
Plenty of different noises have echoed across South Bank over the years, from the excited splashes of folks swimming around in the precinct's manmade beaches through to the echoes of jazz by the river, food festivals filled with munching Brisbanites and everything that the piazza has ever hosted. The next sounds that the inner-city spot will hear: the Ministry of Sound, thanks to its huge dance music orchestra show. When anyone hits 30, they tend to look backwards — to reminisce, lament leaving their twenties behind and avoid accepting that they've just hit a big milestone birthday. Ministry of Sound marked that occasion last year, and it's also getting nostalgic. The brand that started as a London club night back in 1991 has been touring an orchestral gig around Australia, in fact, that's filled with three decades of dance music bangers. First announced last year, and finally heading to Brisbane's Riverside Green from 2–10pm on Saturday, November 19, Ministry of Sound Classical is the answer to a question you didn't know you had. Ever wondered what classical renditions of Basement Jaxx, Darude, Röyksopp, Robin, Underworld, Moby, Fisher and more — played by an orchestra, and with live vocals — would sound like? This is your chance to find out. On the bill: the Ministry of Sound Orchestra, of course, as well as Groove Terminator, Sneaky Sound System, Touch Sensitive and John Course. Other DJs and performers set to do their thing include Vinyl Slingers, GRVES, Rousey, Jen E and Matt Kitshon. Conductor Vanessa Perica will lead the musicians, while live vocals will hail from Sneaky Sound System's Miss Connie, plus Reigan, Rudy, Karina Chavez and Lady Lyric. There'll also be food trucks slinging bites to eat, picnic hampers for you to graze through while you listen, a champagne bar pouring the obvious and cocktails to sip, too. Oh, and a killer riverside backdrop. As for what you'll be listening to, the list of tunes getting the orchestral treatment also spans songs by Robert Miles, Cafe del Mar, Laurent Garnier, Shapeshifter and Temper Trap.
Sculpture by the Sea is a landmark event in Sydney's cultural calendar each year, drawing huge crowds to the two-kilometre Bondi-Tamarama coastal walk every October to gaze at the larger-that-life artworks. Unfortunately, as with many events, 2020 wasn't the exhibition's year. Plans for the event were forced to be abandoned, although Sydneysiders were treated to Milan Kuzica's towering fluro sculpture Green Life on the Tamarama foreshore as a consolation. When organisers originally announced there would be no 2020 edition of Sculpture by the Sea, an early 2021 date was floated. Sadly, this date has been pushed back again and large-scale art fans will have to wait until spring for the event's latest iteration, with October 2021 being announced as the new, pandemic-pending date for the exhibition. Organisers were optimistic an early 2021 event could be achieved but failed to secure an exemption from NSW Health Department last October. The event will instead go ahead in October with the same lineup of artists originally planned for 2020, plus two or three new additions scheduled to join the roster. Sculpture Rocks, a collaboration between Sculpture by the Sea, Place Management NSW and the Ports Authority of NSW that was set to see Japanese sculpture take over Campbells Cove in The Rocks this January, has also been postponed. The smaller-scale sculpture event is now planned for mid-2021. It has been a turbulent couple of years for the team behind the beloved Sydney art exhibition. In 2019, organisers clashed with Waverley Council over the design of a new path, threatening to move the event out of the council area. The planned upgrades to the area were completed in October 2019 before Sculpture buy the Sea came to an agreement with Waverley Council to remain in Bondi until at least 2030. Sculpture by the Sea is currently aiming to take place in October 2021. Stay up to date with the latest announcements at sculpturebythesea.com. Images: Trent Van der Jagt
At this Newstead cafe, coffee isn't just made, served and drunk by eager caffeine fiends — it's also grown and roasted, too. In its first Brisbane outpost, Melbourne's beloved Industry Beans has combined a coffee spot, roastery, greenhouse and event space into one sprawling inner-city venue, converting a Proe Street warehouse into its flagship location. If you're serious about your caffeine, you'll already be hankering for a cuppa. Founded by brothers Trevor and Steven Simmons, Industry Beans has picked up quite a following in its hometown since 2013, before launching in Sydney in 2019 to much fanfare and then hitting Brisbane in 2020. And if you're a newcomer to the coffee outfit, expect state-of-the-art equipment, specialty brews, an impressive range of brunch-style food and minimalist interior design flourishes. Given that Industry Beans' Melbourne joint was the first Aussie cafe to use the La Marzocco Modbar — a coffee machine that sits under the bench, rather than on the countertop — the equipment is an integral part of its first Brisbane venue. Like their interstate counterparts, Brisbanites can watch as their coffees are whipped up on the Italian machine, with customers able to view the whole coffee-making process. As for what you'll be drinking, Industry Beans has created a new concoction for its Brisbane outpost: the Newstead espresso blend. It also serves limited seasonal blends, offers up two new single origins each fortnight, and is particularly well-known for its cold brews. Choose between the tapioca pearl-filled specialty bubble coffee and the wattleseed Fitzroy Iced. Food-wise, the menu incorporates coffee in creative ways — try the coffee-rubbed wagyu burger (with chilli jam, cheddar and pickled zucchini on a brioche bun) or the chilli barramundi folded eggs (with sambal oelek and bonito flakes). Other highlights include porcini-dusted eggs with duxelles, kale and truffle oil, as well as the tea-soaked overnight oats with caramelised ginger foam. While you're sipping your cuppa or tucking into your daytime meal, you'll be doing so in sleek surroundings. White and timber feature heavily in the cafe and its enclosed courtyard, as does natural light and greenery, including a full-grown tree in the main dining area. On the roastery side of things, the Newstead site covers the company's entire wholesale and cafe roasting operations in Queensland — and several varieties of coffee plants grow in the greenhouse, too.
Prepare to exclaim "yeah, science!" like Jesse Pinkman — and to see a whole lot more of Aaron Paul's Breaking Bad character. The acclaimed series is making a comeback, cooking up a movie that'll serve as a sequel to the show's finale. In the spotlight: Walter White's former student and protege, who might just be in a spot of trouble. While this follow-up will span a single two-hour package, rather than span multiple episodes, it is still coming to a small screen near you. As revealed by The Hollywood Reporter, it's heading to Netflix before screening in the US on AMC, the network behind the original show. Just when it'll hit the platform hasn't been announced. First revealed last year, the film has a working title of Greenbriar, and begin shooting back in November. Plot details are scarce; however it'll reportedly focus on Pinkman and chart a kidnapped man's escape. It hasn't been confirmed if the former and the latter are one and the same, but it doesn't seem like much of a stretch to put them together. As Better Call Saul diehards are well aware, Breaking Bad has never completely gone away since the OG show wrapped up in 2013; however fans eager to look forward in the show's chronology, not backwards at the early life of Bob Odenkirk's shady lawyer Saul Goodman, have something to add to their must-watch list. There's no word yet on who else will feature in the film — and although Bryan Cranston confirmed the news of the movie, but whether he's in it or what it's about is still the subject of rumour. Via The Hollywood Reporter.
One of the enduring joys of staring at a screen, big or small, is the nifty knack that movies and TV shows can have for delivering treasures viewers didn't know they needed. We should've realised we had to see Michelle Yeoh hop across dimensions to save the world before Everything Everywhere All At Once arrived, for instance. We should've gleaned that Timothée Chalamet would make a compelling cannibal prior to Bones and All, too. And, it should've been obvious that Adam Scott plunging into an office nightmare would be instantly addictive viewing, but it took Severance to make it plain. Now, Shrinking joins the list by giving the world what we've truly been lacking: a delightfully gruff Harrison Ford co-starring in a kind-hearted sitcom. Creating this therapist-focused series for Apple TV+ — with its first two episodes hitting on Friday, January 27, and the remainder of the ten-episode first season dropping week by week afterwards — Bill Lawrence, Brett Goldstein and Jason Segel didn't miss Shrinking's immediate potential, though. Lawrence and Goldstein add the show to their roster alongside Ted Lasso, which the former also co-created, and the latter stars in as the also wonderfully gruff Roy Kent to Emmy- and Golden Globe-winning effect. It too bathes in warmth amid chaos, all while understanding, exploring and accepting its characters as the flawed folks we all are. As for Segel, he's no stranger to playing the type of super-enthusiastic and super-earnest figure he inhabits again here, as seen in Freaks and Geeks and How I Met Your Mother. If Ted Lasso downplayed the soccer, instead emphasising the psychologist chats that were a pivotal part of season two, Shrinking would be the end result. Also, if Scrubs, another of Lawrence's sitcoms, followed doctors specialising in mental health rather than working in a hospital, Shrinking would also be the outcome. It's worth remembering that Scrubs featured a very funny and clever nod to Ford, which likely makes his casting here a dream come true for Lawrence. Round up all of these familiar elements, details brought over from elsewhere and past references, and Shrinking turns them into a series that's thoughtful, supremely entertaining, well-cast and well-crafted — and an engaging and easy watch. Ford is the biggest name among Shrinking's many recognisable faces, because a career forever tied to the Blade Runner, Star Wars and Indiana Jones franchises will do that, but he's in supporting mode. Segel (Windfall) leads the show as Jimmy Laird, a therapist who is initially seen waking up his empty-nester neighbour Liz (Christa Miller, a Scrubs alum and also Lawrence's wife) in the deep of night while hanging out with sex workers and self-medicating around his backyard pool. She's not mad, however, because he's been like this for some time — and she's been helping keep his life running, primarily by being a surrogate parent for his teenage daughter Alice (Lukita Maxwell, Generation). A year back, Jimmy's wife Tia (Lilan Bowden, Murderville) passed away; saying that he's struggling to cope is an understatement. As overused and irritating as the dead-wife trope is — men can flounder all by themselves without a deceased spouse to blame — Shrinking thankfully unpacks the concept. It explores how Jimmy's all-or-nothing attitude has always been part of his persona, questions his idealised view of his marriage, and establishes that his faults weren't suddenly sparked by going through what nobody ever wants to. Co-scripting as well, Lawrence, Goldstein and Segel also ensure that Shrinking examines how loss affects more than just middle-aged white men unexpectedly without wives, courtesy of not just Alice but also Jimmy's colleague and Tia's best friend Gaby (Jessica Williams, Fantastic Beasts: The Secrets of Dumbledore). And, while never underplaying the existence-altering weight of grief, it spies how everyone is the sum of their best and worst experiences, including Jimmy and Gaby's boss Paul (Ford, The Call of the Wild), Liz, Jimmy's estranged pal Brian (Michael Urie, Younger) and Jimmy's patients. Shrinking isn't called Shrinking without capturing its therapists in action; add it to the pile of recent fare, such as The Patient and The Shrink Next Door, that jump on and off the couch. Shrinking's twist: after taking his Liz-interrupted evening as a wakeup call, and attempting to work through his mourning and be an attentive dad again, he decides to ignore ethics, get frank and shower his patients with tough truths. Tired of discussing their woes endlessly without seeing changes, and suffering from compassion fatigue, he makes drastic moves — threatening not to be Grace's (Heidi Gardner, Saturday Night Live) shrink any longer if she doesn't leave her abusive husband, for example, and taking new patient Sean (Luke Tennie, CSI: Vegas), a young war veteran with anger issues who'll soon be living in Jimmy's pool house, to box out his feelings in the ring. Both sweetness and melancholy linger in Shrinking as it finds as many ways as it can to layer in one of therapy's key takeaways: that working through everything that life throws your way, and also working on yourself in the process, is never simple. Talk reigns supreme, whether Jimmy is desperately trying to get back on Alice's good side, Alice is confiding in Paul instead, Paul makes what he says count, Gaby gets drawn deeper into Jimmy's dramas or Sean is endeavouring to move on from his military service while avoiding confronting its impact. An embracing, cosy, feel-good vibe radiates, too — in a series that's another hearty hug, as Ted Lasso is, but one that's sharper about the pain that everyone carries for their own multitude of reasons. Shrinking could've just gifted viewers Ford's second-ever regular small-screen role in his almost six-decade career — arriving swiftly after his first in Yellowstone prequel 1923, in fact — and been happy coasting on Ford's presence. He's unsurprisingly exceptional, and wanting more of his no-nonsense but soft-hearted veteran shrink if a second season eventuates springs exactly as expected going in. He's pitch-perfect as the show's resident grump, and at fleshing out the reasons why. He's fragile when diving into Paul's own troubles and regrets, warmly wise dispensing advice to Jimmy and Alice, and hilarious when he's getting blunt and also singing terrible tunes. And he's just one terrific component that makes Shrinking click, alongside knowing that being alive is constantly juggling an array of components and making the most of whatever you can. Check out the trailer for Shrinking below: Shrinking streams via Apple TV+ from Friday, January 27.
What's better than a brand new arts and culture precinct that literally glows? One that matches its bright sights with a weekly dose of music, obviously. Indeed, if you haven't already made your way down to the former, aka South Bank newbie Flowstate, then the latter is all the excuse you need. From March 2 onwards, kicking off at 5.30pm each week, Friday Feels will be taking over the Flowstate green to start your weekend with a party. A different DJ will hit the decks each time around, spinning tracks that'll have you forgetting about work in no time. And if you're wondering who'll be making your toes tap, Joey Taouk will do the honours first up, with Rosie Turner, The Gaitling Gun and DJ Bacon also confirmed over the coming months.
Back in 1862, when Don Facundo Bacardi created the rum that would bear his name, little could he know its importance to one particular drink. At the time, the mojito already existed in another guise; however, with the addition of Bacardi, the clear, fragrant jumble of fresh mint, sugar, lime juice and ice become something extra special. That's one of the reasons why the brand is known as a pioneer of rum cocktail culture, and why they're throwing Bacardi Rum Month to celebrate. Although every day is a good day to knock one back, International Mojito Day on July 11 is when you'll find Brisbane ablaze with sweet but tart taste sensations — including at the city's five best mojito spots. COVE BAR & DINING South Bank isn't quite the same as Cuba, but enjoying sweeping water views and laidback dining in elegant surrounds still feels fun and tropical in the river city. A shareplate-heavy menu, coupled with a considerable cocktail list, certainly doesn't dampen that relaxed atmosphere. Indeed, in such a scenic spot and with such a chilled mood, a mojito is the ideal beverage. Cove Bar & Dining make theirs with Bacardi Carta Blanca, fresh lime juice, soda water, castor sugar and mint leaves. They call it the original mojito for a reason. LARUCHE Many a big night out has started and ended at Laruche, just a hop, skip and jump from the Fortitude Valley mall on Ann Street. When it comes to their mojito, think winter, in a variation taken from a twist on another classic drink: the Mulata daiquiri. Called the Mulata mojito — what else? — it includes white crème de cacao, house-made falernum (aka a syrup typically made of almonds, ginger, cloves, lime and vanilla) and ginger beer. A summertime drink this is not, but who said mojitos couldn't warm you up when it's cold outside? Not us. LYCHEE LOUNGE If there was a time before Lychee Lounge became one of Brisbane's premier cocktail bars, no one remembers it. Everyone does remember their Barbie doll chandeliers and fish-scaled walls, though, as well as the eclectic but tasty drinks list. In the same quirky spirit, their take on the mojito is rather unique and unusual. Showcasing the freshness of the cocktail while highlighting the richer characters of aged Bacardi rums is the aim, with dashes of raspberry, pomegranate and burnt honey for good measure. That word you're looking for? It's yum. PAPA JACKS There's nothing standard about the Creole-themed Papa Jacks, and that includes its drinks. Sorry, we mean dranks. That's the Deep South term they prefer, and one that rolls off the tongue while eating finger lickin' good food. Trust such a bar to serve up mojitos in the only fashion they could, which is in any fashion you'd like. At their make your own mojito stand, you can swap out the fresh herbs and citrus, try an original syrup, stick with the basics, or do something completely different. That's the Papa Jacks style, all right. PRESS CLUB From burlesque to R'n'B nights, Press Club is the kind of place that has something for everybody. There's a reason it has stood the test of time as many other bars and clubs have opened and closed around it — and its love of variety is never a bad thing. Take the Press Club mojito, for example, which will hopefully leave you feeling like you've been transported to a spot under Havana's burning sun. It's the spice that does it, with house chilli and smoked agave syrup, as well as a garnish of peri peri. Now that's hot stuff.
If it's childhood wonder and extensive marine knowledge you're after, then the Cairns Aquarium is ideal. Home to more than 16,000 specimens and ten different ecosystems, the aquarium is a window into the flora and fauna that call the Great Barrier Reef home — and it's only a stroll from the bustling Cairns Esplanade. Get inspired by daily ecosystem talks, animal presentations, live diver feeds and marine touch'n'talk shows. Or, if a day of underwater wonder sets your stomach rumbling, head to the aquarium's Dundee's Restaurant to enjoy a delicious meal on the Daintree Deck and watch the warm tropical rain fall in an afternoon shower.
If you've wandered past the Gallery of Modern Art over the last couple of years, you've probably noticed the elephant in the room. Well, the overturned mammoth on the front lawn by the river, to be more accurate, as commissioned to commemorate GOMA's fifth birthday. That piece — called The World Turns — was sculpted by Michael Parekowhai. In his first-ever major Australian exhibition, the New Zealand artist returns to the gallery with a full show, The Promised Land, proving that there's more to his work than animals tipped over the wrong way. With over 50 works on display, you can walk through more then 20 years of his art — and we really do mean walk through. In something that has to be seen to be believed, a two-storey family home has been built inside GOMA as the centrepiece of a show that also includes a large sculpture of Captain Cook, an intricately carved, functioning red Steinway grand piano and giant, kitset pick-up-sticks. Admit it, you're intrigued. Image: He Korero Purakau mo Te Awanui o Te Motu: story of a New Zealand river, 2011
Few great things spring from being sent to boarding school, but Warwick Thornton's The New Boy is one of them. Decades have passed since the Kaytetye filmmaker was taught by Spanish monks at a remote missionary-style school after getting into trouble growing up in Alice Springs, but he now reflects upon the experience in the type of film that he's made his own within Australia's cinematic landscape: a deeply felt, stunningly shot, hauntingly acted and searingly impassioned tale of First Nations survival. When Thornton's feature debut Samson & Delilah arrived in 2009, it too pondered the subject. Winning the Cannes Film Festival's coveted Caméra d'Or for Best First Feature, it cemented Thornton as one of the country's best filmmakers working today. Sweet Country similarly wowed and blistered as it tackled the nation's long history of racial prejudice — and, premiering at the Venice International Film Festival, earned more international attention. With The New Boy, Cannes came calling again, then Sydney Film Festival's opening-night slot, and now a countrywide release during NAIDOC Week. "I'm Aboriginal — every day is survival for us," Thornton tells Concrete Playground. "Successions of governments have been trying to get rid of us for a very long time, through the last 200 years… So unpacking survival, and learning, and trying to work out what the fuck just happened, it's me. It's part of my life. It's what I do. And I've got a voice. I get money off the government to tell the government they're terrible. That's bizarre — that happens, and that's what I do." [caption id="attachment_908526" align="alignnone" width="1920"] Belinda Rolland © 2023/SFF.[/caption] The New Boy isn't autobiographical, but it always feels personal. Set in the 1940s as the Second World War rages abroad, it sees the film's namesake (newcomer Aswan Reid) get scooped up by outback law enforcement and delivered to a church-run orphanage, where his Indigenous culture and spirituality comes into conflict with Christianity. It's a story about forced conformity and assimilation, and fighting back however one can. It's history in a microcosm. It also teams Thornton with another Australian cinema icon: Cate Blanchett. "Rock 'n' roll! Aren't I very lucky! Isn't this amazing? Shit, Cate Blanchett's just called me and wants to make a movie — life's too short" — that's how Thornton reacted when two-time Oscar-winner and 2023 nominee (for Tár) gave him a call. "It's good for the ego, obviously. Then you go 'god, I've got to do something. I've got to come up with some brilliant idea right now that we can go and make while I've got her on the phone'. And obviously that doesn't happen. You slow down, and you take your time, and you're thoughtful about it. You don't just pitch any shit to Cate Blanchett, because she might go 'oh no, he's an idiot, that's a terrible idea'. So you've got to think about things, and plan some kind of attack on making yourself seem like you're really cool and you have lots of great ideas." Thornton did have something up his sleeve: an 18-year-old script inspired by those boarding school days, but featuring a priest. In the project's past life, French The Big Blue and The Professional actor Jean Reno had been in talks to star. Swapping the character to a nun gave Blanchett a part — which Thorton tells us about, alongside drawing from his own life, finding the next David Gulpilil in Reid, sharing tales of Indigenous survival with the world, balancing tragedy and hope, Adam Sandler movies and the full cinema experience. ON REWORKING AN OLD SCRIPT FOR CATE BLANCHETT "I hate writing. I think it's incredibly painful, and it takes me years. So if you do want to go down that process, well, we wouldn't be here having this conversation — I'd still be writing something. It takes a long time, and it's horrible. Writing is full of pain and angst — and you would rather go to the pub than actually write any words, because there's so much fear in a blank page, so much danger in it. And, so much you happiness as well, but I'm so scared of the blank page — I write with pen and paper, I don't own a computer, I don't know how to type. So you just stare at a blank page and go 'ohh this it's going to hurt'. Then, three years later, you come out of it and you've got something. Then it takes maybe another year to redraft it and get people's opinions. So remembering that I had that script kind of saved my arse, in a strange way, because I didn't want to go down another three-year process. I've got other scripts, but they just they they wouldn't be right for Cate, that I have been writing. So it was either that script or I write something new — and we wouldn't be here talking, I'd still be writing, if I was actually going to write something." ON SPARKING THE NEW BOY FROM EXPERIENCE "You use your experience in life to to get the foundations of what you think might be a good idea for a movie. I'm 52 years of age. I've lived, I've loved, I've died, I've cried, I've divorced, I've married. So you dwell on your own shit. I don't know if I'd be very good at writing a movie about a gecko because I've never been a gecko or goanna. So you just dwell on your existence, and that's where your foundations come from. I think all writers do that — nothing special to me. The reason why it took so long for it to be made, or to get to this point, was because it was actually a really bad script. [It was] pretty clear it wasn't working. Protagonist, antagonist, the arcs are all arse up — and it took someone like Cate to come along to empower me to fix it. But is there any writer who doesn't dwell on their own existence, and how they felt when someone said 'I don't love you anymore'? All that kind of shit? I'm sure every writer does that — it's kind of part and parcel of writing." ON SWAPPING A PRIEST FOR A NUN, BUT LEAVING THE OTHER CHARACTER DETAILS "That was very clear from Cate, because I thought 'well, we will have to do some some serious drafting to rebuild it to do it with the nun'. And she was very adamant — and, really, she's so bloody smart. I didn't see it. But she's seen it straight away: 'don't change the arc of of the character and what the character actually does'. So it's a nun having to do a priest's job and, obviously in that world, nuns can't do priest jobs. They're not allowed to actually do priest jobs. That created such such a great dynamic for for the character, and she was very clear about that. 'Don't go mucking, don't go fucking it up now Warwick! — because that stuff really, really works well for Sister Eileen'. It's like 'of course it does'. It it easier for me — I didn't have to write as much." ON CASTING DEBORAH MAILMAN AND WAYNE BLAIR "Deb and Wayne are really good friends. I shot The Sapphires for Wayne [which Blair directed] back in the day. And I shot Radiance for Rachel Perkins back in the mid 90s — crikey — one of Deb's first feature roles. So we've always been good friends, and I've always wanted to do something really focused, and I thought they were the best actors to be those characters. I told them that I was writing something and they're in it. And they were like 'bring it on, no worries'. So they knew. When it was the older draft, with the monk, I'd already cast them — I wanted them to play those roles even back then. So they were cast even before Cate." ON FINDING ASWAN REID "I was beguiled and freaked out. He looked perfect. He was exactly what the image in my head was of the New Boy. But with that comes a lot of fear because, first-time actors, children on set — they can do the first week, they do the first day, and then go 'I don't like this, I don't want do this anymore', and then just walk away. And you just can't make them do it. So it created more fear because he looked perfect. But that created a lot more fear about 'is the universe going to look after us, are we going to be okay?'. Because you're not casting just a child — you're casting the family. How's his mum and dad? Are they sensible human beings? Because they're going to be on set with us a lot as well. There's so many things come into play when you cast first-time actors, especially kids from communities where making a film is not necessarily that important to them. I think there's a lot of children in LA whose mothers tell them that this is the most important thing they're ever going to do, but for a kid from Kiwirrkurra — I don't know, is going and making a movie that important? I don't know. He had a great time. And he wants to make more movies now, which is fantastic. I think it was a year that we lost Gulpilil and we found Aswan. I think it's one of the most beautiful, strange worlds we live in." ON SHARING FILMS ABOUT INDIGENOUS SURVIVAL WITH THE WORLD "There's a hunger out there for Indigenous storytelling. We still run on a three-act structure — an arc of three acts, beginning, middle and end, which is, ironically, life: you're born, you live, you die. Everything works that way. So that we could transcend these kind of conversations, but from an Indigenous point of view — I think people are getting interested, because we used to make films, especially in Australia and actually in America as well, we made a lot of movies from the suburbs looking at the the mountains. And the fear and the darkness, and wild west and badlands, in a way. It was always from the veranda, from safety, that we would look out at that — and Australia did it a lot, and so did North America. Now people are interested in a different point of view — and that other point of view is from the mountains, from the forest, looking at the people sitting on the veranda. And from our point of view, which is from the badlands or the wild, but looking at and studying these people who are too afraid to come up to the veranda and meet us. [caption id="attachment_655044" align="alignnone" width="1920"] Sweet Country[/caption] That's the way Indigenous people make movies, in a way. That's our point of view. And I think people are interested in that, so that's why I think the films did quite well around the world. There's a duty of care — when we make stories, it's a very big duty of care about what we say and what we portray about who we are as Indigenous people. It's a big point, and there needs to be a lot of honesty from us about that. And I think people enjoy that and they feel that when they see our films." ON BALANCING TRAGEDY AND HOPE — AND MUSING ON FAITH Well, The New Boy does represent who we are and what happened to us being colonised — but, you know what, we're still here. So there's hope. We're still here. So, obviously, he is what happened to us. Christians came in. Colonisation came in. New laws came in, new rules, new regulations. We had to fit in. We lost a lot. But we're still here and we're gaining a lot now because our form of spirituality is evolving. It's not a bunch of commandments banged into a rock. We have to evolve, and we have to move with the times, and that's what we're doing. And so it is hope and it's survival. There's room for all, I guess is what I'm trying to say. I think the religions that actually believe that there's either their way or hell, and anybody who does not become part of conforming to what they think will burn — and there's only two two options, right or wrong — it's a very dangerous place. Actually, that kind of concept will die one day. That will actually kill itself because it won't move and ebb and flow, and it's not evolving properly." [caption id="attachment_861204" align="alignnone" width="1920"] Mark Rogers[/caption] ON WHAT MAKES A WARWICK THORNTON FILM — AND THE FULL CINEMA EXPERIENCE "All my films have Adam Sandler in it, and they go 'oh, it must be a Warwick Thornton film'. I reckon that'd be really good. It'd be really funny, and tragic. I like him. If you see Adam Sandler on the poster, or a film by Happy Madison Productions, you know what you're going to get — you know when you buy that ticket, you know what you're going to get, and so don't expect anything else and just enjoy it for how stupid it is. Life, cinema, has room for pure popcorn and milkshakes. And then it has room for red wine and biscuits. There's so much scope in the arts, and everyone has a right to have the most ridiculously stupid films to the most blinkered, depressing auteur crap — like what I make. There's room for it all. It's such a beautiful medium. You can go to a cinema and have a mindless laugh. Or you can go to the cinema and have, not go into a lecture, but be entertained but actually walk out with a lot more knowledge about humanity, and existence, and points of view from countries and cultures that you'd never have access to in real life — but you do, cinema gives you that access. So it's such a beautiful, special place." [caption id="attachment_861205" align="alignnone" width="1920"] Mark Rogers[/caption] ON JUMPING BETWEEN FICTION AND DOCUMENTARIES "Whatever it is, it's horses for courses — not all stories are documentaries, and not all stories are fiction and features. So you get to a point where you go 'I'm so over a crew of 200 and blowing ridiculous amounts of money, and having that minute frame-by-frame control'. And so I want to go with David Tranter, sound recordist, to just go into the bush and make a beautiful documentary about someone or something — and live around the campfire, and cook rice and curry on a campfire, and just really focus and become this nurturing little unit. Then, after I do that, I'm covered in mosquito bites and rashes, and probably about to lose a a toe because I stubbed it and then it got infected — and I go 'I want to go back to features, I want to go back to catering'. You get bored with one, and then the grass is always greener on the other side. At the moment, I'm obviously doing fiction and features — and the grass, the greener grass at the moment, is in documentary for me. And when I get there, I'll realise that the greener grass is in fiction." The New Boy opened in Australian cinemas on July 6. Read our review. The New Boy images: Ben King.
Do you love seeing a movie on the big screen, ending your day with a new film and getting a bargain? Dendy Portside is ticking all three boxes with its returning special. As it has done in the past, the Hamilton cinema is offering up discounted tickets — and yes, you will get change from $10. Every night of the week between Thursday, May 29–Wednesday, June 25, 2025, as long as you head to the flicks from 8pm onwards, you'll only pay $8 for your movie of choice — again, only at Dendy Portside. Whether you online or buy at the box office, either way you'll nab a bargain. The one big caveat: there is still a booking fee if you get your tickets via the Dendy website, but your 8pm moviegoing will remain at a discount — just with that fee on top. With everything from Mission: Impossible — The Final Reckoning and Final Destination Bloodlines to Lilo & Stitch and Wes Anderson's The Phoenician Scheme screening when the $8 deal kicks off, there's a heap to watch if you're keen to spend as much time in a darkened room as possible. Plus, Karate Kid: Legends, Ballerina and Materialists are all on the way in early June. The offer isn't available for special events, previews, film festivals or Dendy Arts sessions, but remains valid for everything else. And if the flick you want to see is in 3D, that'll cost an extra $1.
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.
For the past few years, Brisbane's brewery scene has been booming. If you're keen for a freshly made beer straight from the source, there's now a spot serving up just that in most parts of town. But, come May, you'll need to head to a just-announced new precinct in Albion if you'd like to drink brews, then pop into the adjacent fromagerie, then listen to live tunes and wander around farmers markets. All of the above — plus a pop-up restaurant, patisserie, craft bottle shop, coffee roaster, street food, specialty espresso bar, wine and cocktail bar, events space, and laneway filled with street art — are headed to Craft'd Grounds, which is currently under construction on Collingwood Street. It's taking over a set of industrial and warehouse spaces in the inner north suburb, as well as a century-old timber mill, with the folks behind Albion's existing Collingwood Black Espresso and Bar and The Black Market spearheading the project. Craft'd Grounds' inspiration: The Grounds of Alexandria in Sydney. Thanks to its laneway and industrial-meets-rustic aesthetic, it's also nodding in both Melbourne and Byron Bay's direction, too, with the design overseen by John Flynn from Conrad Gargett and the precinct's co-founder James Rennell. And, it's set to be big, sprawling over a 2600-square-metre space, 500 square metres of which will be taken up by the brewery. [caption id="attachment_804521" align="aligncenter" width="1920"] Render of Craft'd Grounds[/caption] Exactly which beer brands will be pouring their wares hasn't yet been revealed, and neither have any further details about the space's other stores — other than Collingwood Black Espresso and Bar and The Black Market, of course. But, when it opens, it's hoped that Craft'd Grounds will become a hefty drawcard with both locals and tourists alike. "It's about a destination that's humble and gives an appreciation and experience of everything handcrafted, including beer, coffee, modern comfort food, fresh farmers markets, live music, all 'Made in Brisbane' – and importantly, a chance to slow down, discover and leave everyone who comes with a story to share," said Rennell. "It's about feeling dwarfed and in awe watching the brewer at work, tasting Australia's freshest produce, experiencing the crafts of incredible artisans, and live musicians." Craft'd Grounds is set to open on Collingwood Street, Albion at a yet-to-be-revealed date in May. We'll update you when exact opening details are announced. Top image: Google Maps.
Sport and exercise should be accessible to everyone, not just those who can afford to participate. That's the message behind a new partnership between Decathlon Australia and SportsBox — the creator of solar-powered smart lockers stacked with free sports equipment. In fact, new research from Decathlon reveals that over two-thirds of Australians struggle with the cost of playing sport and exercising, meaning this forward-thinking initiative might just deliver the ideal solution. First arriving in Queensland — lockers are now live at Beth Boyd Park and Raby Esplanade Park in Redland City — Decathlon and SportsBox have 20 more planned to roll out across Australia in the coming months. Naturally, that means more people playing sport, living a healthy lifestyle and linking up with their community. "With 73% of Australians saying cost is a barrier to getting active, we're excited to partner with SportsBox to make sports more affordable and accessible. Everyone deserves the chance to enjoy sport, and we hope more governments and councils across the nation follow Queensland's lead to help build healthier, more active communities," says Danny Sekulich, CEO of Decathlon Australia More fitness-focused than your usual on-demand app, SportsBox makes it easy for users to get their hands on free equipment. Just download the app, find your nearest locker and select the gear you need to get up and moving. Inside, you can expect to find netballs, volleyballs, basketballs, soccer balls and more, all tailored to the specific location. Plus, the company is currently developing smart lockers for racquet sports. "More than a third of Aussies say they'd play more sport if equipment were easier to access, and we're excited to help make that possible by providing free on-demand sports gear from Decathlon in locally placed SportsBox lockers, so now anyone can start playing anytime," says Jodie Dunstan, Co-Founder of SportsBox. At the same time, medical professionals like Dr Robyn Littlewood, CEO at Health and Wellbeing Queensland, are also getting behind the concept. "The development of the SportsBox product has the potential to improve access to equipment for people to be physically active, and support community engagement across Queensland, both of which can play a role in improving the health of Queenslanders." SportsBox Equipped by Decathlon is currently available at Beth Boyd Park and Raby Esplanade Park in Redland City, Queensland. Head to the website for more information.
Emporium Hotel is Brisbane at its most unapologetically luxurious. Rising above South Bank, the all-suite hotel delivers a high-glamour experience in one of the city's most walkable precincts, with the city's cultural institutions, parklands and riverfront all just outside the door. The hero feature sits at the top – a 23-metre rooftop infinity pool with sweeping views across the Brisbane skyline. It's a showstopper, especially at sunset, with cabanas and poolside lounging creating a resort-like atmosphere above the city. Suites are generously sized and lean into a polished, high-end aesthetic, with marble finishes, mirrored televisions and thoughtful inclusions such as in-room wine fridges. Every detail feels considered, from the tech to the textures, making it a stay designed for comfort with a touch of theatre. Food and drink are central to the experience, with multiple venues including the Piano Bar for live music, Belle Époque for refined patisserie and high tea, and The Terrace for drinks with a view. Valet parking is available on-site, Brisbane Airport is around a 20-minute drive away, and you're within walking distance of the Cultural Centre, QPAC, GOMA and the CBD via the nearby bridges.
Maybe it was a breakfast staple, sipped as a chaser after a couple of pieces of toast. Perhaps heading home from school, scooping as many spoonfuls as you could into a tall glass of milk and watching whatever was on the ABC was a dedicated part of your daily routine. Either way, if you grew up in Australia, odds are that Milo played a significant role in your childhood — cold, hot, stirred in, left sitting on top or however else you like. Milo makes everything better. Still indulging the odd glass, piled high with that delicious choc-malt powder, now you're an adult? Have a soft spot for a warm Milo on a freezing day? You're not alone. Come the end of July, here's another way to get your Milo fix: via the new, soon-to-release Milo KitKats. Yes, it's a case of one childhood fave joining forces with another — and trust KitKat, the brand known for oh-so-many wild and delightful flavours in Japan (cough drop KitKats, anyone?) to be behind it. The Milo KitKats will indeed combine the former's choc-malt goodness, via a fudge in fact, with the latter's wafers and chocolates. Three varieties are on their way, too: a regular four-finger KitKat filled with Milo, a KitKat Chunky filled with Milo (both retailing at $2 each), and a big KitKat block also packed with Milo ($5). If you can remember the old Milo chocolates that were sold up until the early 2000s — which were basically condensed bars of Milo covered in chocolate — then your tastebuds are probably already watering. For Milo and KitKat lovers that simply can't wait, you can pre-order the new collaboration online now, too. Obviously, you know what to drink with them: a regular ol' Milo, of course, with as much or as little of the good stuff as you prefer. KitKat's Milo bars will hit store shelves from late July, retailing at $2 per bar and $5 per block — or you can pre-order them online in advance.
In A Complete Unknown, Timothée Chalamet stepped into Bob Dylan's shoes in the 60s and charted his rise to fame. A trip to the past and aspiring to greatness is also on the actor's agenda in his next film. Instead of folk music, Marty Supreme's eponymous figure is passionate about ping-pong — and he's certain that it's going to be the next big thing. "I know it's hard to believe, but I'm telling you: this game, it fills stadiums overseas. And it's only a matter of time before I'm staring at you from the cover of a Wheaties box," Marty advises in the A24 movie's just-dropped teaser trailer. Welcome to your first sneak peek at the second of two features that are filling a very specific niche: 2025 releases (in the US, at least) directed by a Safdie brother solo and focusing on sports. Josh Safdie helms Marty Supreme. His Daddy Longlegs, Lenny Cooke, Heaven Knows What, Good Time and Uncut Gems co-directing sibling Bennie has The Smashing Machine on the way, starring Dwayne Johnson's (Red One) as IRL MMA fighter Mark Kerr. Could 2025 nominee Chalamet and Johnson find themselves going head to head come awards season for different Safdie films? That's firmly a possibility. As Marty Supreme's Marty Mauser, Chalamet's task (or obligation, as his character puts it) is chasing the dream that is ping-pong success — for himself and for the game his loves, which no one else seems convinced of in the 50s-set flick's first sneak peek. Gwyneth Paltrow (The Politician) pops up in the Marty Supreme trailer as a famous movie star, while the eclectic cast also includes fellow actors Fran Drescher (A Tooth Fairy Tale) and Odessa A'zion (Until Dawn), rap star Tyler, The Creator, filmmaker Abel Ferrara (Turn in the Wound) and magician Penn Jillette. In America, Chalamet's latest film is a Christmas treat, releasing on Thursday, December 25. That's two years in a row that the merriest day of the year and Chalamet have gone hand in hand in the US, as A Complete Unknown also dropped on the same date. When Marty Supreme will hit cinemas Down Under hasn't yet been revealed. Josh Safdie co-wrote the movie with Heaven Knows What, Good Time and Uncut Gems co-screenwriter Ronald Bronstein, and helms a feature on his lonesome for the first time since 2008's The Pleasure of Being Robbed. Check out the first teaser trailer for Marty Supreme below: Marty Supreme releases in US cinemas on Thursday, December 25, 2025 — we'll update you on Down Under release details when they're announced.
The Upside Down has arrived in Australia, specifically Sydney, again. When season four of Stranger Things dropped in 2022, a rift to the show's netherworld popped up in Bondi. Three years later, as everyone waits for the Netflix favourite's fifth and final season to stream sometime before 2025 is out, Stranger Things: The Experience has brought a whole host of Stranger Things nods this way — and entering its eerie realm is indeed one of them. Stranger Things: The Experience is making its Aussie debut at Luna Park Sydney courtesy of Vivid Sydney's 2025 program. Between Friday, May 23–Saturday, June 14, wandering into the venue's Crystal Palace means visiting 1986 — and also Hawkins, Indiana, of course — in an interactive stint of Stranger Things-loving fun. Locations from the show are part of the setup, as is a supernatural mystery. And yes, you can expect to feel nostalgic, even if you don't have your own memories of the 80s because you hadn't been born yet. Stranger Things: The Experience isn't just about exploring recreations of settings that you've seen while watching Eleven (Millie Bobby Brown, The Electric State) and the gang, however. The installation features its own storyline, where playing along means trying to save Hawkins from yet another threat, alongside making a date with the Upside Down. Christmas lights in the Byers' living room? Tick. Vecna? Tick again. Scoops Ahoy serving up banana splits and Surfer Boy Pizza offering slices? Keep ticking. The latter pair are found at Mix-Tape, an 80s-themed mall experience — as is the Palace Arcade, where MADMAX's high score begs to be bested, plus the themed cocktail-slinging Upside Bar. It's also where you can grab limited-edition merchandise. This trip into the TV series created by the Duffer Brothers was designed and developed with the duo. In its first-ever journey to Australia — after initially opening in New York in 2022, then enjoying stops in Los Angeles, San Francisco, Atlanta, Seattle, Toronto, London, Paris and São Paulo since — it falls into the Ideas portion of Vivid's lineup. Luna Park Sydney and immersive experiences based on Netflix shows keep going hand in hand of late; since the end of 2024, the Harbour City tourist attraction has been hosting Squid Game: The Experience, letting small-screen fans dive into another streaming smash. At the time of writing, playing Red Light, Green Light with Young-hee in Luna Park's big top is on the agenda until late June, which is also when the South Korean show's third and final season premieres. Stranger Things: The Experience runs at Luna Park Sydney, 1 Olympic Drive, Milsons Point, Sydney from Friday, May 23–Saturday, June 14,2025. For more information, head to the Luna Park Sydney website. Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information.
Brisbane's cafe scene is far from stale, but Bonsai Botanika is an establishment that begs otherwise, showcasing a benchmark of design and display rivalled by nothing in this hungry city. I repeat, nothing. It’s the proven potential of what a food-lover with a barrow load of cash, and the ability to capture, filter and fine tune an entire movement of foodie desires, can do with a three store, inner-city space. It's fresh, stunning, and holds a fusion of East meets West food in a marriage that would have Rick Stein giving two thumps up. Bonsai Botanika from appearances looks like the lovechild of the Gourmet Farmer and Donna Hay - it's like something out of a shrink-wrapped, look but don't touch coffee table book. Everything is laid out a little messily, but it's messy, scattered and rugged to a tee. Walking in alone is like stepping into a world of sepia, basking in cabinesque environment and lapping up a 360 degree view of bliss, repressing thoughts of the cruel, smog laced street only meters away. The table settings, and floor plan are just half of it though. The open kitchen, showcases Ortiga-style hanging meats overhanging cooks piecing together creations, that woft from the kitchen all the way out to busy Elizabeth Street. Their drinks menu consists of a mixture of hot and cold beverages, from the classic latte, familiar cappuccino to extra spices that will have chocolate lovers’ senses tingling. You’ve the free range to taste and choose one of their many house pouring ganaches - chocolate, cream and oil mixture - or milk and dark chocolates for the most intense or subtle hot chocolate you desire - essentially, you can tailor your chocolate and coffee experience. If you prefer botany over brew, then opt for the healthy selection of teas, or if you're hankering for something a little stronger, then become form friends with the bar, brewski in hand. The meals, pricey and a little pretentious, is the one downfall that pulls Bonsai Botanika from an abyss of perfection. The bowl of ramen falls into a price range more than three times that of the same size bowl you can get from Japanese Bento across the road. The smells are incredible - punchy and reminiscent of a downtown, Japanese noodle bar, but that's the extent of the hype. The food is delicious, in a ramen-done-the-west kind of way, but the only extra flare lies in the presentation and anticipation, barely compensating for the dint in the bank account it's bound to produce. For CBD eating, in café you’ll wish you lived in, Bonsai Botanika is one of those places that’s a little bit fancy, quite a bit yummy, and so picturesque it deserves it's own calendar - make this cafe your Miss October.
If the first half of the year felt like a blur, consider this your sign to pause for a moment of celebration. This winter, Brisbane's Cloudland is partnering with G.H. Mumm to bring back the simple joy of celebrating — no milestones required. Together with G.H. Mumm, Cloudland Garden, Palais and Valley Hops Rooftop spaces will offer a series of indulgent, exclusive dining experiences. [caption id="attachment_1014878" align="alignnone" width="1920"] Bubbles & Oysters at Cloudland[/caption] Bubbles & Oysters There's no better way to ring in the weekend than with champagne and oysters. From 4–6pm every Friday, Cloudland Garden and Palais are serving up a bottle of Mumm Prestige (your choice of brut or rosé) paired with six natural oysters and classic mignonette for just $49. To dial things up, swap the classic for XO oysters — served with black garlic, chilli and lemon — for just $5 extra. Book here [caption id="attachment_1014882" align="alignnone" width="1920"] Cloudland Garden Bottomless Lunch[/caption] Garden Bottomless Lunches There's lunch, and then there's Cloudland Garden's Bottomless Lunch — a two-hour daytime celebration that kicks off with a DJ set and ends in dancing. Held every Saturday from 11.30am and Sunday from 1.30pm, this $99 per person long lunch serves up premium shared plates and unlimited pours of Mumm Prestige and the bar's signature garden highball cocktails. Book here [caption id="attachment_1014880" align="alignnone" width="1920"] Dinner parties at Cloudland[/caption] Dinner Parties For midweek birthdays, overdue catch-ups or just an excuse to feel fancy, Cloudland's new dinner party menu is the move. Available for groups of six or more, this set-menu experience includes seasonal dishes like flash-fried squid, antipasto share boards and sticky braised beef cheek paired with two hours of bottomless drinks — including cocktails — in one of the venue's lush dining rooms. It's $115 per person, and the vibe is all about dressing up and celebrating like it's a big moment (even if it's not). Book here [caption id="attachment_1014881" align="alignnone" width="1920"] Events at Cloudland[/caption] Custom events If you're planning something bigger, Cloudland has a suite of semi-private and private spaces to suit every occasion — from the glam surroundings of Cloudland Palais to the Cloudland Garden and the Valley Hops Rooftop brewery and bar. Pair your booking with one of the curated packages (or build your own), add Mumm Prestige by the bottle, and you've got the kind of night your group chat will be talking about for weeks. Start planning yours today on the website. Explore the Palais, Cloudland Garden and Valley Hops Rooftop spaces With delicious menus, flowing champagne, and a calendar full of ways to gather and raise a glass, Cloudland and G.H. Mumm are making winter feel like a season worth celebrating. See full details and book your spot at the Cloudland website.
Some plans to give Brisbane a makeover take time. Queen's Wharf might be open now after launching in the second half of 2024, for instance; however, it was around a decade in the making. Another part of town that's been talked about for just as long: Bulimba Barracks. This 20-hectare riverside stretch in the city's inner east has its own master plan, but it's become one of those "I'll believe it when I see it" concepts for locals. Turning the former Fabrication Workshop into a new lifestyle hub might change that. Brisbane City Council has announced its approval for transforming this historic part of the site — which dates back to 1943 — into a precinct filled with eateries, shops, a boutique supermarket and more. Open and central public spaces that can host pop-up and community events, and feature outdoor seating and dining, are also included in the revamp. "This new precinct will build on our record of supporting the creation of destinations like Howard Smith Wharves, West Village and Fish Lane, which has helped shape Brisbane's incredible lifestyle," said Brisbane Lord Mayor Adrian Schrinner. "Bulimba Barracks' history will continue to be recognised while becoming a new lifestyle precinct that ensures our suburbs remains the best place to live, work and relax." Shayher Group is behind the Bulimba Barracks development, with Director John Lin advising that "it is very important to Shayher that we complement the existing area, and we have ensured the historical integrity of the workshop building, which will become a community hub for local residents and visitors with a focus on a mix of retail and food and beverage to complement the existing area." "This development will be a focal point along the Brisbane River, resulting in a beautiful, high-quality area for the Bulimba community to enjoy whilst respecting the historical value of this part of Brisbane and Queensland for generations to come." If you've largely just driven past the Apollo Road spot, barely giving it a second glance, it previously was home to the Bulimba Army Base. Under the master plan, the war-time riverside industrial site is also set to welcome new homes, as well as parks and playgrounds. If and when the revamp comes to fruition, it'll join a number of water-adjacent locales in the city's east that've been undergoing transformations of late, as evidenced by the opening of BrewDog's Brisbane base at Murarrie and the launch of the Rivermakers precinct at Morningside. The new Bulimba Barracks doesn't yet have an opening date. For more information, keep an eye on the Brisbane City Council website.
If you've ever wondered how Nicole Kidman would handle a PR scandal, Optics has the answer. Actors crossing boundaries, sports stars behaving badly, wellness entrepreneurs with little regard for their employees' wellbeing: the ABC's new satirical comedy is filled with crises across its six-episode first season, and they all require a woman sporting one of Australia's most-famous names to help smooth things over. Of course, the Nicole Kidman, star of Babygirl, Expats, The Perfect Couple, A Family Affair, Spellbound and Special Ops: Lioness in the past year alone — and plenty more since her BMX Bandits and Bush Christmas days in the early 80s — isn't at the heart of the series. Rather, Optics co-creator, co-writer and co-lead Jenna Owen plays another Nicole Kidman. Alongside Vic Zerbst's Greta Goldman, the show's Nic has big dreams and ambition to burn; however, the Gen Z duo aren't being given their shot at PR firm Fritz & Randell when Optics begins. By the time that the series' first episode is over, though, the office's youngest employees are running the place — after a death in the business, plus oblivious veteran Ian Randell (The Chaser's Charles Firth), son of one of the company's founders, being passed over for fresh faces. With his leadership choice, owner Bobby Bahl (Claude Jabbour, Last King of the Cross) is responsible for a bit of spin himself, but Nicole and Greta are determined to make their mark in the gig. That's the Optics setup, as Fritz & Randell's two new head honchos also navigate airlines chaos, a major telco outage and a publicity stunt gone wrong. Friends for over a decade, and creative partners as Freudian Nip, Owen and Zerbst's shared resume boasts content for Comedy Central and The Feed, collaborating with Firth on The Chaser's War on 2020, popping up as Asgardians in Thor: Love and Thunder, and penning and leading 2024 festive flick Nugget Is Dead: A Christmas Story — alongside Owen's acting credits in Puberty Blues, Squinters, Eden, Joe vs Carole, Wellmania, Queen of Oz and Mother and Son, and Zerbst's voice work on 100% Wolf: The Book of Hath. A show like Optics was always the dream, they tell Concrete Playground. Various stops along their path helped inspire the series, which Firth is also behind, including the trio's intergenerational banter when parodying a year no one wants to remember, plus taking cues for Nicole and Greta from characters from Owen and Zerbst's time at SBS. "They're very much inspired by characters we had been working on at The Feed at SBS," explains Zerbst. "They were more government kind of girls who try to rebrand strategies around different crises — how to rebrand a company after there's been the destruction of a sacred site or how to rebrand Australia as a nation after there's bad publicity. So we always had interests in characters who are commentating on the media circuit and the news stories, and finding creative ways to resell that back to the audience." And Nicole Kidman? "In terms of the names of the characters, I mean there was just a moment, I think it was Jen being like 'I want my character to be called Nicole Kidman' — and we laughed and laughed. And we're like 'we'll change it when it's no longer funny'. And it never stopped being funny, so we were like 'it stays, it absolutely stays'. Now it's here and it's iconic," Zerbst continues. "It stays. I think it's just the optics of being named Nicole Kidman when you're working in something media-facing. And also being someone that's desperately trying — we just kept laughing, we were like 'imagine being desperately trying to make a name for yourself, but your name is already a name of itself'. And we just thought that was a really hilarious foil to this girl that is so desperate, clearly, for attention and status," notes Owen. "So that is the story of that. It's just funny. And I would love to be friends with the real Nicole Kidman." "We're peppering it in for a Nicole Kidman cameo one day. We just need to get her to watch it and go 'that's funny'," says Zerbst. "Get her on board? Absolutely," adds Owen. The IRL Kidman mightn't make an appearance in Optics so far, but the guest cast is stacked: Grey's Anatomy's Kate Walsh ("all of her choices were just total improvisation — we learned so much from her in that capacity," advises Owen) and Furiosa: A Mad Max Saga's Josh Helman ("literally Charles Firth went to see Death of a Salesman and saw him play the son, and he was like 'this is the most-amazing actor'," Zerbst notes) for starters, plus also everyone from Nakkiah Lui (Preppers) and Nash Edgerton (Wolf Like Me) to Rhys Muldoon (Bay of Fires) and Craig Reucassel as well. The scandals faced by Owen, Zerbst, Firth and their impressive list of co-stars — Belinda Giblin (Home and Away) also plays the firm's Executive Assistant and Bali Padda (Over and Out) is Ian's loyal offsider — in Optics should all sound familiar. If they feel like they've been ripped from recent headlines, that's down to the cyclical nature of many of the crises covered, whether footballers are making regrettable decisions at the end of the season, the secrets of Hollywood stars are being exposed or big-name companies relied upon by many are stuffing up. It's also a testament to the show's spot-on satire and savvy choices. Optics is smart and astute — and very funny — about the PR strategies deployed as much as the scenarios its skewering, the publicity-literate nature of today's audiences, and changing workplace dynamics and intergenerational conflict, too. We also chatted with Owen and Zerbst about all of the above. On How Much Time Zerbst and Owen Have Spent Digging Into IRL PR Crises Vic: "It's been mostly when we were writing the show. We've been writing the show over a three-year period, and so we're always kind of across all the little scandals that rear their heads. What we've realised is a lot of patterns emerge in the types of scandals that come up. So we ended up writing an episode that was very much inspired by the Qantas Chairman's Lounge, and we wrote an episode about that, and it just so happened that there was all this news about the Qantas Chairman's Lounge after the episodes were already written. So there's certain things, certain bastions of power, that always have news filtering around them. So we realised that those were the best kind of scandals to dig into." Jenna: "It's truly amazing because, I would hope that people, on top of people loving it, they also go 'wow, geniuses, incredible, never been done before' — because it truly has been lucky, in the sense that this show was written three years ago or has been in the pipeline for a long time. And the resurgence of how many scandals that we were writing three years ago and the way in which they reemerged is actually so comical to us, because it feels like the best publicity for the show. But everything, everything in the show, has reared its head again — if it's not the same scandal re-emerging because someone's jumped on a PR circuit and is doing podcasts, like what's happening with Armie Hammer right now. He's coming out and telling his side, which is making all kinds of new content, which is hilarious." Vic: "Or even the Matilda Djerf scandal, with Djerf Avenue, that was very much of interest to us. The idea of the female CEO or female girlboss going down — there's just so many peaks and troughs of personal identity and branding. Even going back in time, and watching the Martha Stewart documentary and seeing anytime anyone has power, how there is a rise and fall, and scandals ensue when you're dealing with big money, big corporations and big personal branding." On the Timeliness of Some of Optics' Episodes Being Purely Coincidental — Such as Its AFL Scandal Jenna: "Absolutely. The amount of people that sent me, just because they knew it was of interest — we have a few friends that have been in and around the AFL machine — the amount of people that sent me the apology videos that footballers had done, that was just actually insane how much it mimicked what we had written. And I think it makes sense, because did do our research, we did speak to people who are on our side of the business in the show — as in people from crisis management — and we did speak to people who have been involved in the institutions that we're critiquing. So it makes sense, but I think we just never really understood just how cyclical this thing was going to be, and just how much it will re-emerge and re-form. And it's exhausting. I mean literally what's happening with Justin Baldoni and Blake Lively right now is incredible. If you said that we were going to have another metric of the Amber Heard and Johnny Depp situation in its new and evolved form …" Vic: "And even the conversation being tilted towards the idea of public relations or crisis management people, hiring those people. Public relations crisis management workers, what they do, that's become a conversation. It's been really insane timing for the show." On Writing the Show in Highly PR-Literate Times, for an Audience Familiar Not Just with the Type of Crises Featured But Also the Spin Used Jenna: "What I think we fought hard for in this show was arguing, in our rewrites and in our discussions with network, we really did say 'listen, this is how smart audiences are now'. And I think that really helped us. I think that it's a show that doesn't over-explain things, that moves very quickly. Our characters speak very quickly. We implore the audience to just absolutely, we drop them into the world, we don't give them any real setup and exposition. I, personally, love the literacy of the audience. I think Vic and I, in our whole careers, have always assumed that the audience has a pretty high literacy of how media works and deceives you. We have always operated like and written like that. I think with this show, what is amazing is that the This Ends with Us conversation is even a new level, where the entire conversation is almost about how these parties outside of the individuals are operating and manufacturing a story. That's a level above the Amber Heard–Johnny Depp stuff, where that was more of the deep dive of what was going on. This is now fully in the public domain, and upfront in the story. But yeah, we loved that. Because nobody, as a writer and as a performer, you don't want to over-explain things. You don't want to have to hold the audience by the hand. And I don't think that we've done that for one second in this show, and that makes it really enjoyable to write, really." Vic: "It's like all the information is background detail — if you know it already, that's even better for us, because you don't have to explain what that is. And we can just go into what is essentially an intergenerational office comedy, where it's about old school versus new school. And the scandal of the weeks are so interesting but so fun to satirise, because they're based on these true things that the more people know about them, I think the more they'll get out of the show — because they'll see and notice certain things, and then we can twist and make turns. We can invent the WANKA play, if you already have an understanding of what DARVO is. So I think it is helpful, and we love and embrace the media literacy of the audience 100 percent." On Optics' Intergenerational Conflict Springing From Zerbst and Owen's Experience Working with Charles Firth Vic: "It was exactly that. We were working on a webseries with Charles Firth, The War on 2020, and even while we were working on that show we would just have so many funny moments where we would have different media points of reference and different ways of …" Jenna: "Generational touchpoints. And honestly, every day was a delight, in that sort of dialogue that you do see between Greta and Nicole and Ian in the show. That is our entire relationship with Charles. He often will make a reference to something, just like how you see in the show. In the pilot where it's like 'oh, I understand now, it's exactly like the Children Overboard scandal or whatever' — and Vic and I'll go 'huh?'. Of course we understand what he's saying or we know what he's talking about, but we have a different generational touchpoint to him. And so that kind of mutual understanding, which in the show, they mutually understand what's going on but they have totally different touchpoints of how they understand it and frameworks. And I think that's such an exciting thing to have in a show, because it just makes for intergenerational viewing, and that's what we what we wanted with this show. I think when we were trying to get the show up, it really did help that it was the three of us in the pitches, because everyone just went 'oh yeah, I see how this is going to work. I see how this will work'." On Subverting the Usual Workplace Comedy Dynamic with the Younger, More Switched-On Employees Taking Charge Instead of an Oblivious Veteran Vic: "I love that — I love that that's an amazing insight into that flip. I don't even think it was even that conscious for us. I think it came from us navigating this world of this industry, where suddenly we had people listening to us and we felt empowered enough in our voice to talk to people — especially older people, especially older men, in meetings, in pitch meetings — where we felt that we had a lot to say, and we understood social media better than they did. And then it just became that natural dynamic. I think that there is a lot of that shift because a lot of new Gen Z and Millennial workers have a comparative advantage in understanding a lot of the new technologies. There is this shift now in the workplace where young people have certain expertise that is really needed. And it's also something I see watching my dad, who's unable to do any technology, and seeing how he struggles in his workplace. He's a teacher, but he just becomes so disempowered within that. And there's really funny moments of that, but there definitely has been this age switch in the workplace that I think we've wanted to represent." Jenna: "Exactly. There's this line that I never, never even realised was funny, but now I do realise it's funny, in like the last episode, that Vic says 'we deserve this. We've been working at this firm for eight months'. And I'm like 'that's such a dog whistle for the Gen X, for the Boomers to laugh at' — being like 'you entitled millennials'. But the point is, yes, we can understand how dismissive that is of the experience that someone has that they've been working in a job for 20 years. But the point is that the world is changing so fast, and it's extremely jarring for everybody. Vic and I are still trying to catch up — are we on TikTok? Are we on RedNote? We're still caught in that washing machine as well. So I think the point is, yeah, we have been working at the firm for eight months, but the knowledge that we have eclipses those people who have been working at the firm for 25 years because of the way the world shifts and changes. And the companies that make the money or the stories that get picked up are the ones that are adapted to this new media cycle and structure. So it's one of those things that I think people will watch the show and root for people in different ways, and have different opinions on that. I mean a lot of Millennials, I think, will feel like 'yeah, I am the one that got the video for our company's brand up to two-million views and that increased sales by whatever percentage' — but they're still going to be dismissed by their older bosses for being the TikTok girls. This is the kind of conversation that's really interesting. And I think what we always say about this show is we're two parties, Greta and Nicole, and Ian, who fundamentally will work together to make the world a worst place — that's our sort of catch cry for the show. But that's the kind of dynamic and the stuff we definitely wanted to explore." Vic: "And it's also about a fantasy. It's like 'what if you give that begrudging younger employee the ability to have that ultimate power?'. And I think the journey for us is realising 'oh, it's really fun to think, oh, I'd the boss, I'd be amazing'. Then you go 'oh, there's so much more pressure and disaster-level stress that comes with being a boss'. I'm sure a lot of older people will be like 'yeah, you want to be the boss? Well, let's show you how hard it is'. And that's our journey as well, being like 'this is really bad — this is hard'." On the Approach to Moral Ambiguity — and Ensuring That Greta and Nicole Aren't Always the White Knights Doing the Right Thing the Whole Time Vic: "We always knew that we wanted the show to be a critique of the structures, the structures of media, the structures of power, and it was about people struggling within that structure, and people who are trying to uphold the structure, and what happens to you as an individual when you are unable to both live your personal values while also succeeding within a structure. So I think that allowed us to really see that these people can be morally ambiguous, they can try to play, but there's always this internal conflict: 'I want to do the right thing, but I also know that the system will reward me for X behaviour, so you have to do X behaviour'. I think that's the kind of moral tracking we want to follow with the girls. And then you see a character who has maybe more internalised the inner workings of that structure, and then you see how they got there. And I think we always have endless, endless empathy for our characters and endless, endless critique for the structures that make people select for or against behaviours that make them feel uncomfortable with who they are as people." Jenna: "Absolutely. And also it is such a simplification to say that women enter the spaces of moral ambiguity and are the white knights or are the victims. I think that we do need to explore those nuances that exist. Greta and Nicole can both be manipulated and disempowered by the Bobby Bahls that be, but also be acting in a way that is unethical, that doesn't have that moral centre. And just because we're women doesn't necessarily mean that we are going to tap into that moral centre. It maybe means that we have more of a moral centre coming in, but that's how powerful these other external forces are. And this idea, ultimately they do want to succeed as well, and what does it mean to succeed under a system like this? I think Vic and I are both, just from a character point of view, from an acting point of view, there are so many women in this world that inhabit these spaces in a way that is super interesting and morally bankrupt. In PR crisis management, the people that do bury the story about the sexual assault or whatever, a lot of those people are women. A lot of the people in the Justin Baldoni case with Blake Lively, a lot of those people are women. And then if you want to go to the other extreme of that, you can look at someone like Ghislaine Maxwell. We do live in a society where women are trying to succeed under this system at the cost of their own moral integrity. I think it's really exciting to portray that in the space and time that we are now, where we've had so many conversations over here about how women are disempowered. But I think it's also important that we have conversations about how women enact that power, especially white women in this world as well, enact that power as well under these structures. We're excited by that and that's the best thing to act. What could be better?" On Whether Making a Series Like Optics Was Always the Dream When Zerbst and Owen First Met and Started Working Together Vic: "Yeah." Jenna: "Yeah." Vic: "Always. It was always the dream. It was always having a TV show where you come up with episodes, ideas, writing, acting. That was always it — I don't think there was anything else. And especially for the ABC, it means a lot to us to be on an Australian broadcaster — yeah, it means a lot." Jenna: "Absolutely. And it is a dream, and so many people within the industry and outside of the industry are truly amazed that it happened in there, and we have to say so are we. Because we aren't tried-and-true talent. We're not at that stage of our career where we have this guaranteed. We're not household names. And so it is a risk and it is exciting. And I think it's exactly — selfishly, I'm like 'it's exactly what the ABC should be doing'. But it is. It's exactly what the ABC should be doing, not just for us, but for so many more shows and talent and upcoming talent — which is also very funny to say when you've been working for ten years, but it's still true. This was always our dream — always, always our dream. And I do have to say, the level of autonomy that we've been given in this show from Easy Tiger, the production company that we're working with, from The Chaser with them as well, and with ABC, it's so, so rare — to yes, be an executive producer on this show at our age, with our experience, and to be in it and to be writing on it. That's an unheard of level of trust. I do think that you see it in the show. You do see that we've had that level of trust, because it does feel different and it does feel new." Vic: "It does feel very unique." Jenna: "And we've learned so much from this season, and we're just absolutely so excited to implement what we have learnt as well as first-timers into the next season — praise be. It's exciting. For us, we can't even believe the level of autonomy we've been granted, and that was always the dream, because Vic and I, that's how we started. We always had autonomy. We were operating on this small scale. We always wrote our own things. We were given complete freedom. And that's how we got a following, or that's how we had some success. So to be able to continue that on greater scale is what everyone in the world wants." Vic: "Absolutely." Optics streams via ABC iView.
There's an astonishing story at the heart of I, Daniel Blake, the latest film from veteran director Ken Loach, and the winner of the Palme d'Or at this year's Cannes Film Festival. After suffering a heart attack while standing on scaffolding on a building site, the titular character (Dave Johns) seeks government assistance. Alas, despite his doctor's advice that he needs rest to recover, a series of bureaucrats deem him fit to work, and refuse to listen to his pleas about his health. His situation isn't unique; at the local benefits office, he meets a single mother, Katie (Hayley Squires), similarly battling an uncaring system. Exposing the punitive barriers those in need are forced to face when they're looking for help, the movie has been garnering a strong reaction as it travels around the world. However, there's another incredible tale driving I, Daniel Blake. Lead actor Johns is a stand-up comedian who has appeared on British panel TV shows such as Never Mind the Buzzcocks and 8 Out of Ten Cats, and now makes the leap to film to star in his first feature at the age of 59. His is a devastatingly naturalistic performance in a heartbreaking piece of social realist cinema, and one that lingers long after viewing. With I, Daniel Blake releasing in Australian cinemas after playing at the British Film Festival, we chatted with Johns about making his first movie, receiving the script page-by-page as shooting progressed, and the responsibility of making a film that hits so close to home for so many people. ON MAKING THE JUMP FROM STAND-UP TO STARRING IN A KEN LOACH FILM "I was aware of Ken's work — and just to meet Ken, I said to people, friends of mine, 'If I could just get in and do the improv with him, that'd just be a great experience'. So I never dreamt that I would be offered the part. We shot it for ten weeks up in the northeast of England, around the area where I was brought up as a kid. And I remember the first day, I mean, I'd done plays and stuff like that, but I hadn't walked on set and seen the enormity of what I'd taken on. 'Oh my god, I'm the lead of this film,' I remember thinking. 'Oh, have I bitten off too much?' And now people say to me, 'You know, what's it like, your first film?' — and I go 'Well, if it's my first film and it's won the Palme d'Or, I think I've set my bar a little too high'. Now I'm up for best actor at the European Film Awards this year in Poland. I'm up for best actor and best newcomer and the British Independent Film Awards. Variety magazine in America have tipped me as number 20 to win an Oscar behind Jake Gyllenhaal and Colin Farrell, so it is pretty surreal. I think your career should be a bit of an adventure. And if you do one thing in your life that you can be proud of, to be in a Ken Loach film that has made such an impact and won the Palme d'Or, I'm very proud and very honoured to be in this position." ON DISCOVERING THE STORYLINE AS HE WENT "The thing with the way Ken works is he doesn't tell you much about the film. You don't get the full script, you only get a couple of pages each day — and he shoots chronologically, so basically you are thrown into this life where you're just living this life everyday. And you don't really know what's coming until you get the two or three pages of script in the evening that you go away and learn and bring in the next day. I think that's so you don't have that sort of [situation] where you and the other person you're doing the scene with, you can't look at page 26 of the script, and go, 'Oh look, this is our big scene'. Ken doesn't want you to pre-empt what's going to happen. He wants it all to be in the moment. A lot of people think there's a lot of improvisation in Ken's films — I mean all that script is all scripted, it's just that Paul Laverty [Loach's long-time screenwriter] and Ken, they give you the chance to own the words. That's how it comes across. And because he shoots chronologically, and because he has no closed sets — he puts you in real situations — it has that gritty, real feel about it." ON REACTING TRUTHFULLY RATHER THAN ACTING "I think you rely on truth. You rely on your true emotions, and you actually respond truthfully. You don't have any chance to pre-empt how you're going to feel. The first day, Ken said to me on set, 'When you're in scenes with Hayley, when you're in the scene together, if you just listen to each other and you find the truth, it will look like that on the screen'. So that's the notes I got, so I just took that on board. Just basically, like, he would say to me, 'You're getting a phone call today on set'. And I'd go, 'All right, who's it from?' And he'd go, 'You'll find out when you get the phone call'. It's a very fascinating process. It makes you rely more on your gut reaction rather than any technique you might have as an actor, I would imagine. In any of the scenes I had with the kids or the neighbours or with Hayley, I think I was reacting to and responding to how she was playing it to me, you know. I think it was just being honest if something touched you, and then you brought the honest emotion to it. I think that's the only way you can do it when it's like that." ON FORGETTING THAT HE'S MAKING A MOVIE "The way Ken shoots, he doesn't have loads of people on set. There's no makeup touching you up before the scene, there's no checking your costume before every take, it's basically, you leave the unit and that's it. And basically, if we were in my flat, it'd just be the camera in the corner of the room — he never tells you what lens he's got on the camera, so you don't know how close the shot is. And there were times when in scenes I forgot I was in a film, really. I was just reacting to what Katie, the character, was telling us. And that was a pretty amazing feeling, when there were times when you forgot you were making a film and you were just talking with this person." ON THE REALITY BEHIND THE FILM "The first thing Ken said to me when we did preparations — I had to learn how to carve the wooden fish, did a little woodwork course, just a couple of days — and then he said to me, 'Fill that 52 page assessment form in.' And I was like, 'What?' And I came back and went, 'I can't do this, this is insane'. And then it got me thinking, imagine if you were sick, and you had to fill that in, and if you filled it in wrong. And so it was revealed to me how unjust the system is. And I think it is because it is a system that is spread by this austerity which has been played around the world. I mean, every film festival — I took the summer off to go to film festivals with this — and at every film festival I went, at Locarno in Switzerland, in Spain, in Italy, in Slovakia, everywhere we went with this film, people came up afterwards and said 'This is happening in our country as well'. Because of the big banking crash and because of the finances, the way globalisation is going, you see the poorest and the less able are taking the biggest burden. And that's what's happening with the welfare system. I think they've lost sight of the person and they are just trying to save money, and it is bureaucracy, and it is outsourced to a company, and these questions are insane." ON THE RESPONSIBILITY OF PLAYING A PART THAT HITS SO CLOSE TO HOME FOR SO MANY PEOPLE "You can't just do this film and go, 'Well, that's it, I'm done.' You go on and you do other work, but you still come back to it because you do feel a responsibility to it. I mean, I spoke at the Labor party conference this year — I've never done that in my life before, you know. So I do feel a bit that we have to see this film through, you know, and I don't think it is the sort of film that is going to go away. I think it's going to change things, because people here are angry, and people in America. People have said it will speak to the working poor who're in America. And it has already been mentioned in the House of Commons here by the opposition to Theresa May, so it is having an effect. I'm very pleased for Ken and for Paul, who, you know, thank the heavens that we have people like Paul Laverty and Ken Loach who are still making films that give a voice to people who don't have one." I, Daniel Blake is now screening in Australian cinemas. You can read our review here.
Whatever your artistic inclinations, there's a gallery in Australia worth a road trip. Architecturally, our wide open spaces have enabled the creation of spectacular buildings that take on dramatic relationships with surrounding landscapes, while the art scene is extraordinarily diverse. Visit Shepparton to see Australia's biggest ceramics collection, Albury for travelling blockbusters, Tweed Heads for a recreation of Margaret Olley's studio and Hobart for ancient, modern and contemporary art that meditates on sex and death. MITCHELTON GALLERY OF ABORIGINAL ART — NAGAMBIE, VICTORIA To take an artistic journey through more than 15 remote communities, head to The Mitchelton Gallery of Aboriginal Art. Hidden within Mitchelton Winery, this epic collection of Aboriginal painting, drawing and sculptures is one of the biggest in Australia. Among the standout pieces are the The Message Stick Vehicle, which transforms a Vietnam War ambulance into totemic symbol of peace, and monumental paintings by the late Yannima Tommy Watson, Gabriella Possum Nungurrayi and George Hairbrush Tjungurrayi. When you're done, sample a wine or two and maybe stay the night in Mitchelton's super-luxe new hotel. Where? 470 Mitchellstown Road, Nagambie. How far? About 90 minutes north of Melbourne. [caption id="attachment_692306" align="alignnone" width="1920"] Destination NSW[/caption] MURRAY ART MUSEUM — ALBURY, NSW After a $10.5 million revamp in 2010, the Murray Art Museum Albury (affectionately known as MAMA) has been attracting travellers off the Hume Highway with blockbuster exhibitions, parties, artist talks and workshops. The permanent collection features a growing number of works by prominent contemporary indigenous artists, more than 40 pieces by Russell Drysdale and the Nagel Bequest, which represents John Coburn, Margaret Olley, James Gleeson and numerous others. While you're there, tuck into parmesan scrambled eggs or fluffy hotcakes in the light-filled Canvas eatery. You'll find loads more Albury tips over here. Where? 546 Dean Street, Albury. How far? About 5.5 hours southwest of Sydney, or 3.5 hours northeast of Melbourne on the Victoria–NSW border. [caption id="attachment_692264" align="alignnone" width="1920"] John Gollings[/caption] NATIONAL GALLERY OF AUSTRALIA — CANBERRA, NSW We know Canberra isn't a regional town, but, nonetheless, the NGA is a destination gallery for Sydneysiders and Melburnians (any anyone driving between the two). And for good reason — the NGA hosts a steady stream of big name exhibitions. At the moment it's pulled works from American masters out of its collection, displaying Jackson Pollock's Blue poles (pictured above), along with pieces by Andy Warhol, James Turrell and Louise Bourgeois. In December, it will host a collection of Pre-Raphaelite paintings on loan from the Tate, which could make for a good Christmas or New Year stop-in if you're driving up or down the coast. Where? Parkes Place East, Canberra. How far? About three hours south of Sydney, or seven hours north of Melbourne. [caption id="attachment_692310" align="alignnone" width="1920"] Destination NSW[/caption] TWEED REGIONAL GALLERY — MURWILLUMBAH, NSW In this gallery, you can peek into Margaret Olley's studio — which was originally located miles away in Sydney, at 48 Duxford Street, Paddington — as it was when she passed in away in 2011. Following her death, more than 21,000 of her belongings and paintings, including windows and doors, were transported to the Tweed Regional Gallery, where they were set up in a re-creation. There are also numerous works by Olley and her contemporaries, including Margaret Cilento, David Strachan and Cressida Campbell, as well as a vast permanent collection of portraits. The $20,000 Olive Cotton Award For Photographic Portraiture also takes place biennially. Where? 2 Mistral Rd, South Murwillumbah. How far? About nine hours north of Sydney, or 90 minutes south of Brisbane. [caption id="attachment_692251" align="alignnone" width="1920"] Robert Blackburn/Visit Victoria[/caption] TARRAWARRA MUSEUM OF ART — HEALESVILLE, VICTORIA If you're in Melbourne and keen to get a country art (or architecture) fix, but don't want to travel too far, head to the Yarra Valley to visit the TarraWarra Museum of Art. Given to the public by philanthropists Eva Besen AO and Marc Besen AC, this beautiful building overlooks rolling vineyards and undulating hills. When you've feasted your eyes on the views, head inside to see works by Jeffrey Smart, Brett Whiteley, Arthur Boyd and James Morrison. Then, of course, there are the Yarra's many, many wineries. Where? 313 Healesville–Yarra Glen Road, Tarrawarra. How far? Only an hour northeast of Melbourne. [caption id="attachment_692184" align="alignnone" width="1920"] Tiwi_Designs_Website.jpg[/caption] TIWI DESIGN — BATHURST ISLAND, NT Of all the centres in Australia devoted to Aboriginal and Torres Strait Islander art, Tiwi Design is one of the oldest. It's on Bathurst Island, which is around 92 kilometres off Darwin. The collection is extraordinarily diverse, encompassing ochre paintings, ironwood carvings, screen painted fabrics, ceramics and sculptures of bronze and glass, as well as limited edition prints. What's more, Tiwi isn't just a gallery, but a living, working art centre, which means new artworks are in progress continually. To visit Tiwi, you'll need to book a tour, which includes return ferry rides from Darwin, a welcome ceremony, a walking tour with a local Tiwi guide, an art session, morning tea and lunch. Where? Puantulura Street, Nguiu, Bathurst Island. How far? About 2.5 hours by ferry from Darwin. MUSEUM OF OLD AND NEW ART — HOBART, TASMANIA Founded by Tassie millionaire and art collector David Walsh in 2001, the MONA is the biggest privately-owned museum in the entire Southern Hemisphere. Built into cliffs around the Berriedale Peninsula, the gallery is made up of three levels of subterranean, labyrinthine spaces, accessed via a spiral staircase. The 1900+ strong collection is famous for its preoccupation with sex and death, and every year, MONA hosts Dark Mofo, which marks the winter solstice. While you're in Tassie, add some foodie adventures to your road trip. Where? 655 Main Road, Berriedale. How far? About 25 minutes by car or ferry from Hobart city centre. BENDIGO ART GALLERY — BENDIGO, VICTORIA Established in 1887 and now sporting a highly Insta-worthy Karl Fender-designed extension, Bendigo Art Gallery regularly hosts blockbuster touring exhibitions. It's known for nabbing Australian exclusives for fashion and design exhibitions, including Marimekko earlier this year and Maticevski in 2016. Up next is an exciting exhibition of Frida Kahlo's personal photograph collection, including 257 images curated by Mexican photographer and photography historian Pablo Ortiz Monasterio. The gallery is part of a cluster of venues making up the View Street Arts Precinct, including the La Trobe Art Institute, so make sure to have a proper poke around the area. Where? 42 View Street, Bendigo. How far? About two hours northwest of Melbourne. GERALDTON REGIONAL ART GALLERY — GERALDTON, WA Geraldton Regional Art Gallery opened in the city's heritage-listed town hall building in 1984. Today, it acts as the centrepiece of Geraldton's art scene, through exhibitions, workshops, events and the annual Mid West Art Prize, a $45,000, non-acquisitive award for Western Australian artists. The 475-strong permanent collection includes works by Norman Lindsay, Robert Juniper, Tracey Moffatt, Howard Taylor, Julie Dowling, Hans Heysen and Elizabeth Durack. The City of Geraldton is on the coast, around 400 kilometres north of Perth. Where? 24 Chapman Road, Geraldton. How far? About 4.5 hours north of Perth. [caption id="attachment_692308" align="alignnone" width="1920"] Destination NSW[/caption] BROKEN HILL REGIONAL GALLERY — BROKEN HILL, NSW Founded way back in 1904, Broken Hill is the oldest regional gallery in New South Wales. You'll find it smack-bang in the middle of town, not far from The Palace Hotel — the one famous for appearing in Priscilla, Queen of the Desert — and the majestic Astra, built in the 1890s. The gallery's home is another impeccably restored, heritage-listed 19th century building, with stunning, high-ceilinged spaces. Look out for works by legendary Aboriginal artists, such as leading Aboriginal artists including Clifford Possum Tjapaltjarri, Emily Kame Kngwarre and Michael Nelson Tjackamarra, as well as classics by the likes of Arthur Streeton, Rupert Bunny and John Olsen. Explore Broken Hill further with our weekender's guide. Where? 404–408 Argent Street, Broken Hill. How far? Pretty far. About 13 hours west of Sydney, or nine hours north of Melbourne. [caption id="attachment_692211" align="alignnone" width="1920"] Wikimedia Commons[/caption] PERC TUCKER REGIONAL GALLERY — TOWNSVILLE, QUEENSLAND Step into the world of tropical-influenced art at Perc Tucker Regional Gallery, Townsville. Opened in 1981, in the heritage-listed former home of the Union Bank, this institution owns more than 2000 works. Focuses includes, not only on historical and contemporary art of tropical Queensland, but also Aboriginal and Torres Strait Islander art, Papua New Guinean contemporary art, pop art and ephemera. Every year, the Percival Portrait Painting Prize a $40,000 acquisitive award, adds a new face to the collection. Where? Corner of Flinders and Denham streets. How far? Real far. It's about a 15 hour drive north of Brisbane (or a two-hour flight). SHEPPARTON ART MUSEUM — SHEPPARTON, VICTORIA If you're a maker, Shepparton Art Museum (known simply as SAM) should definitely be on your itinerary. It's home to the biggest collection of ceramics in Australia, which is added to every year via two acquisitive prizes: the Indigenous Ceramic Award and the Sidney Myer Fund Australian Ceramic Award. There are also numerous Australian drawings and paintings, as well as a dynamic temporary exhibition program. And, by 2020, SAM will move into a brand new $34 million home, designed by Denton Corker Marshall architects. Where? 70 Welsford Street, Shepparton. How far? About two hours north of Melbourne.
Sometimes, a romantic comedy tries to do something different. Sometimes, it just seems like it does. The film's concept aside, there's little about 5 to 7 that defies convention; however even as it offers up the sweetness and convenience the genre is known for, plus a whole lot of culture clash commentary and comedy thrown in too, it proves an elegant effort to watch. Here, adherence to type doesn’t make for a bad film, just a routine one. 5 to 7 has certain charms, but you have to be willing to go along with quite a few contrived and heavy-handed elements to enjoy them — like being told, repeatedly and through montages, that there's a difference between Americans and the French. Chief among those obvious aspects is protagonist Brian (Anton Yelchin), aka the US-oriented party of the central couple. He's a 24-year-old aspiring writer who has dedicated his youthful years to his dream, preferring words to real-life experiences. If he sounds familiar, that's because he's the kind of earnest fellow many a movie is littered with. And those of his ilk often find their world changed through a chance meeting with a lovely lady, such as as the one that starts Brian's connection with European export Arielle (Bérénice Marlohe). After spotting her on the streets of New York City, Brian and Arielle chat and agree to cross paths again the next week. Their catch-ups then move to the titular hours of 5pm to 7pm, which is when she says she is available. The reason for her limited schedule: she’s married with two kids. While her diplomat husband (Lambert Wilson) is fine with her having an affair — in fact, he's having one as well, with an up-and-coming literary editor (Olivia Thirlby) — confining their extramarital dalliances to that daily period is just the way the French apparently do things. Cue Brian's intertwined infatuation and anguish, playing out over typical rom-com park strolls, hotel room liaisons and long chats about everyone's feelings. His parents (Glenn Close and Frank Langella) share reservations about their arrangement, but are similarly won over by Arielle — which shows just how lightly 5 to 7 skims the surface of its scenario. This isn't a film about challenging traditional ideas about relationships, or even exploring something different; it's simply a standard romance narrative navigating a series of problems, using adultery as a point of difference and wrapping everything up in "but she's French!" sentiments. Somehow, though, the actors and their subtle performances mostly make the movie work. Yelchin isn't helped by the writer-side of his character (with a wannabe author looking for his big break also frequent film fare), yet his awkwardness comes across as genuinely as his rapport with Marlohe. When they're just walking and talking, Woody Allen and Richard Linklater style, they're at their best, even if their dialogue remains a collection of clichés and clunky lines. That first-time feature writer/director Victor Levin likes to largely look on from afar, gives the film a leisurely pace, and knows how to put a graceful image together also helps the handsomely shot offering, which clearly aims to be one of cinema's classic love stories. Of course, 5 to 7 never reaches such heights, but it is a breezy and pleasing-enough attempt beneath the platitudes and predictability.
My yoga studio has a basketball court below it. During a calming session of yoga, it is not uncommon to hear the piercing screech of a whistle, frequent cheering and the intermittent shrieks of "Great shot Mike!". One time, I kid you not, there was a marching band procession going down, and the instructor had to calmly try and talk over the incessant drumming. Quite un-zen. Flow After Dark Silent Disco Yoga seeks to give yoga enthusiasts the exact opposite experience. How exactly does one silent disco yoga? Quite easily with the introduction of wireless headphones. These bad boys give participants a one-on-one with instructor, Flow Athletic co-founder Kate Kendall, while simultaneously pumping out beats from Sydney DJ James Mack. Also, they're neon. This one-off, 90-minute Vinyasa yoga session will see yogis come together at Southport Sharks Health and Fitness. It's probably your best (possibly only) chance to show off your best warrior pose while simultaneously jiving to some seriously smooth music. Silently.
The Blake Prize for Religious Art sounds like it should be a very serene, pious exhibition of artworks - classical images of angels and the nativity scene. That assumption would be wrong. Remember the ‘Osama bin Christ’ controversy, anyone? In fact, The Blake Prize is one of the most controversial contemporary art competitions on the calendar. It’s an annual prize named in honor of highly regarded British poet and artist William Blake who was a radical visionary in his day (he passed in 1827). It is open to a diversity of artistic styles, and encourages disparate styles and religious exploration. Entries in this year’s Prize are once again varied in style and subject matter, from photographic triptychs to sculpture and traditional indigenous works. There is also a lovely touch of controversy with a Drag Queen Christ on display. Lucky Brisbanites can see it all! For the first time in ten years the 60th Blake Prize has returned to Brisbane, and will be exhibited for almost two months at the QUT Art Museum. So get down to Gardens Point and prepare to be shocked, offended amazed and challenged by this unique art exhibition. Image credit: Brian Robinson, As the rains fell and the seas rose
There aren't many events where you can learn about crowdfunding, press freedom, investing, acting, pro surfing, science, the future, robotics, astronaut diets and New Zealand tourism all from the same lineup — and also about neuroscience, cyber intelligence, ethical leadership and sustainable food as well, and more. SXSW Sydney will present sessions on or featuring experts on them all when it returns for its third year. In its first lineup drop for 2025, the event has unveiled 40 of its speakers, also spanning topics such as quantum physics, the future of work and how the creative industries are evolving. GoFundMe CEO Tim Cadogan is one of the folks on the roster, taking to the stage between Monday, October 13–Sunday, October 19, 2025. So is former foreign correspondent Peter Greste, whose arrest and imprisonment in Egypt fuels new Australian film The Correspondent. Girls That Invest founder Simran Kaur, Crazy Rich Asians actor Remy Hii, former pro surfer and current World Surf League Commissioner Jessi Miley Dyer, Science Vs' Wendy Zukerman, Women's National Basketball League CEO Jennie Sager and Dr Karl Kruszelnicki are also among the initial names. There's not just more on the list now — ethical technologist Andi Mastrosavas, Silicon Valley Robotics' Andra Keay, neuroscientist Dr Ariel Zeleznikow-Johnston, space nutrition expert Flávia Fayet-Moore, Black Excellence Fund co-founder Kyah Bell, Tourism New Zealand Chief Executive René de Monchy, actor Shuang Hu (Future Date), filmmaker Neil Sharma (Heartbreak High), screen producer Julie Eckersley (Erotic Stories) and The Conversation CEO Lisa Watts, for example — but more to follow. Among its 1600 sessions and events, 2025's SXSW Sydney will include over 400 conference sessions, alongside 150-plus professional development sessions. "You'll experience dynamic keynote sessions, powerhouse panel discussions and hands-on industry workshops that deliver practical skills you can apply immediately," said SXSW Sydney Head of Conference Fenella Kernebone about this first peek at 2025's program. [caption id="attachment_971190" align="alignnone" width="1920"] Ian Laidlaw[/caption] "With a focus on innovation, leadership strategies and experience-driven learning, you'll gain fresh perspectives to help you implement meaningful change in your organisation. This first release of speakers is just the beginning — prepare to build an even more comprehensive toolkit as we announce many more industry leaders," Kernebone continued. After initially making leap to the Harbour City in 2023, then returning in 2024, this annual massive music, technology, screen and gaming festival will also boast more than 300 gigs, 95 film screenings and 150 games on its 2025 bill. Those program details haven't yet been revealed; however, once SXSW Sydney starts dropping announcements for the year, as it has now, they keep coming right up until the event takes place. [caption id="attachment_971189" align="alignnone" width="1920"] Paul McMillan[/caption] Already in 2025, the fest has advised a number changes, all designed to give more people more reasons to head along. One: additional free programming. Another: more flexibility with ticketing. On the fest's Sunday date this year, for instance, Darling Harbour will become a hub of family-friendly entertainment. Fancy hitting up the Innovation Expo without bothering your wallet? That'll now be on offer on the Saturday. As for ticketing, the single-day conference pass will set you back $295 and get you access to more than 75 sessions. The full-week pass to the conference and festival starts at $495. Plus, for movie lovers who you just want to see one flick, you can now do so for $25. SXSW Sydney's festival wristbands are back, though, giving access to either the screen, music or games showcases. [caption id="attachment_953712" align="alignnone" width="1920"] Jaimi Joy[/caption] [caption id="attachment_923316" align="alignnone" width="1920"] Paul McMillan[/caption] [caption id="attachment_923287" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] [caption id="attachment_923288" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] [caption id="attachment_967878" align="alignnone" width="1920"] Jaimi Joy[/caption] SXSW Sydney 2025 will run from Monday, October 13–Sunday, October 19 at various Sydney venues. Head to the SXSW Sydney website for further details. Top image: Nina Franova/Getty Images for SXSW Sydney.
December 10 isn't an Australian public holiday. The nation doesn't stop to remember or celebrate it, or to look back at our past. But, thanks to a speech that took place in 1992, that date will always remain significant in the country's history. Taking to the stage in Sydney's Redfern Park, then-Prime Minister Paul Keating gave a groundbreaking address about the country's treatment of Indigenous Australians. He spoke six months after the High Court's Mabo decision, and didn't pay mere lip service to the topic. Rather, he directly discussed the negative effects of white settlement upon First Nations peoples. Keating also did all of the above after quite the opening act — with Bangarra Dance Theatre, just three years into its now 32-year existence, performing before what's been known ever since as the Redfern Park Speech. Even if your knowledge of Bangarra is limited to the many dance productions that have unleashed their beauty and potency across Australia's stages — which include Blak, Patyegarang, Lore, OUR land people stories, Bennelong and Dark Emu just in the last decade — the company's presence at Keating's famed address shouldn't come as even the slightest surprise. The Sydney-based organisation repeatedly confronts Australia's colonial history head-on in its works. As an Aboriginal and Torres Strait Islander arts outfit, it can't avoid it, the impact that the nation's past has had upon Indigenous culture, and the trauma that's rippled across generations as a result. Seeing footage from that fated day and speech has an impact, though. Such clips form just a small part of the excellent new documentary Firestarter — The Story of Bangarra, but co-directors Wayne Blair (The Sapphires, Top End Wedding) and Nel Minchin (Matilda & Me, Making Muriel) know their power. Indeed, the two filmmakers are well aware that they can't tell Bangarra's tale without placing the acclaimed dance theatre in its rightful social, political and cultural context. What audiences have seen on stage over the years is stunning, astonishing and important, of course, but all of those exceptional performances haven't ever existed in a vacuum. For those unacquainted with the details of Bangarra's origins, evolution, aims and achievements, Firestarter recounts them, starting with its leap out of the National Aboriginal Islander Skills Development Association and the Aboriginal Islander Dance Theatre. Actually, it jumps back further, not only stepping through Bangarra's predecessors, but also charting how Stephen, David and Russell Page became its most famous names. Just as it's impossible to examine the dance company's accomplishments and influence without also interrogating and chronicling Australia's history, it's simply unthinkable to do so without focusing as heavily on the Page brothers as Blair and Minchin choose to. Stephen would become Bangarra's artistic director, a role he still holds. David was its music director, while Russell was one of its best dancers — and their path from growing up in Brisbane in the 60s, 70s and 80s to helping shape and guide an Aussie arts powerhouse is a pivotal component of Bangarra's overall journey thus far. If it sounds as if Firestarter has been set a hefty task — doing triple duty as a celebration of Bangarra, a record of Australia's past and a portrait of three siblings with dreams as big as their talents — that's because it has. But this dense and yet also deft documentary is up to the immense feat, and dances through its massive array of material, topics and themes as skilfully as any of Bangarra's performers ever have. It also never loses sight of what it's about, even though it covers a range of subjects. Again and again, whether chatting through the company's formation with co-founders Carole Johnson and Cheryl Stone, hearing the Pages discuss what they learned from connecting with their culture in Arnhem Land, and inevitably facing the fact that life hasn't only brought happiness and success to Stephen, David and Russell, Firestarter demonstrates the relevance to and through the organisation's works. Attendees at Bangarra's shows have been receiving history lessons for years — some overt, some subtle — and the film makes it apparent how that applies not just in a broad fashion but, for the Pages, in a personal sense as well. Even if Blair and Minchin hadn't plunged as deeply as they do into everything that's made Bangarra what it is to this point, they were likely to make an entertaining, engaging and informative documentary. The old clips and home videos; the frank interviews from both the past and present; the glimpses at the company's stage productions; the snippets of Stephen Page's equally stellar 2015 film Spear, which adapts one of the organisation's dance works — they're a treasure trove, and Firestarter always treats them as such. It allocates just the right amount of time to approving chats with other prominent arts industry figures such as Sydney Festival's Wesley Enoch and Sydney Dance Company's Graeme Murphy, too, ensuring that their perspectives are valued but never allowed to take over. The movie doesn't merely look backwards, however. Seeing how Bangarra's history continues to mould its future, its creative decisions and the dancers that star in its productions today is just as crucial to the film. Also part and parcel of Firestarter — which should almost go without saying — is the strong feeling it leaves with viewers. Wanting to soak in and experience everything that Bangarra has to offer is a natural consequence of seeing the company's stage performances, and of watching the aforementioned Spear as well, but Firestarter doesn't let that sensation wane for a second. https://www.youtube.com/watch?v=e3REMs9I9Tg Top image: Bennelon, Sydney Coliseum Theatre, by Daniel Boud.
When SXSW Sydney first started revealing details of its 2025 lineup, it promised more free programming on this year's bill. If you're keen to head along to the event's third year — after making its Harbour City debut in 2023, then returning in 2024 — without spending a cent, you'll want to make a date with Tumbalong Park, then. Again, the spot is playing host to the fest's budget-friendly activities, including everything from live music to movies, as well as DJ sets, talks, fashion showcases, pop-ups and more. Free sessions have always been a component of SXSW Sydney, but adding more was never not going to be a welcome move. Accordingly, after outlining that there'd be a significant expansion of its free programming, the festival has upped its Tumbalong Park lineup to 85-plus hours of events. At SXSW Sydney Unlocked, as the hub has been dubbed, there'll be more than 200 options to engage in the fest between Monday, October 13–Sunday, October 19. This part of the lineup runs every day, but will feature extended hours from Thursday–Sunday. Weekday lunch breaks are a particular focus, spanning programming from 12–1.30pm Monday–Friday, as are happy-hour sessions from 4.30pm Tuesday–Friday. So, SXSW Sydney clearly wants the city to join in whenever suits everyone's daily schedules — and via everything from guest appearances to surprise hosts, too. Highlights include the return of FOMA: Fabrics of Modern Australia on the runway; gigs by Indonesian hip hop stars Tenxi, Filipino folk-pop singer Angela Ken, J-Pop boy band Psychic Fever and Chinese Tencent singer Tia Ray; and Blak to the Future: A Celebration of First Nations Creatives' celebration of Indigenous filmmaking. Or, hit up twilight gigs in the Seymour Centre courtyard, get line-dancing lessons and see a range of country talent — Max Jackson, The Washboard Union, Lewis Love and Big Wheels — at Tumbalong Honky Tonk, and explore the Australian Space Agency's space-themed hub. There's also Small Fry Rock for families, with Grinspoon's Phil Jamieson and Little Birdy's Katy Steele taking to the stage. The Rubens are set to celebrate ten years of 'Hoops', while K-pop is also getting a moment. On the Saturday, if you fancy attending the Games Showcase and Innovation Expo without bothering your wallet, that's also on the agenda. Images: Jess Gleeson, Paul McMillan and Ben Gibson.
Chronicling encroaching maturity: it's the ambit of so many coming-of-age features that the idea has become its own cliche. With Boyhood, writer/director Richard Linklater takes the concept a step further — and though his method isn't unique, even to his own work courtesy of his Before trilogy, the film that results is. His portrait of growing up charts twelve years, shooting over the same period. Mason (Ellar Coltrane) is introduced staring at the sky, a six-year-old bundle of daydream-fuelled introversion and mischievous curiosity. He spars with his older sister Samantha (Lorelei Linklater), traverses the life dictated by the choices of his mother (Patricia Arquette) and wishes for more time with his father (Ethan Hawke). The years pass, and over the movie's 165 minutes, Mason evolves from a child into a man. Most movies mark the process of becoming an adult through major milestones, but Boyhood reflects upon quieter moments. Linklater doesn't follow an overarching narrative, apart from Mason's ageing and his mother's romantic and career changes. The big developments are largely inconsequential, excised in favour of everyday ephemera. It is in the spaces between — as Mason tests boundaries and forms his own identity, whether playing in the park, camping with his dad, passing notes with a pretty girl, having his first drink or finding an affinity for photography — that the film lingers. That's the key to Boyhood — the minutiae of getting older, by virtue of avoiding the usual contrivances of impending adulthood, always feels authentic and relatable. Mason's tale isn't just his own but belongs to everyone who was once a child navigating difficulties mundane in their ordinariness but influential in their individual impact, whether recently or remembered in a wave of nostalgia. In keeping with his layered storytelling, Linklater's filmmaking is unobtrusive, stitching together the familiar with finesse — pop culture references and all. His camera is enamoured with Mason, and though divorcing the time-conscious technique from the story is impossible, every image does more than capture a character ambling towards the age of 18. The intimate and unembellished slices of a young life each visual offers appear aesthetically and narratively drawn from reality, even as the constructed nature of the film remains apparent. Coltrane, of course, is the centerpiece of Boyhood, the figure upon which everything hangs. Calling his performance naturalistic states the obvious, but his ability to convey Mason's blossoming into a smart, sensitive young adult cements the film as truly special. Linklater took a risk on an ambitious way to relate an oft-told tale, and in his newcomer lead and career-best turns from Arquette and Hawke, he succeeds. And then there's another feat that can't be overlooked — starting a film with Coldplay's 'Yellow' and still making a masterpiece. https://youtube.com/watch?v=b70esOwsOf4
What happens when xenomorphs and other terrifying extra-terrestrial creatures find their way to earth? So explores Alien: Earth, which brings the iconic horror/sci-fi saga first started by Ridley Scott's (Gladiator II) Alien to humanity's home, as well as to television. Another way to discover the answer to that question has popped up in Australia to celebrate the new series' arrival: an IRL hive quarantine zone, complete with ominous eggs and organisms, which is enjoying a two-day stint in Sydney. From 12–8pm on Thursday, August 14, 2025 and also from 8am–8pm on Friday, August 15, 2025, 348 Kent Street in the Harbour City is undergoing an otherworldly makeover. Expect ovomorph eggs, a crate containing a "class-one" hostile critter and Prodigy Corp workers donning hazmat suits trying to control the area. As for the show itself, which debuted on Disney+ on Wednesday, August 13, 2025, one of the trailers has some pertinent words: "we don't lock them down, it will be too late." This time, as other sneak peeks have also made clear, there's more than just one type of extra-terrestrial to deal with. So, while watching, you can hear humanity's screams in response, with this spinoff from the iconic Alien films featuring "five different life forms from the darkest corners of the universe" wreaking havoc. Not once, not twice, but nine times now across 46 years, cinema audiences have stepped into the world of xenomorphs, facehuggers and chestbursters — and of cats onboard spaceships, androids resembling people and shouts not heard in the universe's vast expanse. When the initial Alien dropped in 1979, it started a phenomenon. 1986's Aliens, 1992's Alien 3, 1997's Alien Resurrection, 2012's Prometheus, 2017's Alien: Covenant and 2024's Alien: Romulus have all followed, as well as the 2004 Alien vs Predator and 2007 Aliens vs Predator: Requiem crossover flicks with the Predator franchise. 2025's Alien: Earth is a first, however, given that it's the franchise's debut TV series. Executive produced by Scott, this is Noah Hawley's addition to the saga — and another of his projects, after Fargo, where he's expanding upon the realm of a beloved film on the small screen. Set in 2120, his Alien entry follows the fallout of deep-space research vessel USCSS Maginot crashing onto earth, then the discoveries made as a result by a crew of soldiers that includes human-robot hybrid Wendy (Sydney Chandler, Sugar). As it peers just under a century into the future, Alien: Earth sees its namesake planet under the control of five companies: Weyland-Yutani, of course, because this is the Alien franchise, plus Prodigy, Lynch, Dynamic and Threshold. It also witnesses a society where hybrids like Wendy — the first of her kind, with human consciousness inside a robot body — live side by side with humans, cyborgs and AI-driven synthetics. Hawley's cast not only includes Chandler, but also Fargo alums Timothy Olyphant (Havoc) and David Rysdahl (The Luckiest Man in America), plus Alex Lawther (Andor), Essie Davis (The Narrow Road to the Deep North), Adrian Edmondson (Kidnapped), Samuel Blenkin (Mickey 17), Babou Ceesay (Killer Heat), Lily Newmark (A Gentleman in Moscow) and more. Find the Alien: Earth pop-up at 348 Kent Street, Sydney, from 12–8pm on Thursday, August 14, 2025 and also from 8am–8pm on Friday, August 15, 2025. Alien: Earth streams in Australia via Disney+.
Dearest reader, Melbourne has officially entered its Regency era. To celebrate the fourth season of Netflix's Bridgerton, the CBD was transformed into a real-life masquerade fantasy over the weekend, complete with colour-matching, mask reveals and promenading ton folk. For two days only, a floral-drenched door on Melbourne's Little Collins Street led fans back in time to a Regency-inspired retreat. Fair maidens greeted guests at the door and offered cucumber sandwiches, tarts, champagne and cups of tea as refreshments. Inside the parlour, guests were encouraged to get ready for a Bridgerton-worthy ball (and photo shoot op, of course). Multiple stalls were dotted around the parlour, each offering a Regency-era makeover. Guests began by getting colour-matched and were guided on which makeup and jewellery colours would best bring out their features. Next, hair coiffure accessories and a collection of vintage gloves were offered to emulate a swoon-worthy Bridgerton-esque look, regardless of whether guests arrived in traditional dress or jeans and a t-shirt. The mask maker was a real highlight, asking guests a set of questions to determine their ultimate Bridgerton archetype. Guests were then bestowed a ball mask depending on their answers. Options included the Muse, the Bohemian, the Writer, the Intellectual and more, each based on Bridgerton's beloved characters. Once guests headed upstairs, their personalised masks were ready and waiting for their masquerade ball photo shoot. Attendees stepped into the spotlight for their portrait amongst the rich tapestry, gilded details, and Regency-era oil paintings. "It's honestly unreal," said attendee Unice Wani. "I love that we get to enter an era we've always loved and seen." Unice's highlight? The colour matching. "I loved getting to test out what colour match shades I am because usually I'm gold and I just got told I'm silver! But it's been fun to try out different jewellery and masks – unreal." "The detail is incredible," said fellow attendee, Jasmine TXO, "I loved the masquerade stall and getting one that suits your personality. It's a personalised experience which is great." The masquerade makeover was the perfect way for Melburnians to get hyped for the brand new season of Bridgerton, the first part of which hit our screens on Thursday, January 29, with the second part dropping on Thursday, February 26. This season sees rising Australian star Yerin Ha take the lead as Sophie Baek, a masked Lady in Silver who captures the attention of Benedict Bridgerton (Luke Thompson). As always, scandal, romance, and exquisite fashion abound. The Bridgerton Mask Parlour proved that the allure of the beloved series lies not just in the corsets and ballrooms, but in its invitation to indulge and escape into another world (even if you're in the middle of the Melbourne CBD). Watch Bridgerton only on Netflix.
"The thing about acting is that you're not on every day. It's not go, go, go. You get a lot of time off, especially because my very favourite thing to do is to play supporting roles. So I'm not in there every single day. I get a lot of downtime." If you've ever wondered how Rachel House manages to pop up in nearly every film and TV show out of New Zealand, and sometimes from Australia as well, that's her secret: she's spent more than a quarter of a century on-screen, including 22 years since Whale Rider marked her first movie credit, and she loves her supporting niche. House's resume as a performer has been exploding since the 2010s, but the 18 months since the beginning of 2023 have been particularly busy. Audiences have seen the Auckland-born talent in Creamerie, Bay of Fires, Foundation, Our Flag Means Death and Heartbreak High on TV and streaming. They've heard her voice echoing from Koala Man, What If…?, Pinecone & Pony and 100% Wolf: Book of Hath, too. The cinema side of her acting resume also hasn't been neglected thanks to The Portable Door, Next Goal Wins, The Moon Is Upside Down and Godzilla x Kong: The New Empire. But it's The Mountain, her debut feature as a director, that defines the past couple of years for House. "It felt like a really big year last year because it was all about The Mountain, to be honest," House also tells Concrete Playground. "When all these things come out and you go 'oh, wow, did Rachel have a break?' — yes, I had many breaks. But last year I didn't. Last year was all about The Mountain. The pre-pre-production was the year before, going all the way through Christmas. And then pre-production and then production, and then post-production. It just went on and on and on, and it was good, hard, solid work. And somewhere in there I got to do a few weeks here and there doing some acting." Although The Mountain is House's initial stint behind the lens of a full-length movie, she has helming 2010 short The Winter Boy to draw on, alongside a wealth of experience on film sets. The latter has spanned not only notching up more and more supporting parts, but also working as an acting coach on projects by compatriots Jane Campion and Taika Waititi. For the first of the two Oscar-winners, she loaned her skills beyond the camera to the second season of Top of the Lake and The Power of the Dog. For the second, she built upon her appearances in Waititi's Eagle vs Shark, Boy, Hunt for the Wilderpeople, Thor: Ragnarok and Next Goal Wins. Combine decades carving out a screen career as an actor — something that House was actually told she'd never have, she explains — with helping guide performances out of other thespians, including kids, and the scene was always going to be set for an impressive first run as a feature director. With Taranaki Maunga on Aotearoa's North Island as its namesake, The Mountain tells of three children on a journey. In hospital undergoing treatment for cancer, Sam (newcomer Elizabeth Atkinson) hasn't grown up with her Māori heritage, but feels connected to it through the landmass that she's determined to climb: her mountain. Conversely, with ample time on his hands thanks to his busy dad, Bronco (fellow first-timer Terrence Daniel) considers himself a guardian of his culture. Mallory (Reuben Francis, another debutant) is the new kid initially tagging along, but appreciating more than just the chance to make friends along the way. Following its date with NZ's big screens in March, The Mountain enjoyed its Australian premiere during 2024's Sydney Film Festival, then hit Aussie cinemas in general release at the end of June. When House was showing her film to Sydney's audiences — "we got a really big crowd, and not only a big crowd, but a really receptive crowd who all really wanted to be there. So we were very, very grateful, and it was a lovely feeling in in the theatre," she shares — we spoke with her about it. Always wanting to direct a movie, what appealed about Tom Furniss' (7 Days) original script and how she reworked it, making the kind of picture out of New Zealand that she's always wanted to see, scaling mountains in multiple ways, giving Taranaki Maunga credit as a character and producer, learning from her past directors: House chatted us through all of the above and more. On Directing a Movie Always Being the Dream Back When House First Started Acting "Yes, yes — but I think it's interesting getting older. You do want to really pursue your dreams, and you want challenge yourself and all this. But, I suppose I feel — it's not less ambitious, but if I didn't direct a feature film, I would have been okay about it. I love storytelling, but I think it's because I'm in the the storytelling industry, and so I just feel very grateful to continue to tell stories in whatever way that means. I made a short film ages ago and it was a script given to me, and it was a really great lesson — because although I really loved the script and loved making the short film, it wasn't my a story that I was really connected to. And I think that was the lesson. So I've actually been sent scripts for maybe over ten years now to consider to direct, feature film scripts, and nothing appealed to me, nothing resonated to me in the same way that this this film did." On House's Initial Response to The Mountain's Original Script "Three young kids on a mission, and the possibility of the magic of that. I keep saying it but this was a real gift, actually, because the mountain, Tom [Furniss, the original screenwriter] hadn't named the mountain for whatever reason. I think his reasoning was he understands the process of filmmaking and didn't want anyone to feel locked into a location. But for me to read it, it was like 'but where are we? Where is the mountain?'. You name your mountain — you name the mountain because the mountain is going to be part of that story. It's really important. So it was a wonderful gift. And I got to talk about our Māori worldview because of being able to rework it." On the Starting Point When House Started Tinkering with the Story "To share with our country, in particular, the strength and beauty of our Indigenous knowledge. That was my intention. And to have a conversation with our country about how we see our mountains and how they shape and form us, and how they should be revered and protected." On Making the Kind of Movie That House Has Always Wanted to See Come Out of New Zealand "100%. And I think, as well, I'd love to inspire an Indigenous conversation all over the world. Mountains here in this country [Australia] all are all named and they all have beautiful, resonant, incredible stories. So let's start that conversation, let's share that Indigenous knowledge, because it's everywhere." On the Film Taking Audiences on a Journey of Finding Identity and Belonging — and Healing — in a Number of Ways "In Tom's original script, it was about three little boys and they wanted to conquer a mountain. I think that's something that seems to be so important universally, conquering — and it's gotten us all in a lot of trouble, conquering. So I wanted to really share with everybody the possibility of wanting to connect rather than conquer. It was all tied up in Sam not being raised in her culture but understanding that she was from that culture and, in the best way that she knew possible — which is Google, looking information up — she had this very, very strong belief that, even though she didn't have any evidence, that this mountain was one she belonged to. I wanted to show Bronco being from the absolute polar opposite, someone who was completely strong in in the world of Māori and really understood Sam's plight. Then I wanted to really embrace Mallory, who not only didn't understand it, but didn't believe it. I just wanted to somehow make that conversation between these three beautiful kids, and share it." On Climbing Not Only Literal But Internal Mountains in the Movie's Narrative "I was talking to somebody the other day and she described it as 'three kids who run away for different reasons but are all brought together by the power of Taranaki Maunga'. They've all got pretty clear mountainous arcs, so that was a definite intention. I suppose what I love — and maybe I would love it, I would say this — but I do love that it's Mallory who understands what's going on, that the mountain is saying 'go away. This is not good for you. This is too dangerous. I'm going to cover you in cloud. You've remembered the story of the two friends who stopped Taranaki from going into the sea and having an unhappy end.' So I love that it's Mallory who understands that it's the mountain communicating with them, and he's the one who says 'stop, we've got to stop'." On Crediting Taranaki Maunga as a Character and a Producer to Pay Tribute to Its Importance "Me and the producers and the team, we're quite a diverse bunch, the ones who make the decisions — and it just wasn't even a doubt. I don't think anyone thought that we wouldn't credit the mountain in the way that we've created the mountain. We also have made the mountain one of the producers as well, so if this film does well and we miraculously make some money, some of that money will go to the mountain, and the wellbeing and upkeep of our mountain. Otherwise, why would we make this film if we didn't believe it? But I will say that I'm so proud of our team, who, as I say, are very diverse — and it just wasn't even much of a conversation, it was just a decision that was made very easily." [caption id="attachment_965113" align="alignnone" width="1917"] Lisa Tomasetti, Netflix[/caption] On What House Makes of Her Career So Far Both On-Screen and Behind the Camera "I will say that back in the day, I'm really glad I didn't listen to some of the people who told me I couldn't do stuff, that I wouldn't be on screen. When I was at drama school, I was told I probably wouldn't do any screen work because of the way I looked. I was told by a director that directing was probably a bit beyond me. There is a kind of tall-poppy thing that we have, I think particularly with women. There is a fear of women taking up space and shining. I am of that generation that had all those beliefs — or disbeliefs, I suppose, is a better way of describing it. So I feel like my age group and up — women, I'm just talking about — I feel like we're late bloomers because of the conditioning that we had when we were younger, particularly in our country. So I suppose it's taking me a long time to enjoy it and not feel so overwhelmed by gratitude, that it puts me in a sort of constant thank you, scarcity sort of vibe. I guess I feel good about it, but I don't feel up myself about it. I just feel grateful and empowered that I didn't listen to any of those voices." On How Working with Other Filmmakers Across House's Career, Including as an Acting Coach, Helped Prepare Her for Directing Her First Feature "I've told the story a couple of times now, but I think it's a really fantastic story for anyone who's going to be working with kids, and in fact adults, all actors. Something that I learned working on Whale Rider — there's an iconic moment in Whale Rider where Keisha Castle-Hughes gets up on stage and and does this extraordinary speech to Koro, her granddad. And I was in that scene, I got to sit there in the audience and watch her over and over — and watching Niki [Caro, Whale Rider's director] and the way that Niki was going through exactly what Keisha was going through. I don't think Keisha ever felt alone. I feel like as a director, you've got to go through it with your actors emotionally. It's something that I definitely witnessed between those two. I'd see them in-between and they'd be talking, they'd be really close and talking to each other, and Niki would be crying and Keisha would be crying — and it was extraordinary to watch. And you could see that Keisha didn't feel alone. And I've seen that with Jane [Campion], with adult actors as well, actually. I just feel like she goes through it with her actors. So that was an extraordinary learning. With Taika [Waititi], he really creates a lot of fun on set, and that's incredibly important, too. I mean, you can have fun and when you need to have focus, you have focus. I feel like that's how we went about things as we were shooting The Mountain. Although, I do have to say, we were in such incredible and sometimes difficult terrain on the daily — and because we're an independent New Zealand film, we were on the move, man. So we had to go into these incredible places that took quite a lot to get there, and then we had to get out in three hours. But it was a wonderful family dynamic that we had. And that's something that I've learned throughout my whole career: the importance of family in regards to the people that you're working with." The Mountain opened in Australian cinemas on Thursday, June 27, 2024 and in New Zealand cinemas on Thursday, March 28, 2024.
All the single ladies, put your hands up, grab your girlfriends and head to Saké for a wonderful girls night out this Valentine's Day. Their cocktails are made by one of Australia’s top shakers, and built with unique flavours including their saké-based mixes. To really kick the night off well, start with a Godzilla, which has Green Fairy Absinthe and lychee liqueur with lime and fresh shisho leaves. The taste is unlike anything you may have tried before, but boy does it taste good. When it comes to the food, sharing is the key at Saké. Start off with the incredible new-style wagyu — juicy and flavoursome, this will melt in your mouth. The edamame is an oldie but a goodie, and the chicken karage is sinful and delicious. The waitstaff are incredibly helpful and more than happy to explain the dishes and also help you to decide just how much food you will need. It's a Japanese restaurant, so it would be remiss to overlook the array of sushi and sashimi on offer. If you just want a taste of a couple of different fish, then the sashimi appetiser will be perfect for you. For sashimi lovers, the kingfish with jalapenos is off the hook (and straight onto your plate). Sushi-wise, you cannot go past the popcorn roll, which is filled with tempura prawns and spicy mayo. It’ll be hard to go back to the sushi train after this. Meat lovers will enjoy delicious options such as the beef sirloin, pork dumplings, and quail, which are all spectacular. Whatever you do, though, you must leave room for dessert. If you don’t think you can squeeze anything more in, go by the old adage ‘there’s always room for ice cream’ and get the bitter chocolate sorbet. Good god, it's good. The Chocolate Garden is the signature dessert and features a decadent plate full of, you guessed it, chocolate. White, dark, milk, it's on the plate, and there is certainly enough to share around. Finish your night with a saké bomb and you and your girlfriends will be merrily trotting home, completely satisfied and with a light buzz. What better way to spend Valentine's day than with great friends, exceptional food, and Saké?
In its former life, West End's West Village precinct was home to the Peters ice cream factory. As a result — and because ice cream is tasty — it doesn't miss an opportunity to remind Brisbanites of that fact. Indeed, you might've licked your way through its Ice Cream Festival in previous years, or moseyed along to its pop-up bar inspired by the frosty dish. And from Friday, November 13–Sunday, November 29, you can treat both your eyes and your tastebuds to its latest dessert-inspired shenanigans. There are multiple parts to Daydreams and Ice Cream. Yes, eating ice cream is one of them. Head by on weekends — from 4–8pm on Fridays and Saturdays, and from 2–6pm on Sundays — to feast on dishes from a heap of ice cream vendors. There'll be live music then, too, in case you need a soundtrack. Running daily, the other attraction is Daydreams and Ice Cream's installations. If you went along to Sugar Republic when it was in town, you'll know the kind of thing you're in for. At West Village, there'll be 12 sections all in a circle — so get ready to be surrounded by ice cream-style hues and imagery, and to get snapping.
The Charming Squire, James Squire and Mantle Group's industrial-chic brew bar, commands a central, stoic yet warmly welcoming position in South Brisbane's entertainment and cultural precinct. The venue is truly like no other in our fair city. Stepping inside, one is immediately treated to a "have I died and gone to Sophisticated Beer Barn Heaven?" moment. High ceilings, exposed kegs, a shiny timber and stainless steel fit-out and a copper-covered main bar replete with the rogues gallery of Squire beers and ciders on tap adorn the plush ground floor. Stairs lead to a mezzanine level, the River Bar, complete with another bar and old-timey memorabilia. All of this is a fitting ode to the eponymous roguish-convict-turned-brewer himself, James Squire. For too long, the scoundrels, playboys and affable scamps of Brisbane have lacked a true mecca, but we think they may finally have one at the Squire. And fear not – tweed jackets are not compulsory for entry, but are always encouraged. The first frothy cab off the rank is summer ale A Close Shave, brewed on-site by maestro craft hopster Anthony Clem. Since opening, all of The Charming Squire's house-tap brews have been hugely popular with punters and have seen a high turnover with some very busy brewing: the ultimate "good problem" for a new venue. Made from the rare El Dorado hop, A Close Shave is a crisp, slightly fruity and refreshing ale fit for the sun-struck months. During our visit we also got our mitts all over other Squire staples The Chancer golden ale and One Fifty Lashes pale. Non-beer-drinkers are not forgotten; a hearty wine, spirit and cocktail list is on hand, too. And if you're looking to really party, the Squire is also host to five different function spaces, including the private River Room upstairs, with space for more than 100 revellers. Alas, time constraints thwarted our desire to explore the culinary delights served up by Charming Squire head chef and certified paddock-to-plate magician Deniz Coskun. With a sizeable selection of share plates, woodfired steaks and pizzas, the venue looks more than able to sate hunger as well as thirst. Located within a short stroll of South Brisbane train and busway stations (Concrete Playground encourages safe drink-travel) — as well as QPAC, the Convention and Exhibition Centre and GOMA, among others — The Charming Squire is also the beer-lover's ideal place to start or nightcap an evening of theatre or an exhibition (why yes, southerners, we do have some; it's just in a concrete box). Of course, you may just prefer to stay at the Squire the whole time, and there'd be nothing wrong with that. Images: Grace Smith.
The best spot in Australia for a picnic is hotly contested. Melbourne has some good ones. So do Sydney and Brisbane. Mount Buffalo, a picturesque mountain surrounded by green valleys roughly a four-hour drive from Melbourne, is now coming for the title — as long as you're not afraid of heights. The Bright Adventure Company is offering secluded picnics for thrill-seekers suspended off the cliff face of Mount Buffalo, on a platform 300 meters off the ground. For $449, you'll get a set up on the suspended ledge suitable for two people, a delicious picnic hamper and all the safety equipment and training required. Then you can relax with your partner or picnic buddy as you take in the views of the Mount Buffalo National Park. All you need to bring is warm clothes, sturdy shoes, a water bottle and a total lack of fear of heights. The experience goes for three hours with sunrise, lunch and dinner packages all available. If you have a group of four you can organise a set of two edges side-by-side so you can share the experience with your besties. Book a cliff picnic through the Bright Adventure Company. Before heading interstate, check the relevant state's COVID-19 guidelines.
West End has been a hive of activity lately, with new venues springing up all over the place. One such venue is Grown, a plant-based dining venue offering breakfast and lunch every day (except Monday) from 7 am - 3 pm in the Vida Complex. The plant-based, seasonal menu uses produce which is sourced from FoodConnect, a company who source from local farmers within a 400km radius of Brisbane. The ethos behind Grown is pretty simple: good food, sourced from local farmers, beautifully presented. Plus, scraps and waste aren't going into the bin — they're being composted at Jane Street Community Garden (check them out — it's a must-do and just a stroll around the corner from Grown), a volunteer-run community space where permaculture reigns supreme. Walking through the doors of Grown, you enter a relaxed space with splashes of green everywhere. You might sit inside, or people watch on the street outside. The menu sports interesting and delicious dishes for all palates, like housemade hash brown with roasted tomato and avocado ($12), scrambled tofu with Asian mushrooms and sesame cheese on multigrain ($12) or grilled cos with watercress hummus, black garlic and crispy buckwheat ($12). If sweet is more your style, why not go for lemon pannacotta with housemade granola ($11) or brioche french toast with berries and pepper ice cream ($14)? Because yes, it's perfectly acceptable to have ice cream for breakfast at Grown. Drinks-wise, you could go all out and sip on a gut-friendly kombucha — the blueberry pie flavour is delicious ($6.5) — or grab a golden ($5) or a beetroot latte ($4) to complement your plant-based brunch. If it's one of those scorching Brisbane days where the bitumen is sticking to your shoes, we recommend high-tailing it to Grown where you can beat the heat with a fresh juice ($7) or iced latte ($5) by Dramanti Artisan Roasters. As far as brunch spots go, Grown is an exciting one to watch. And while dinner isn't available yet (and vegan wine and beer are coming soon), it's only a matter of time before this Brisbane vegan venue is ticking boxes from sunrise to sunset. Images: Jacque Prior
You step inside a room, painted white from floor to ceiling. All surfaces, fixtures, furniture and objects are white, and not just the usual things, either. Every single item that features — a fireplace trimmed with stockings, perhaps, or maybe a kitchen filled with utensils — are all white as well. From there, it's up to you and your fellow visitors to add spots of colour to The Obliteration Room in sticker form. This interactive project stems from Japanese artist Yayoi Kusama's childhood perception, seeing the world through a screen of tiny dots. In her work that followed, she covered everything with dots in a process she calls "obliteration". That's what Kusama asks everyone to do here: obliterate the installation's pristine state. And yes, running around sticking spots on everything is as fun and therapeutic as it sounds. [caption id="attachment_1008415" align="alignnone" width="1920"] Yayoi Kusama / Japan b.1929 / The Obliteration Room (installation view) 2002–present / Furniture, white paint, dot stickers / Dimensions variable / Collaboration between Yayoi Kusama and Queensland Art Gallery. Commissioned by the Queensland Art Gallery. Gift of the artist through the Queensland Art Gallery Foundation 2012 / Collection: QAGOMA, Brisbane / © Yayoi Kusama / Photograph: N Harth © QAGOMA[/caption] Developed for the Queensland Art Gallery in 2002, The Obliteration Room has toured the world, but it keeps coming back to Brisbane, including for the Gallery of Modern Art's Wonderstruck exhibition across Saturday, June 28–Monday, October 6, 2025. It may be a feature of GOMA's Children's Art Centre; however, witnessing and participating in the transformative process is a delight for big kids as well. You'll want to go back again and again during the just over three-month run, but don't forget to check out the rest of the free showcase as well. [caption id="attachment_677199" align="alignnone" width="1920"] Gallery of Modern Art. Exterior south and east face. James Turrell artwork.[/caption] Top image: Yayoi Kusama. The obliteration room 2002–present. Queensland Art Gallery | Gallery of Modern Art. © YAYOI KUSAMA
Any chance to see Yayoi Kusama's work in Australia is huge news, and reason to make a date — including travel plans, if needed — to get immersed in the Japanese icon's infinity rooms, and also be surrounded by pumpkins and dots. So when the National Gallery of Victoria announced that its big summer 2024–25 showcase would be dedicated to the artist, that was enough to make the resulting exhibition a firm must-see. Adding Friday-night parties to the mix, which the NGV has just locked in, is the cherry on top, then. How many ways can Melbourne go dotty for Kusama? Everyone is about to find out, although that question keeps being answered in the lead up to the exhibition's opening on Sunday, December 15, 2024. Already, Kusama's five-metre-tall dot-covered Dancing Pumpkin sculpture has made NGV International's Federation Court its home. Then came the revelation that the showcase will feature a world record-breaking number of infinity rooms and other immersive installations. And, outside the gallery on St Kilda Road right now, Kusama's Ascension of Polka Dots on the Trees has wrapped the trunks of more than 60 trees in pink-and-white polka-dotted material. NGV Friday Nights often forms part of the venue's high-profile exhibitions, so it should come as no surprise that the event series will be back for Yayoi Kusama. The after-hours parties will kick off on Friday, December 20, 2024 for some pre-Christmas fun, then run for 18 weeks until Friday, April 18, 2025. Come quittin' time for the week, Melburnians can add spots to their late-night shenanigans. If you're making a visit from interstate, you'll want to ensure you time it to hit one of the soirees on your trip. Seeing art is obviously on the NGV Friday Nights itinerary, but so is music and culinary experiences. The NGV's Great Hall will welcome live DJ sets, including from Dijok, Small FRY, Elle Shimada, Tanzer and more. In the NGV Garden Restaurant, acclaimed chefs Martin Benn is doing a residency for the exhibition's duration, serving up Asian-inspired dishes using Australian produce, Attendees can also look forward to other dining and drinking options, such as the Moët & Chandon champagne bar, Four Pillars gin bar, Yering Station wine bar and Häagen-Dazs ice cream cart — so there's sparkling, G&Ts, wine flights and frozen treats covered — plus a Japanese-inspired menu from the Great Hall and Gallery Kitchen. Gracing NGV International's walls until Monday, April 21, 2025, Yayoi Kusama will feature over 180 works, in what'll be the largest Kusama retrospective that Australia has ever seen — as well as one of the most-comprehensive retrospectives devoted to the artist to be staged globally, not to mention the closest that you'll get to experiencing her Tokyo museum without leaving the country. Other highlights include NGV International's glass waterwall going pink, but with black rather than white dots; Kusama's new version of Narcissus Garden, which dates back to 1966 and will feature 1400 30-centimetre-diameter silver balls this time around, sitting in front of the waterwall and in parts of Federation Court; and the yellow-and-black spheres of Dots Obsession hanging over the Great Hall. Then there's the artist's sticker-fuelled, all-ages-friendly The Obliteration Room, where audiences young and old pop coloured dots everywhere — 'obliterating', as Kusama calls it — to cover an apartment interior that's completely white otherwise. Overall, Yayoi Kusama will step through the 95-year-old artist's eight decades of making art via a thematic chronology. Some pieces hail from her childhood. Some are recent. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s; plenty from the past four decades: they'll all appear. [caption id="attachment_981011" align="alignnone" width="1920"] Yayoi Kusama, The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe 2019 at Kusama's solo exhibition Yayoi Kusama: All About Love Speaks Forever at Fosun Foundation, Shanghai. Courtesy of Ota Fine Arts © YAYOI KUSAMA.[/caption] [caption id="attachment_950473" align="alignnone" width="1920"] Yayoi Kusama, The obliteration room 2002–present. Queensland Art Gallery | Gallery of Modern Art, © YAYOI KUSAMA.[/caption] [caption id="attachment_950474" align="alignnone" width="1920"] Installation view of Yayoi Kusama's Flower Obsession 2017 on display in NGV Triennial from 15 December 2017 – 15 April 2018 at NGV International Melbourne. Image courtesy of NGV.[/caption] Yayoi Kusama displays at NGV International, St Kilda Road, Melbourne from Sunday, December 15, 2024–Monday, April 21, 2025 — and NGV Friday Nights: Yayoi Kusama runs each Friday night from 6–10pm between Friday, December 20, 2024–Friday, April 18, 2025. Head to the NGV website for more details and tickets. Top image: Installation view of Yayoi Kusama's Dots Obsession 1996/2015 at Kusama's solo exhibition YAYOI KUSAMA: IN INFINITY, Louisiana Museum of Modern Art, Humlebaek, Denmark. YAYOI KUSAMA Courtesy of Ota Fine Arts © YAYOI KUSAMA. NGV Friday Nights images: Michael Pham / Tobias Titz.
Renowned chef and restaurateur Matt Moran has announced the launch of his new burger brand, Proper Burgers. Reflecting his cooking philosophy of 'simple food, done properly,' the elevated burgers will make their debut this summer. Matt Moran says, "I have been cooking my whole life, and one thing I have learnt is that simple food, done properly, is hard to beat. That's what Proper Burgers is all about. For me, that means starting with grass-fed beef, seasoned properly and cooked with care. It means soft milk buns, sharp cheese and sauces we make ourselves. It's the kind of burger you remember — simple, satisfying, and bloody delicious. Big flavour. Nothing fancy, just damn good burgers." On the menu, classic burgers, snacks and sides are all designed to reflect Moran's commitment to top-quality produce. The Original Proper Burger features grass-fed beef and a tangy Proper Sauce, whereas the Proper Chook showcases southern crumbed chicken with a cabbage and herb slaw. On the side, you're not limited to ordinary, soggy take-out fries. Instead, go for popcorn prawns, corn ribs with parmesan and chipotle mayo, or crunchy salt and vinegar onion rings. While the first shopfront will open at Optus Stadium, it will form the foundation of a broader national vision. Moran plans to expand the brand to reach audiences who value high-quality food that is not overly complicated for its own sake. Images: SoCo Studios. Proper Burgers will open at Optus Stadium over the summer. If you're looking for a great feed now, check out this iconic Melbourne burger, which was crowned the 14th best burger in the world, or this Sydney number, previously ranked ninth best burger globally.
Street artist Rone has a well-documented knack for taking on unexpected spaces as canvases for his distinctive large-scale works. In 2017, he staged an immersive installation in an abandoned weatherboard house for The Omega Project, while last year saw him reimagine the deserted Art Deco Burnham Beeches mansion for sell-out installation Empire. Now, the celebrated artist returns to his hometown of Geelong to transform Geelong Gallery into an immersive, experiential exhibition. Featuring the first comprehensive solo survey of Rone's long-running career, Rone in Geelong captures the artist's fascination with the concepts of beauty and decay. Visitors will be treated to a sprawling collection of street art, early stencil works and photographs from the many abandoned spaces he's reimagined as temporary art installations over the years. One of these past exhibitions will be reborn with a specially commissioned 3D recreation, while an exclusive new installation will see Rone overhaul the precinct's historic Douglass Gallery into a derelict space decked out with plenty of his signature painted murals. Exploring the inevitability of decay, he'll play on the room's grand architectural features with help from interior stylist and longtime collaborator Carly Spooner. A haunting soundtrack by Nick Batterham will bring the installation to life. Throughout the exhibition, you'll also catch plenty of references to Rone's youth and his own connection to the Geelong Gallery, from glimpses of portraits to pieces capturing the region's distinctive landscape. Initially set to take place in winter 2020, the exhibition has — thanks to the pandemic — been rescheduled for summer 2021. It's now set to run from Saturday, February 27 to Sunday, May 16 — and tickets are on sale now. [caption id="attachment_762250" align="alignnone" width="1920"] Rone, Powerhouse Geelong (2014). Photo by and copyright of Rone.[/caption] Geelong Gallery is open from 10am–7pm daily. Top image: Rone, 'I've seen fire and I've seen rain' (2016) from the Empty series, Geelong Gallery. Purchased with funds generously donated by Geelong Contemporary, 2019. Copyright Rone.
Plenty has happened across Brisbane for Melt Festival, the city's annual LGBTQIA+ celebration, in past years. Getting more than a thousand people singing together to support and champion the LGBTQIA+ community will be a first, however. After already locking in a a Brissie-only show by Broadway icon Bernadette Peters for its 2025 event, and also confirming the return of the River Pride Parade for this year, Melt has now announced 1000 Voices, which will see singers from queer and pride choirs — plus anyone else who wants to join in — get crooning. Set to take place on Sunday, November 9 to close out Melt 2025 — which runs from Wednesday, October 22–Sunday, November 9 — the choral event will feature voices from across both Australia and New Zealand. Already, participation by the Sydney Gay & Lesbian Choir and Brisbane Pride Choir is confirmed, but that'll be just the beginning. It's expected that folks from Melbourne, Darwin, Adelaide, Northern New South Wales, Perth, Canberra, Auckland and beyond will take part as well. Adam Majsay, Music Director of the Sydney Gay & Lesbian Choir, is leading the charge — which will also give the River City a preview the day prior. On Saturday, November 8, a flash mob featuring some of 1000 Voices' talents will hit up a Brisbane bridge (there's plenty to choose from) as a sneak peek before the main event. "There's nothing quite like the sound of hundreds of voices rising as one — it lifts the spirit, opens the heart and reminds us what true family feels like. I've had the privilege of leading large-scale choral projects that centre inclusion and visibility, and I've seen first-hand how music welcomes people in," said Majsay, announcing 1000 Voices. "1000 Voices at Melt Festival will be more than a performance — it will be a powerful moment of connection for LGBTQIA+ singers, allies and anyone who simply loves to sing. Whether you're part of a choir or stepping into something like this for the first time, there's a place for you in this sound. And what a sound it will be — joyful, bold and unapologetically full of pride." "I'm personally so excited to be coming to Brisbane for this extraordinary event, and I can't wait to stand together with voices from all over Australia and New Zealand. Come be part of it — lift your voice and help us share in something unforgettable." If you're keen to join in, whether with your existing choir or lending your solo voice to the event, registrations are now open via the Melt Festival website. Melt takes place in spring, and returns in 2025 after being reborn in 2024 as a fringe-style celebration of queer arts and culture that not only fills Brisbane Powerhouse, but spreads across the city. Last year, more than 120 events popped up in 70-plus venues across southeast Queensland, complete with a Wicked-themed Halloween ball, a pool party and plenty more. 1000 Voices is taking place on Sunday, November 9 in Brisbane, with registrations available via the Melt Festival website. Melt Festival 2025 runs from Wednesday, October 22–Sunday, November 9. Hit up the festival website for more details.
ARIA has revealed the full list of nominees for its 39th annual ceremony, returning to Sydney's Hordern Pavilion on Wednesday, November 19. In partnership with Spotify, this year's awards will celebrate artists who are redefining the sound and scope of Australian music — from club floors to global charts. Ninajirachi leads the pack with a record-breaking eight nominations, the most ever for a female electronic artist in ARIA history. Her debut album I Love My Computer has cemented her place at the forefront of a new wave of Australian producers pushing pop and club sounds forward. Close behind is Dom Dolla with seven nods, recognised for his chart-topping track 'Dreamin''. Other major contenders include Amyl and The Sniffers and Thelma Plum, each earning six nominations, while Hilltop Hoods and RÜFÜS DU SOL scored five and four, respectively. The 2025 ARIAs will also debut a new category: Best Music Festival. Nominees include Ability Fest, Beyond the Valley, Bluesfest Byron Bay, Laneway Festival and Yours and Owls — a nod to Australia's thriving live scene. Meanwhile, rock legends You Am I will be inducted into the ARIA Hall of Fame. "This year's nominees are living proof that Australian artists are shaping the global cultural narrative in real time," said ARIA CEO Annabelle Herd. "There's no longer a singular image of what success looks like for an artist — and the stories celebrated in November are absolute proof of that." For the first time, fans can vote for public categories directly through Spotify, with voting open until November 10. The 2025 ARIA Awards will take place at Sydney's Hordern Pavilion on Wednesday, November 19. For the full list of nominees, visit the ARIA Awards website. Images: Supplied
It's the best way to feel like you're at one of the world's top music festivals without physically being there, and it's back for 2025: the Coachella livestream. When the world's eyes turn to the Empire Polo Club in Indio, California for six days each April, it isn't just folks on the ground that are paying attention. Courtesy of the fest's partnership with YouTube, everyone can stream along. Wondering when to watch? Enter this year's set times. For 2025, Coachella has made a change — or, another one, after revealing its lineup earlier than usual when it dropped in late 2024. With who'll be taking to the stage when, the festival is letting you plan ahead, unveiling both weekends' rosters at once rather than week by week. [caption id="attachment_980914" align="alignnone" width="1920"] Raph_PH via Flickr[/caption] Accordingly, you can now plot out how to work in Lady Gaga, Green Day and Post Malone's headlining sets into your diary across Saturday, April 12–Monday, April 14 and Saturday, April 19–Monday, April 21 Down Under — and when you can catch Missy Elliott, Charli XCX, Megan Thee Stallion, Travis Scott, The Prodigy, Kraftwerk, Kneecap, Benson Boone, Basement Jaxx, The Go-Go's, Djo, Miike Snow, T-Pain, Jimmy Eat World, Beth Gibbons, Amyl and the Sniffers, and plenty more as well. The fest's set times have come with a few lineup amendments, however, with FKA twigs no longer playing the event on either weekend. Instead, Weezer has joined the bill for the first three-day run for 2025, while Ed Sheeran is doing the same the following week. View this post on Instagram A post shared by Coachella (@coachella) Coachella was livestreaming its sets long before the pandemic — and while beaming festivals to the world is no longer such a novelty, the calibre of the event's lineup means that it's still a mighty fine way to spend a weekend or two. The festival also has a new Coachella livestream app for this year, which lets you see the full livestream schedule, set reminders for your favourites, then watch the highlights afterwards. [caption id="attachment_912640" align="alignnone" width="1920"] Hunter Kahn via Wikimedia Commons[/caption] [caption id="attachment_975321" align="alignnone" width="1920"] Harley Weir[/caption] [caption id="attachment_994173" align="alignnone" width="1920"] Raph_PH via Flickr[/caption] Coachella 2025 runs from Friday, April 11–Sunday, April 13 and Friday, April April 18–Sunday, April 20 — which is Saturday, April 12–Monday, April 14 and Saturday, April 19–Monday, April 21 Down Under — at the Empire Polo Club in Indio, California, and livestreams via YouTube across the same dates. Top image: Raph_PH via Flickr.
