When the latest version of Mulan starts its story, it does so with a crucial piece of narration that clearly signals the movie's intentions. "There have been many tales of the great warrior Mulan, but ancestors, this one is mine," Hua Mulan's father Zhou (Tzi Ma, The Farewell) advises the audience. Most viewers know the titular character's name from Disney's 1998 animated musical. The Mouse House is behind this new film, too, as part of its growing stable of live-action remakes of its own past hits (see: everything from Cinderella and Beauty and the Beast to Aladdin and The Lion King). But Mulan circa 2020 isn't interested in slavishly recreating the company's last take on the tale frame by frame, just with flesh and blood rather than illustrations — instead, it's smartly interested in retelling the Chinese legend in a rousing and vibrant way. As first transcribed in the Ballad of Mulan in the sixth century, the story of Hua Mulan holds a considerable place in history — and it is easy to understand why. When her elderly and ailing father is conscripted to serve in the Imperial Army, with no son of an acceptable age to take his place, Mulan steals his armour and sneaks off to join the forces for him. To do so, she disguises herself as a man, which none of her colleagues or superiors suspect. The fact that she has considerable martial arts, swordplay and archery skills assists, of course, but Mulan's kindly subterfuge sees her become a formidable and respected warrior who helps save her kingdom. With Whale Rider and The Zookeeper's Wife's Niki Caro in the director's chair, Mulan covers the expected tale; it wouldn't be a Mulan movie otherwise. But this story first fought its way across the big screen in a 1927 silent film, and has been no stranger to the page, stage or cinema over the past 93 years — so just repeating the 1998 movie really would've been the laziest option. Accordingly, the feature's four writers (Jurassic World's Rick Jaffa and Amanda Silver, plus Christmas Perfection's Elizabeth Martin and Lauren Hynek) aren't afraid to wrangle their own version of the narrative, and Caro doesn't shy away from imparting a specific tone and focus either. Where its animated predecessor played the situation in a lighthearted but still respectful manner (think: talking dragons, cricket sidekicks and lively songs about arranged marriage), this iteration adopts a weightier mood, stressing the significance of its protagonist's journey at every turn. Cue details both familiar and new, including ditching the aforementioned Eddie Murphy-voiced dragon for a symbolism-laden (and mute) phoenix, scrapping the romantic subplot with Mulan's commander and delving into the treatment of women in multiple ways. As the Emperor's (Jet Li) military battles invading northerners led by the revenge-seeking Böri Khan (Jason Scott Lee, Crouching Tiger, Hidden Dragon: Sword of Destiny), Mulan (Liu Yifei, Once Upon a Time) not only fights alongside her peers and tries to keep her secret from her mentor (Donnie Yen, the IP Man franchise) and her rival (Yoson An, Mortal Engines), but also comes up against shapeshifting sorceress Xianniang (Gong Li, Memoirs of a Geisha). Mulan isn't very subtle about juxtaposing the two women's plights — nuance is rarely Disney's specialty — but the comparison is always moving. And, with Liu serving up a quieter, more stoic performance and Gong getting a showier part as the outcast on the other side, they offer something that the company's movies aren't always known for: multiple visions of femininity, even in a story that literally tasks its lead with pretending to be male. As a result, Mulan feels like it's forging its own path even when it does hit recognisable notes, either from the 1998 film or from general cinematic tropes. Its central figure is given an almost superhero-esque origin story, involving her innate ability, or qi, because Disney is also the home of Marvel and Star Wars — but in charting her quest to succeed, the film never merely drums to the requisite beats. This version of Mulan was always going to heighten the inspirational angle, too, to rightly reflect today's attitudes; however the emotions it earns are genuine. When a coming-of-age story about a determined young woman defying the shackles of her gender and her culture in a groundbreaking way is treated thoughtfully and intelligently, it's always going to evoke a reaction. While viewers will be watching Mulan on a small-screen — after the feature was originally scheduled to play in cinemas in March, had its date delayed several times until July and August due to COVID-19, then opted for a streaming release via Disney+ instead — there's no missing the movie's visible spectacle, too. Australian cinematographer Mandy Walker (The Mountain Between Us, Hidden Figures) delivers a sweeping feast of lush imagery across a plethora of landscapes, and lenses energetic wuxia-inspired combat action as well. Indeed, this is one of Disney's most sumptuous-looking remakes, and one of its better examples in general anyway. The chasm between the company's best do-overs (Pete's Dragon, The Jungle Book) and its worst (Alice in Wonderland, particularly) is considerable, but this big-hearted, captivating and striking film easily falls into the first category. https://www.youtube.com/watch?v=KK8FHdFluOQ Mulan is available to stream via Disney+ from Friday, September 4, for an extra price of AU$34.99/NZD$39.99 on top of your regular Disney+ subscription. It'll join the service for no extra fee from December 4. Top image: Jasin Boland. © 2019 Disney Enterprises, Inc. All Rights Reserved.
Netflix might've stopped adding new Mindhunter episodes to our streaming queues, sadly, but the platform isn't done exploring true crimes or serial killers yet — not by far. From The Serpent to the Conversations with a Killer series, and including everything from The Ripper to The Raincoat Killer: Chasing a Predator in Korea as well, there's no shortage of options if you type 'serial killer' into the service's search function, including whether you're looking for dramas or documentaries. Soon, DAHMER — Monster: The Jeffrey Dahmer Story will join that hefty and growing list. Very soon, in fact: from Wednesday, September 21, with the ten-part miniseries featuring WandaVision, Mare of Easttown and American Horror Story actor Evan Peters as the titular IRL murderer. In doing so, the inherently unsettling show sees its star reunite with the latter's creator and prolific TV producer Ryan Murphy, this time getting creepy in a different way. When the Monster drops its full run in one go, ready for nightmarish midweek binging, expect to be perturbed. Unsurprisingly, the just-dropped first trailer is chilling. It's meant to be, both given the tale it's telling and the tone. In a sneak peek heavy on mood, evoking that reaction and giving viewers a look at Peters in the part are the clear aim — consider both well and truly achieved. Dahmer's story is particularly gruesome; between 1978–1991, he murdered and dismembered 17 boys and men. There's more to his crimes, including cannibalism — and accepting a meal from Dahmer isn't something that anyone takes lightly, or willingly, in Monster's trailer. Alongside Peters, Netflix's dramatised step back into Dahmer's murders features Richard Jenkins (Nightmare Alley) as the serial killer's father Lionel and Penelope Ann Miller as his mother Joyce — and the full cast includes Niecy Nash (Never Have I Ever) and Molly Ringwald (Riverdale) as well. And yes, getting well-known faces to play horrific killers is also part of Netflix's true-crime trend — which, if you watched Zac Efron play Ted Bundy in Extremely Wicked, Shockingly Evil and Vile a few years back, you'll already know. Check out the trailer for DAHMER — Monster: The Jeffrey Dahmer Story below: DAHMER — Monster: The Jeffrey Dahmer Story will be available to stream via Netflix on Wednesday, September 21.
We don't recommend taking regularly life advice from cartoon characters, but ever since an animated crab sang about the joys of living under the sea, it's an idea that's been lodged in everyone's minds. Nearly three decades after The Little Mermaid told us "darling it's better down where it's wetter", you can now experience the underwater life for yourself. If you've ever wanted to make like Ariel and slumber surrounded by sea life, Conrad Maldives Rangali Island has made that dream a reality by building a lavish underwater hotel suite. Now open and welcoming guests, the US$15 million space is being called the world's "first undersea residence" — and while a series of submerged villas in Dubai and a room at an African hotel might beg to differ, this still looks and sounds mighty impressive. Named The Muraka, which means coral in Dhivehi, the Maldives' local language, it's a two-level apartment that comes complete with sleeping and living quarters both above and five metres below the waterline. While the top floor boasts two bedrooms and bathrooms, including one with an ocean-facing tub; a powder room, gym, living room, kitchen, bar and dining area; two separate decks facing directly towards the sunrise and sunset; an infinity pool; and even butler's and private security quarters (with staff on hand 24 hours a day), it's the lower level that's the main attraction. Let's face it — you know that's exactly where everyone will head first. Down a spiral staircase, guests will find a king size bedroom, living area and bathroom, all surrounded by 180-degree panoramic views of the Indian Ocean's marine inhabitants. In total, the suite sleeps nine, making it a luxe destination for travelling groups with plenty of cash. And we do mean plenty, with Architectural Digest reporting that a stay costs around US$50,000 per night. That's not the only underwater experience on offer at the Conrad Maldives Rangali Island — for the past 13 years, the resort has also been home to an undersea restaurant, so you can eat beneath the ocean's surface as well. Images: Justin Nicholas. 2018 Hilton.
When you're grieving, you're haunted. Not in a literal sense, but you might wish you were. Instead, you're haunted by bittersweet flashes of happier times. Haunted by the spaces you shared with someone who'll never again walk through that door, sit on this couch or share your bed. Haunted by knowing you'll always associate certain places with a person who is gone forever. A Ghost Story only shows this experience directly for a small portion of its running time, but the entire movie whispers it like the sweet nothings the bereaved still yearn to hear. When M's (Rooney Mara) husband C (Casey Affleck) is killed suddenly, she roams around their Texan house, cries and devours a whole pie, and then eventually finds a way to move on. But he does not. Wearing the sheet M placed gingerly over his head when she identified his body, C gets up from his morgue slab, returns to their home, watches her grieve, and then continues to wait long after she has left. A woman mourns and a deceased man lingers. Drawing upon ideas as old as humanity, there's little else to the narrative than that. It's an easy plot gets an obvious gimmick to go with it, with Affleck spending the bulk of the film wearing a costume you probably donned as a kid. Emotionally and intellectually, however, the second collaboration between writer-director David Lowery and the two stars of his debut feature Ain't Them Bodies Saints couldn't be more intricate. Like standing under a sheet to jokingly taunt those around you, physically covering up the anxiety-inducing nature of mortality in the process, sometimes the simplest expressions of complex thoughts and feelings are the most effective. While everything that appears on screen seems straightforward — the bed linen attire, the feature's box-like Academy aspect ratio, the use of hard cuts to jump from one scene to another — watching A Ghost Story isn't the same as experiencing it. The film is as much about what happens inside of the audience as it is about what happens around C himself. As Affleck, who proves a skilled actor even under a sheet, observes new residents come and go, buildings rise and fall, and time swirl around, audiences are reminded of all the places that once meant something to them, and the people to whom those places will be forever tied. The sensation that creeps over you when you drive past your childhood home, revisit your old favourite bar, or walk past a site where something life-changing once happened to you: that's the sensation that A Ghost Story perfects. Ultimately, Lowery understands that it's people, rather than places, to whom ethereal memories cling, and that it's mourning that causes our minds to forever link individuals and experiences with certain spaces. Much, much more than just the human equivalent of a ghost emoji standing in an Instagram snap, A Ghost Story is moody and minimalistic in exactly the right ways, and one of the most astute depictions of grief to reach cinemas in a long time. https://www.youtube.com/watch?v=NcYZFmh3sHM
Excellent movie, apt title. Since premiering at the 2022 South by Southwest Film Festival, Everything Everywhere All At Once has lived up to its name. The Michelle Yeoh-starring action-comedy was a global hit in cinemas. It was a well-deserved audience favourite, too. And, it's utterly beloved by awards bodies. The latest accolades showering it with affection? The 2023 Oscars, which has just given the film a year-best haul of 11 nominations. Everything Everywhere All At Once scored Academy Award nods for almost everything it could, in fact, in a year that broke the record for the most Asian acting nominees ever. Yeoh pops up for Best Actress and made history doing so, as the first nominee in the category who identifies as Asian. Her co-stars Ke Huy Quan and Stephanie Hsu were also recognised, in the Best Supporting Actor and Best Supporting Actress fields respectively. And, for the Brendan Fraser-led drama The Whale, Hong Chau also received a nomination in the latter category. Similarly making history: the infectious song 'Naatu Naatu' from explosive action-musical RRR, which became the first tune from an Indian feature to get recognition in the field. Yes, that's a baffling statistic given India's prolific film industry. While Everything Everywhere All At Once leads the contenders overall, it has plenty of company. German war drama All Quiet on the Western Front and Irish comedy The Banshees of Inisherin each picked up nine nominations, while the Australian-made Elvis nabbed eight, Steven Spielberg's The Fabelmans scored seven, the Cate Blanchett-led Tár and high-flying Tom Cruise vehicle Top Gun: Maverick received six each, and Marvel sequel Black Panther: Wakanda Forever collected five. Naturally, Blanchett received her eighth Oscar nomination for Tár. No, fellow Australian Baz Luhrmann wasn't nominated for Best Director for Elvis. But many of the Elvis Presley biopic's nods were for behind-the-scenes categories, which means nominations for the likes of cinematographer Mandy Walker, plus costume and production designer Catherine Martin. Among the other highlights, Normal People favourite Paul Mescal received his first Oscar nomination for father-daughter drama Aftersun; the always-excellent Brian Tyree Henry earned some love for his thoughtful turn in Causeway; Andrea Riseborough capitalised upon celebrity support to score a look-in for To Leslie; and movies with scene-stealing donkeys had the Academy braying with love, thanks to The Banshees of Inisherin's nominations and a Best International Feature Film nod for EO. Also, gorgeous Irish drama The Quiet Girl was recognised in the same field, and wonderful documentary Fire of Love is among the doco contenders. And, the new Oscar-nominee with the best name? It's Best Animated Short competitor My Year of Dicks. That said, the Academy couldn't find room for far too many other exceptional films — and the people behind them — in 2023's batch of nominees. That includes completely leaving out phenomenal South Korean thriller Decision to Leave in all fields, deciding that female filmmakers weren't worthy of any Best Director nominations this year, ignoring Viola Davis for The Woman King and Danielle Deadwyler for Till (and Black actors in the lead acting categories overall), overlooking Moonage Daydream for Best Documentary, and only giving RRR that one nod for Best Song. The Oscars will announce this year's winners on Monday, March 13, Australian and New Zealand time, with Jimmy Kimmel hosting. Here's the full list of nominations: OSCAR NOMINEES 2023 BEST MOTION PICTURE All Quiet on the Western Front Avatar: The Way of Water The Banshees of Inisherin Elvis Everything Everywhere All At Once The Fabelmans Tár Top Gun: Maverick Triangle of Sadness Women Talking BEST DIRECTOR Martin McDonagh, The Banshees of Inisherin Daniel Kwan and Daniel Scheinert, Everything Everywhere All At Once Steven Spielberg, The Fabelmans Todd Field, Tár Ruben Östlund, Triangle of Sadness PERFORMANCE BY AN ACTRESS IN A LEADING ROLE Cate Blanchett, Tár Ana de Armas, Blonde Andrea Riseborough, To Leslie Michelle Williams, The Fabelmans Michelle Yeoh, Everything Everywhere All At Once PERFORMANCE BY AN ACTOR IN A LEADING ROLE Austin Butler, Elvis Colin Farrell, The Banshees of Inisherin Brendan Fraser, The Whale Paul Mescal, Aftersun Bill Nighy, Living PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE Angela Bassett, Black Panther: Wakanda Forever Hong Chau, The Whale Kerry Condon, The Banshees of Inisherin Jamie Lee Curtis, Everything Everywhere All At Once Stephanie Hsu, Everything Everywhere All At Once PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE Brendan Gleeson, The Banshees of Inisherin Brian Tyree Henry, Causeway Judd Hirsch, The Fabelmans Barry Keoghan, The Banshees of Inisherin Ke Huy Quan, Everything Everywhere All At Once BEST ORIGINAL SCREENPLAY The Banshees of Inisherin, Martin McDonagh Everything Everywhere All At Once, Daniel Kwan and Daniel Scheinert The Fabelmans, Steven Spielberg and Tony Kushner Tár, Todd Field Triangle of Sadness, Ruben Östlund BEST ADAPTED SCREENPLAY All Quiet on the Western Front, Edward Berger, Lesley Paterson and Ian Stokell Glass Onion: A Knives Out Mystery, Rian Johnson Living — Written by Kazuo Ishiguro Top Gun: Maverick, screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; story by Peter Craig and Justin Marks Women Talking, Sarah Polley BEST INTERNATIONAL FEATURE FILM All Quiet on the Western Front Argentina, 1985 Close EO The Quiet Girl BEST ANIMATED FEATURE Guillermo del Toro's Pinocchio Marcel the Shell With Shoes On Puss in Boots: The Last Wish The Sea Beast Turning Red BEST DOCUMENTARY FEATURE All That Breathes All the Beauty and the Bloodshed Fire of Love A House Made of Splinters Navalny BEST ORIGINAL SCORE All Quiet on the Western Front, Volker Bertelmann Babylon, Justin Hurwitz The Banshees of Inisherin, Carter Burwell Everything Everywhere All At Once, Son Lux The Fabelmans, John Williams BEST ORIGINAL SONG 'Applause', Tell It Like a Woman (Diane Warren) 'Hold My Hand', Top Gun: Maverick (Lady Gaga and BloodPop) 'Lift Me Up', Black Panther: Wakanda Forever (music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; lyrics by Tems and Ryan Coogler) 'Naatu Naatu', RRR (music by MM Keeravaani, lyrics by Chandrabose) 'This Is a Life', Everything Everywhere All At Once (music by Ryan Lott, David Byrne and Mitski, lyrics by Ryan Lott and David Byrne) BEST CINEMATOGRAPHY All Quiet on the Western Front, James Friend Bardo, False Chronicle of a Handful of Truths, Darius Khondji Elvis, Mandy Walker Empire of Light, Roger Deakins Tár, Florian Hoffmeister BEST FILM EDITING The Banshees of Inisherin, Mikkel EG Nielsen Elvis, Matt Villa and Jonathan Redmond Everything Everywhere All At Once, Paul Rogers Tár, Monika Willi Top Gun: Maverick, Eddie Hamilton BEST PRODUCTION DESIGN All Quiet on the Western Front, Christian M. Goldbeck and Ernestine Hipper Avatar: The Way of Water, Dylan Cole, Ben Procter and Vanessa Cole Babylon, Florencia Martin and Anthony Carlino Elvis, Catherine Martin, Karen Murphy and Bev Dunn The Fabelmans, Rick Carter and Karen O'Hara BEST VISUAL EFFECTS All Quiet on the Western Front, Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar Avatar: The Way of Water, Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett The Batman, Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy Black Panther: Wakanda Forever, Geoffrey Baumann, Craig Hammack, R Christopher White and Dan Sudick Top Gun: Maverick, Ryan Tudhope, Seth Hill, Bryan Litson and Scott R Fisher BEST COSTUME DESIGN Babylon, Mary Zophres Black Panther: Wakanda Forever, Ruth Carter Elvis, Catherine Martin Everything Everywhere All At Once, Shirley Kurata Mrs Harris Goes to Paris, Jenny Beavan BEST MAKEUP AND HAIRSTYLING All Quiet on the Western Front, Heike Merker and Linda Eisenhamerová The Batman, Naomi Donne, Mike Marino and Mike Fontaine Black Panther: Wakanda Forever, Camille Friend and Joel Harlow Elvis, Mark Coulier, Jason Baird and Aldo Signoretti The Whale, Adrien Morot, Judy Chin and Anne Marie Bradley BEST SOUND All Quiet on the Western Front, Viktor Prásil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte Avatar: The Way of Water, Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges The Batman, Stuart Wilson, William Files, Douglas Murray and Andy Nelson Elvis, David Lee, Wayne Pashley, Andy Nelson and Michael Keller Top Gun: Maverick, Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor BEST DOCUMENTARY SHORT SUBJECT The Elephant Whisperers Haulout How Do You Measure a Year? The Martha Mitchell Effect Stranger at the Gate BEST ANIMATED SHORT FILM The Boy, the Mole, the Fox and the Horse The Flying Sailor Ice Merchants My Year of Dicks An Ostrich Told Me the World Is Fake and I Think I Believe It BEST LIVE ACTION SHORT FILM An Irish Goodbye Ivalu Le Pupille Night Ride The Red Suitcase
Set along the river at Eagle Street Pier, Opa brings bold Greek flavours and big-table energy to Brisbane's CBD waterfront. With uninterrupted views across the Brisbane River and a breezy, open dining room that spills onto the terrace, it's a venue made for long lunches, sunset dinners and celebrations that stretch late into the evening. The menu centres on mezze-style dining, encouraging guests to order broadly and share generously. Expect fresh seafood, chargrilled meats, vibrant salads and house-made dips, alongside larger plates designed to anchor the table. Traditional Greek techniques meet premium Australian produce, resulting in dishes that feel both familiar and refined. Banquet menus make it easy to lean into the full experience, particularly for group occasions. [caption id="attachment_1079085" align="aligncenter" width="1920"] Blank Studios[/caption] The drinks list complements the food's boldness, with a strong selection of Greek wines, classic cocktails and spritz-style aperitifs suited to riverfront afternoons. Service is energetic and polished, matching the restaurant's celebratory mood. Opa is less about quiet intimacy and more about atmosphere – plates landing, glasses clinking and the river glinting just beyond the terrace. [caption id="attachment_1079087" align="aligncenter" width="1920"] Blank Studios[/caption]
One of the best things about going on holiday — other than the actual break from reality, that is — is sharing accounts when you get back and Instagram pics while you're there. What if, rather than chatting and snapping everything, you took brush to canvas? Whether you're a seasoned painter not sure how to turn your travel tales into art, or you're looking for some skills, motivation and confidence, The Art of Travelling can help. A new four-week course held at Fortitude Valley's Scrumptious Read, the series is a blend of painting class meets post-holiday storytelling time meets travel inspiration. Artist duo artist duo Eddy & Sandi will unleash their stories and teach you a few new tricks. Come for one, or book into the whole lot — with prices available from the venue. As well as some great nattering and a creative outlet, attendees will receive all the materials they need, so just bring your artistic self along. The basics, journeying to India, food as art and putting your new talents into practise are all on the agenda — and so is brightening up your house with the kind of vacation souvenir you can't buy in a tourist gift shop.
After spending two seasons giving viewers a glimpse at life when dinosaurs roamed the earth, Prehistoric Planet is getting icy with its just-announced third run. When the acclaimed natural-history series returns in November 2025, it's saying goodbye to Tyrannosaurus rex and its fellow dinos, and hello to woolly mammoths and snow sloths instead — and hi to sabre-toothed tigers and three-feet-tall dwarf elephants as well. Prehistoric Planet: Ice Age is also giving its megafauna-filled trip to the past a new voice. Just a few years ago, no one knew that they needed to hear David Attenborough talk about dinosaurs while watching spectacular photo-realistic recreations of the planet's ancient creatures — and then this series arrived. Attenborough returned for the second season, too. Next up, however, Tom Hiddleston (Loki) is loaning his vocal tones to narrating Prehistoric Planet's third go-around. This docuseries, which proved one of 2022's best new shows when it premiered, has always worked a particular type of magic: letting viewers peer backwards in time to the planet's past thanks to its impressive photorealistic special effects. Prehistoric Planet: Ice Age is deploying its approach to a frozen world, to spend time with the animals of its titular period, including across a variety of terrain, and through the big freeze and the big melt. While there's no Attenborough, Hans Zimmer is still providing the original score, aided by Anže Rozman and Kara Talve from Bleeding Fingers Music. And filmmaker Jon Favreau — who has used the same type of visuals on The Jungle Book and The Lion King — remains an executive producer, as does BBC Studios Natural History Unit's Mike Gunton. While audiences only had to wait a year between the first and second seasons of Prehistoric Planet, more than two-year gap will have passed between season two and Ice Age when the latter starts streaming its five-episode stint via Apple TV+ from Tuesday, November 26, 2025. In 2024, Prehistoric Planet Immersive also added to the franchise with two short episodes of five minutes and under, but only via Apple Vision Pro. There's no trailer yet for Prehistoric Planet: Ice Age, but check out the sneak peeks for season one and season two below: Prehistoric Planet: Ice Age will hit Apple TV+ from Tuesday, November 26, 2025. Read our full reviews of Prehistoric Planet season one and Prehistoric Planet season two, as well as our interview with executive producer Mike Gunton and series producer Tim Walker.
Anyone who has tasted The Gidley's extraordinary burger will know it's something special. Now, thanks to the annual rankings compiled by the respected World's 101 Best Steak Restaurants judges, we know just how special it is. Ranked ninth on The World's Top Ten Burgers list, the upmarket CBD steakhouse was the only Australian restaurant to earn a nod this year, making its burger the best in the nation. The two carefully hand-crafted beef patties are sourced from hospitality group Liquid & Larder's in-house butchery, located at The Gidley's sister venue Alfie's in the CBD. Once cooked medium rare, they're topped with mature cheddar and a few judiciously placed slivers of dill pickle, all contained within a soft milk bun. [caption id="attachment_751377" align="alignnone" width="1920"] Dominic Loneragan[/caption] While customers have the option of adding an egg or rashers of bacon to their sandwich, there are no additional condiments included on The Gidley's burger, and trust us, that's a good thing. When the meat is as tender and moist as this, the rich, beefy juices are more than sufficient to self-sauce every succulent mouthful, right down to the last bite. In other great news for Sydneysiders, The Gidley's award-worthy burger is now also available at Surry Hills whisky bar The Rover. The monster burger at Shoreditch barbecue joint Salt Shed in London took out the top spot on this year's rankings., leading an impressive showing for the British capital, including Bleecker in Bloomberg Arcade in third place, Black Bear Market in Exmouth Market in fifth position, and Burger & Beyond, also in Shoreditch, in seventh. Burgers from New York, Tokyo, Copenhagen, Miami and Valencia made up the rest of the top ten list. For the full list of the World's Best Burgers, head to the World's 101 Best Steak Restaurants website. Images: Dominic Loneragan
There are 8222 islands within Australia's watery borders. You could spend your entire life hopping from one to another and never quite make them all (well, unless you're very, very quick). So, we thought we'd save you some time and handpick ten of the best. They should at least get you started. Next time you start imagining yourself on a white-sanded beach with quokkas close by, sea lions in the distance and your desk a few hundred kilometres away, these are the spots to catch a boat/plane/ferry to. Remember: when you leave the mainland, you leave all your worries there, too. From pristine beaches and bountiful wine regions to alpine hideaways and bustling country towns, Australia has a wealth of places to explore at any time of year. We've put together a list of some of our favourite island escapes — no passport or immense jet lag required. [caption id="attachment_688571" align="alignnone" width="1920"] Paul Ewart/Tourism and Events Queensland[/caption] NORTH STRADBROKE ISLAND, QLD Located 25 minutes by ferry off the Queensland coast, Stradbroke Island is an easy day trip from Brisbane. It's the second biggest sand island in the world after Fraser Island (more on that later). For swimming in gentle waves, head to idyllic Cylinder Beach; for wilder surf, make your destination 38-kilometre-long Main Beach. Overnight stays include beach camping, as well as an array of cottages, hotels and B&Bs. Just north of Straddie is Moreton Island, a wonderland of long beaches, clear lakes and a national park. And, consider sleeping over at Tangalooma, an eco-friendly resort where you can hand-feed wild dolphins and swim around a shipwreck. [caption id="attachment_688550" align="alignnone" width="1920"] Trevor King/Destination NSW[/caption] LORD HOWE ISLAND, NSW Just 11 kilometres long and two kilometres wide, Lord Howe, a two-hour flight east of Sydney, is explorable within a few days. Whenever you travel, you won't have to fear tourist crowds: only 400 visitors are permitted at any one time and the population was just 382 at last count back in 2016. Prepare to have pretty beaches, spectacular diving sites and rugged terrain all to yourself. Among the best adventures are the Mount Gower Trail, a steep, eight-hour trek that carries you 875 metres above sea level, and Erscott's Hole, a natural wonder where you can snorkel among staghorn coral, bluefish and double-headed wrasse. [caption id="attachment_688568" align="alignnone" width="1920"] Khy Orchard/Tourism and Events Queensland[/caption] MAGNETIC ISLAND, QLD There are hundreds of islands in the Great Barrier Reef area, offering everything from secluded campsites to five-star luxury resorts. But, for convenience, outdoor adventures and, most importantly, koala spotting, Magnetic Island is hard to go past. You'll find it just 20 minutes from Townsville. Get active with sea kayaking tours and yoga classes, get artsy at beachside markets and galleries or relax at stunning beaches like Horseshoe Bay. If you're keen to venture further, jump aboard a Great Barrier Reef snorkelling, diving or sightseeing tour. [caption id="attachment_688400" align="alignnone" width="1920"] Isaac Forman/SA Tourism Commission[/caption] KANGAROO ISLAND, SA With a whopping 509 kilometres of coastline, Kangaroo Island could have you exploring for weeks. The island was pretty badly affected by bushfires back in 2020, but this guide will help you navigate — including which businesses to support. To get there, take a 45-minute ferry ride from Cape Jervis, on the Fleurieu Peninsula, around 100 kilometres south of Adelaide. Then gear up to share your holiday with sea lions, fur seals, little penguins, echidnas, koalas and, you guessed it, kangaroos. The island is a haven for creatures who've struggled to survive elsewhere, especially Australian sea lions, who were hunted to the brink of extinction in the 19th and 20th centuries. There are numerous national parks and conservation areas, and the over 4000-strong population is big on food and wine. ROTTNEST ISLAND, WA This island is a 90-minute ferry ride from Barrack Street Jetty, Perth, or 25 minutes from Fremantle. Like Kangaroo Island, Rottnest has given a big dose of much-needed love to our wild creatures, particularly quokkas, which now number 12,000 or so. Dedicate some time to spotting them (though please don't go touching, patting or feeding), before visiting pristine beaches — such as The Basin, where you'll find an underwater playground, and Little Parakeet Bay, backdropped by striking rock formations. [caption id="attachment_724590" align="alignnone" width="1920"] Visit Victoria[/caption] PHILLIP ISLAND, VIC Phillip Island's biggest drawcard is its penguin parade. Every night, at sunset, the island's resident little penguins return to their terrestrial homes, having spent the day out and about fishing. Beyond wildlife watching, go wine and craft beer tasting, bliss out with a massage or spa treatment, or conquer a trail on foot — such as the Cape Woolamai Walk, which traverses dramatic clifftops along Phillip's southernmost point. Find suggestions on where to eat, drink and stay in our guide. Unlike all the other islands on this list, you can reach this one by road: it's around 90 minutes south of Melbourne. [caption id="attachment_770035" align="alignnone" width="1920"] Tourism Australia[/caption] BRUNY ISLAND, TAS Bruny feels completely remote, yet it's just a 20-minute ferry ride from the coast and, with driving time added, 50 minutes from Hobart. The beauty of this proximity to the city is that, despite all the wilderness, you can find some top nosh: for fish and chips head to Jetty Cafe; for pub grub swing by Hotel Bruny; for cheese visit Bruny Island Cheese Company; and for a tipple, there's the Bruny Island House of Whisky. Meanwhile, nature lovers will find white wallabies at Inala Nature Reserve, windswept headlands at Cape Bruny Lighthouse and head-clearing watery views at Cloudy Bay. [caption id="attachment_688565" align="alignnone" width="1920"] Matt Raimondo/Tourism and Events Queensland[/caption] K'GARI (FRASER ISLAND), QLD World Heritage-listed K'gari (Fraser Island) is the biggest sand island in the world. There are 184,000 hectares of the stuff, comprising of 72 different colours and mostly in the form of magnificent dunes, many of which are covered in rainforest. If you've time on your hands, take on the Great Walk, an eight-day epic that visits many of Fraser's 100 freshwater lakes. If not, jump aboard a 4WD and cruise along 75 Mile Beach, take a dip at Champagne Pools along the way and pay a visit to awe-inspiring Boorangoora(Lake McKenzie), a perched lake made up of rainwater and soft silica sand. [caption id="attachment_688583" align="alignnone" width="1920"] Andrew Wilson/Tourism Tasmania[/caption] KING ISLAND, TASMANIA You might have no idea where this island is, but you've no doubt seen its cheese at your local supermarket. King Island Dairy's decadent triple cream brie is an Aussie gourmet staple. But it's far from the only treat you'll be sampling in this lush place, which lies in the Bass Strait, halfway between Victoria and Tassie. Count, too, on super-fresh seafood, flavourful beef and a cornucopia of produce from local growers. When you're finished feasting, stroll along the white sands of Disappointment Bay, visit a 7000-year-old calcified forest and go horse riding by the sea. [caption id="attachment_688591" align="alignnone" width="1920"] Coral Coast Tourism[/caption] ABROLHOS ISLANDS, WA The Houtman Abrolhos isn't just an island, it's an archipelago. There are 122 isles that make up the marvel, more or less clustered in three groups, across 100 kilometres. They lie around 60 kilometres off the Coral Coast, west of Geraldton, which is four hours' drive north of Perth. Lose yourself snorkelling or diving among colourful coral, spotting Australian sea lions and looking out for more than 90 species of seabirds, including majestic white-breasted sea eagles. For mind-blowing views, jump aboard a scenic flight. Top image: Lord Howe Island, tom-archer.com via Destination NSW
Across two seasons in 2016 and 2018, Fleabag was the only dramedy that mattered. If you weren't watching Phoebe Waller-Bridge's smash hit, you were hearing all about it from everyone you knew. If you were watching it, you were then rewatching it — and, of course, telling all of your friends. But before it was a hit TV series, Fleabag was a one-woman theatre show. That history behind Phoebe Waller-Bridge's award-winning series isn't new news, of course. As the television version of Fleabag kept picking up accolades — a BAFTA for Best Female Performance in a Comedy for its writer/creator/star; Emmys for Outstanding Lead Actress in a Comedy Series, Outstanding Comedy Series, Outstanding Directing for a Comedy Series and Outstanding Writing for a Comedy Series; Best Actress and Best Television Series Golden Globes; and a Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Comedy Series among them — that past was well-known. But if you haven't seen the OG stage production, a recorded version of that stunning performance is coming back to the big screen in Brisbane. The story remains the same, charting an incredibly relatable tale of trying to balance work, life, love and the like. When it was playing theatres from 2013–2019 after premiering at the Edinburgh Fringe Festival, Fleabag was just as applauded. And, as plenty of hit UK productions are, it was filmed by NT Live, then beamed into cinemas. It's that recording that's heading to picture palaces again from July 13, complete with Waller-Bridge stepping through the story of Fleabag's titular character. Captured at London's Wyndham's Theatre, it initially started doing the rounds for filmgoers in 2019. Indeed, that debut silver-screen stint broke box-office records. If you're unfamiliar with the TV show, let alone the theatre production before it, Fleabag's existence is perhaps best described as chaotic. Friends, family, job interviews, keeping a guinea pig-themed cafe afloat — they're just the beginning. The idea behind it came at one of Waller-Bridge's pal's storytelling nights, as a challenge to create a character for a ten-minute slot. Images: Matt Humphrey.
A new name has joined Brisbane's ever-growing craft beer scene, but The Brew Baron Beer Co isn't exactly a new brewery. Instead, it's a fresh guise for West End's Parched Brewing. This is a case of new owners, new moniker and new fictional character to base the brand around, but the same brews and space on Montague Road. Brad Sayer, Rita Ferraro and Gibran Ferraro Firmo purchased Parched in June 2023, then set about giving it a revamp. That's where the changed title from September 2023 onwards comes in for this husband, wife and stepson trio, as well as the baron figure. Sayer and Ferraro have overseen the fresh direction — including new additions to the brewery's home — while Gibran has deployed his skills as a chef to spearhead a food menu makeover. First, the space: if you're keen on whiling away an evening with a cue in your hand, you'll want to head straight to the pool room. On the way is a brand-new deck, too, for cruisy drinking sessions. And if you're eager to watch sports as you knock back a few cold ones, big-screen TVs have joined the site, while leather chesterfield couches will be in place by the time that September is out. Live music is also making a comeback at The Brew Baron Beer Co, echoing from the Brew Stage from 2–5pm every second Sunday. Prefer trivia over a tipple instead? That's now a Thursday-night staple from 6.30pm, and is free to enter. As for the food, Gibran has taken inspiration from his South American heritage, which comes through in both flavours and dishes among a heap of pub classics. Think: pork tacos with chipotle mayo and chilli con carne nachos, for starters. The menu also includes karaage chicken tacos, tempura prawns, five types of burger, seven styles of pizza, fish 'n' chips, and both schnitzels and parmigianas. Or, there's the birramisu pie, which pairs ten-hour braised beef cheek with peas and mashed potato. Drinks-wise, The Brew Baron Beer Co's sips include pale ale, lager, IPA and a hazy IPA, plus a peach and raspberry sour. Matt Wolfe remains as Head Brewer, with developing new brews part of his remit.
One of 2024's cinema trends has a very specific number in mind: 45. It was four-and-a-half decades ago that the Mad Max franchise first rolled onto the big screen, with creator/writer/director George Miller bringing it back this year for its fifth instalment via Furiosa: A Mad Max Story. It was also 45 years ago that no one could hear you scream in space, as Ridley Scott's OG Alien advised — and it too has a new movie reaching silver screens in 2024. The latter: Alien: Romulus. While watching both the initial teaser and just-dropped full trailer for the latest entry in the franchise, can anyone hear your shouts? The answer to that question depends on where you are and who you're with, of course — we're presuming that you're not in space — but the sneak peeks themselves firmly aim to unsettle. Across the two glimpses, there's an eerie derelict space station, dark hallways aplenty, screaming and a heap of blood. There's also plenty of facehuggers, chestbursters and xenomorphs. Behind the lens, albeit producing rather than directing, Scott (Napoleon) remains involved. The seventh Alien film, and the ninth including the Alien vs Predator movies, Alien: Romulus arrives in August seven years since Alien: Covenant gave the seriesf its last entry. While Scott originated the space-thriller saga back in 1979, then returned to it with 2012's Prometheus and 2017's Alien: Covenant, now Evil Dead, Don't Breathe and The Girl in the Spider's Web filmmaker Fede Álvarez is on helming duties — clearly taking his cues from Scott's work, though, right down to specific mirrored shots. The setup: when space colonisers go a-scavenging through an abandoned space station, they get more than they bargained for. Given Álvarez's background in horror, it comes as no surprise that he's tapping into the genre for his Alien effort, just as Scott did with his. Álvarez also wrote the screenplay, reteaming with Rodo Sayagues, who he worked with on Evil Dead and Don't Breathe — and who directed Don't Breathe 2. Priscilla and Civil War's Cailee Spaeny leads the group of folks doing battle with vicious extra-terrestrials, starring alongside David Jonsson (Rye Lane), Archie Renaux (Shadow and Bone), Isabela Merced (Madame Web), Spike Fearn (Aftersun) and feature first-timer Aileen Wu. Separate to Alien: Romulus, the Alien franchise is also expanding to TV, with a new series from Fargo's Noah Hawley in the works, as set three decades before the events of the first film. Featuring Sydney Chandler (Don't Worry Darling), Alex Lawther (Andor), Essie Davis (One Day) and Timothy Olyphant (Justified: City Primeval), it isn't expected until 2025. With all things Alien set to stalk across both the big and small screens over the next couple of years, staying away from this saga isn't in anyone's futures. Check out the full trailer for Alien: Romulus below: Alien: Romulus releases in cinemas Down Under on Thursday, August 15, 2024. Images: courtesy of 20th Century Studios. © 2024 20th Century Studios. All Rights Reserved.
Make some room in your budget for a new streaming service: soon, HBO's lengthy list of must-see TV shows will have their own platform in Australia. The network's dedicated streamer Max debuted in America in 2020, and has been rolling out through Latin America, the Caribbean and parts of Europe since — and newly in Japan as well. Now, Aussie viewers will be able to subscribe sometime in the first half of 2025. Earlier in 2024, it was rumoured that Australia was on Max's list in the next 18 months. At the APOS media and entertainment conference in Bali between Tuesday, September 24–Thursday, September 26, Warner Bros Discovery's President for the Asia-Pacific James Gibbons confirmed the Aussie launch, as well as the 2025 timing. Exactly how the rollout will work across the Asia-Pacific region is yet to be revealed, and it won't be the same Max model everywhere. But Australia will have a direct-to-consumer setup, which means signing up directly for Max. "We will be flexible and diverse as to how we go about it. There will be a mixture of direct service and partnership models. Our goal is to reach the fan base," said Gibbons, Variety reports. The great streaming service rush, when new platforms seemed to appear every few weeks or so, might be a few years in the past; however, HBO bringing Max to Australia is huge news. Depending on exactly when in the first six months of 2025 that it hits, that's where you might be watching The Last of Us, The White Lotus and Euphoria when they return for their next seasons. At present, the US network's shows largely screen and stream to Aussie viewers via Binge and Foxtel. When the former launched, boasting HBO's catalogue was one of its big selling points. The deal between Binge, Foxtel and Warner Bros Discovery — which owns HBO — was extended in 2023, but it was reported at the time that Max might debut in Australia from 2025. Moving HBO's catalogue away from Binge and Foxtel would impact a hefty number of shows, with the network also behind House of the Dragon, A Knight of the Seven Kingdoms and any other Game of Thrones spinoffs that make it to fruition — and True Detective, And Just Like That..., The Rehearsal, The Penguin, on-the-way IT prequel series Welcome to Derry, soon-to-arrive Dune spinoff Prophecy and much, much more. HBO's past original programming spans everything from The Sopranos, Six Feet Under, The Wire, Oz, Deadwood, Big Love, True Blood, Big Little Lies, Westworld and Succession to The Larry Sanders Show, Sex and the City, Flight of the Conchords, Bored to Death, Girls, Veep, Barry and Enlightened. Max is launching in Australia sometime in the first half of 2025 — we'll update you when more details are announced. Via Variety / The Hollywood Reporter. Top image: Macall Polay/Max.
September's looking up, as Brisbane Festival returns from September 4–26 with a hopeful and joyful program of live music, dance, sexy literary performances and a huge light and laser installation. Artistic Director Louise Bezzina has ensured that no matter where you live in the city, this annual arts extravaganza can reach you, as intimate performances are planned across all 190 suburbs. There are 490 performances all up, 80 percent of which are free of charge, and most showcase the talents of local Queensland artists. There's a lot to wrap your head around in the program, so to help you make the most if it, we've partnered with Brisbane Festival to bring you a list of ten shows that are free or under $30. And though not every performance requires you to leave your house, Brisbane Festival is following strict COVID-19 regulations across its entire program — so all you need to do is relax and enjoy the show.
If you've ever walked down Edward Street from the Queen Street Mall to the Brisbane City Botanic Gardens, or vice versa, then you've walked past the site of modern-Asian restaurant Longwang from Tassis Group. But, no matter how many times you've passed by, we're guessing that you wouldn't have ever picked that you'd be able to get feasting there — let alone hit up a rooftop bar or cocktail lounge. What was once a gap beside 144 Edward Street is now an eatery. While it only measures three metres wide, the two-and-a-half-storey spot stretches back 30 metres and can welcome in up to 175 guests for functions. How does a restaurant, even one as slender as this, take over a former alleyway? Courtesy of custom-built digs. Although there's a formal dining room, as well as the sky-high bar and venue for cocktails, being flexible is key — including in its function spaces. The idea is that patrons have a different experience onsite each time that they stop by. One constant is the culinary guidance of Executive Chef and partner Jason Margaritis (ex- sAme sAme and Donna Chang in Brisbane, and Spice Temple Melbourne and Sydney). His contemporary take on Asian cuisine, inspired by more than 15 years working with the style, heroes seafood, plus a mix of traditional flavours with modern techniques. Think: a live seafood tank with local mud crabs and Tasmanian rock lobsters, whole fried baby barramundi paired with dry red curry snake beans and bug tail kung pao. From the range of starters, oysters come with spiced coconut vinegar, the prawn and chive pancake is doused in XO sauce, and the fried calamari features tom yum flavours. Smoked river trout and green papaya are the stars of one of the salads, while a hiramasa kingfish curry is also among the mains. Dishes that don't involve the ocean's finest include pan-fried wagyu beef dumplings, braised lamb shoulder massaman curry, tea- smoked and fried half duck, and chicken bao — plus pork belly wok-tossed with sichuan pepper, black bean and chilli. Or, opt for a half chicken from the charcoal grill, as coated in tamarind-heavy satay sauce. For lunch, Longwang does lamb rib sandwiches and dan dan noodles. For dessert, mango pudding, pandan kaya toast and deep-fried ice cream are your choices. If you're hankering for a banquet experience, a seven-course option is only served before 5.30pm and is available for one person for $58 — or, if you're dining with a date, mate or more, there's $89 and $119 feasts. Taking care of the wine list to match is Tassis Group Beverage Director and sommelier Ron Almera, who has curated a mix of old- and new-world wines — all specifically to go perfectly with Asian flavours. And as for the cocktails, you can ask for them to be mixed up to suit your tastebuds whether you're hitting the rooftop or the lounge. While the "long" part of the restaurant's moniker might sound apt given the site's narrow dimensions, the name actually hails from Chinese mythology. Also known as the Dragon King or Dragon God, Longwang commands the seas, so the title reflects the menu's focus. Images: Markus Ravik.
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 serves as a sequel to the show's finale. In the spotlight: Walter White's former student and protégé, who happens to be in a spot of trouble (again). When we last saw Pinkman in Breaking Bad's final episode six years ago, he had just escaped captivity, all thanks to Walt (Bryan Cranston). The latter was injured in the process, but when he asked his former meth cooking partner to kill him, Pinkman couldn't bring himself to do it. So, Pinkman ran, and Walt lost consciousness just a cop arrived. And, that's how the series ended. As happens when every great show comes to a conclusion, we've all wondered what happened next. Come October 11 — that's in just over two weeks — fans can find out. First revealed last year, and initially given the working title of Greenbriar, El Camino: A Breaking Bad Movie will continue Pinkman's tale in a thriller written and directed by Breaking Bad creator Vince Gilligan. Although this follow-up will span a single package rather than run across multiple episodes, it is still coming to a small screen near you thanks to Netflix. Dropping the debut teaser in August, and another one during this week's Emmy awards, the streaming service has, finally, blessed us with a full-length trailer today. The film is set "in the wake of his dramatic escape from captivity", with Pinkman being forced to "come to terms with his past in order to forge some kind of future", according to the official synopsis. In the trailer, you see him hiding from police, digging holes in the desert and instantly ageing after showering and shaving — all dropping small clues to what you can expect next month. Whether Cranston will show up in El Camino is still the subject of rumour, but the trailer does reveal a couple of familiar faces, with Pinkman seeking shelter with Skinny Pete (Charles Barker) and Badger (Matt Jones). And, right at the end, an unidentified voice asks Pinkman, "you ready?". Could it be Walt? Ed the Disappearer (Robert Forster)? We'll find out very soon. Check out the El Camino trailer below: https://www.youtube.com/watch?v=1JLUn2DFW4w El Camino: A Breaking Bad Movie hits Netflix on October 11.
The anticipation is building for the FIFA Women's World Cup 2023™. Seeing as we are hosting the iconic occasion Down Under, Sydney is set to witness some exhilarating matches. Meaning the city will be bursting with football fever and a plethora of vibrant events and experiences to enjoy. So, if you're planning a trip to the city, be sure to witness the best of what Sydney has to offer. From art and culture to music and culinary delights, Sydney is poised to showcase its dynamic spirit during the month-long World Cup celebration. Luckily for you, we've rounded up some top picks that you should not miss during your stay.
In an attempt to contain COVID-19, the Australian government has announced the mass closure of indoor venues — a move that comes after stacks of events across the country have been axed, restrictions have been placed on non-essential outdoor and indoor events, international travel has effectively been suspended, domestic travel is strongly recommended against and large cultural institutions are temporarily shutting. It's all part of the government's efforts to encourage social distancing and, unsurprisingly, there's been a spike in the number of people now spending more time at home. As a result, bars, cafes and restaurants are now required to shut their doors to dine-in customers — so they're adapting by beefing up their takeaway options, launching new delivery meals and even creating boozy care packages. That means that you can put down that fifth can of Aldi tuna and pick up the phone, knowing you'll be doing a local business a solid while also getting to eating a tasty, fancy, succulent meal. Here, we'll keep you updated on all the restaurant-quality eats you can order takeaway, or have delivered to your doorstep. PICK UP AND DELIVERY [caption id="attachment_756558" align="alignnone" width="1920"] BrewDog DogTap[/caption] Alchemy (CBD) Eagle Street's Alchemy has implemented an 'Alchemy to You' takeaway and office delivery service, with menu items that include jumbo quail with Asian salad ($15), lemon pepper chicken ($20), and the restaurant's lasagne with pork and veal mince sauce ($26). It's also selling grocery items via 'Alchemy Gourmet Grocery' — check out the full list of available supplies online, place your order and then pick it up in-store 24 hours later. Ballistic Beer Co (Salisbury, West End and Springfield) For folks who live within five kilometres of Ballistic Beer Co's Salisbury and Springfield breweries, the booze-loving outfit will deliver its beverages to your home for orders over $70. At all three of its venues, takeaway options are also available. Billykart (West End) Billykart's West End restaurant is doing takeaway orders, with its full menu available by calling the eatery. It has also launched a reduced 'Billykart at Home' range via UberEats. BrewDog DogTap Brisbane (Murarrie) Perched next to the Brisbane river, BrewDog's first Australian base is scrapping all person-to-person contact — but still selling takeaway brews, wine and food via drive-through. On the menu: burgers and fries (from $19.50), pizzas (from $18) and craft beers (from $4), with orders taken via BrewDog's BrewDog HopDrop app for iOS and Android. Fancy dropping by in your boat? You can even pull up at the jetty and get your order brought to your vessel. Beer is currently available for delivery, too, and food delivery via Deliveroo and UberEats will start on Thursday, March 26. E'cco Bistro (Newstead) E'cco Bistro has launched a new takeaway menu, allowing customers to enjoy its a la carte dishes — such as parmesan and fior di latte arancini ($10 for four), gorgonzola potato gnocchi ($25) and 12-hour braised beef cheek with sautéed mushrooms and truffled mashed potatoes ($25) — at home. Call the restaurant to order, with meals available Wednesday–Saturday from 12–3pm and 5.30–8.30pm. You can either opt to collect it yourself — and call E'cco again when you get there so they can bring it out to your car — or make a delivery order via Deliveroo, with UberEats orders launching soon. Florence Cafe (Camp Hill) and Felix for Goodness (CBD) The folks at these two cafes are adapting their menu, offering takeaways and deliveries with a 'build your own menu' approach. Order via 11am, and it'll be available the same day — to pick up between 12–2pm and for delivery between 4–6pm. Gusto da Gianni (Hamilton) You can't enjoy the riverside view, but you can still tuck into Gusto da Gianni's Italian eats. The Portside restaurant has made its entire menu available for takeaway, and for delivery via UberEats and Deliveroo. Jumbo Thai (CBD) Edward Street's Jumbo Thai has started a new delivery and takeaway offering, spanning bao, curries, stir fries, noodles and rice. Paw Paw Asian Kitchen (Balmoral) Expanding its existing takeaway option, Balmoral's Paw Paw Asian Kitchen is now providing patrons with a drive-through service as well. Place your order in advance as usual, then pull up outside the Riding Road restaurant, give them a call and a staff member will bring your food out to your car. You can also order Paw Paw's dishes for delivery, too. Phat Boy (CBD) Brisbane Quarter's resident Thai joint is doing takeaways as well as deliveries — via UberEats and Deliveroo — for lunch Monday–Friday and dinner Monday –Saturday. Proof BBQ & Booze (Windsor) Get barbecued meats delivered to direct your door thanks to Proof BBQ & Booze's takeaway menu — or head by to pick up beef brisket, southern fried chicken, pulled pork, whole blackened fish and smoked hot links by the pound or half-pound. Semi-Pro Brewing Co (East Brisbane) With its taproom closed, Semi-Pro Brewing Co is doing takeaways and deliveries instead. From Wednesday–Sunday, you can stop by to pick up brews. And, if you'd like beer brought to your home without leaving your house, it's offering same-day delivery for full and half cartons. PICK UP [caption id="attachment_624544" align="aligncenter" width="1920"] Il Molo[/caption] Belle Epoque (South Bank) Emporium's Belle Epoque has launched a pre-packaged 'grab and go' range, which spans both sweet and savoury goodies — including beef lasagne, Thai red chicken curry, cream of pumpkin soup, beef cheek ragu and Moroccan lamb tagine for $9.90 each; and its usual array of coffee, birthday cakes, tarts and other patisserie items. You can also order via phone, then pull up in the Emporium Hotel South Bank driveway and have your order brought to your car. Burleigh Pavilion (Burleigh Heads) For Brisbanites who find themselves a little further south, Burleigh Pavilion has launched a new takeaway menu. You can't order drinks, but you can nab items from its usual seafood, grills, burger and pizza range, as well as from its selection of sides, share plates and salads. Gerard's Bistro (Fortitude Valley) Significant changes are in effect over at Gerard's Bistro, with the Fortitude Valley restaurant merging with sibling venue Gerard's Bar for the time being. Together in their combined site, they're also offering a takeaway menu — including whole and half charcoal chickens ($25/15), cheese manoushe ($13) and fattoush salad ($10). Il Molo (Bulimba) Eastsiders can check out Il Molo's new takeaway menu, with offers a range of Italian-style fare — including arancini with pumpkin, sage and goats cheese ($15 for three), classic carbonara ($26) and five types of pizza ($20–27). Montrachet (Bowen Hills) From Monday, March 23, King Street's French fine diner is offering a selection of dishes in semi-prepared takeaway packs that can be collected from its Bowen Hills digs. Tuck into duck and cognac parfait ($15), French onion soup ($12), pressed pork belly ($30), opera cake with sauce anglaise ($10.50) and more. Orders must be made before 7pm for collection the next day. Naim (Paddington) Paddington's go-to for Middle Eastern cuisine has opened its whole menu up for takeaway orders, which can be booked by phone or via Facebook and Instagram DM, then picked up in-store. It is also doing 'Family Meal Kits', with options for two or four people ranging from $35–75. Newstead Brewing Co (Newstead and Milton) No matter which Newstead Brewing Co you're closest to — its original Newstead digs or its second site at Milton — you can take advantage of its new click and collect option. It applies across both brews and food, pairing four-packs from the brewery's core range with one of its pizzas. Just order online, include your beer and pizza preference in the notes, then pick it up 30 minutes later — with orders available from 12–8pm daily. Perch'd (Coorparoo) Nestled inside a cute old Queenslander in a leafy Coorparoo street, Perch'd has made its whole menu available for takeaway — with orders available from 4pm Wednesday–Friday and from 12pm on weekends. Ristorante Tartufo (Fortitude Valley) If your tastebuds are hankering for a hearty Italian meal, Fortitude Valley's Tartufo is now offering full takeaway service. Its classic-style pastas, risottos and pizzas are all available to order, as are its entrees, mains and desserts. Same Same (Fortitude Valley) Contact-free takeaway is now available at Same Same, available from 5.30pm Monday–Sunday and 12–3pm Friday–Sunday. Favourites such as the Longtime chicken burger ($5.50), red curry of Angus beef cheek ($30) and banana flower salad with grilled chicken and coconut ($23) are on the Fortitude Valley eatery's menu. Sono (Hamilton) Portside's Sono is known for its luxe Japanese spread — think sashimi platters, soft shell crab with shiso salsa and black cod saiko yaki — which you can now order for takeaway by calling the venue. Tetto Rooftop Bar, Comuna Cantina and Corbett & Claude (Everton Park) This Everton Park trio are offering drive-through takeaway orders. Order online or via phone, then have your meal brought to your car when you arrive to pick it up. Three Blue Ducks (CBD) W Brisbane's resident restaurant is now doing takeaway lunch and dinner, with its full menu available for pick up — for lunch on weekends, and for dinner from seven days a week. Have you come across one we've missed? Let us know at hello@concreteplayground.com Top image: Burleigh Pavilion
Once a year, for one night only, a New Farm street transforms into a fashion party. That'd be James Street — and, given that the stretch of road boasts plenty of boutique selling designer threads, you know that they know how to put on a sartorial celebration. James St Up Late is all about exploring the precinct's many outlets, stocking up your wardrobe, getting tempted by specials and browsing the latest collections. In 2023, it's marking 11 years of doing just that, in fact, so expect it to be on helluva shindig — 80 businesses are getting involved. From 5–8pm on Thursday, March 23, the after-hours event will feature all of the roadway's boutiques getting in on the action — including newcomers Bared Footwear, Désordre, MCM House, SIR. and Studio Gallery joining in for the first time — plus the full slate of local bars and restaurants. As soundtracked to DJs, there'll be bargains to buy, one-off menus to eat your way through and cocktails to sip. Also a part of the fun: party bags, with 1000 up for grabs featuring goodies galore from the precinct. Here, you can eat, drink, stockshop, hit up a MCM House party and exhibition, and rub shoulders with Sean Venturi of Venroy, Amy Finlayson from ANINE BING in Calexico, Angelique Andronis of By Baby and Gail Sorronda — and more. Messina is doing a limited-edition flavour for the evening, too, while LOS Bar has a one-night-only margarita mix and The Calile is offering discounted bookings if you want to stay overnight. Images: Andrew Cois.
Peering at Yayoi Kusama's work doesn't just mean being surrounded by dots, pumpkins and tentacles; stepping inside her infinity rooms; and spying mirrors, balls, flowers and rainbow hues aplenty. It also means relishing every moment with her immersive art. One trip to a Kusama showcase, whether at her own Tokyo museum or elsewhere, is never enough. However long an exhibition's season runs for, it's not long enough, either. Melbourne's NGV International, the host of Australia's largest-ever Kusama retrospective, understands this — and it is giving art lovers more chances to enjoy the artist's wonders. Yayoi Kusama, as the current exhibition is called, opened on Sunday, December 15, 2024 and runs until Monday, April 21, 2025. That end date isn't being delayed, sadly, but the gallery is extending its hours instead across the showcase's final weeks. Revealed on Friday, March 21, the news was unveiled a day before a significant occasion: Kusama's 96th birthday on Saturday, March 22. Of course, this'd be exciting no matter when it was announced. From Saturday, April 5–Wednesday, April 16, the exhibition will operate from 8am–6pm. Melburnians, if you fancy exploring Kusama's work before or after the nine-to-five grind, this is your chance. Over the Easter long weekend, you'll have even longer to head by, which is also great for visitors from elsewhere making the trip to Melbourne for the break. From Thursday, April 17–Monday, April 21, the exhibition will be open from 8am–midnight daily. The National Gallery of Victoria's spectacular tribute to Kusama includes the Japanese icon's brand-new Infinity Mirrored Room–My Heart is Filled to the Brim with Sparkling Light among its ten immersive installations, breaking the world record for the number of such pieces by the artist assembled in one spot. In total, there's 200 pieces on display, taking over the St Kilda Road gallery's entire ground floor with a childhood-to-now survey of its subject's creative output. Across the eight decades of art on display, some pieces have never been seen Down Under until now. Some are sourced from private collections, and others from Kusama's own personal stash. Here's yet one more drawcard: the NGV is throwing Friday-night parties as part of the exhibition, too, running until Friday, April 18. Kusama's five-metre-tall dot-covered Dancing Pumpkin sculpture in NGV International's Federation Court, the artist's Ascension of Polka Dots on the Trees wrapping the trunks of 6-plus trees in pink-and-white polka-dotted material: they're also key elements of one of the most-comprehensive retrospectives devoted to the artist to be staged globally. Other highlights include NGV International's glass waterwall going pink, but with black rather than white dots; Kusama's new version of Narcissus Garden, which dates back to 1966 and features 1400 30-centimetre-diameter silver balls this time around, sitting in front of the waterwall and in parts of Federation Court; and the yellow-and-black spheres of Dots Obsession hanging over the Great Hall. Then there's the artist's sticker-fuelled, all-ages-friendly The Obliteration Room, where audiences young and old pop coloured dots everywhere — 'obliterating', as Kusama calls it — to cover an apartment interior that's completely white otherwise. Flower Obsession is another participatory piece, returning from the 2017 NGV Triennial. Again, you're asked to add to the work. Here, red flowers are applied to a domestic space — and again, obliterating it is the mission. If you adore the artist's way with mirrors, you'll want to see 2016's Chandelier of Grief, which features baroque-style chandelier spinning within a hexagon of mirrors; 2013's Love Is Calling, where tentacles in different colours spring from both the floor and the ceiling; and 2017's The Spirits of the Pumpkins Descended into the Heavens, which gets viewers peering at glowing pumpkins as far as the eye can see through a small peephole. In Invisible Life, convex mirrors line a twisting and multi-hued corridor. With its six-metre-tall tendrils — which are covered in polka dots, naturally — the yellow-and-black The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe from 2019 is striking without using a looking glass (or several), and has made its Australian premiere. Prefer flowers instead? Set within a dotted space, All My Love for the Tulips, I Pray Forever from 2013 sees a trio of giant tulips loom over audiences. Overall, Yayoi Kusama steps through the artist's 80-plus years of making art via a thematic chronology. While a number of pieces hail from her childhood, others are far more recent. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s; plenty from the past four decades: they all appear. Yayoi Kusama displays at NGV International, St Kilda Road, Melbourne until Monday, April 21, 2025 — including from 8am–6pm between Saturday, April 5–Wednesday, April 16, and from 8am–midnight between Thursday, April 17–Monday, April 21. NGV Friday Nights: Yayoi Kusama runs each Friday until Friday, April 18, 2025. Head to the NGV website for more details and tickets. Images: Visitors and artworks in the Yayoi Kusama exhibition at NGV International, Melbourne until 21 April 2025. © YAYOI KUSAMA. Photos: Danielle Castano, Sean Fennessy, Tobias Titz and Kate Shannassy.
Come on Barbie fans, let's go party — under the stars, in costume, while watching the biggest movie of 2023 and not thinking about dying. Moonlight Cinema's 2023–24 dates and November–December lineup are both here, and celebrating Greta Gerwig and Margot Robbie's pink-hued big-screen comedy is on the agenda. In fact, the openair cinema season is throwing Barbie-themed shindigs where wearing pink, rose or similar shades is encouraged while watching the film beneath the evening sky. That's just one of the highlights of this summer's (and late spring and early autumn's) date with Moonlight Cinema, which kicks off in Brisbane and Sydney on Thursday, November 23, opens in Perth the next day, and then in Adelaide and Melbourne the following week — running till February in Queensland South Australia, and March elsewhere. Also worth getting excited about: festive flicks ('tis the season), nostalgic sessions of Jurassic Park and The Mighty Ducks, The Hunger Games prequel Ballad of Songbirds & Snakes and Sydney-shot Sydney Sweeney (Euphoria)-starring rom-com Anyone But You. If nothing says Christmas to you like catching a festive film under the heavens, ideally while kicking back on bean beds and eating a picnic, then you're in luck as usual. When the beloved Australian outdoor movie-viewing setup returns, it'll again show some of the merriest pictures that it can find. On the list: Love Actually, National Lampoon's Christmas Vacation, Die Hard, Home Alone, How the Grinch Stole Christmas and Elf — so, the usual selection, not that these jolly pictures ever get old. At Sydney's Centennial Parklands, Melbourne's Royal Botanic Gardens, Brisbane's Roma Street Parklands, Adelaide's Botanic Park, and Perth's Kings Park and Botanic Garden, movie lovers can also look forward to seeing preview screenings of Taika Waititi's Next Goal Wins, plus the Natalie Portman- (Thor: Love and Thunder) and Julianne Moore (Sharper)-led May December. The first might ring a bell if you're a fan of soccer and you remember the American Samoan team's big 2001 defeat to Australia 31–0, plus the documentary of the same name about it. The second sees Carol filmmaker Todd Haynes dive into a scandal, with Portman playing an actor and Moore the woman she'll be portraying. Throw in the animated Trolls Band Together, plus everything from The Little Mermaid, The Creator, Joy Ride and Asteroid City to No Hard Feelings, A Haunting in Venice, Dumb Money and Teenage Mutant Ninja Turtles: Mutant Mayhem, and there's already a heap of titles on the bill. Killers of the Flower Moon, Mission: Impossible — Dead Reckoning Part One, Indiana Jones and the Dial of Destiny and The Super Mario Bros Movie are among the other flicks popping up. The lineup does vary per city, however — and if you're wondering what else Moonlight will screen across its full season, it now drops its program month by month. The films and the setting are just two parts of the Moonlight Cinema experience. Also on offer: an official Aperol spritz bar, which is new for 2023–24. Nosh-wise, the event will again let you BYO movie snacks and drinks (no alcohol in Brisbane, though), but the unorganised can enjoy a plethora of bites to eat onsite while reclining on bean beds. There'll also be a VIP section for an extra-luxe openair movie experience, plus a platinum section that levels up a night at the movies even further in Sydney and Melbourne. A beauty cart will be handing out samples, too. And, dogs are welcome at all sites except Perth — there's even special doggo bean beds, and a snack menu for pooches. MOONLIGHT CINEMA 2023–24 DATES: Brisbane: Thursday, November 23, 2023–Sunday, February 18, 2024 in Roma Street Parklands Sydney: Thursday, November 23, 2023–Sunday, March 24, 2024 in Centennial Parklands Perth: Friday, November 24, 2023–Sunday, March 24, 2024 in Kings Park and Botanic Garden Adelaide: Thursday, November 30, 2023–Wednesday, February 14, 2024 in Botanic Park Melbourne: Friday, December 1, 2023–Saturday, March 30, 2024 in Royal Botanic Gardens Moonlight Cinema kicks off in November 2023, running through until March 2024. For more information and to buy tickets, visit the cinema's website — and we'll update you with further program details when they're announced.
A giant globe has many uses, especially if you like pretending that you're in space. With the right imagery from NASA, it can look like the moon. Use visuals of the earth instead, however, and it can resemble this very planet of ours. The person making all of this happen: UK-based artist Luke Jerram, who is best known for his Museum of the Moon installation. That huge hit is coming to Brisbane for Brisbane Festival, and it'll have company afterwards — starting with Jerram's Gaia. With this eye-catching piece, a seven-metre-diameter globe orb will act as a mirror, showing a model of the earth. You'll see its details in a completely different way, and ideally gain a whole new perspective on the terrain we all call home. And if you've always wanted to stare at the planet just like you were peering down from space, here's your chance. [caption id="attachment_863579" align="alignnone" width="1920"] Natural Environment Research Council[/caption] Gaia will be on display for just six days, from Tuesday, September 13–Sunday, September 18, but you'll be able to take in its its wonders for free at West End's West Village. And if you're keen to complete the trifecta, the third piece taking over the globe is Mars, getting you up close and personal with the red planet once Gaia is done shining. Top image: Jim Hunstman.
If Tony Montana's "little friend" had instead been a BB gun, would that scene be quite so iconic? Hollywood fears not, it seems, because industry representatives have come out against the new gun control laws in New York, one of the few states to pass sweeping restrictions after the Sandy Hook Elementary School shootings. No, this does not mean that the (in)famously left-leaning film industry has had a sudden change of heart. Rather, the Motion Picture Association of America's complaint is that the new ban on weapons holding more than 10 rounds of ammunition will prevent films and television programs from using modified assault weapons on their New York sets. This means that for the 27 film and TV productions currently being shot in New York state, the machine guns and uzis will have to be replaced by some pretty cool-looking toy guns or the production companies may face legal action when the new legislation kicks in next January. While Governor Andrew Cuomo has previously supported amending the legislation so that Hollywood isn't an accidental victim, the law is unlikely to be changed, due to fears that it may not pass through the legislature a second time around. As such, Democrats have taken a sudden U-turn, now claiming that the new law will have no impact on the film industry. But does it have to be all doom and gloom for Hollywood and their lifelong love of big-ass guns? This could be a perfect excuse for the film industry to get a bit creative with their choice of weapons. If you can't have an AK47, why not try a giant laser? Or if Rambo V can no longer feature Stallone's favourite brand of M60E3 machine gun, maybe he can invest in a lightsaber? Here are five awesomely bizarre movie-gun substitutes in film. You're welcome Weinsten and Spielberg, you are welcome. 1. Point-of-View-Gun - The Hitchhiker's Guide to the Galaxy Even if this space-age weapon didn't make its victims uncontrollably reveal their thoughts and even if it wasn't created by the "Intergalactic Consortium of Angry House Wives" as a means of ending marital arguments, this machine-gun-substitute would still be awesome. Mostly because Zooey Deschanel is wielding it. 2. Sick Stick - Minority Report The perfect weapon for any movie bad-ass who is hoping to incapacitate but not kill their foe. It does exactly what its name suggests: causes its victim to projectile vomit. We tip our hats to your subtle anti-gun weaponry, Mr Spielberg. 3. Zorg ZF-1 - The Fifth Element This gun-substitute, which vaguely resembles your childhood super-soaker, is a total sci-fi nerdgasm. I'm not sure what I like more about it: the fact that it includes a rocket launcher, poison arrow launcher, 3000-round machine gun, net launcher, flamethrower and freeze ray or the fact that it belongs to a terrifically hammy Gary Oldman, sporting perhaps the worst wig ever to grace the silver screen. 4. The AV Arc - Blade Trinity There are two surefire ways to splice up a disappointing threequel: put Jessica Biel in a bodice-hugging leather vest (check) and invent a weapon that uses a beam of UV light that is hotter than the sun to slice up those pesky vampire hordes (check). How this movie wasn't a hit befuddles me to this day. 5. The De-Evolution Gun - Super Mario Bros While video game-inspired films that tanked are not exactly a rarity, few films have done it quite so spectacularly as this shambles of a motion picture. Combined with the ridiculousness of Dennis Hopper playing a dinosaur (yeah, seriously) is the fantastical De-Evolution Gun. As the name suggests, the De-Evolution Gun turns back the evolutionary clock on its victims such that with one twitch of the finger you can turn your mortal enemy into a harmless, albeit quite pissed off, chimpanzee.
Paddington's newest cafe calls itself "the friendly place on the terrace", and with the food and the vibe they're serving up, it's hard not to agree. Or, just take at look at their surroundings for starters. A cosy courtyard filled with wooden outdoor furniture and ample greenery — who doesn't want to eat breakfast, brunch, lunch or a daytime snack there? So, there's no doubting that Cafe Bema looks the part, and feels it too. Luckily, the meals and snacks whipped up by Chef Benny Loh promise to send your tastebuds into the same territory. Encrusted macadamia snapper with orange creamy sauce is his signature dish, if you're feeling decadent. Or, try the blueberry pancakes with caramel ice cream if you're looking to start the day well. There are plenty of other options where they came from: a Singapore-style breakfast of nasi lemak, beef burgers on black brioche buns, chicken curry and the old fave that is avo, fetta and poached eggs, for example. Drinks wise, if you're after something other than Genovese coffee, a lamington, charco choc or muddy caramel milkshake should hit the spot.
Is there anything that Bill Hader can't do? While watching Barry's third season, that question just won't subside. The deservedly award-winning HBO hitman comedy has been phenomenal since 2018, when it first premiered. When it nabbed Hader an Emmy for his on-screen efforts in 2019, it had already proven one of the best showcases of the ex-Saturday Night Live performer's talents so far, too — yes, even beyond SNL. But season three of Barry three slides into another stratosphere: it's that blisteringly clever, deeply layered, piercingly moving and terrifically acted. It's also that exceptionally well-balanced as a crime comedy and an antihero drama, that scorchingly staged during its tense and thrilling action scenes, and that willing to question everything that the show and its eponymous character are. Hader has always lit up whichever screen he's graced, big or small — be it during his eight-year SNL stint, including as New York City correspondent Stefon, or in early supporting movie parts in Hot Rod and Adventureland. In 2014's The Skeleton Twins, opposite fellow ex-SNL cast member Kristen Wiig, he'd never been better to that point. But Barry is a tour de force both in front of and behind the lens, and a show expertly steeped in the kind of deep-seated melancholy that Hader can so effortlessly exude even when he's overtly playing for laughs. He doesn't just star, but writes and frequently directs. He co-created the series with Alec Berg (Silicon Valley), and he'll also helm every episode of its in-the-works fourth season. And, every choice he makes with Barry — every choice the show has made, in fact — is astounding. Freshly wrapped up on Binge in Australia and Neon in New Zealand — and so now available to stream in full — Barry's third season is propulsive. It knows its premise: a contract killer does a job in Los Angeles, catches the acting bug and decides to change his life. It also knows that it has to keep unpacking that concept. And, it's well-aware that there are repercussions for everything we do in life, especially for someone who has spent their days murdering others for money, even if they're extremely relatable and likeable. There has long been an air of The Sopranos to Barry, and of Mad Men as well, both of which seep through season three. It's both a portrait of someone who does despicable things, and a dive behind the gloss of an industry that sells a dream: an ex-soldier turned assassin-for-hire rather than a mob boss, and entertainment instead of advertising. Three seasons in, Barry Berkman (Bill Hader, Noelle) still wants to be an actor — and to also no longer kill people for a living — when this new batch of episodes begins. That's what he's yearned for across the bulk of the show so far; however, segueing from being a hitman to treading the boards or standing in front of the camera has been unsurprisingly complicated. Making matters thornier are the many ways that his past actions, as an assassin and just as Barry himself, have caused inescapable ripples. Season three focuses on history biting back again and again, including the investigation into murdered police detective Janice Moss (Paula Newsome, Spider-Man: No Way Home), the fallout with Barry's beloved acting teacher Gene Cousineau (Henry Winkler, The French Dispatch), his relationship with fellow actor Sally Reed (Sarah Goldberg, The Night House) after she gets her own show — plus the dramas that causes for Sally — and the vengeance sought by his ex-handler Monroe Fuches (Stephen Root, The Tragedy of Macbeth). Chaos ensues, emotional and physical alike, because Barry has always been determined to weather all the mess, darkness, rough edges and heart-wrenching consequences of its central figure's actions. That's true of his deeds not only in the past, but in the show's present, and it's one of the series' smartest and most probing elements. Hader and Berg know that viewers like Barry. You're meant to. That's what the first season so deftly established, and the second so cannily built upon. But that doesn't mean ignoring that he's a hitman, or that his time murdering people — and his military career before that — has ramifications, including for those around him. Indeed, season three also spies the reverberations for Gene, Sally and Fuches not just due to Barry, but thanks to their own shortcomings and questionable decisions as they keep mounting. It's no wonder that Barry is one of the most complex comedies currently airing, and that its third season is as intricate, thorny, textured and hilarious as the first two to begin with — and even more so as each new episode gives way to the next. That's no small feat, but it's an even bigger achievement given that it's ridiculously easy to see how cartoonish Barry would be in far lesser hands. (Or, how it might've leaned into a lazy odd-couple setup with Hader as the titular figure and Bill & Ted Face the Music's delightful Anthony Carrigan as Chechen gangster Noho Hank). But Barry keeps digging into what makes its namesake tick, why, and the effects he causes. It sinks in so deeply that this, not chasing an acting dream, is what the relentlessly gripping show is truly about. And, it follows the same course across its entire main quintet. In reality, perfect and flawed aren't binary options for any single person, and this sublime piece of TV art mirrors life devastatingly well. With visual precision on par with Breaking Bad and Better Call Saul, two of the most stylishly and savvily-shot shows ever made — two series where every single frame tells a tale without saying a word, and no aesthetic choice makes the expected move — Barry's third season is also spectacular to look at. It ends with an image that as simple as it is truly haunting, after a climactic finale episode that also features an intense showdown set against a purposefully stark backdrop, plus an action scene handled with more finesse and flair than most big-screen releases. As a dramatic motorcycle chase and vivid raid earlier in the season also illustrate, Barry is as devoted to staging dynamite action scenes as it is at plunging deep into its characters. And, as every intelligently penned and outstandingly performed episode just keeps proving, too, this masterful show is downright stellar at that. Barry's third season also remains immensely funny, and also savagely unsettling. Yes, it and Hader can do it all. The third season of Barry — and the first and second seasons as well — is streaming in full via Binge in Australia and Neon in New Zealand. Images: Merrick Morton/ HBO.
The Australian-founded and based ticketing platform Humanitix has today announced a major new appointment in its senior leadership team, tapping the world of Hollywood stardom with a local hire: Australia's own Hugh Jackman. Jackman, both a household name actor and a well-known philanthropist, joins the team as the company's first-ever Head of Impact to help accelerate its global growth. Humanitix is tackling the ticketing duopoly of Ticketek and Live Nation head on, swapping high ticket fees for all charitable donations from all booking profits — with a total donation count sitting at $20,796,400 AUD and counting. Humanitix reports a growth in sales of 23.5 percent every year, with over 20.8 million tickets sold in 2025 and a projection to overtake its controversial rival, Ticketek, before the year is through. In the last 12 months, Humanitix has processed $453 million AUD in ticket sales, and projections are adding another $100 million to that total by this time next year. Since launching in 2016, the company has expanded to events across Australia, New Zealand, the United Kingdom and the United States, facilitating over $1.6 billion AUD in ticket sales along the way. Its main goal? To achieve $100 million AUD in donations to high-impact charities by 2031. Explaining what drew him to the role, Jackman said, "Most of us don't think twice about ticketing fees or where the profits go, Humanitix flips that on its head by turning those fees into real impact for real people. It's such a simple shift, but it has already changed tens of thousands of lives and has the potential to change millions more." View this post on Instagram A post shared by Humanitix (@humanitix) Humanitix co-founders Joshua Ross and Adam McCurdie hope that the new hire will help shift how the company is perceived globally. "Adding Hugh will help us reach even more organisers and accelerate our mission to disrupt the ticketing industry - for good," Ross said. "This isn't a typical celebrity role - it's about helping scale a model that can change how entire industries operate." McCurdie said, "For a long time, people saw Humanitix as a great idea - a charity alternative to ticketing. What we've now proven is that you can build a world-class platform that competes on product and experience, while also creating meaningful impact." "Most people believe you have to choose between social good and a quality experience," McCurdie added, "but we've shown that the opposite can be true. Hugh's involvement reflects where this is heading: global, mainstream and high-impact." Images: supplied
Holidays are all about getting out of town, forgetting your worries and exploring somewhere new. Well, usually. With so many luxe places to head to in our very own city, your next relaxing break needn't involve cutting into your precious annual leave or trying to get your bearings in an unfamiliar location. Instead, it's staycation time. Designer hotels have been popping up all around Australia with frequency over the past few years, and Brissie is leading the charge. Whether you fancy glorious river views, sky-high pools, vacationing like a rock star or indulging in a bit of old-school glam, there's a place for you. Your first post-lockdown escape awaits. From pristine beaches and bountiful wine regions to alpine hideaways and bustling country towns, Australia has a wealth of places to explore at any time of year. We've partnered with Tourism Australia to help you plan your road trips, weekend detours and summer getaways so that when you're ready to hit the road you can Holiday Here This Year. While regional holidays within Queensland are now permitted, some of the places mentioned below may still be closed due to COVID-19 restrictions. Please check websites before making any plans. [caption id="attachment_694714" align="aligncenter" width="1920"] Sean Fennessy[/caption] THE CALILE, FORTITUDE VALLEY Filled with designer stores, bustling bars and restaurants, and a veteran of the city's arthouse cinema scene, James Street has always radiated a holiday vibe. And the stretch of road that borders Fortitude Valley and New Farm has an excellent place to stay: The Calile. Opening late in 2018, the 175-room spot isn't the first hotel on the street, but it is the first to call itself a resort — and it takes that term seriously. A stunning pool takes centre stage, enticing you to splash the day away. When you're not in the water, cabanas and sun lounges will call your name, and there's an outdoor deck where you can nab something to eat. You can also enjoy a Greek feast at Hellenika restaurant, or hang out in the lobby bar. Back in your room, you'll find a focus on all things natural, including oak furniture, cork floors and sisal matting in the bathrooms, day beds for afternoon naps, linen robes and a minibar stocked from local suppliers. Find The Calile Hotel at 48 James Street, Fortitude Valley. Make a reservation here. EMPORIUM, SOUTH BANK Up until a few years ago, if you were looking for the Emporium, you'd need to head to Fortitude Valley. But, after a bout of musical chairs among the city's accommodation providers, the hotel can now be found at South Bank. The brand sold off one site and built another — and if it's killer views over the river that you're after, then the new location well and truly delivers. Don't worry, it delivers plenty more, too. The 21-storey structure includes 143 rooms all decked out in the expected luxurious fashion, including marble and bronze finishings, mirrored TVs and in-suite wine fridges — and beloved French joint Belle Époque has even made the move, too, setting up shop downstairs. That said, this place is all about the rooftop. If you're feeling flush, you can stay in a poolside cabana suite, which'll place you mere footsteps away from the hotel's top-level 23-metre infinity pool. And, you'll be as close as you possibly can be to The Terrace, Emporium's sky-high all-day bar and eatery. Find Emporium Hotel South Bank at 267 Grey Street, South Brisbane. Make a reservation here. OVOLO THE VALLEY, FORTITUDE VALLEY Back at the Fortitude Valley space formerly known as the Emporium, another hotelier has settled in. In late 2018, Hong Kong-based chain Ovolo made the place its own, giving the 103-room site a huge $55 million facelift — and just casually taking inspiration from David Bowie in decking out its two ultra-luxe suites. Of course, everything is glam at Ovolo the Valley. If you spend a night or several in one of the Rockstar suites, 1970s-esque velvet lounges and a gold bar await. Elsewhere, think rich hues, an overall design that finds its cues in the Valley's streets and laneways, and the eclectic furniture choices that Ovolo regulars have come to expect. The brand's usual inclusions are also on the menu, such as a free minibar with every room (including a lolly bag full of treats), free breakfast with every stay, free wifi, free laundry and free happy hour drinks each day. When you're not enjoying all of the above, head up — that's where you'll find the rooftop swimming pool, gym and sauna. Find Ovolo The Valley at 1000 Ann Street, Fortitude Valley. Make a reservation here. THE WESTIN, CBD Brisbanites can be excused for feeling a sigh of relief about The Westin. Now that it exists, the huge hole in the ground that blighted Mary and Margaret Streets for years and years is finally gone. And it's a case of good things coming to those who wait, with the hotel giving the city its very first swim-up bar. The kind of attraction that you'd usually find on an island, by the coast or just somewhere other than an inner city street, the Nautilus is located in the middle of Westin's 300-square-metre swimming pool — and features views over the city, too. Sounds like the only excuse we all need for a staycation in one of the hotel's 299 rooms and suites. Although cabanas, deckside yoga classes, an onsite jazz bar and a 150-person restaurant all help as well. Find The Westin Brisbane at 111 Mary Street, Brisbane. Make a reservation here. [caption id="attachment_702993" align="aligncenter" width="1920"] Marriott International Hotel[/caption] W BRISBANE, CBD In 2018, the W Hotel chain made its return to Australia in a big way. Showing just how much of a designer hotel hotspot Brisbane has become, the brand opened its new digs smack bang in the middle of the city. If you're going to make a comeback, you may as well do it with a 312-room structure by the river along North Quay. It's the chain's only site in the country at present (though Sydney and Melbourne outposts are imminent). The views are a huge drawcard, obviously, but this spot has plenty of other tricks up its sleeve. When guests aren't chilling in the decadent pool, which immediately catches the eye with its geometric, black-and-white design, they can grab a beverage at the adjacent waterside bar or have a meal at Queensland's first Three Blue Ducks restaurant. Or, slipping back upstairs and into the ten-gallon drum baths in each room is also an option. And as a bonus, there's also in-suite cocktail stations, so prepare to get mixing and drinking. Find W Brisbane at 81 North Quay, Brisbane. Make a reservation here. OVOLO INCHCOLM, SPRING HILL Ovolo didn't just take over one existing Brisbane hotel and completely revamp it. Making sure its presence is felt in the city, it did just that to two. And, when it renovated and reimagined the nearly 100-year-old Inchcolm in Spring Hill, it unleashed a striking facelift that combines the old and the new. There's no doubting the site's heritage, which is clearly evident from its exterior, but the fresh interior decor goes retro in a raft of different ways. Sit on green velvet couches, sip martinis like you're in 20s-era Paris — and eat free Fantales. Order your drinks from a bar decked out with David Bowie- and Prince-themed crockery, tap your toes to 80s tracks like 'Footloose' and grab a bite from the menu. Up in your room, you'll find spacious suites filled with mod cons, including an Alexa to help you out. Plus, there's Ovolo's free minibar. Find Ovolo Inchcolm at 73 Wickham Terrace, Spring Hill. Make a reservation here. THE JOHNSON, SPRING HILL It's been a couple of years since Art Series Hotels made its first foray into Brisbane, and its Spring Hill site lives up to the brand's concept. Every room in the 83-suite property nods to the space's namesake: Sydney-born abstract artist Michael Johnson, whose original paintings and prints grace The Johnson's walls. In a former life, the site was once home to the Department of Transport, although no trace of that bureaucratic past remains. This is a sleek, minimalistic abode that finds its style in the hefty array of art; however, the hotel's pared-back approach doesn't clash with its classy feel. Or with the resort-style 50-metre pool, deck bar and downstairs restaurant, or balcony views over one of the inner city's quietest, leafiest suburbs. Find The Johnson at 477 Boundary Street, Spring Hill. Make a reservation here. THE FANTAUZZO, BRISBANE If you love the idea of The Johnson, chances are this will pique your interest, too. The Fantauzzo is Brisbane's second Art Series Hotel and pays tribute to the world-renowned Australian painter and photographer Vincent Fantauzzo, who has won the Archibald People's Choice Award a whopping four times (among many other accolades). Built into the cliff bordering the CBD and Fortitude Valley, the $100 million site boasts one mighty fine view of the city and the Brisbane river, plus custom furniture, a dark-toned interior decor and six new original artworks by Fantauzzo — plus, 500 others. The pool, overlooking the river, is a definite highlight. But if you manage to tear yourself away from the water, you're super close to the excellent Howard Smith Wharves precinct, which is home to a brewery, overwater bar and slick Greek restaurant. Find The Fantauzzo at Howard Smith Wharves, 5 Boundary Street, Brisbane. Make a reservation here. ALEX PERRY HOTEL, FORTITUDE VALLEY Alex Perry Hotel puts its designer credentials right there in its name. This Fortitude Valley space is decked out with all of the fashion designer's touches. Think rich, dark colours contrasting with gleaming white and natural tones, plus natural light aplenty. And, the rooms are all apartment-style, which always helps in making you feel at home. It might be located in a busy area for boutique accommodation, near both The Calile and Ovolo the Valley, but there's one thing that helps Alex Perry Hotel stand out: its rooftop space. There's a pool, naturally; however, sitting on the astroturf and admiring the sunset is one of the best ways to soak in this gorgeous city. Find the Alex Perry Hotel at 959 Ann Street, Fortitude Valley. Make a reservation here. FV BY PEPPERS, FORTITUDE VALLEY You can't miss this triangular-shaped structure in Fortitude Valley that purposefully takes inspiration from New York's famous Flatiron Building. Of course, you're not supposed to miss it. But marvelling at its exterior is just the start — although one of its unmistakable highlights is definitely located outside, and up high as well. Lofty pools with a view are on-trend at the moment, but we're not complaining. Here, said splash-friendly spot is U-shaped, and it looks out over the city skyline. You can also book private spa lounges should be you staycationing with a group, and then catch a flick on the outdoor deck. Or, find your bliss in the yoga studio. Find FV by Peppers at 191 Brunswick Street, Fortitude Valley. Make a reservation here. Whether you're planning to travel for a couple of nights or a couple of weeks, Holiday Here This Year and you'll be supporting Australian businesses while you explore the best of our country's diverse landscapes and attractions. Top image: The Calile by Sean Fennessy.
When decorations surround you everywhere you look, carols (and Mariah Carey and Wham!) are the standard soundtrack no matter where you happen to be and tinsel keeps glittering in your line of sight, festive season can feel like an all-encompassing maze of merriment. Head to South Bank from mid-December 2024 and you'll experience that sensation at its most literal. In an all-ages-friendly addition to Brisbane CBD's usual end-of-year shenanigans, the riverside precinct is hosting a Christmas maze, where you'll get wandering and get into the spirit of the season all at once. It's beginning to look a lot like Christmas around town already, but that'll ramp up from Friday, November 22 through till the end of January 2025. Brisbane City's festive fun for this year also features a free light and sound experience at Queen's Wharf, markets, an openair cinema by the water, carols, parades, tiny doors and more, mixing new ways to get jolly with old favourites. With the maze, a variety of experiences will be on offer right up until Friday, January 31, 2025 in South Bank Piazza, changing depending on whether you have kids in tow or are excited about kidulting. While that's a fresh addition to the lineup of Christmas events, South Bank will also welcome back its popular openair Christmas cinema from Saturday, December 14–Sunday, December 22, and its Christmas markets on Little Stanley Street from Friday, December 13–Sunday, December 22. Across Saturday, December 14–Sunday, December 22, the nightly parade will mosey down Little Stanley Street, too, and carols will be sung on South Bank's Riverside Green. Festive-themed performers are set to do the rounds of the precinct as well, photos will be available with Santa and Mrs Claus — by the beach — and there'll also be Christmas workshops for both kids and adults (think: making cookies, wreaths and decorations, for starters). This year's Christmas in Brisbane celebrations will kick off at Roma Street Parkland, however, with the return of The Enchanted Garden with its lights, lasers and soundscape. Before November is out, King George Square's Christmas tree will also be lit. Then, once December kicks in, it's time for the Lord Mayor's Christmas Carols at Riverstage — with a satellite event at Victoria Park / Barrambin — and lights decking out City Hall. The BrisStyle twilight Christmas market is also back. Queen Street Mall's portion of the lineup includes pop-up performances, Uptown's windows will get a makeover for the occasion and, as for the tiny doors, they're all handmade and will be scattered throughout the city from Sunday, December 1–Tuesday, December 24, ready for you to find and marvel at their cuteness. For its first year in existence, Queen's Wharf's contribution to the joy comes courtesy of Sono Lumo — Festive Nights of Sound & Light. Expect an audiovisual show to dazzle the city at dusk across ten nights between Wednesday, December 4–Sunday, December 15 (except for Monday, December 9–Tuesday, December 10), accompanied by DJs and live performances.
Sand won't just be found on Australia and New Zealand's beaches this summer. On the last day of the season, sand will fill big screens Down Under when Dune: Part Two finally hits cinemas. Originally slated to release in November 2023, then postponed during Hollywood's strikes, the film now has a Thursday, February 29, 2024 release date — and a new sneak peek at its sci-fi tale. Will Dune movies just keep getting better and better? Here's hoping that's a natural outcome, just like spying sand as far as the eye can see across Arrakis, when the sequel to 2021's Dune arrives. The first time that Denis Villeneuve (Blade Runner 2049) followed in David Lynch's footsteps to make a new adaptation of Frank Herbert's novel, managing what Alejandro Jodorowsky sadly couldn't (see: excellent documentary Jodorowsky's Dune), he gave the world a stunning new science-fiction cinema classic. Villeneuve's picture scored ten Oscar nominations and six wins; however, it only told part of Dune's story. Cue Dune: Part Two to keep the tale going. War has arrived on the franchise's spice-laden planet, and Paul Atreides (Timothée Chalamet, Wonka) and the Fremen are ready to fight. The former doesn't just want to face off against the folks who destroyed his family, but for the sandy celestial body, with Zendaya's (Euphoria) Chani at his side. That's the tale teased in not one, not two, but now three trailers for the Dune sequel, with the third focusing on the battle to come. The 2021 film had Paul head to Arrakis because his dad Duke Leto Atreides (Oscar Isaac, Moon Knight) had just been given stewardship of the planet and its abundance of 'the spice' — aka the most valuable substance in the universe — and then get caught up in a bitter feud with malicious forces over the substance. It also saw Paul meet the population of people known as the Fremen, including Chani, plus Javier Bardem's (Lyle, Lyle Crocodile) Stilgar, which is who he and his mother Lady Jessica (Rebecca Ferguson, Silo) are with in Dune: Part Two. Expansive desert landscape, golden and orange hues (again, Villeneuve helmed Blade Runner 2049), sandworms, the director's reliable eye for a spectacle and Hans Zimmer's (The Son) latest likely Oscar-winning score: they've all shown up in the new film's three glimpses so far. So have some of the franchise's new players, with Austin Butler ditching his Elvis locks as Feyd Rautha Harkonnen, the nephew of Stellan Skarsgard's (Andor) Baron Harkonnen. Christopher Walken (Severance) and Florence Pugh (The Wonder) also join the saga as Emperor Shaddam IV and his daughter Princess Irulen. From the first film, Josh Brolin (Outer Range), Dave Bautista (Guardians of the Galaxy Vol. 3), Stephen McKinley Henderson (Beau Is Afraid) and Charlotte Rampling (Benedetta) return, while Léa Seydoux (Crimes of the Future) also joins the cast. Off-screen, Villeneuve has brought back not just Zimmer, but Oscar-winning Australian director of photography Greig Fraser (The Batman), Oscar-winning production designer Patrice Vermett (Vice), Oscar-winning editor Joe Walker (The Unforgivable), Oscar-winning visual effects supervisor Paul Lambert (First Man) and Oscar-nominated costume designer Jacqueline West (Song to Song). Check out the latest Dune: Part Two trailer below: Dune: Part Two will release in cinemas Down Under on Thursday, February 29, 2024.
Many a bar, pub, club and watering hole line Fortitude Valley's streets; however, there's one thing that the suburb hasn't had until now. While craft breweries have been popping up nearby in Newstead, in the CBD under the Story Bridge and over the river at Kangaroo Point, the inner-city hotspot has remained quiet on the beer-making front — but that's where Soapbox Beer comes in. Taking over an old agricultural store on the corner of Gipps Street and Ranwell Lane, and open since December 2018, the newcomer both brews and serves up its hoppy beverages onsite. In a spacious venue filled with reclaimed timber and industrial fittings largely nabbed from demolition works, you'll find a 2000-litre steam brew system pumping out Soapbox's core brews, plus a 200-litre system for seasonal and smaller batch beers. Always pouring through the taps are five particular beverages: a malt and citrus-heavy pale ale, a chocolatey and bitter dark ale, an IPA with orange notes, a slightly sweet kolsch and an American-style amber ale. To help line the stomach, Soapbox also slings a menu of share plates, snacks, steaks and burgers, many of which include beer as an ingredient. Between pints, you can tuck into potato curry croquettes with a pale ale vindaloo sauce or a grilled wagyu beer steak with a porter onion gravy — or a brisket burger with beer-pickled daikon, the obligatory beer-battered fish and chips, and even beer fudge brownies with hops salted caramel sauce. As for the folks responsible, Soapbox is the brainchild of craft beer aficionados Luke Nixon and Scott Robertson, who started home-brewing six years ago. They've now traded in their film industry and corporate jobs to jump from making tipples in their backyards to whipping up beverages in the centre of Brissie's nightlife scene, with help from Greg James as their new head brewer. Images: Rachael Nixon.
More than most video games, Until Dawn always felt destined for the big screen from the moment that it first had players pressing buttons. The premise of the 2015 hit is straight out of a horror movie, with a group of eight friends attempting to make it through a trip to Blackwood Mountain — the place where one character's two sisters disappeared a year prior, and where everyone is now looking for answers — alive. The cast boasted star power, including a pre-Oscar Rami Malek (The Amateur), plus Hayden Panettiere (Scream VI) and Peter Stormare (So Long, Marianne). Visually, there's also its pivotal third-person perspective. Something that Until Dawn featured as a game, however, that was unlikely to make the leap to cinemas: the choose-your-adventure approach to play. Interactive films exist, but the two best-known recent examples are each streaming releases: Black Mirror: Bandersnatch and Unbreakable Kimmy Schmidt: Kimmy vs the Reverend, both on Netflix. In adapting Until Dawn into a movie destined for the silver screen, so lurked the dilemma — aka how to nod to the butterfly effect-style element, where player decisions dictate the storyline. The answer came by still focusing on choice, and also nodding to the fact hundreds of endings are possible in the game, making selecting an option a move that requires careful consideration about where any path might lead. Enter the mechanism that's fuelled everything from Groundhog Day and the Happy Death Day films to Edge of Tomorrow and so much more: time loops. In the movie directed by David F Sandberg (Shazam! and Shazam! Fury of the Gods), and penned by Gary Dauberman (Salem's Lot) and Blair Butler (The Invitation), there's still a group of friends, a missing sibling and a remote setting. That said, neither its helmer nor one of its writers, both of whom first collaborated on Annabelle: Creation, set out to make a direct adaptation of the game, Sandberg and Dauberman tell Concrete Playground. "It's more like a new chapter of Until Dawn," advises Sandberg, who first made the leap to full-length flicks in horror courtesy of the short-to-feature Lights Out. "The game is so cinematic, we just didn't want to try to replicate that experience," notes Dauberman, a mainstay behind the scenes on The Conjuring Universe films, including Annabelle and its sequels — he directed as well as penned Annabelle Comes Home — and The Nun, alongside scripting IT and IT: Chapter Two. [caption id="attachment_1000992" align="alignnone" width="1920"] Stewart Cook/Sony Pictures via Getty Images[/caption] Here, then, the characters are different, and the absent sister as well. The cast fighting to survive has changed, too. As a film, Until Dawn steps into a new scenario also, although Stormare remains the link among the actors to its gaming beginnings. This time, it's Clover (Ella Rubin, Anora) who is in search of Melanie (Maia Mitchell, The Artful Dodger) a year since she was last seen. The rest of her travelling group — Max (Michael Cimino, Never Have I Ever), Megan (Ji-young Yoo, Expats), Abe (Belmont Cameli, The Alto Knights) and Nina (Odessa A'zion, Am I OK?) — have helping Clover as their main aim rather than finding Melanie, though. She's determined to look for her sister. They're eager to assist her with facing her trauma and moving on. Of course, no one expects that following Melanie's path to an abandoned visitor centre in a secluded valley will lead them to being stuck battling an array of killers in a time loop, and dreading an hourglass flipping again and again. When they all die, Until Dawn's latest figures just find themselves in the same place, yet caught in another scenario. Sometimes that plunges the movie into slasher-film territory. Sometimes it skews more supernatural. Sometimes, Clover and her friends are caught in a creature feature — and the list goes on. The only way for them to be free of the nightmare, and from an experience that hops between horror subgenres, is right there in the feature's title. Make it until dawn and the hellish ordeal ends. What excited Sandberg and Dauberman, other than being gamers themselves, about taking on the task of bringing Until Dawn to cinemas? That's where our chat with the pair started. From there, we dug into selecting the different subgenres, basically making multiple horror flicks in one, Stormare's return, and how you enlist a cast when their gig is to get murdered over and over — plus interrogating choice via time loops, calling out other films using temporal repeats, the current wave of successful video game-to-screen adaptations (think: The Last of Us, Fallout, The Super Mario Bros Movie and A Minecraft Movie) and more. On What Excited Sandberg and Dauberman About Adapting Until Dawn Into a Movie Gary: "I think the thing that excited us the most — I'll speak for me — but was really being able to do a couple different subgenres of horror within one movie. The game is really this cinematic experience that's a true love letter to the genre. We wanted to make sure that was captured in the movie, and do that ourselves with the movie. And so that was really exciting. So then it just became about, 'well, how are we going to do that?'. Because it's not going to be a direct adaptation of the game — because, as I said, the game is so cinematic, we just didn't want to try to replicate that experience. So it was really about, 'okay, how can we stay true to the game, the world and all that, but also be able to do our own thing as well within the genre?'." David: "And what excited me was that Gary and Blair, they didn't try to just recreate the game — which was already so much like a movie and already cinematic. It's more like a new chapter of Until Dawn. And the fact that we have all these different horror genres in one movie. So I got to try out all these different things, including genres I'd never done before — like slasher or found footage. It was just a dream come true." On Deciding Which Horror Subgenres to Jump Between in the Film Gary: "It's interesting — Blair and I always had slasher first, and I think a large part of that's just because, I mean I know that's because of the game itself and the psycho mask and all that. And then I think it was just what could be different from slasher? We leaned into supernatural because that felt so different and a stark contrast to just the visceral kills of the slasher. So you just try to think of what's going to give that sharp contrast to whatever came before. Then you go supernatural, then you go right into body horror — which is super real and gross, whereas supernatural generally isn't that. That's the thought behind how it's laid out in sequential order, I guess." On Feeling Like This Movie Meant Making Not Just One Horror Film, But Multiple Horror Films David: "For sure, because it also, like schedule-wise and time wise, felt like we were trying to do six or seven movies in one. It was a challenge. It's a very ambitious movie for the time we had, so we had to do a lot of planning — and sometimes adapting on the day, where it's like 'okay, we're not going to have time to do all of these things, so we'll focus on what's most important to get'. So it was a challenge, but it was also the reason why I signed up for the movie — to get to do all of this. So I happily did it." On Making Dr Hill (and Peter Stormare in the Role) One of the Key Connections Between the Game and the Movie Gary: "Dr Hill, to me, was always the character I was most curious about in the game, and felt like he could be a great link, connective tissue, between the game and the movie. And he could really be the steward of the franchise, of these stories. He always felt like he's got more going on. And I think talking with the game developers and what they had intended with Dr Hill as well, it was a constant dialogue and conversation, so he just made the most sense organically to what they had in mind and what we had in mind to use. And plus, it's Peter Stormare. If you've got Peter Stormare, you want to use him every chance you get. So that was also a part of the decision. But from a storytelling aspect, I saw him as a great face of the franchise." On How You Build a Cast When the Gig Is to Get Killed Over and Over Again David: "We did a lot of auditions to try to find the right people. Michael, who plays Max, came recommended — he's worked with Gary before. But otherwise, it's just doing a lot of auditions and finding the right people who are not just good actors, but who are willing to go there, to these places. Because I had to warn the cast that this is going to be a challenging movie, like physically challenging and mentally challenging, because you're going to have to be wet and bloody and dirty and crawl through mud, and all of these things. And work nights and work in uncomfortable locations and all these things. But they were really up for it. And once we'd done all this extensive casting, they just worked as a team right away, just became instant friends and were just a pleasure to work with. And I know they really appreciated getting to do — like Maia was saying that in most movies and TV shows, she has to look pretty and perfect, and all these things. In this movie, you don't need to look perfect. You need to look like you've gone through hell. And you get to scream and let it all out. So they were more than up for it." On Calling Out How Popular Time-Loop Flicks Are in the Film — and Knowing How This Addition to the Genre Needed to Stand Out Gary: "We knew we didn't want to do the Groundhog Day-esque time loop. Happy Death Day does that so, so well and effectively. If we were going to do it, we needed to own it for us and make it different. So in a way, the knowledge of those made us just work against that — like going 'okay, we know that's out there, so we've got to do something different'. So that's kind of how we went. And then in terms of the subgenres themselves, it really was about the tropes within the subgenres that we were using as elements to each sequence — but not any specific movie per se." David: "Yeah, you don't want to shy away from some of these tropes, because you want people to feel like 'okay, now we're in this kind of film'." Gary: "Yeah, exactly." David: "But you try to subvert it so you don't know exactly what's coming, but you just need to feel familiar enough." Gary: "That's right." On Still Interrogating Choice, Even If the Film Can't Mirror the Game's Player-Shaped Storylines and Hundreds of Endings, in a Movie That's Also About Trauma Gary: "It was a really important element from the character standpoint of like, 'okay, the terror is new, but we're still here, we're still a part of this group'. And as the group starts to fracture a bit because they have different ways of how they want to go about solving this puzzle of how they're going to survive until dawn, I think it's about, one of the things is sticking together and surviving through trauma and leaning on each other to get through something — as opposed to just being off in a corner by yourself, because that's not going to get you through it, much like Clover was at the start of the movie. For Clover, for instance, she's someone who had to die over and over again in order to know how to live again. So that's kind of how we saw the character choices affecting the character arcs in the movie." David: "Yeah. And I thought it was so brilliant to have this restarting in the movie, because it does make it feel so much like the game — where you can play it several times and make different choices and see different deaths and different kills and stuff. And this was a way to get that in movie form." On the Film's Commitment to Practical, In-Camera Effects as Much as Possible David: "It's something I've always wanted to do. Since I was a little kid watching horror movies, reading all these books about effects done with latex and silicone — and makeup effects and all these things, something I've wanted to do forever, and this was a chance to do that. And I like when horror movies, in particular, do that. I'm not opposed to visual effects in any way, and there's visual effects in this movie, too, but we wanted to try to take practical as far as we could — and have things there for our actors to see and feel and react to, because it just makes it more fun for us. But I think the audience can feel that coming through as well." On How Sandberg and Dauberman's Working Relationship Has Evolved in the Eight Years Since Annabelle: Creation David: "Gary produced this movie as well. It all started with him, the project. So I guess you were more involved now. I mean, you were involved in all of Annabelle: Creation as well. So it's very similar." Gary: "I think it was similar, but I think we just got more comfortable with each other." David: "Yeah." Gary: "So I think it's evolved from that standpoint. But I think I just have a confidence in him that I don't have in a lot of people, so he's like a safe place for me. I just know that he's going to elevate whatever material I hand over to him. And so, yeah, I think it's just the familiarity and the comfortability that you oftentimes don't get in this business, because it's so transactional and it's new faces every time you go somewhere. So it's nice to have somebody who's consistent and constant." On Why Adaptations of Video Games Are Such a Focus at the Moment — and Striking Such a Chord with Audiences David: "I think it's because people who grew up with video games are now in positions to make to make and write these types of movies. And I think that really helps — because I think back in the 80s, making that Super Mario Bros movie, I don't think those people were gamers. Maybe they were, I don't know. So I think it's just like, for this generation or for us now, it's like 'well, of course video games are just as important as comic books or other movies or whatever'. So it's gotten to the respect that it deserves." [caption id="attachment_1000993" align="alignnone" width="1920"] Stewart Cook/Sony Pictures via Getty Images[/caption] Gary: "Yeah, and I think from a business standpoint, it's such an IP-driven business that comic books feels a little probably picked over. And so it feels like now the attention has turned to video games — and that IP, it's just been kind of sitting there. But as gamers, we've always known it's been — it's right there. You go do this stuff, give it the money and the time it deserves, and the talent. So I'm happy and excited to see that that's coming to fruition." David: "And games, of course, have become more and more cinematic, closer to movies as well." Gary: "Yeah, yeah, which becomes part of a challenge." Until Dawn released in cinemas Down Under on Thursday, April 24, 2025.
If you like watching glitzy Hollywood awards ceremonies that hand out shiny trophies to talented actors and other creative film and TV talents, 2024 has been a particularly dazzling year so far. First came the Golden Globes, as always happens. Next, only a week later, the Emmys have anointed winners. For those thinking that this sounds out of the ordinary, it is. In fact, there'll likely be two Emmys in 2024. This one, as held on Tuesday, January 16, 2024 Australian time, is the 2023 event after being postponed during Hollywood's writers' and actors' strikes. If you like basing your viewing picks on what's been collected prizes, this is clearly a stellar year as well, with a heap of new Emmy-winners now demanding a spot in your streaming queue. Here's seven that you should — and can — watch ASAP. (And if you're wondering what else won, you can read through the full list, too.) THE BEAR The more time that anyone spends in the kitchen, the easier that whipping up their chosen dish gets. The Bear season two is that concept in TV form, even if the team at The Original Beef of Chicagoland don't always live it as they leap from running a beloved neighbourhood sandwich joint to opening a fine-diner, and fast. The hospitality crew that was first introduced in the best new show of 2022 isn't lacking in culinary skills or passion. But when bedlam surrounds you constantly, as bubbled and boiled through The Bear's Golden Globe-winning, Emmy-nominated season-one frames, not everything always goes to plan. That was only accurate on-screen for Carmen 'Carmy' Berzatto (Jeremy Allen White, Fingernails) and his colleagues — aka sous chef Sydney (Ayo Edebiri, Bottoms), baker-turned-pastry chef Marcus (Lionel Boyce, Hap and Leonard), veteran line cooks Tina (Liza Colón-Zayas, In Treatment) and Ebraheim (Edwin Lee Gibson, Fargo), resident Mr Fixit Neil Fak (IRL chef Matty Matheson), and family pal Richie aka Cousin (Ebon Moss-Bachrach, No Hard Feelings). For viewers, the series' debut run was as perfect a piece of television as anyone can hope for. Excellent news: season two is better. The Bear serves up another sublime course of comedy, drama and "yes chef!"-exclaiming antics across its sizzling second season. Actually make that ten more courses, one per episode, with each new instalment its own more-ish meal. A menu, a loan, desperately needed additional help, oh-so-much restaurant mayhem: that's how this second visit begins, as Carmy and Sydney endeavour to make their dreams for their own patch of Chicago's food scene come true. So far, so familiar, but The Bear isn't just plating up the same dishes this time around. At every moment, this new feast feels richer, deeper and more seasoned, including when it's as intense as ever, when it's filling the screen with tastebud-tempting food shots that relish culinary artistry, and also when it gets meditative. Episodes that send Marcus to a Noma-esque venue in Copenhagen under the tutelage of Luca (Will Poulter, Guardians of the Galaxy Vol. 3), get Richie spending a week learning the upscale ropes at one of Chicago's best restaurants and jump back to the past, demonstrating how chaos would've been in Carmy's blood regardless of if he became a chef, are particularly stunning. EMMYS Won: Outstanding Comedy Series, Outstanding Lead Actor in a Comedy Series (Jeremy Allen White), Outstanding Supporting Actress in a Comedy Series (Ayo Edebiri), Outstanding Supporting Actor in a Comedy Series (Ebon Moss-Bachrach), Outstanding Directing for a Comedy Series (Christopher Storer), Outstanding Writing for a Comedy Series (Christopher Storer). Where to watch it: The Bear streams via Disney+. Read our full review. SUCCESSION Endings have always been a part of Succession. Since it premiered in 2018, the bulk of the HBO drama's feuding figures have been waiting for a big farewell. The reason is right there in the title, because for any of the Roy clan's adult children to scale the family company's greatest heights and remain there — be it initial heir apparent Kendall (Jeremy Strong, Armageddon Time), his inappropriate photo-sending brother Roman (Kieran Culkin, Scott Pilgrim Takes Off), their political-fixer sister Siobhan (Sarah Snook, Pieces of a Woman), or eldest sibling and presidential candidate Connor (Alan Ruck, The Dropout) — their father Logan's (Brian Cox, Remember Me) tenure needed to wrap up. The latter was always stubborn. Proud, too, of what he'd achieved and the power it's brought. And whenever Logan seemed nearly ready to leave the business behind, he held on. If he's challenged or threatened, as happened again and again in the series, he fixed his grasp even tighter. Succession was always been waiting for Logan's last stint at global media outfit Waystar RoyCo, but it had never been about finales quite the way it was in its stunning fourth season. This time, there was ticking clock not just for the show's characters, but for the stellar series itself, given that this is its last go-around — and didn't it make the most of it. Nothing can last forever, not even widely acclaimed hit shows that are a rarity in today's TV climate: genuine appointment-viewing. So, this went out at the height of its greatness, complete with unhappy birthday parties, big business deals, plenty of scheming and backstabbing, and both Shiv's husband Tom Wambsgans (Matthew Macfadyen, Operation Mincemeat) and family cousin Greg (Nicholas Braun, Cat Person) in vintage form — plus an early shock, at least two of the best episodes of any show that've ever aired on television, one of the worst drinks, a phenomenal acting masterclass, a The Sopranos-level final shot and the reality that money really can't buy happiness. EMMYS Won: Outstanding Drama Series, Outstanding Lead Actor in a Drama Series (Kieran Culkin), Outstanding Lead Actress in a Drama Series (Sarah Snook), Outstanding Supporting Actor in a Drama Series (Matthew Macfadyen), Outstanding Writing for a Drama Series (Jesse Armstrong), Outstanding Directing for a Drama Series (Mark Mylod). Where to watch it: Succession streams via Binge. Read our full review. BEEF As plenty does, Beef starts with two strangers meeting, but there's absolutely nothing cute about it. Sparks don't fly and hearts don't flutter; instead, this pair grinds each other's gears. In a case of deep and passionate hate at first sight, Danny Cho (Steven Yeun, Nope) and Amy Lau (Ali Wong, Paper Girls) give their respective vehicles' gearboxes a workout, in fact, after he begins to pull out of a hardware store carpark, she honks behind him, and lewd hand signals and terse words are exchanged. Food is thrown, streets are angrily raced down, gardens are ruined, accidents are barely avoided, and the name of Vin Diesel's famous car franchise springs to mind, aptly describing how bitterly these two strangers feel about each other — and how quickly. Created by Lee Sung Jin, who has It's Always Sunny in Philadelphia, Dave and Silicon Valley on his resume before this ten-part Netflix and A24 collaboration, Beef also commences with a simple, indisputable and deeply relatable fact. Whether you're a struggling contractor hardly making ends meet, as he is, or a store-owning entrepreneur trying to secure a big deal, as she is — or, if you're both, neither or anywhere in-between — pettiness reigning supreme is basic human nature. Danny could've just let Amy beep as much as she liked, then waved, apologised and driven away. Amy could've been more courteous about sounding her horn, and afterwards. But each feels immediately slighted by the other, isn't willing to stand for such an indignity and becomes consumed by their trivial spat. Neither takes the high road, not once — and if you've ever gotten irrationally irate about a minor incident, this new standout understands. Episode by episode, it sees that annoyance fester and exasperation grow, too. Beef spends its run with two people who can't let go of their instant rage, keep trying to get the other back, get even more incensed in response, and just add more fuel to the fire again and again until their whole existence is a blaze of revenge. If you've ever taken a small thing and blown it wildly out of proportion, Beef is also on the same wavelength. And if any of the above has ever made you question your entire life — or just the daily grind of endeavouring to get by, having everything go wrong, feeling unappreciated and constantly working — Beef might just feel like it was made for you. EMMYS Won: Outstanding Limited Series, Outstanding Lead Actor in a Limited Series or Television Movie (Steven Yeun), Outstanding Lead Actress in a Limited Series or Television Movie (Ali Wong), Outstanding Directing for a Limited or Anthology Series or Movie (Lee Sung Jin), Outstanding Writing for a Limited or Anthology Series or Movie (Lee Sung Jin). Where to watch it: Beef streams via Netflix. Read our full review. THE WHITE LOTUS Lives of extravagant luxury. Globe-hopping getaways. Whiling away cocktail-soaked days in gorgeous beachy locales. Throw in the level of wealth and comfort needed to make those three things an easy, breezy everyday reality, and the world's sweetest dreams are supposedly made of this. On TV since 2021, HBO's hit dramedy The White Lotus has been, too. Indeed, in its Emmy-winning first season, the series was a phenomenon of a biting satire, scorching the one percent, colonialism and class divides in a twisty, astute, savage and hilarious fashion. It struck such a chord, in fact, that what was meant to be a one-and-done limited season was renewed for a second go-around, sparking an anthology. That Sicily-set second effort once again examines sex, status, staring head-on at mortality and accepting the unshakeable fact that life is short for everyone but truly sweet for oh-so-few regardless of bank balance — and with writer/director/creator Mike White (Brad's Status) still overseeing proceedings, the several suitcase loads of smart, scathing, sunnily shot chaos that The White Lotus brings to screens this time around are well worth unpacking again. Here, another group of well-off holidaymakers slip into another splashy, flashy White Lotus property and work through their jumbled existences. Another death lingers over their trip, with The White Lotus again starting with an unnamed body — bodies, actually — then jumping back seven days to tell its tale from the beginning. Running the Taormina outpost of the high-end resort chain, Valentina (Sabrina Impacciatore, Across the River and Into the Trees) is barely surprised by the corpse that kicks off season two. She's barely surprised about much beforehand, either. That includes her dealings with the returning Tanya McQuoid-Hunt (Jennifer Coolidge, The Watcher), her husband Greg (Jon Gries, Dream Corp LLC) and assistant Portia (Haley Lu Richardson, After Yang); three generations of Di Grasso men, aka Bert (F Murray Abraham, Guillermo del Toro's Cabinet of Curiosities), Hollywood hotshot Dominic (Michael Imperioli, The Many Saints of Newark) and the Stanford-educated Albie (Adam DiMarco, The Order); and tech whiz Ethan (Will Sharpe, Defending the Guilty) and his wife Harper (Aubrey Plaza, Best Sellers), plus his finance-bro college roommate Cameron (Theo James, The Time Traveller's Wife) and his stay-at-home wife Daphne (Meghann Fahy, The Bold Type). EMMYS Won: Outstanding Supporting Actress in a Drama Series (Jennifer Coolidge). Where to watch it: The White Lotus streams via Binge. Read our full review of season two. ABBOTT ELEMENTARY The Office did it, in both the UK and US versions. Parks and Recreation did so, too. What We Do in the Shadows still does it — and, yes, there's more where they all came from. By now, the mockumentary format is a well-established part of the sitcom realm. Indeed, it's so common that additional shows deciding to give it a whirl aren't noteworthy for that alone. But in Abbott Elementary, which has aired two seasons so far, the faux doco gimmick is also deployed as an outlet for the series' characters. They're all public school elementary teachers in Philadelphia, and the chats to-camera help convey the stresses and tolls of doing what they're devoted to. In a wonderfully warm and also clear-eyed gem created by, co-written by and starring triple-threat Quinta Brunson (Party Down), that'd be teaching young hearts and minds no matter the everyday obstacles, the utter lack of resources and funding, or the absence of interest from the bureaucracy above them. Brunson plays perennially perky 25-year-old teacher Janine Teagues, who loves her gig and her second-grade class. She also adores her colleague Barbara Howard (Sheryl Lee Ralph, Ray Donovan), the kindergarten teacher that she sees as a mentor and work mum. Actually, Janine isn't just fond of all of the above — she's so devoted to her job that she'll let nothing stand in her way. But that isn't easy or straightforward in a system that's short on cash and care from the powers-that-be to make school better for its predominantly Black student populace. Also featuring Everybody Hates Chris' Tyler James Williams (also The United States vs Billie Holiday) as an apathetic substitute teacher, Lisa Ann Walter (The Right Mom) and Chris Perfetti (Sound of Metal) as Abbott faculty mainstays, and Janelle James (Black Monday) as the incompetent principal who only scored her position via blackmail, everything about Abbott Elementary is smart, kindhearted, funny and also honest. That remains the case in season two, where Janine is newly single and grappling with being on her own, sparks are flying with Williams' Gregory and James' Ava can't keep bluffing her way through her days. EMMYS Won: Outstanding Lead Actress in a Comedy Series (Quinta Brunson). Where to watch it: Abbott Elementary streams via Disney+. BLACK BIRD 2022 marked a decade since Taron Egerton's first on-screen credit as a then-23 year old. Thanks to the Kingsman movies, Eddie the Eagle, Robin Hood and Rocketman, he's rarely been out of the cinematic spotlight since — but miniseries Black Bird feels like his most mature performance yet. The latest based-on-a-true-crime tale to get the twisty TV treatment, it adapts autobiographical novel In with the Devil: a Fallen Hero, a Serial Killer, and a Dangerous Bargain for Redemption. It also has Dennis Lehane, author of Gone Baby Gone, Mystic River and Shutter Island, bringing it to streaming. The focus: Jimmy Keene, a former star high-school footballer turned drug dealer, who finds his narcotics-financed life crumbling when he's arrested in a sting, offered a plea bargain with the promise of a five-year sentence (four with parole), but ends up getting ten. Seven months afterwards, he's given the chance to go free, but only if he agrees to transfer to a different prison to befriend suspected serial killer Larry Hall (Paul Walter Hauser, Cruella), and get him to reveal where he's buried his victims' bodies. Even with new shows based on various IRL crimes hitting queues every week, or thereabouts — including Inventing Anna, The Dropout, The Girl From Plainville and The Staircase, to name a mere few, also in 2022 when this one arrived — Black Bird boasts an immediately compelling premise. The first instalment in its six-episode run is instantly gripping, too, charting Keene's downfall, the out-of-ordinary situation posed by Agent Lauren McCauley (Sepideh Moafi, The Killing of Two Lovers), and the police investigation by Brian Miller (Greg Kinnear, Crisis) to net Hall. It keeps up the intrigue and tension from there; in fact, the wild and riveting details just keep on coming. Fantastic performances all round prove pivotal as well. Again, Egerton is excellent, while Hauser's menace-dripping efforts rank among the great on-screen serial killer portrayals. And, although bittersweet to watch after his passing, Ray Liotta (The Many Saints of Newark) makes a firm imprint as Keene's father. EMMYS Won: Outstanding Supporting Actor in a Limited Series of Television Movie (Paul Walter Hauser). Where to watch it: Black Bird streams via Apple TV+. Read our full review. DAHMER — MONSTER: THE JEFFREY DAHMER STORY Mindhunter might be over, but Netflix isn't done exploring true crimes or serial killers yet — not by far. In 2022, DAHMER — Monster: The Jeffrey Dahmer Story joined the service's hefty list of TV series based on horrific real-life details. It's coming back for a second season, too, turning into an anthology series as Monsters: The Lyle and Erik Menéndez Story. The show's debut outing wasn't an easy watch, as the IRL story was always going to ensure. With WandaVision and Mare of Easttown actor Evan Peters starring as the titular IRL murderer, it told Dahmer's particularly gruesome story; between 1978–1991, he murdered and dismembered 17 boys and men — and there's more to his crimes, including cannibalism. The inherently unsettling first season reunited its lead with American Horror Story creator and prolific TV producer Ryan Murphy, too, this time getting creepy in a different way. Alongside Peters, Netflix's dramatised step back into Dahmer's murders features Richard Jenkins (Nightmare Alley) as the serial killer's father Lionel and Penelope Ann Miller as his mother Joyce, with the full cast including Niecy Nash-Betts (Never Have I Ever) and Molly Ringwald (Riverdale). There's much about the show that's impossible to shake, Nash-Betts' now Emmy-winning performance for Outstanding Supporting Actress in a Limited Series or Television Movie among them. As Dahmer's neighbour Glenda Cleveland, she's shock, concern and outrage personified. Thanks to her portrayal, imagining being in the same shoes — and being that horrified and traumatised — is the simplest thing about DAHMER — Monster: The Jeffrey Dahmer Story. Of course, that isn't easy either, but Nash-Betts couldn't be more of an effortless force in a difficult role and miniseries. EMMYS Won: Outstanding Supporting Actress in a Limited Series or Television Movie (Niecy Nash-Betts). Where to watch it: DAHMER — Monster: The Jeffrey Dahmer Story streams via Netflix. Top image: Andrew Cooper/Netflix © 2023.
Exploring art galleries can at times be a sterile and overwhelming experience. Sprawling layouts, visitors' lack of knowledge, sleep-inducing audio guides, and a dearth of viewer interactivity with the world of the artworks and artists can quickly turn a cultural adventure into more of a cultural chore. Yet arts organisations across the globe are transforming how tech-savvy visitors can experience their works, with the help of innovative, entertaining, and interactive apps. Using multimedia, geolocation, augmented reality, and dozens of other features of mobile technology, these apps have the capacity to transform even the most unengaged of armchair critics into bona fide art aficionados. Take a closer look at these 10 of the best current arts apps, from online exhibitions to DIY art and pocket-sized glossaries. 1. Magic Tate Ball It seemed to be a match made in pun-lovers heaven: combining London's beloved Tate galleries with the concept of the Magic 8-Ball to create perhaps the most entertaining art gallery app available. The process is simple: once you have opened the app, give your iDevice a good shake and the Magic Tate Ball will take the date, time-of-day, your GPS location, live weather data, and ambient noise levels and spurt out the piece of artwork from the Tate collection that most closely matches your surroundings. So a hot day may have the Tate Ball tempting you into a pool with Australian David Hockney's A Bigger Splash or a loud, bustling pub may give you Georg Baselitz's sculpture carved from a chainsaw, all of which comes with a smattering of interesting details about why your particular surroundings produced that artwork. The brilliance of this app lies in its ability to utilise a fun gimmick to draw in people who only have a passing or casual interest in art, providing a refreshingly unique way to discover some of the highlights of the Tate's massive collection. 2. MCA Publications The Museum of Contemporary Art has become renowned for pushing artistic boundaries and embracing new technology. It therefore should come as no surprise that their newly launched e-publication provides a fascinating and highly interactive insight into the breathtaking exhibition of the legendary Gangnam-styling British-Indian artist Anish Kapoor. The iPad app takes the user on a virtual tour of the exhibition complete with photographs, in-depth descriptions of the various works, videos from the curator and Kapoor himself, and even a behind-the-scenes look into the immense task of engineering and installing the immense artworks. Add to this the intuitive nature of the app and you have yourself a brilliant tool for getting under the skin of the artist and understanding the awe-inspiring collection now on show at the MCA. 3. Watercolours of Namatjira For those of us whose brushwork leaves a lot to be desired, this app provides an interactive insight into how iconic Aboriginal artist Albert Namatjira is able to create his vibrant watercolour paintings of the Australian landscape. Developed by Big hART, it allows you to create virtual replicas and redesigns by filling in stencils of the artist's work with your own choice of colours and brush sizes, with the paint then soaking into the screen just like it would have on Namatjira's own canvas paper. The end results are both realistic and often surprisingly spectacular, allowing users to gain a firsthand understanding of the watercolour process and tempting them into a more detailed exploration of the Namatjira community development project, theatrical show, and vast array of beautiful landscapes. 4. Art Gallery of NSW: Contemporary and Australian Produced in association with The Nest, the Art Gallery of NSW's two companion apps for iPad do a couple of things really well: they provide richly detailed vision of the gallery's most celebrated works, and they do it in a really interesting interface that encourages browsing by feel and intuition. Once you focus on a work you like, you can also take in additional material, such as sketches, photos, and curator insights. 5. Frank Lloyd Wright - Fallingwater History's most celebrated architect and his most celebrated work have been given the app treatment to awesome effect. Frank Lloyd Wright's Fallingwater, described by the American Institute of Architecture as the "best all-time piece of American architecture", can now be explored in three-dimensional glory from the comfort of your iPad. By combining photographs, archival drawings, floor plans, and videos in a sumptuous multimedia feast, this app allows budding architects the ability to explore Fallingwater in a unique and comprehensive way that is not possible on any other media platform. With more than 275 photographs, 360-degrees panoramas, and 25 minutes of video footage, this app is possibly the most perfect marriage of content and form yet imagined for tablet technology. 6. Art Authority Art Authority seems so simple in its concept yet quite unbelievable in its execution: collect the most famous and beloved works of art from across history and put them all together in a single, virtual gallery. This remarkable app includes a database of nearly 60,000 artworks from over 1000 different artists, taken from Ancient times all the way up until the present day. Perhaps even more impressive is the way Art Authority displays and organises the 10GB worth of art. Paintings are presented in beautiful, intricate frames on textured wallpapers resembling a real gallery and can be viewed in almost any thematic form you desire from time period to artist to subject matter. You can even take your virtual art tourism into the real world with the Art Near Me function, which allows you to locate nearby galleries and artworks. 7. Muybridgizer The technological pioneers at the Tate galleries in London have done it again, this time creating an interactive app that allows iPhone users to step into the shoes of the experimental motion capture artist Eadweard Muybridge. Created to accompany the Tate Britain's Muybridge exhibition, this app allows you to take filtered photographs and then piece them together to create a frame-by-frame animation that you can speed up, slow down, or reverse simply by swiping your finger across the screen, cleverly and playfully pastiching Muybridge's iconic videos of flying horses, waltzing couples, and cantering bison. Add to this the fact that they have managed to turn Muybridge's quite unpronounceable name into a verb and you can see why the Tate can almost undoubtedly stake claim to the title of most linguistically canny and technologically savvy gallery in the world. 8. MoMA - Art Lab Emphatically disproving the myth that iPads can only function as a medium for media consumption, the Museum of Modern Art - Art Lab app allows users to create some truly awesome pieces of virtual artwork. By playing with shapes, lines, and colours, you can make everything from collages to sound compositions and shape poems. What separates this app from your regular Etch A Sketch, however, is the way it combines simple drawing functions with the techniques and artworks on display at MoMA. You can trace a Matisse or read how Van Gogh created his starry, starry night or, if your creative flair dries up, check out the ideas section for a bit of inspiration from the world's premiere modern art gallery. In this way the MoMA app brilliantly combines the user's individual creativity with an interactive tour of the MoMA's world-beating collection. 9. Pocket Art Gallery If you've ever dreamed of becoming an art curator — selecting and hanging some of the world's most incredible artworks in your own home — then who else but the Tate could make that dream a virtual reality. The Pocket Art Gallery app allows users to select from a hundred famous artworks and then position them wherever they may desire while looking through the phone's camera. Augmented reality enables you to 'hang' a Picasso above your fireplace, a Turner in your workplace, or a Jackson Pollock in your bathroom. With the app linked into Facebook and Twitter, you can impress your socially networked friends with all the awesome and ingenious images you produce. 10. Tate Guide to Modern Art Terms Thanks in equal part to the complexities of the artist's technique and to the linguistic pretentiousness of the art world, keeping abreast of the terminology used by artists can be a mystifying and mind-boggling exercise. The Tate (again) is hoping to make the beguiling vernacular of artists more accessible and understandable with their Guide to Modern Art Terms. The app includes over 300 art terms covering everything from styles to schools to movements, allowing the user to search via category or through the app's image gallery. So if you're struggling to get your head around fauvism or want to find the word for sculpting concrete, then check out this super-handy app.
You can never have too much greenery in your life, both inside and outside your house. And, whether you're decking out your interiors or setting up a luxe outdoor hangout zone, you can never have too many homewares either. At least that's what you'll keep telling yourself while you're browsing around The Home Collective, with northside market offering up an array of plants, pots, furniture, cushions, art and more. If you're keen for a sneak peek, or some design inspiration, check out the event's Instagram page. That'll motivate you to head along, we're certain Taking place in Wavell Heights from 9am to 1pm on Sunday, May 26, the market will kit out your abode with plenty of choices, with a heap of stalls ready for you to peruse. Sure, there's an excuse to boost your garden and homewares cred every weekend in Brissie, or so it seems, but you just can't have to much of a good thing.
Clubhouse is a coffee-first sort of cafe, the kind that was started with one particular ethos: maintain the happiness and caffeine levels of locals. The coffee comes in three typical blends supplied by Coffee Supreme (South Blend and 5 Star Day) and Cavalier Coffee Roasters (Tall, Dark and Handsome), but a fourth place is reserved for specials. The specials are selected weekly, typically single origin but sometimes special blends. Two previous house favourites have been Flower Dance Filter Blend by Headlands Coffee, and Yoshimi from Wide Open Road. One of Clubhouse's notable offerings in a world of ever-expanding coffee preferences (and cost-of-living crisis) is a house policy of no additional charge for alternative milks, extra shots or added syrups. Food-wise, expect plenty of grab-and-go sandwiches, pastries and sweet treats to pair with your drink — and the at-home brewers or coffee snobs can buy beans and equipment to take the good stuff back to their setup at home.
A Brit pub with a difference, the Pig 'N' Whistle West End displays the international sophistication you'd expect from a venue in the heart of Brisbane's theatre and entertainment district. Just a short walk from South Bank, this spot has your classy and casual covered in one. The main bar, one of Brisbane's best sports pubs, is divided from the more formal Dining Room by an illuminated wine rack and bar. Clean lines and vaulted ceilings lend the space a mid-century elegance, while the pub's outdoor seating catches a great summer breeze on those hot Brisbane nights. An eclectic mix of pan-Euro, Asian-inflected Modern Australian tastes means dishes like Balinese gado gado sit alongside confit duck or prawn and snapper linguine. These are complemented by the long list of carefully curated European and Antipodean beers and wines.
Already boasting zip rides, bridge climbs, tower walks and bungy experiences, there's an endless number of reasons why Queenstown is dubbed the 'adventure capital of New Zealand'. Now there's one more, with the introduction of a human catapult that reaches speeds of almost 100 kilometres per hour in 1.5 seconds. Launched by the leaders of adventure tourism in New Zealand, AJ Hackett Bungy, the world-first Nevis Catapult is found in the Nevis Valley. The attraction, which has been called the "biggest and most extreme catapult in the world", sees thrill seekers shoot 150 metres out across a ravine before dropping towards the valley floor and experiencing a series of vertical bounces. From release to recovery the experience takes between three to four minutes. Only accessible by 4WD bus and housed in a pod alongside the Nevis Swing, the catapult is a combination of height, flight and speed using a winch system developed over years of research. The technology for the multi-million-dollar catapult was developed with the company's research team before being built in a testing facility in Christchurch. Testing has been conducted over the past nine months — beginning with weighted barrels, before moving on to a test dummy phase and finally human testing. Co-founder Henry van Asch says he first came up with the idea when travelling around France during the 1980s with Bungy co-founder, AJ Hackett. "I played around with the idea by riding my mountain bike with a Bungy cord attached, off bridges." he says. Adult tickets for the Nevis Catapult ring up at NZD$255. For more information, visit bungy.co.nz. Image: James Morgan Photography.
It was true in 2023 and it's set to prove the case again in 2024: if you can't find something on the SXSW Sydney lineup for you, you aren't looking hard enough. Want to enjoy the massive tech, innovation, screen, music, games and culture festival, but saving your pennies? That's where its free Tumbalong Park hub comes in — and it too is returning for another year. When SXSW Sydney runs its second fest across Monday, October 14–Sunday, October 20, it'll also host its second public program at Darling Harbour. Here, it doesn't matter if you're also heading to the music festival or the screen festival, trying to catch as much of the entire event as possible or aren't paying for any SXSW tickets at all. Whichever fits, you can check out more than 60 hours of free entertainment, including tunes, talks and movies. [caption id="attachment_953722" align="alignnone" width="1920"] Jaimi Joy[/caption] Just-announced highlights include Silverchair's Ben Gillies teaming up with songwriter Tushar Apte and futurist Johannes Saam, which ticks both the music and tech boxes; a 60th-anniversary screening of iconic surfing film The Endless Summer, hailing from the screen portion of the program and including an after party; and a day-long showcase of Indian creativity to wrap up the fest, with +91 Calling! featuring an array of different music genres. Attendees can also catch Bush Shorts, a selection of short films by Australia's First Nations and Indigenous talents; conference talents getting chatting at Meet the Speaker sessions; an innovation showcase that's all about rockets, robotics and more; and a Fortnite competition for high schools. On top of all of this, there will also be food trucks, plus pop-up activations from a range of brands — and yes, the Suntory -196 Extreme Vending Machine will be back. [caption id="attachment_953715" align="alignnone" width="1920"] Ian Laidlaw[/caption] SXSW Sydney's lineup drops are in full swing, after a first batch came in May, then a second round in June. In July, the fest revealed not one, not two, but three rounds of additions to its 2024 program. Also on the bill across the rest of the fest beyond the free Tumbalong Park hub: Australian The New Boy filmmaker Warwick Thornton, The Babadook composer Jed Kurzel, the UK's Jorja Smith on the 'Be Honest' musician's Australian tour, human rights lawyer Jennifer Robinson, author Johann Hari, Australian race car driver Molly Taylor, pianist Chad Lawson, Westworld's Luke Hemsworth hosting a session about the Tasmanian tiger and Aussie astronaut Katherine Bennell-Pegg. Or, get excited about Heartbreak High star Ayesha Madon, cricketer David Warner, Mortal Kombat director Simon McQuoid, TikTok marketing head Sofia Hernandez and documentary Slice of Life: The American Dream. In Former Pizza Huts, about the new uses of former Pizza Hut buildings across America. There's still more where they came from, plus more to come. [caption id="attachment_953724" align="alignnone" width="1920"] Jaimi Joy[/caption] [caption id="attachment_953717" align="alignnone" width="1920"] Paul McMillan[/caption] [caption id="attachment_923290" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] SXSW Sydney 2024 will run from Monday, October 14–Sunday, October 20 at various Sydney venues, including Tumbalong Park, 11 Harbour Street, Sydney. Head to the SXSW Sydney website for further details. Top image: Brendon Thorne/Getty Images for SXSW Sydney.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=odM92ap8_c0 GODZILLA VS KONG Given that neither of Godzilla vs Kong's towering titans are truly terrors, and therefore neither should really emerge victorious over the other, getting them to face off seems pointless. "They're both big, so they can't get along" is the simplistic concept. This isn't a new train of thought, or new to the American-made Monsterverse that's been nudging the beasts closer together for seven years. Thankfully, in the hands of You're Next and The Guest director Adam Wingard, Godzilla vs Kong has as much in common with its superior Japanese predecessors as it does with 2019's terrible Godzilla: King of the Monsters. The follow-up to 2017's Kong: Skull Island, too, this new battle of the behemoths doesn't remake the duo's first screen showdown in 1962's King Kong vs Godzilla. And, sadly, it hasn't ditched the current Hollywood flicks' love of unexciting human characters. But it crucially recognises that watching its titular creatures go claw-to-paw should be entertaining. It should be a spectacle, in fact. The film also realises that if you're not going to make a movie about this pair with much in the way of substance, then you should go all out on the action and fantasy fronts. In other words, Godzilla vs Kong feels like the product of a filmmaker who loves the Japanese Godzilla flicks and Kong's maiden appearance, knows he can't do them justice thematically, but is determined to get what he can right. Wingard is still saddled with a flimsy script with a tin ear for dialogue by screenwriters Eric Pearson (Thor: Ragnarok) and Max Borenstein (Kong: Skull Island), but his massive monster melees are a delight. Also welcome: Godzilla vs Kong's eagerness to lean into its genre. When it surrenders to its pixels, and to a tale that involves a journey to the centre of the earth, subterranean asteroids, altercations with giant flying lizards and an underground tunnel from Florida to Hong Kong, it's equal parts loopy and fun. That trip to the planet's interior is guided by Kong. Now kept in a dome that simulates the jungle, the jumbo primate is under the watch of researcher Ilene Andrews (Rebecca Hall, Tales from the Loop), and bonds with Jia (newcomer Kaylee Hottle), the orphan also in the doctor's care. But, after Godzilla surfaces for the first time in three years to attack tech corporation Apex's Miami base, CEO Walter Simmons (Demián Bichir, Chaos Walking) enlists geologist Nathan Lind (Alexander Skarsgård, The Stand) on a mission. Testing the latter's hollow earth theory, they plan to track down an energy source that could be linked to both Zilly and Kong's existence — if Kong will lead them there. In a plot inclusion that'd do Scooby Doo proud, teenager Madison Russell (Millie Bobby Brown, returning from King of the Monsters) and her classmate Josh Valentine (Julian Dennison, Hunt for the Wilderpeople) are certain that Apex is up to no good and — with podcaster Bernie Hayes (Brian Tyree Henry, Superintelligence) — start meddling. Read our full review. https://www.youtube.com/watch?v=3yJ4r7ON974 THE PAINTER AND THE THIEF Asked why he broke into Oslo's Gallery Nobel in 2015 and stole two large oil paintings in broad daylight, Karl-Bertil Nordland gives perhaps the most honest answer anyone could: "because they were beautiful". He isn't responding to the police or providing an excuse during his court appearance, but speaking to Czech artist Barbora Kysilkova, who wanted answers about the theft of her work. Captured on camera, the pilfering of Kysilkova's Swan Song and Chloe & Emma initially appeared to be a professional job. As the two pieces were removed from their frames in such an exacting manner, it was presumed that experts were behind the crime. But Nordland and his accomplice didn't plan their brazen heist, or have a background in purloining art. Thanks to the effect of illicit substances, Nordland can't even remember much about it, let alone recall what happened to the stolen works that Kysilkova desperately wants back. That said, as the thief tells the painter when she first talks with him, he does know that he walked past Gallery Nobel often. He's aware that he saw her photorealistic pieces — the first of a dead swan lying in reeds, the second of two girls sat side by side on a couch — many times, too. And, he's candid about the fact that he marvelled at and was moved by the two canvases long before he absconded with them. As a result, he doesn't seem surprised that his life led him to that juncture, and to snatching Kysilkova's creations. A victim confronts a perpetrator: that's The Painter and the Thief's five-word summary, and it's 100-percent accurate. But such a brief description can't convey how fascinating, thoughtful, moving and astonishing this documentary is as it unfurls a tale so layered and wild that it can only be true — a story that stretches far beyond what anyone could feasibly anticipate of such an altercation and its aftermath, in fact. Nordland was arrested and charged for his crime, with Kysilkova initially making contact with him at his trial. From there, the skilled carpenter and heavily tattooed addict unexpectedly gained a friend in the woman whose works he took. Kysilkova first asked to paint Nordland as part of her attempts to understand him, and he then became her muse. As all relationships do, especially ones forged under such unusual circumstances, their connection evolved, adapted and changed from there. As Norwegian filmmaker Benjamin Ree (Magnus) pointed a camera in their direction for three years, the duo weathered their own ups, downs, twists and turns, as did their friendship. If Nordland's reply to Kysilkova feels disarmingly frank and unguarded, that's because it is. The same tone remains throughout The Painter and the Thief's entire duration. Absent the usual tropes and stylistic markers that true-crime documentaries are known for, the film eschews the standard mix of talking heads, re-enactments and explanatory narration in favour of truly observing and stepping inside its subjects' unique bond. Read our full review. https://www.youtube.com/watch?v=JCw90xLvYPw THE LAST VERMEER Dutch artists Johannes Vermeer and Han van Meegeren picked up their brushes more than two centuries apart. Mention the latter, though, and you need to mention the former. Just why that's the case makes for a fascinating tale, as The Last Vermeer tells — one filled with twists, subterfuge, investigations, a trial and post-World War II efforts to punish anyone who conspired with the Nazis. Directed by producer turned first-time helmer Dan Friedkin (All the Money in the World, The Mule), and adapted from Jonathan Lopez's 2008 book The Man Who Made Vermeers, The Last Vermeer relays the Hollywood version of the story, of course. Big speeches and massaged details consequently abound. Attention-grabbing performances jump across this cinematic canvas, too, with Guy Pearce (Bloodshot) resembling Geoffrey Rush as van Meegeren and Claes Bang (Dracula) adding his third recent art-centric feature to his resume after The Square and The Burnt Orange Heresy. There's enough here to keep viewers interested, as there should be given the real-life basis, cast and handsome staging, but this is the type of film that's nicer to look at than to dive into. Its subject: art forgery, a topic that leaves an imprint beyond the movie's narrative. The Last Vermeer doesn't steal from elsewhere, but it also sinks into a well-populated list of other dramas about art and the war (see also: The Monuments Men and Woman in Gold ) far too easily and generically than a feature about this specific tale should. Bang plays Dutch Jewish officer Captain Joseph Piller, who is tasked with hunting down artworks illegally sold to the Nazis during the war and bringing everyone responsible to justice. That leads him to Christ and the Adulteress, a piece credited to Vermeer but found after his death — and to van Meegeren, the man who is suspected of selling it to key Nazi figure Hermann Göring in the world's biggest art sale at the time. Turning on the rakish charisma even when he's being interrogated by Piller and his offsider (Roland Møller, The Commuter), van Meegeren denies the accusation. Piller isn't convinced, but then police detective Alex De Klerks (August Diehl, A Hidden Life) tries to take over the case. Soon, van Meegeren has been secreted away, is painting while in hiding and, when eventually charged and brought to court, offers an astonishing theory. Also arising in The Last Vermeer: an exploration of the costs of and sacrifices involved in surviving wartime, although Friedkin and screenwriters John Orloff (Anonymous), Mark Fergus and Hawk Ostby (The Expanse) happily stick to the surface as they do elsewhere. As a mystery, the film suitably zigs and zags. As a courtroom drama, it boasts stirring moments. But, as well as wasting Vicky Krieps (Phantom Thread) in a thankless part, The Last Vermeer is never more than passable. https://www.youtube.com/watch?v=4GjskJIRyRA GOLDEN VOICES The year is 1990, the USSR has collapsed, and Victor (Vladimir Friedman, The Operative) and Raya Frenkel (Mariya Belkina, Into the Night) are among the hordes of Russia's Jewish citizens that decide to move to Israel in search of a fresh start. But relocating costs them their prolific and busy careers as dubbing artists, with the married pair spending the decades prior recording Russian dialogue tracks for every type of film imaginable — to the point of becoming minor celebrities, including among Israel's ex-pat community once they emigrate. For Victor, the lack of work in the same field is crushing. He delivers pamphlets instead, determined to finance their new life, but yearns to get behind a microphone. Willing to try a gig that puts her voice to use in a different way, Raya takes a job at an erotic phone line, although she tells Victor that she's selling perfume from a call centre. Films about relationships disrupted by sizeable changes and duos forced out of their comfort zones aren't rare. Nor are movies about late-in-life shifts and new developments, and the impact on seemingly solid nuptials. And yet, as directed, written and edited by Evgeny Ruman (The Damned), and co-scripted and shot by Ziv Berkovich (A Simple Wedding), the warm and engaging Golden Voices finds its own niche again and again. There's a thoughtfulness to Golden Voices that underscores almost every choice, including in the film's narrative. Features that wear their overwhelming affection for cinema on their sleeves aren't uncommon either (filmmakers love the medium they work with, obviously, and like to show it). Still, Victor's passion for the big screen and its wonders is steeped in his inability to explore the world physically under Soviet rule, with movies opening a door that he couldn't otherwise pass through. Similarly, the unexpected freedom that Raya finds in her new job is anchored by the same truth. Being able to genuinely be herself behind a veil of anonymity is a new experience, which she relishes, as she does the attention sent her way by a doting customer. These characters are truly approaching their lives afresh — sometimes by choice, sometimes not so — and Ruman and Berkovich find multiple ways to convey this in their screenplay. Also helping: the film's lived-in sense of Israel's expat Soviet Jewish community, Berkovich's eye for composition, the visual period detail and the nuanced yet potent performances by Friedman and Belkina. A sense of neatness can creep into Golden Voices at times, but never encroaches upon the work of its likeable and expressive leads. https://www.youtube.com/watch?v=iVBKyLqsS5k PETER RABBIT 2: THE RUNAWAY Before a single Peter Rabbit movie had hopped into cinemas, the Paddington films got there first — and twice. The English franchise about everyone's favourite marmalade-eating bear has left big paw prints for its bunny-focused counterpart to follow in, too, but neither 2018's Peter Rabbit nor its new sequel Peter Rabbit 2: The Runaway comes remotely close to filling them. While impressive photorealistic CGI brings the jacket-wearing Peter and his also partially clothed fellow animals to life, and such special effects wizardry blends seamlessly with the live-action settings and cast members as well, this series is cartoonish and anarchic from its first moments. Anyone who grew up reading Beatrix Potter's books, which date back nearly 120 years, will notice the distinct, stark and unwelcome change of tone. The farmland setting and all those cute rabbits look just as they should, but this is a family-friendly franchise that turned sticking a carrot down a man's pants into one of its big gags the first time around. Accordingly, expecting anything gentle and measured in The Runaway — and anything other than more of the same, just laced with some snarky commentary that acknowledges the criticisms directed the initial movie's way — is as foolish as most of Peter's chaotic adventures. Once again voiced by James Corden — as the all-knowing computer in Superintelligence was last year as well — Peter thinks of himself as a plucky rebel. After his long-time human surrogate mother Bea (Rose Byrne, Irresistible) marries his former nemesis Thomas (Domhnall Gleeson, Run), he tries not to cause trouble around the farm, but it seems that he's always seen in that light no matter what he does. As Bea's books about Peter, his sisters Flopsy (Margot Robbie, Dreamland), Mopsy (Elizabeth Debicki, Tenet) and Cottontail (Aimee Horne, Psychotown), and cousin Benjamin (Colin Moody, Miss Fisher's Murder Mysteries) attract the attention of a big-city publisher (David Oyelowo, Chaos Walking), Peter gets fed up with his bad reputation. And when he crosses paths with town-dwelling bunny Barnabus (Lennie James, Fear of the Walking Dead), he thinks he's found someone who likes him as he is. From here, returning director and co-writer Will Gluck (Annie) unleashes a heist film that's also a musing on identity, and both elements feel not just broad, messy and distractingly energetic, but also routine. Byrne, Gleeson and Oyelowo bring what they can to their flesh-and-blood roles; however, the overall movie is as about as charming as rabbit droppings. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; and March 4, March 11 and March 18. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit and Saint Maud.
Two nights. Twenty-five food stalls. One bustling place — and one big celebration of Taiwanese culture. That's the formula behind Sunnybank Hills Shoppingtown's Taiwan Night Market, which is finally back for the first time since 2019, serving up a feast of bites to eat on Friday, July 8–Saturday, July 9. If you've been along before, you'll know that this excuse to tuck into noodles, bao, dumplings, bubble tea and more is always busy. With roti, sweet potato taro fries and desserts on offer as well, that'll still be the case this year. Around 15,000 people usually make a visit, so prepare to have company — from 4.30–9.30pm on the Friday and 1–9pm on the Saturday. As well as oh-so-much to taste and sip, the openair market will also span live entertainment, carnival games and activities for kids. Entry is free. Obviously, you'll still need to bring your wallet to purchase whatever tempts your tastebuds from the hefty Taiwanese street food selection as you wander along. And if you're wondering exactly where to head, the event is taking over the southside shopping centre's level four carpark.
Rare is the venue that can cater to all moods, whether you feel like getting cosy in dark surroundings over a lavish meal with your nearest and dearest — or you'd prefer to greet the sun, or the stars once evening hits, while enjoying drinks with the sky as your ceiling. Now open on St Paul's Terrace, Soko Rooftop covers both options, all 14 floors above Fortitude Valley. As first announced back in August 2022, but welcoming in patrons since mid-November 2022, this Brisbane newcomer also combines two other things: Peruvian and Japanese cuisine. Here, you'l find a menu that takes dishes, ingredients and techniques from each. Also on offer: a cocktail menu spanning 40-plus flavours of pisco sours, including a heavy focus sake and yuzu. Edamame, kingfish taquitos, and spicy tune with jalapeños and spring onions on a sweet-soy crisp rice cake get the starters going. SOKO Rooftop's mains are designed to share, including slow-cooked crunchy pork with salsa, criollo and charred steamed corn, Peruvian sauteed wagyu, and a wok dish with octopus, shrimp and mussels. Diners can tuck into yakitori and sushi, too, and pair their meal with vino. From Monday–Friday, there's also a must-try business lunch, with three different multi-course choices. Each one starts with miso soup and includes your choice of donburi set. From there, you can add a small plate as well, plus ice cream or sorbet for dessert. Perched on Jubilee Place's highest level — aka atop the new building above the Jubilee Hotel — Soko clearly isn't doing things by halves. It can host 500 patrons, either amid its South American-inspired interior decor or beneath striped umbrellas outside. In both spaces, greenery is a big feature. And, naturally, the outdoor area offers scenic views over the city. Latin music, Latin dancers and bongo players provide SOKO Rooftop's entertainment, which is set to be as sizeable a drawcard as the obviously impressive vistas.
The Whitsundays is a stunning holiday destination. Thanks to its gorgeous natural surroundings, vacationing at the Sunshine State spot is rarely solely driven by wanting to dine at a particular restaurant, then; however, on Hamilton Island, that might be the motivation now. If any eatery and bar is worth planning a getaway around, it's the brand-new Catseye Pool Club. First announced in 2024 and open since late April 2025, it's Josh and Julie Niland's latest venture — and their first ever in Queensland. When the pair revealed that they were launching their debut Sunshine State restaurant on Hamilton Island, it was huge news. Indeed, this is one of the big culinary openings of 2025. Catseye Pool Club is part of The Sundays, the also brand-new 59-room hotel at Catseye Beach's northern end that's all about luxury, but also boasts being family friendly as part of its point of difference. This Niland venture stands out from the duo's other restaurants for a few reasons. There's the location, of course — and eating here does indeed mean dining at an oceanfront tropical destination. Then there's the fact that Catseye Pool Club isn't a seafood joint. Whenever Josh and Julie's names come up, it's usually in the same breath as their preferred form of protein. Acclaimed Sydney restaurants, award-winning cookbooks, global kudos, a sustainable seafood restaurant in Singapore: championing a fin-to-tail approach to the ocean's finest, their footprint spans all of the above. Whole-fish cookery remains a feature at Catseye Pool Club, but it's just one part of the menu. This restaurant and bar heroes Australian ingredients and celebrate shared dining, with dishes designed to be tucked into communally. Taking your time in the sun, making the most of the fact that you're on an island and relaxing in general are also key aspects of the vibe — and the pool club part of the restaurant's name says plenty. Yes, the eatery is by the pool, so expect to peer at water from multiple sources. "Whilst 'family-style' or 'share-style' dining is very much a way restaurants have operated for many years, the Catseye Pool Club approaches its menu with each item very much designed to be enjoyed as a whole table, with all the trimmings coming with each dish," explained Josh back in March. The opening food and drink lineup spans 14 pages, starting with rock oysters with pepperberry mignonette, pizza bread, and a selection of wild raw fish and scallops for two. Almost everything edible from there is for at least a pair of diners, whether battered and fried wild fish tacos, Tweed Heads rock lobster, roast pork, Bowen mud crab pie, sirloin on the bone, lamb cutlets or line-caught trout tempt your tastebuds — or raspberry and coconut trifle, chocolate cake or flambé pineapple tart among the desserts. The one exception: the neapolitan sundae is just designed for one. Catseye Pool Club is also serving up breakfast just for hotel guests — and patrons can be enjoy its range of meals if they're hanging out by the pool rather than sitting at a table. At a hotel run by Hamilton Island Enterprises, which is also behind qualia, guests can also make the most of that oceanfront swimming pool surrounded by private cabanas, alongside a pickleball court and tropical gardens. Room options include balcony and terrace, plus interconnecting family rooms, all decked out in calming hues. "The Sundays brings something truly special to Hamilton Island — an elevated boutique escape that welcomes families and reflects the warm, laidback, uniquely Australian style of hospitality Hamilton Island is known for," advises Hamilton Island CEO Nick Dowling. "The Sundays is part of Hamilton Island's ongoing evolution — reimagined for today's traveller on the site of one of the island's original hotels. Over the years, we've evolved our accommodation, dining and experiences to reflect what our guests are looking for. Those who've been returning for decades know that you don't need to travel far to tick off a bucket-list destination — the Great Barrier Reef is right here on our doorstep.' Find Catseye Pool Club at The Sundays, Catseye Beach, Hamilton Island — and head to the hotel's website for more details.
While it feels like it was only yesterday that we were eating boozy Christmas pud with nan, it's somehow already December (again) — which means, yes, we're almost at the end of 2019. And Brisbane's bar scene has continued to grow at an impressive (alarming?) rate. Not only have new drinking holes popped up across the city — opening everywhere from on top of the Brisbane River to inside historic 1824 buildings — these libation stations are multi-faceted, doubling as breweries, micro-wineries and karaoke joints. So, here are our favourite ten bars to throw open their doors in 2019. Add them to your list. Tick them off. Just as Santa's doing now.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from March's haul of newbies. (Yes, we're assuming that you've already jumped on A Dog's World with Tony Armstrong already.) BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW FRESH Finally, a film about dating in the 21st century with real bite — and that's unafraid to sink its teeth into the topic. In this hit Sundance horror-comedy, Normal People's Daisy Edgar-Jones plays Noa, and once again gets entangled in a romance that'll leave a mark; here, however, the scars aren't merely emotional. Swiping right hasn't been doing it for Fresh's protagonist, as a comically terrible date with the appropriately named Chad (Brett Dier, Jane the Virgin) demonstrates early. Then sparks fly the old-fashioned way, in-person at the supermarket, with the curiously offline doctor Steve (Sebastian Stan, Pam & Tommy). Soon, he's whisking her away to a secluded spot for the weekend — a little too swiftly for Noa's protective best friend Mollie's (Jojo T Gibbs, Twenties) liking, especially given that no one can virtually stalk his socials to scope him out — and that getaway takes a savage and nightmare-fuelling twist. If Raw met Ex Machina, then crossed paths with American Psycho and Hostel, and finally made the acquaintance of any old rom-com, Fresh still wouldn't be the end result — but its tone stems from those parts, as do some plot points and performances, and even a few scenes as well. First-time feature director Mimi Cave doesn't butcher these limbs, though, and screenwriter Lauryn Kahn (Ibiza) doesn't stitch them together like Frankenstein's monster. As anchored by the excellent Edgar-Jones and Stan, there's care, savvy, smarts and style in this splatter-filled, satirical, brutal, funny, empowered and sweet film. Its twists, and its cutting take on predatory dating, are best discovered by watching, but being turned off apps, men and meat in tandem is an instant gut reaction. Fresh is available to stream via Disney+. OUR FLAG FLAG MEANS DEATH In the on-screen sea that is the never-ending list of films and television shows constantly vying for eyeballs, Taika Waititi and Rhys Darby have frequently proven gem-dappled treasure islands. When the immensely funny New Zealand talents have collided, their resumes have spanned four of the most endearing comic hits of the big and small screens in the 21st century so far, aka Flight of the Conchords, What We Do in the Shadows, Wellington Paranormal and Hunt for the Wilderpeople — and now, with pirate parody Our Flag Means Death, they've given viewers another gleaming jewel. This show was always going to swashbuckle its way into streaming must-see lists — and into comedy-lovers' hearts — based on its concept alone, but it more than lives up to its winning idea and winsome casting. Come for the buccaneering banter and seafaring satire, stay for a thoughtful and sincere comic caper that's also a rom-com. The inimitable Darby stars as Stede Bonnet, a self-styled 'gentleman pirate' and a great approximation of Flight of the Conchords' Murray if he'd existed centuries earlier. Meanwhile, Waititi dons leather, dark hues aplenty, an air of bloodthirsty melancholy and an eye-catching head of greying hair as Edward Teach, the marauder better known to the world as Blackbeard. The two real-life figures eventually cross paths after Bonnet leaves his life of wealth, privilege and comfort to rove the oceans, captains a ship staffed by a motley crew to end all motley crews, and initially gets captured by Blackbeard — or Ed, as he calls him. As these two opposites bond, riding the waves from adversaries to co-captains to potentially something more, Our Flag Means Death truly and gloriously opens up its warm heart. The first season of Our Flag Means Death is available to stream via Binge. Read our full review. ASCENSION Ascension may not be an Oscar-winner, losing out to Summer of Soul (...Or, When the Revolution Could Not Be Televised), but it'll always be one of 2022's nominees. More than that, this two-time Tribeca Film Festival winner will forever remain one of the most arresting documentaries of the past year as well. Helming her first feature-length doco, filmmaker Jessica Kingdon turns her gaze to the Chinese dream — and what she sees, while situated in a very specific cultural context by design, is a clear and easy sibling to its American counterpart. That's part of the statement her film makes, all just by watching on patiently but meticulously as people go about their lives. Starting with factory recruitment on the streets, then stepping into mass production, then climbing the social hierarchy up to the rich and privileged, Ascension explores employment and consumerism — and what they mean in an everyday sense in modern-day and modernised China. It's a portrait of the needs that make working on assembly lines a necessity, and of the dreams that inspire every step up the societal ladder. Some folks build sex dolls, their uncanny valley-esque forms adding an eerie mood. Others take lessons on etiquette for service jobs, including about not letting your face betray your emotions, and the tone is also unsettling. Observational to a mesmerising degree, Kingdon's exceptional film lets its slices of life and the behaviour, attitudes and patterns they capture do the talking, and they all speak volumes. Indeed, what a clever, telling, incisive and surreal story they unfurl. Ascension is available to stream via Paramount+. TURNING RED What'd happen if the Hulk was a teenage girl, and turned into a giant, fuzzy, super-cute red panda instead of going green and getting ultra-muscular? Or, finding a different riff on the ol' werewolf situation, if emotions rather than full moons inspired a case of not-quite-lycanthropy? These aren't queries that most folks have thought of, but writer/director Domee Shi certainly has — and they're at the core of Pixar's Turning Red, her debut feature after winning an Oscar for 2018 short Bao. As many of the animation studio's movies do, the film takes its title literally. But, it also spins the usual Pixar question. Turning Red does indeed wonder what'd happen if red pandas sported human-style emotions; however, the Disney-owned company has been musing on people becoming other kinds of critters of late, with particularly astute and endearing results here. The movie's focus: 13-year-old Chinese Canadian Meilin Lee (Rosalie Chiang, also making her film debut). The year is 2002, and she loves meeting her strict but doting mum Ming's (Sandra Oh, The Chair) expectations, hanging out with her pals and obsessing over boy band 4*Town. And while her mother doesn't approve of her friends or her taste in music, Mei has become accustomed to juggling everything that's important to her. But then, after a boy-related mishap, the red panda appears. Mei goes to bed feeling normal, albeit angsty and upset, only to wake up looking like a cuddly creature. Like werewolf tales about teenage boys tend to be, Turning Red is all about puberty and doesn't hide it — and whether it's tackling that head-on, pondering generational trauma or showing its rampant love for boy bands, it sports sweetness, soul and smarts. Turning Red is available to stream via Disney+. Read our full review. UPLOAD In its first season in 2020, Upload gave The Office and Parks and Recreation writer/co-creator Greg Daniels his own existential-leaning comedy. Think: The Good Place meets virtual reality, which is basically the premise. After a car accident at the age of 27, computer programmer Nathan (Robbie Amell, Resident Evil: Welcome to Raccoon City) is uploaded to a luxurious digital afterlife called Lakeview, which takes more than a little adjusting. Following his troubles with his still-breathing girlfriend Ingrid (Allegra Edwards, Briarpatch), as well as his growing bond with the IT employee, Nora (Andy Allo, Pitch Perfect 3), who works as his virtual handler or "angel", the series found plenty of ways to interrogate its concept. Indeed, while clearly a satire of capitalism, technology and their combination, it also inched towards unnerving Black Mirror territory. In season two, Upload dives deeper — and those Black Mirror comparisons only grow, too. Just like with that dystopian hit, it's plain to see how this reality could come true in a not-so-distant future, which no one watching this could ever want. Nathan now knows that all isn't well in Lakeview, or with the profit-hungry tech company behind it. Nora is well aware also, starting off the new batch of episodes by immersing herself with the anti-tech anarchists the Ludds. And Ingrid has spotted that Nathan isn't as enamoured with their relationship or his new virtual abode, so she decides to join him. Upload is still a comedy, but it knows that getting dark and being smart couldn't be more crucial given its concept. This season cleverly dives deeper, and only disappoints by being just seven half-hour episodes long. Consider your appetite whetted for season three, though. Season two of Upload is is available to stream via Prime Video. LUCY AND DESI Icons celebrating icons: when Amy Poehler directs a documentary about Lucille Ball, as she does here, that's the end result. It's fitting that Lucy and Desi includes a letter read mere days after Desi Arnaz's death, about his ex-wife and longterm professional partner, that included a touching line: "I Love Lucy wasn't just the name of the show". Poehler loves Lucy, too, understandably. Watching the compilation of clips curated here — spanning Ball's movie career in the 30s and 40s, as well as her TV shows such as the pioneering I Love Lucy, follow-up The Lucy–Desi Comedy Hour, and later sitcoms The Lucy Show and Here's Lucy — it's impossible not to see Ball's influence upon the Saturday Night Live and Parks and Recreation star, and upon the generations of female comedians that've followed Ball. Lucy and Desi loves Arnaz as well, though, and truly adores the pair's tumultuous love story — one that changed the course of comedy history. Forget Being the Ricardos, the average-at-best Aaron Sorkin film that inexplicably earned Oscar nominations — including for its one-note performances — and doesn't even dream of being funny. A deeper, meatier, far more interesting dance through Ball and Arnaz's life comes from Lucy and Desi, which benefits not just from Poehler's affection and her eagerness to ensure that her subjects' personalities shine through, but also from previously unreleased audio tapes of the pair talking about their ups and downs. Recent interviews pepper the film as well, including with daughter Lucie Arnaz Luckinbill, and both Bette Midler and Carol Burnett. Still, this doco's points of focus truly do speak best for themselves, whether chatting frankly or seen in all of those wonderful sitcom snippets. Lucy and Desi is is available to stream via Prime Video. WINDFALL Films can arrive at the perfect time, but usually they're actually products of their time. With Windfall, the former feels true, but this twisty thriller couldn't have been made at any other moment. It's an account of the haves and the have nots, and the widening gap between them — and it's told now, after years of that chasm growing visibly, the privileged largely lapping it up while hardening their disdain for anyone less fortunate, and the latter increasingly refusing to accept such inequality. The setting: a sprawling vacation home owned by a CEO worth billions and his wife. The setup: a break-in interrupted by said couple. The showdown: between two sides of the income divide (struggling versus obscenely comfortable), as brought to the screen by director Charlie McDowell (The One I Love, The Discovery). In a story credited to the filmmaker, star Jason Segel, McDowell's regular screenwriter Justin Lader and Seven scribe Andrew Kevin Walker — and also earning all the above either producer or executive producer billing, and fellow on-screen talents Lilly Collins and Jesse Plemons as well as — talk is largely the name of the game. Nobody (Segel, Dispatches From Elsewhere), as the movie's burglar is dubbed, argues with the CEO (Plemons, The Power of the Dog) and his other half (Collins, Emily in Paris) after taking them hostage at gunpoint, and their conversation is constantly revealing. He's initially bought off by the small stack of cash secreted away in the well-appointed abode but, after leaving then returning when he spies security cameras, he wants more money for his mercy. What follows is a perceptively shot and compellingly performed dissection of having it all (the CEO), grasping for some of it (Nobody) and realising that riches can't buy happiness (the wife). Windfall is available to stream via Netflix. NEW SHOWS TO CHECK OUT WEEK BY WEEK MOON KNIGHT Marvel's knack for casting is one of its superpowers, and it flexes those talents in Moon Knight. Enlisting Oscar Isaac fresh from the phenomenal 2021 trio that is Dune, Scenes From a Marriage and The Card Counter is as shrewd a casting move as the behemoth responsible for the Marvel Cinematic Universe has made, especially given that he plays two roles in one. The series starts with Isaac as Steven Grant, who works in the gift shop of a British museum, wishes he could lead tours instead, studies Egypt and sports a broad English accent. Oh, and chains himself to his bed every night, even though he has trouble sleeping. But as gaps in his days lead him to learn, Steven is also American mercenary Marc Spector — or, to be exact, vice versa. Complicating matters further, he's the on-earth conduit for the Egyptian moon god Khonshu as well. Even within franchise confines, Isaac is mesmerising in Moon Knight, playing a man grappling with dissociative identity disorder — as complex a character as the MCU has delivered so far — who's also drawn into a continent-hopping mystery-adventure. Also complicating matters: shadowy cult-like figure Arthur Harrow (Ethan Hawke, The Good Lord Bird), who has unfinished business with Khonshu and big plans of his own. Welcomely, the Marvel formula feels fresher here. Also pivotal: that, because it branches off with a previously unseen protagonist rather than the sprawling saga's usual heroes, this is the first MCU Disney+ series that doesn't feel like homework. Having filmmakers Mohamed Diab (Clash) and Justin Benson and Aaron Moorhead (Synchronic) also leaves an impression, in what's easily the most intriguing small-screen Marvel effort so far. The first episode of Moon Knight is available to stream via Disney+, with new instalments dropping weekly. Read our full review. MINX When home video, the internet and mobile phones with inbuilt cameras each arrived, six words could've been uttered: get ready to look at dicks. New HBO comedy Minx is set the early 70s, so before all three, but the same phrase also applies here. It's true of the show itself, which isn't shy about displaying the male member in various shapes and sizes. It also stands tall in the world that Minx depicts. When you're making the first porn magazine for women — and, when you're making an ambitious, entertaining and impeccably cast The Deuce meets Mrs America-style series about it, but lighter, sweeter and funnier (and all purely fictional) — penises are inescapable. Also impossible to avoid in Minx: questions like "are erections consistent with our philosophy?", as asked by Vassar graduate and country club regular Joyce Prigger (Ophelia Lovibond, Trying). Idolising the magazine industry and unhappily working for the dispiritingly traditional Teen Queen, she has long dreamed of starting her own feminist publication — even penning a bundle of articles and making her own issues — but centrefolds splashed with male genitalia don't fit her ideal pitch. No one's buying what Joyce is selling, though; The Matriarchy Awakens, her dream mag, gets rejected repeatedly by the industry's gatekeepers. Only one is interested: Bottom Dollar Publications' Doug Renetti (Jake Johnson, Ride the Eagle), but he's in the pornography business. The first four episodes of Minx are available to stream via Stan, with new instalments dropping weekly. Read our full review. THE DROPOUT Dramatising the Theranos scandal, eight-part miniseries The Dropout is the third high-profile release in the past two months to relive a wild true-crime tale — following not only the Anna Delvey-focused Inventing Anna, about the fake German heiress who conned her way through New York City's elite, but also documentary The Tinder Swindler, which steps through defrauding via dating app at the hands of Israeli imposter Simon Leviev. It also dives into the horror-inducing Dr Death-esque realm, because when a grift doesn't just mess with money and hearts, but with health and lives, it's pure nightmare fuel. And, it's the most gripping of the bunch, even though we're clearly living in peak scandal-to-screen times. Scam culture might be here to stay as Inventing Anna told us in a telling line of dialogue, but it isn't enough to just gawk its way — and The Dropout and its powerful take truly understands this. To tell the story of Theranos, The Dropout has to tell the story of Elizabeth Holmes, the Silicon Valley biotech outfit's founder and CEO from the age of 19. Played by a captivating, career-best Amanda Seyfried — on par with her Oscar-nominated work in Mank, but clearly in a vastly dissimilar role — the Steve Jobs-worshipping Holmes is seen explaining her company's name early in its first episode. It's derived from the words "therapy" and "diagnosis", she stresses, although history already dictates that it offered little of either. Spawned from Holmes' idea to make taking blood simpler and easier, using just one drop from a small finger prick, it failed to deliver, lied about it copiously and still launched to everyday consumers, putting important medical test results in jeopardy. The first six episodes of The Dropout are available to stream via Disney+, with new instalments dropping weekly. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October, November and December 2021, and January and February 2022 — and our top new TV shows of 2021, best new television series from this year that you might've missed and top straight-to-streaming films and specials as well. Top image: Photo Courtesy of Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved.
How many times have you walked through Federation Square, whether rushing to Flinders Street Station, hopping on or off a tram, checking out a sporting event on the site's big screen or hitting up a nearby venue? How well do you know the public space in your mind, then? It's up there with the MCG as one of the first places that anyone thinks of when they think about Melbourne, but both locals and visitors alike will see it as they've never seen it before when June hits and RISING 2024 arrives. The Victorian capital's annual winter arts festival — because Vivid Sydney doesn't have a monopoly on citywide cultural celebrations at this time of year — will run from Saturday, June 1–Sunday, June 16. One of its centrepieces is a spot that everyone is bound to go to anyway, but turning Fed Square into a showcase of First Peoples' art and politics. The free exhibition and public program is called The Blak Infinite, and will boast Richard Bell's EMBASSY as its centrepiece. Inside the work, which is inspired by the original Aboriginal Tent Embassy in Canberra in the 70s, talks will be held every Saturday, while films will screen daily. Make sure that you spend time looking up at Fed Square during RISING 2024, too; each evening, projections will take to the heavens, telling tales of Sky Country and the cosmos. On the site's big screen, Ellen Van Neerven's speculative fiction will feature. And keep an eye out for Kait James and Tony Albert's contributions, with one digging into and subverting souvenirs via collage, and the other going big and colourful with large-scale installations. The Blak Infinite leads the highlights on RISING's full program for this year, which has been unveiled after a couple of past announcements for the June fest. So, audiences should already be excited about Counting and Cracking and Communitas. The first brings the acclaimed Sri Lankan-Australian stage saga to Melbourne finally, and the second involves 'Love Tonight' talents SHOUSE throwing a music party that'll fill Melbourne's St Paul's Cathedral with hundreds of people making tunes as part of a choir. There's 105 events featuring 480-plus artists all up — including 23 newly commissioned works, plus six that are making their world premiere — with tunes also at the heart of the newly revealed Day Tripper, a festival within the broader festival over the King's Birthday long weekend. Melbourne Town Hall will be its hub, but the event will take over an entire block, including the Capitol Theatre and Max Watt's. And, you'll only need one ticket to hit it all up. Music-wise, Yasiin Bey, who was formerly known as Mos Def, leads the Day Tripper bill with a tribute to MF Doom. The rest of the lineup includes almost every genre that you can think of from hip hop and disco to post-punk and acid house. There'll be dance works, video pieces and brass bands as well — and Bar Italia, Asha Puthli, HTRK, Richard Youngs and more taking part. Love music films? Make a date with 24 Hour Rock Show, which British Turner Prize-winning artist Jeremy Deller first staged in Finland in 2015. It'll play rock documentaries back to back for a whole day and night, and for free. If you're up for it, catching the full 24 hours will be a wild cinema endurance test. Bey isn't only appearing at Day Tripper, but also at PICA to perform his 2009 album The Ecstatic. On the rest of RISING's music roster, ONEFOUR, Fever Ray, The Dirty Three playing their home town for the first time in 14 years, Sky Ferreira, Tirzah, Blonde Redhead, Snoh Aalegra and Moktar also pop up. For trance fans, UK producer Evian Christ has an exclusive show for the festival — and, for something complete different, Deller's Acid Brass is staging free public concerts. Once more linking tunes with the big screen, Hear My Eyes is back with a screening of Hellraiser. Hieroglyphic Being aka Jamal Moss is doing an all-new score for the horror classic, while visual artist Robin Fox will add a live laser performance. RISING attendees will also be able to enjoy The First Bad Man by Ireland's Pan Pan Theatre, which is based around Miranda July's novel and described as "a performative book club" — and ILBIJERRI Theatre Company's Big Name No Blankets, which dives into the Warumpi Band's history. Or, there's the first chapter of The Cadela Força Trilogy, examining sexual violence in art history; First Peoples' futuristic drag show ECLIPSE; inclusive club night CRIP RAVE THEORY; and eight hours of 8/8/8: REST, the second part in a triptych that began at RISING 2022 with 8/8/8: WORK. At a festival that's all about showing folks something that they won't see every day, SONG HISTOIRE(S) DU THÉ TRE IV certainly fits, too: as conjured up by Flemish artist Miet Warlop, it involves musicians playing just one song over and over, all while partaking in an obstacle course featuring trampolines, treadmills and balance beams. So does FOOD, which is set at an illusionist's dinner party, and has audiences sat around the stage-sized table to dive into the history of its namesake. Also on the program: the return of The Rivers Sing, the Melbourne Art Trams unveiling their latest First Peoples' works, Bell's Pay the Rent making a Melbourne comeback over a decade since debuting in the city, plus nightly social club Night Trade. [caption id="attachment_945445" align="alignnone" width="1920"] Brett Boardman[/caption] RISING 2024 runs from Saturday, June 1–Sunday, June 16 across Melbourne. Head to the festival's website for further information and tickets, with latter on sale from 12pm on Tuesday, March 12 for subscribers and 12pm on Thursday, March 14 otherwise. Top image: Damian Raggatt.
If TV is your way to escape the nine-to-five grind, or one of them, then the best of the best of 2022's small-screen newcomers thoroughly understands. All five of the year's absolute top fresh arrivals contemplated work in some way. Some showed its nightmarish side, while others delved into life and work as a performance — and you spent some time spending at your streaming queue over the past 12 months, you eagerly clocked in for office hell, hospitality tension, film industry chaos, law-and-order disorder and approaching existence as something that can be rehearsed. Chills, thrills, laughs, horror, jaw-in-the-floor moments: that's just part of what television delivered in 2022. Porn for women, pirates, dinosaurs, murder-mysteries, rom-coms, chaotic holidays, the best Star Wars story yet: they're all on the list as well. Whatever your preferred genre or topic, it's likely there was an ace new TV show about it this year, keeping you glued to your couch. 'Tis the season to reflect upon, revel in and revisit the year's new small-screen gems — and maybe even throw a waffle party or tuck into a beef sandwich in celebration. We've spent the year watching and rounding up TV highlights — including initially naming our favourites midyear — but these 15 newcomers are 2022's must-sees from its new must-sees. And, your catch-up list over summer. SEVERANCE It's the ultimate in work-life balance, an antidote to non-stop after-hours emails and Slack messages, and a guaranteed way to ensure what happens at work stays at work. In mind-bending thriller series Severance — which plays like Black Mirror meets the Charlie Kaufman-penned Being John Malkovich and Eternal Sunshine of the Spotless Mind, with Wes Anderson's aesthetic if he designed soulless office complexes, plus sprinklings of everything from George Orwell to also-excellent 2020 TV effort Devs — switching off when clocking off at Lumon Industries is easy. There's a brain implant for exactly that, and it's a condition of employment on "severed" floors. Accordingly, when quittin' time comes for Macrodata Refinement division employee Mark (Adam Scott, Big Little Lies), he physically steps into a tiny, shiny elevator to re-enter his after-hours life; however, the version of him that works for Lumon won't recall anything beyond the company's walls. The instant that the lift starts moving, it goes back to the office for Mark's "innie", as his work-bound consciousness is dubbed. Voila, it's clocking-on time once more. Severance's attention-grabbing premise springs from creator Dan Erickson, a TV first-timer, and understands how most folks feel about the nine-to-five grind. The show is knowing in its lead casting, too, given that Scott is best recognised for two workplace comedies: the joyous hug that is Parks and Recreation, as well as the acerbic, astute and soon-to-return Party Down. But as savvily and evocatively directed by Ben Stiller in its first three season-one episodes (and again in its last three, with Kissing Candice filmmaker Aoife McArdle helming three in the middle), Scott's new series dwells in 'be careful what you wish for' territory. For the part of Mark's brain that blanks out work, Severance initially seems like heaven. For the half that only knows the office, it's hell. For everyone watching, soaking in its twisty mysteries — and enjoying Patricia Arquette (The Act), Christopher Walken (Percy vs Goliath) and John Turturro (The Plot Against America) as fellow Lumon employees — it's a surreal and riveting must-see. Severance streams via Apple TV+. Read our full review. THE BEAR First, an important piece of advice: eating either before or while watching The Bear is highly recommended, and near close to essential. Now, two more crucial slices of wisdom: prepare to feel stressed throughout every second of this riveting, always-tense, and exceptionally written and acted culinary series, and also to want to tuck into The Original Beef of Chicagoland's famous sandwiches immediately. The eatery is purely fictional, but its signature dish looks phenomenal. Most of what's cooked up in Carmen 'Carmy' Berzatto's (Jeremy Allen White, Shameless) kitchen does. But he has taken over the family business following his brother's suicide, arriving back home after wowing the world in fine dining's top restaurants, and nothing is easy. Well, coveting The Bear's edible wares is across the show's eight-episode first season — but making them, keeping the shop afloat, coping with grief and ensuring that the diner's staff work harmoniously is a pressure cooker of chaos. That anxious mood is inescapable from the outset; the best way to start any meal is just to bite right in, and The Bear's creator Christopher Storer (who also directs five episodes, and has Ramy, Dickinson and Bo Burnham: Make Happy on his resume) takes the same approach. He also throws all of his ingredients together with precision — the balance of drama and comedy, the relentlessness that marks every second in The Original Beef's kitchen, and the non-stop mouthing off by Richie, aka Cousin, aka Carmy's brother's best friend (Ebon Moss-Bachrach, The Dropout), all included. Carmy has bills to pay, debts to settle, eerie dreams and sleepwalking episodes to navigate, new sous chef Sydney (Ayo Edebiri, Dickinson) mixing up the place and long-standing employees (such as Hap and Leonard's Lionel Boyce, In Treatment's Liza Colón-Zayas and Fargo's Edwin Lee Gibson) to keep happy. Every glimpse at the resulting hustle and bustle is as gripping as it is appetising — and yes, binging is inevitable. The Bear streams via Disney+. Read our full review. IRMA VEP A cinephile's dream of a series, Irma Vep requires some unpacking. The term 'layered' has rarely ever applied to a TV program quite as it does here. French filmmaker Olivier Assayas (Clouds of Sils Maria, Personal Shopper) retraces his own footsteps, turning his cult-favourite 1996 movie of the same name into an Alicia Vikander-starring HBO miniseries. And, in this series itself, a director is also remaking one of his own past flicks as a television project. In all versions of Irma Vep, the movies and shows being made are also remakes of 1915–16 French crime effort Les Vampires. It was a ten-episode, seven-hour cinema serial, and it's supremely real. Indeed, by first helming a feature about remaking Les Vampires, and now a series about remaking a movie that remakes Les Vampires (which, IRL, is also a remake of a movie that remakes Les Vampires), Assayas keeps remaking Les Vampires in his own way. It all sounds exactly as complicated as it is — and Assayas loves it. Viewers should, too. The nested dolls that are Irma Vep's meta setup just keep stacking, actually. The 1996 Irma Vep starred Maggie Cheung, who'd later become Assayas' wife, then ex-wife — and the 2022 Irma Vep haunts its on-screen filmmaker René Vidal (Vincent Macaigne, Non-Fiction) with visions of his ex-wife Jade Lee (Vivian Wu, Dead Pigs), who, yes, led his movie. If you're a fan of word puzzles, you might've also noticed that Irma Vep is an anagram of vampire; that said, Les Vampires isn't actually about bloodsuckers, and nor is any iteration of Irma Vep. To add to the list, while Cheung played a version of herself, Vikander (Blue Bayou, The Green Knight) plays fictional American star Mira — a name that's an anagram of Irma. You can also take that moniker literally, because mirroring is patently a pivotal aspect of the brilliant Irma Vep in every guise. Irma Vep streams via Binge. Read our full review. WE OWN THIS CITY For the past 20 years, we've all fallen into two categories: people who've seen, loved and haven't been able to stop raving about HBO's Baltimore-set masterpiece The Wire; and folks who don't tick any of those boxes but have been told by everyone who does that they really need to watch it ASAP. We Own This City deserves to spark the same response — and shares many of its predecessor's key pieces. It too takes place in Maryland's most populous city. It also follows a law-and-order battle, complete with time spent within the Baltimore Police Department. It springs from former Baltimore Sun police reporter-turned-author, journalist and TV writer/producer David Simon as well, and sees him reteam with writer George Pelecanos, a veteran of not only The Wire but also Simon's Treme and The Deuce. Oh, and as it tells a compulsive crime tale, it's packed with phenomenal performances. One of those astonishing portrayals is among the first thing that viewers see, in fact, with We Own This City opening with Sergeant Wayne Jenkins lecturing new recruits on the BPD Gun Trace Task Force. Chatting through how to legally do the job — how to get away with what he deems necessary, that is — Jon Bernthal (The Many Saints of Newark) is hypnotically unsettling as Jenkins, who'll become the focus of a corruption investigation for his methods. He isn't the only "prime example of what's gone wrong in Baltimore," as viewers are told. So is Daniel Hersl (Josh Charles, The Loudest Voice), who is initially glimpsed pulling over and terrorising a Black driver for no other reason than that he can. Department of Justice Civil Rights Department attorney Nicole Steele (Wunmi Mosaku, Lovecraft Country) is among those tracking the force's bad eggs, and that's just one of this complex, revealing and arresting six-part miniseries' layers. And if it feels so detailed that it could only be true, that's because it's based on a non-fiction book by Justin Fenton another ex-Baltimore Sun reporter. We Own This City streams via Binge. THE REHEARSAL Early in the first episode of The Rehearsal, Nathan Fielder meets Kor Skeete, a Jeopardy!-watching, trivia-loving New Yorker with a problem that he's seeking help with. Skeete has been lying to his bar trivia team about his educational history, claiming that he has a master's degree instead of a bachelor's degree, and he's hoping for assistance in coming clean. His biggest worry: how his pal Tricia might react, and if it'll end their friendship. First, however, in their initial meeting in Skeete's apartment, Fielder asks Skeete if he's ever seen any of Fielder's past work. Skeete says no, despite claiming a particular interest in television as his favourite trivia subject — and his response to what Fielder explains next will likely mirror anyone watching who comes to this with the same fresh eyes. Until now, Fielder was best known for Nathan for You, in which he helped companies and people by using his business school studies. Fielder played a version of himself, and the result is best described as a reality comedy. It's the kind of thing that has to be seen to be truly believed and understood, and it's both genius and absurd. In The Rehearsal, Fielder is back as himself. He also wants to use his skills to help others again. His tactic this time is right there in the name, letting his subjects rehearse their big moments — baring all to a friend in that first episode, and exploring parenthood in the second, for instance. The show's crew even build elaborate sets, recreating the spots where these pivotal incidents will take place, such as the bar where Skeete will meet Tricia. Fielder hires actors to assist, too. And, adding yet another layer, Fielder also steps through the same process himself, rehearsing his first encounter with Skeete, with thanks to an actor, before they cross paths. If you've ever thought that life was a big performance, and that every single thing about interacting with others — and even just being yourself — involves playing a role, you'll find much to think about in this fascinating, funny, often unsettling, quickly addictive series. There's reality TV and then there's the way that the deadpan Fielder plays with and probes reality, and while both can induce cringing, nothing compares to this. The Rehearsal streams via Binge. Read our full review. ANDOR When it arrived in 2016 between Star Wars: Episode VII — The Force Awakens and Star Wars: Episode VIII — The Last Jedi, Rogue One: A Star Wars sent a message in its own spy-slash-heist flick way: it wouldn't be slavishly beholden to the Star Wars franchise's established and beloved universe. It felt earthier and murkier, more urgent and complicated, and far more steeped in everyday reality — within its science-fiction confines, of course — and more concerned with the here and now of its specific narrative than the bigger saga picture. It was certainly and unshakeably bleaker, and felt like a departure from the usual template, as well as a welcome risk. The same proves true of impressive streaming prequel Andor, which slips into its namesake's routine five years prior. The Galactic Empire reigns supreme, the Rebel Alliance is still forming and, when the series opens, Cassian (the returning Diego Luna, If Beale Street Could Talk) is a wily thief living on the junkyard planet of Ferrix. A Blade Runner-esque sheen hovers over a different place, however: the industrial-heavy, corporate-controlled Morlana One, which couldn't be further under the boot of the Empire if it tried. As Monos-style flashbacks to Cassian's childhood aid in fleshing out, he's searching for his sister, but his latest investigatory trip results in a confrontation and the Preox-Morlana Authority on his trail. Back on Ferrix, he endeavours to hide with the help of his friend/presumed ex/mechanic/black-market dealer Bix Caleen (Adria Arjona, Morbius) and droid B2EMO (Dave Chapman, Star Wars: Episode IX — The Rise of Skywalker), while keeping his latest antics a secret from his adoptive mother Maarva (Fiona Shaw, Killing Eve). But, even after being told to drop the case, persistent Imperial Deputy Inspector Syril Karn (Kyle Soller, Poldark) and higher-ranking officer Dedra Meero (Denise Gough, Under the Banner of Heaven) aren't willing to give up. Andor streams via Disney+. Read our full review. BAD SISTERS Bad Sisters begins on the day of an Irish funeral, farewelling John Paul Williams (Claes Bang, The Northman) — after his widow, Grace (Anne-Marie Duff, Sex Education), makes sure that the corpse's erection won't be noticed first. He's long been nicknamed 'The Prick' anyway, with his four sisters-in-law all thoroughly unimpressed about the toxic way he treated his wife. In flashbacks, they joke about saving her by getting murderous, and exactly why is made plain as well. Bonded by more than blood after their parents died, the Garvey girls are used to sticking together, with the eldest, Eva (Sharon Horgan, The Unbearable Weight of Massive Talent), stepping in as the maternal influence over Grace, Ursula (Eva Birthistle, The Last Kingdom), Bibi (Sarah Greene, Normal People) and Becka (Eve Hewson, Behind Her Eyes). She's fierce about it, too, as characters played by the Catastrophe and This Way Up star tend to be. When a guest offers condolences at John Paul's wake, Eva's response is "I'm just glad the suffering's over" — and when she's then asked if he was ill, she replies with a blunt and loaded "no". If this scenario sounds familiar, that's because Belgian TV's Clan got there first back in 2012, which means that Bad Sisters joins the ever-growing list of series that largely exist to make the leap into English. That isn't a criticism of the end result here, though, which proves itself a winner early. Also part of both shows: two insurance agents, aka half-brothers Thomas (Brian Gleeson, Death of a Ladies' Man) and Matthew Claffin (Daryl McCormack, Good Luck to You, Leo Grande) here. Their family-run outfit is meant to pay out on John Paul's life insurance policy, but it's a hefty amount of cash and will bankrupt the firm, which is why Thomas starts asking questions. It seems an obvious setup, but this is a series with both bite and warmth. Brought to the screen by Horgan, Bad Sisters finds both the pitch-black comedy and the drama in its whole 'offing your arsehole brother-in-law' premise, and the tension and banter as well — and the sense of sorority between its quintet of main ladies, too. Bad Sisters streams via Apple TV+. Read our full review. MINX When home video, the internet and mobile phones with inbuilt cameras each arrived, six words could've been uttered: get ready to look at dicks. HBO comedy Minx is set the early 70s, so before all three, but the same phrase also applies here. It's true of the show itself, which isn't shy about displaying the male member in various shapes and sizes. It also stands tall in the world that Minx depicts. When you're making the first porn magazine for women — and, when you're making an ambitious, entertaining and impeccably cast The Deuce meets Mrs America-style series about it, but lighter, sweeter and funnier (and all purely fictional) — penises are inescapable. Also impossible to avoid in Minx: questions like "are erections consistent with our philosophy?", as asked by Vassar graduate and country club regular Joyce Prigger (Ophelia Lovibond, Trying). Idolising the magazine industry and unhappily working for the dispiritingly traditional Teen Queen, she has long dreamed of starting her own feminist publication — even penning a bundle of articles and making her own issues — but centrefolds splashed with male genitalia don't fit her ideal pitch. No one's buying what Joyce is selling, though; The Matriarchy Awakens, her dream mag, gets rejected repeatedly by the industry's gatekeepers. Only one is interested: Bottom Dollar Publications' Doug Renetti (Jake Johnson, Ride the Eagle), but he's in the pornography business. Minx streams via Stan. Read our full review. FLEISHMAN IS IN TROUBLE The title doesn't lie: when Fleishman Is in Trouble begins, its namesake is indeed struggling. He's also perfectly cast. If you're going to get an actor to play an anxious, unravelling, recently divorced man in his forties who's trying to navigate the new status quo of sharing custody of his kids, having a high-powered ex, and being initiated into the world of dating apps and casual hookups, it's Jesse Eisenberg. If his Zombieland character lived happily ever after until he didn't, or his Vivarium character was trapped into a different type of domestic maze, this book-to-screen series would be the end result. Fleishman Is in Trouble has Eisenberg play Toby, a well-regarded hepatologist who is passionate about being able to help people through medicine, but has spent more than a decade being made to feel inferior by Upper East Siders because his job hasn't made him rich enough. His theatre talent agent wife — now former — Rachel (Claire Danes, The Essex Serpent) had the exact same attitude, too, until she dropped their kids off at his place in the middle of the night, said she was going to a yoga retreat and stopped answering his calls. Written to sound like a profile — something that journalist, author and screenwriter Taffy Brodesser-Akner knows well, and has the awards to prove it — Fleishman Is in Trouble chronicles Toby's present woes while reflecting upon his past. It's a messy and relatable story, regardless of whether you've ever suddenly become a full-time single dad working a high-stakes job you're devoted to in a cashed-up world you resent. As narrated by the ever-shrewd Lizzy Caplan (Truth Be Told) as Toby's old college pal-turned-writer and now stay-at-home-mum Libby, Fleishman Is in Trouble dives into the minutiae that makes Toby's new existence such a swirling sea of uncertainty. At the same time, while being so specific about his situation and troubles, it also ensures that all that detail paints a universal portrait of discovering that more of your time is gone, your hopes faded and your future receded, than you'd realised. Everything from class inequality and constant social hustling to the roles women are forced to play around men earns the show's attention in the process, as layered through a show that's both meticulously cast and evocatively shot. Fleishman is indeed in trouble, but this miniseries isn't. Fleishman Is in Trouble streams via Disney+. THE ENGLISH It tells of gold rushes, of brave and dusty new worlds, and of yellow frontiers stretching out beneath shimmering and inky blue skies; however, the true colour of the western is and always will be red. This isn't a genre for the faint-hearted, because it's a genre that spins stories about power and its brutal costs — power over the land and its Indigenous inhabitants; power-fuelled in-fighting among competing colonialists; and power exercised with zero regard for life, or typically for anyone who isn't white and male. It's a rich and resonant touch, then, to repeatedly dress Emily Blunt (Jungle Cruise) in crimson, pink and shades in-between in The English, 2022's best new TV western. She plays one instance of the show's namesakes, because the impact of the British spans far beyond just one person in this series — and the quest for revenge she's on in America's Old West is deeply tinted by bloodshed. In her first ongoing television role since 2005, in a stunning and powerful series from its performances and story through to its spirit and cinematography, Blunt dons such eye-catching hues as Lady Cornelia Locke. With a mountain of baggage and cash in tow, she has just reached Kansas when The English begins, seeking vengeance against the man responsible for her son's death. But word of her aims precedes her to this remote outpost's racist hotelier (Ciarán Hinds, Belfast) and, with stagecoach driver (Toby Jones, The Wonder), he has own mission. That the aristocratic Englishwoman arrives to find her host torturing Pawnee cavalry scout Eli Whipp (Chaske Spencer, Blindspot) is telling: the plan is to blame her end on him. Before the first of this miniseries' episodes ends, however, Cornelia and Eli have rescued each other, notched up a body count and started a journey together that sees them each endeavouring to find peace in a hostile place in their own ways — and started their way through one helluva show. The English streams via Prime Video. Read our full review. THE RESORT If the last couple of years in pop culture are to be believed, it mightn't be a great idea to go away with a character played by Cristin Milioti. In three of the always-excellent actor's most recent high-profile roles, she has decamped to idyllic surroundings, only to find anything but bliss awaiting. Palm Springs threw a Groundhog Day-style time loop her way in its titular setting. Made for Love saw her trapped by sinister futuristic possibilities. In The Resort, which hails from Palm Springs screenwriter Andy Siara, she now has the ten-year itch — and a getaway to Mexico that's meant to soothe it slides swiftly into a wild mystery. In this instantly twisty comedy-thriller Miloti plays Emma, spouse to William Jackson Harper's (The Good Place) Noah. After a decade of marriage, they're celebrating at the Bahía del Paraíso in the Yucatán, but they're really trying to reignite their spark. At this stage in their relationship, he recoils at her bad breath, she makes fun of him falling asleep on the couch, and they're rarely in sync; even when they're floating along the resort's lazy river, cocktails in hand, they want different things. Bringing them together: a missing-persons case from 15 years ago, after Emma goes tumbling off a quad-biking trail, bumps her head and spies an old mobile phone. It belongs to Sam (Skyler Gisondo, Licorice Pizza), a guest at the nearby but now-shuttered Oceana Vista Resort, who was on holidays over Christmas 1997 with his parents (IRL couple Dylan Baker, Hunters, and Becky Ann Baker, Big Little Lies), as well as his girlfriend Hannah (Debby Ryan, Insatiable). As Emma learns via Sam's photos and text messages, all wasn't rosy in his romantic life. After running into fellow guest Violet (Nina Bloomgarden, Good Girl Jane), who was travelling with her dad Murray (Nick Offerman, Pam & Tommy), his SMS history skews in her direction. But the pair promptly disappeared, and any potential clues were lost when a hurricane struck and destroyed their getaway spot. If The White Lotus joined forces with Only Murders in the Building, it'd look a whole lot like this entertaining series, which also includes an ace performance by Luis Gerardo Méndez (Narcos: Mexico) as Baltasar, Oceana Vista Resort's head of security. The Resort streams via Stan. Read our full review. OUR FLAG MEANS DEATH In the on-screen sea that is the never-ending list of films and television shows constantly vying for eyeballs, Taika Waititi and Rhys Darby have frequently proven gem-dappled treasure islands. When the immensely funny New Zealand talents have collided, their resumes have spanned four of the most endearing comic hits of the big and small screens in the 21st century so far, aka Flight of the Conchords, What We Do in the Shadows, Wellington Paranormal and Hunt for the Wilderpeople — and now, with pirate parody Our Flag Means Death, they've given viewers another gleaming jewel. This show was always going to swashbuckle its way into streaming must-see lists — and into comedy-lovers' hearts — based on its concept alone, but it more than lives up to its winning idea and winsome casting. Come for the buccaneering banter and seafaring satire, stay for a thoughtful and sincere comic caper that's also a rom-com. The inimitable Darby stars as Stede Bonnet, a self-styled 'gentleman pirate' and a great approximation of Flight of the Conchords' Murray if he'd existed centuries earlier. Meanwhile, Waititi dons leather, dark hues aplenty, an air of bloodthirsty melancholy and an eye-catching head of greying hair as Edward Teach, the marauder better known to the world as Blackbeard. The two real-life figures eventually cross paths after Bonnet leaves his life of wealth, privilege and comfort to rove the oceans, captains a ship staffed by a motley crew to end all motley crews, and initially gets captured by Blackbeard — or Ed, as he calls him. As these two opposites bond, riding the waves from adversaries to co-captains to potentially something more, Our Flag Means Death truly and gloriously opens up its warm heart. Our Flag Means Death streams via Binge. Read our full review. HEARTSTOPPER It only takes minutes for British newcomer Heartstopper to explain its title — showing rather than telling, as all great shows should. A year ten student at Truham Grammar School for Boys, Charlie Spring (first-timer Joe Locke) finds himself seated in his form class next to year 11 rugby player Nick Nelson (Kit Connor, Little Joe). Sparks fly on the former's part, swiftly and overwhelmingly, with the eight-part series' graphic-novel origins inspiring a flurry of fluttering animated hearts on-screen. But Charlie has a secret boyfriend, Ben (Sebastian Croft, Doom Patrol), who won't even acknowledge him in public. He also hardly thinks of himself as sporty, even after Nick asks him to join the school team. And, while a friendship quickly solidifies between the two, Charlie is initially unsure whether anything more can happen — and anxiety-riddled in general. As well as writing Heartstopper's source material — which initially started as a webcomic — Alice Oseman pens every episode of this perceptive teenage-focused gem. From the outset, it bubbles with heartwarming charm, while its coming-of-age story and central love story alike prove wholly relatable, aptly awkward but also wonderfully sweet and sensitive. In short, it's a series that plunges so convincingly and inclusively into its characters' experiences that it feels like its heart is constantly beating with affection for Charlie, Nick, and their fellow high-schoolers Tao (fellow debutant William Gao), Elle (Yasmin Finney), Isaac (Tobie Donovan), Tara (Corinna Brown, Daphne) and Darcy (Kizzy Edgell). First crushes, young love, the swirling swell of emotions that comes with both and also figuring out who you are: all of this dances through Heartstopper's frames. Also, when Oscar-winner Olivia Colman (The Lost Daughter) pops up, she's glorious as always. Heartstopper streams via Netflix. Read our full review. PREHISTORIC PLANET Five episodes, one comforting voice, and a time-travelling trip back 66 million years: that's the setup behind Prehistoric Planet, an utterly remarkable feels-like-you're-there dive into natural history. Having none other than David Attenborough narrate the daily activities of dinosaurs seems like it should've happened already, of course; however, now that it finally is occurring, it's always both wonderful and stunning. Filled with astonishing footage on par with the visuals that usually accompany Attenborough's nature docos, all thanks to the special effects team behind The Jungle Book and The Lion King, it truly is a wonder to look at. It needs to be: if the Cretaceous-era dinosaurs rampaging across the screen didn't appear like they genuinely could be walking and stalking — and fighting, foraging for food, hunting, flying, swimming and running as well — the magic that typically comes with watching an Attenborough-narrated doco would instantly and disappointingly vanish. Welcome to... your new insight into Tyrannosaurus rex foreplay, your latest reminder that velociraptors really don't look like they do in the Jurassic Park and Jurassic World flicks, an entertaining time spent with al kinds of animals, and your next favourite dinosaur project with an Attenborough attached. Each of Prehistoric Planet's five instalments focuses on a different type of terrain — coasts, deserts, freshwater, ice and forests — and chats through the creatures that call it home. Set to a spirited original score by Hans Zimmer, fresh from winning his latest Oscar for Dune, there's a formula at work. That said, it's no more blatant than in any David Attenborough-hosted show. Viewers watch as some dinos look after their young, others try to find a mate, plenty search for something to eat and others attempt not to be eaten. The same kinds of activities are covered in each episode, but the locations and dinosaurs involved all change. Prehistoric Planet streams via Apple TV+. Read our full review. COLIN FROM ACCOUNTS A girl, a guy and a meet-cute over an adorable animal: that's the delightful and very funny Colin From Accounts' underlying formula. When medical student Ashley (Harriet Dyer, The Invisible Man) and microbrewery owner Gordon (Patrick Brammall, Evil) cross paths in the street one otherwise standard Sydney morning, they literally come to an impasse. He lets her go first, she flashes her nipple as thanks, then he's so distracted that he hits a stray dog with his car. As these circumstances demonstrate, Colin From Accounts isn't afraid to get awkward, much to the benefit of audiences. There's a syrupy way to proceed from the show's debut moments, intertwining sparks flying with idyllic dates, plus zero doubts of a happy ending for humans and pooches alike. If this was a movie, that's how it'd happen. Then there's Dyer and Brammall's way, with the duo creating and writing the series as well as starring in it, and focusing as much on ordinary existential mayhem — working out who you want to be, navigating complex relationships and learning to appreciate the simple pleasure of someone else's company, for example — as pushing its leads together. Just like in the Hollywood versions of this kind of tale, romance does blossom. That Dyer and Brammall are behind Colin From Accounts, their past chemistry on fellow Aussie comedy No Activity and the fact that they're married IRL means that pairing them up as more than new pals was always going to be on the show's agenda. It's how the series fleshes out each character and their baggage — including those who-am-I questions, Ash's difficult dynamic with her attention-seeking mother Lynelle (Helen Thomson, Elvis), and the responsibility that running your own business and committing to care for other people each bring — that helps give it depth. Colin From Accounts lets Ash and Gordon unfurl their woes and wishes, and also lets them grow. Sometimes, that happens by peeing and pooping in the wrong place, because that's also the type of comedy this is. Sometimes, it's because the show's central couple have taken a risk, or faced their struggles, or genuinely found solace in each other. Always, this new Aussie gem is breezy and weighty — and instantly bingeable. Colin From Accounts streams via Binge. Read our full review. Looking for more viewing highlights? We also rounded up the 15 best returning TV series of 2022, as well as 15 excellent new TV shows of 2022 that you might've missed. Plus, we've kept a running list of must-stream TV from across the year, complete with full reviews. And, you can check out our regular rundown of film and TV streaming recommendations, which is updated monthly.
