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 chaos 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 for Carmen 'Carmy' Berzatto (Jeremy Allen White, Shameless) and his colleagues on-screen, however; for viewers, the series' debut run was as perfect a piece of television as anyone can hope for. Excellent news: season two is better. Streaming via Disney+ Down Under from Wednesday, July 19 — arriving a month after it hit the US, making Australian and New Zealand audiences wait for a repeat reservation just like last year — The Bear season two serves up another sublime course of comedy, drama and "yes chef!"-exclaiming antics across its sizzling stretch. 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 sous chef Sydney (Ayo Edebiri, I Think You Should Leave with Tim Robinson) 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. For Carmy, Syd, the former's sister Natalie aka Sugar (Abby Elliott, Indebted), and lifelong pal Richie aka Cousin (Ebon Moss-Bachrach, No Hard Feelings) — plus The Beef and now The Bear's 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), and resident Mr Fixit Neil Fak (IRL chef Matty Matheson) — it's all systems go from the instant that the show's second season starts. With his James Beard Award and experience at the world's top restaurants, Carmy has never been one to take things slowly or calmly. Relaunching the space that he inherited after his brother Mikey's (Jon Bernthal, We Own This City) death is no different, even after Carmy found $300,000 in cash sealed tins of tomatoes to close out season one. In cooking, money just buys ingredients and equipment. Here, while The Beef team has scored itself a hefty stash, those funds can't quite purchase enough. Swiftly, Carmy and Syd enlist Sugar as their project manager so that they can focus on conjuring up the new restaurant's customer-courting spread — and they're asking the Berzattos' uncle Cicero (Oliver Platt, Chicago Med), their main investor, for extra aid just as promptly. Creator Christopher Storer (Ramy, Dickinson and Bo Burnham: Make Happy), also the dramedy's frequent writer and director, brings the heat and the bedlam early. He tests and stresses his kitchen-obsessed characters in their favourite surroundings, where they spent the opening season just surviving. Season two pushes them towards thriving by growing and learning, though, complete with new insights into Carmy and company, plus new ways to drizzle out their hopes, wants, fears and hungers. The Bear's smorgasbord of havoc continues, then, but paired with savouring what quieter moments everyone can manage to stick on their forks. When Carmy runs into his old friend Claire (Shiva Baby and Booksmart's Molly Gordon), who is now a doctor, he finds something to enjoy beyond being a chef for the first time in far too long (certainly the first time in the show's narrative). Their relationship blossoms, taking the workaholic's focus away from his about-to-open restaurant. That causes struggles, too, but The Bear has always appreciated life's unexpected alchemies. When Carmy ditches plans to hop around town with Syd to glean culinary inspiration for the menu, for instance, she's initially peeved. Then her tasting tour of the Windy City, which is also a visual tour of some of its famous places and names for viewers, proves both revelatory and rewarding. The clock keeps ticking, with Cicero's extra cash speeding up the opening date. The deadline: 12 weeks. Whenever The Bear is at The Bear, the non-stop pressure-cooker energy blisters like grabbing a steel-handled saucepan off the stove with your bare hands. Season one was exceptional at thrusting its audience into the hustle and bustle of working in hospitality as if they were really there, warts, woes and all. Season two doesn't falter on that front. But when The Bear isn't at The Bear, it lets its usually frantic figures make themselves over, including by sending Marcus to a Noma-esque venue in Copenhagen under the tutelage of Luca (Will Poulter, Guardians of the Galaxy Vol. 3) and getting Richie to spend a week learning the upscale ropes at one of the city's best restaurants. This season's performances as a result: exquisite. Marcus' trip to Denmark spans an entire episode, the only chapter in the show's 18 across both seasons to-date that isn't directed by either Storer or executive producer Joanna Calo. Instead, Ramy Youssef steps in, invests the lived-in feel that's so much a part of his own impressive series, and revels in the eye-opening minutiae of being a visitor in a new place learning fresh skills. Storer is back at the helm of Richie's dedicated instalment, but it too benefits from broadening its horizons and getting out of its comfort zone. So does Cousin. In his typically abrasive way, he isn't happy about being sent away, taking it as punishment. In one of The Bear's finest exchanges yet, however, he has his entire perception altered in a touching conversation that adds Oscar-winner Olivia Colman (Secret Invasion) to the season's guest stars. Well-known names must've been lining up to join The Bear: fellow Academy Award-recipient Jamie Lee Curtis (Halloween Ends) also features, likely nabbing herself a 2024 Best Guest Actress Emmy, alongside Bob Odenkirk (Lucky Hank), Sarah Paulson (Ratched) and John Mulaney (Bupkis). That smattering of talent appears in a double-lengthy episode that jumps back to the past, demonstrates how chaos would've been in Carmy's blood regardless of if he became a chef — including when food is involved — and is as nerve-shredding and brilliantly acted as the series gets. You can't just taste the same bites over and over again, season two's detours advise. You're chomping into history whenever you sink your teeth into anything, this particular episode also conveys. The Bear burns brighter thanks to both trains of thought and, even with season one stetting such a high bar, couldn't be more appetising and satisfying. Long may it keep spending time in streaming's kitchen, bettering something that's already proven perfect. Check out the trailer for The Bear season two below: The Bear season two streams via Disney+ Down Under from Wednesday, July 19. Read our full review of season one. Images: Chuck Hodes/FX.
Sports have been bringing people together for hundreds of thousands of years now, and for a new country, Australia does its best to catch up — and pretty damn well at that. We've got our fingers in numerous pies like AFL, NRL, the cricket and soccer, plus we have women's leagues across the country in most of these (about time, right?) If you're a diehard Collingwood supporter, live and breathe Brisbane Roar or want to see some serious boss lady power on the field, chances are you'll want a little pre-game session to get you pumped before the match. We've got you. In partnership with Hahn, we've cross-checked top pre-drink venues with some of the biggest sporting venues to bring you our list of convenient pre-game watering holes. There's also nothing wrong with visiting these spots for a cheeky post-game drink, either. SYDNEY: THE LIGHT BRIGADE HOTEL FOR THE SYDNEY CRICKET GROUND Pre-game into your best self before a thumper of a match at Sydney Cricket Ground. The Light Brigade in Paddington is a pub drenched in history, full of art deco charm and it's only about a kilometre away from the SCG. There's a bunch of levels to accommodate your pre-drinks vibe with a restaurant on level one, cocktail bar on level two and a rooftop terrace bonanza up the top. By the time you've hit all three, it'll be time to move on to the game — though we'd suggest just grabbing a beer and heading straight to the rooftop for that view. MELBOURNE: THE CORNER HOTEL FOR THE MELBOURNE CRICKET GROUND Tried and true, there'll be something at The Corner Hotel in Richmond for everyone. If it isn't a crowded gig on a Thursday night, perhaps it's trivia on Wednesdays, lunch in the rooftop beer garden or you've missed the last train and you just want to have a drown-your-sorrows pint. During the AFL season, The Corner is on to a very good, meaty thing, bringing fans of every team together with $10 barbecue hotdogs before every game. Have a couple of bevs, smash down a dog then cruise along with the rest of the crowd to the MCG to catch a solid showdown. [caption id="attachment_636204" align="alignnone" width="1920"] Facebook / The Paddo.[/caption] BRISBANE: THE PADDINGTON TAVERN FOR SUNCORP STADIUM Brisbane Roar is Brissie's offering to A-League soccer, so when Roar fans ready themselves for a big season, it's also a big season of pre-drinking. The Paddington Tavern (aka The Paddo) is your go-to for a big plate of pub grub that'll keep you going through both halves of the game. It also does late night dining for a post-match feed, and — most importantly for your pre-drinking needs — the pub holds three different bars to get your round of drinks sorted. SYDNEY: THE GREENS FOR NORTH SYDNEY OVAL The Greens in North Sydney is full of bowls club charm, with live music and a pretty outlook. There are also quirky weekend additions like a petting zoo on Sundays, and it expands its sporting pedigree with yoga classes on Monday mornings. Consider hitting up The Greens before you run off to catch a match at the neighbouring North Sydney Oval. Play a game of bowls if you need to get yourself in the bowling mood pre-game, or just enjoy some drinks in the sun in their vast beer garden. BRISBANE: THE PINEAPPLE HOTEL FOR THE GABBA For your pre-match drinks within a few blocks from the Gabba, The Pineapple Hotel is your go-to. They're known for their steaks — tuck into an eye fillet, a wagyu rump or a T-bone with some ace sides for a good dose of protein — the pub features an extensive, ever-changing beer list, and its aptly named Park Bar offers up outdoor seating with views overlooking the neighbouring Raymond Park. Before the game, give yourself some time to work your way down the steak menu and sideways along the fifteen beer taps. [caption id="attachment_636203" align="alignnone" width="1920"] Instagram / Royal Saxon.[/caption] MELBOURNE: ROYAL SAXON FOR AAMI PARK For any big game at AAMI Park, we'd suggest kicking back in preparation for the match. If you start things off in Richmond, it'll just be a short stroll down to the big game (or a $5 Uber). The Royal Saxon on Church Street does hearty Italian grub to line your tums and give you enough energy to yell about onside and offside all day. They also have a comprehensive wine list, a whole slew of bottled and draught beers and their negroni is pretty great, too. Mark your calendars for when your team is playing, and plan to head out for a pre-game Hahn or two.
"What is this kind of film?" This question is not, as one might expect, asked by a journalist following a screening of Trance, or by a member of the public curious about the billboards currently filling London. Rather, it is asked by Vincent Cassel, one of the film's leads, to a room of six reviewers, including myself. None of us are able to answer him. Trance is the latest Danny Boyle film and, as such, one must approach it with very few specific expectations. Boyle has treated his career like a pick-n-mix, filling his directorial bag with genres as diverse as black comedy (Shallow Grave, 1994), Bollywood-inspired coming of age (Slumdog Millionaire, 2008) and zombie flick (28 Days Later, 2002). So what has he attempted this time? When asked, Boyle is vague. "You tend to talk in genres when you're doing publicity but it's not really something we think about." This seems unlikely and yet the three core cast — James McAvoy, Rosario Dawson and Cassel — agree. Trance defies easy categorisation. The film's opening minutes feel like a classic heist movie, as a high-priced work of art is stolen from the London auction house where McAvoy's character, Simon, works. It very quickly descends into violent gangster flick as Cassel's Franck, a French crime boss, enters the story. And just as quickly, it makes the switch to psychological thriller with the introduction of Elizabeth, played by Dawson — a hypnotherapist with the apparent ability to not only see into Simon's mind but to completely control it. These rapid direction changes are disorienting but one suspects that is entirely intentional. In a film in which motivations are revealed in increments, it helps to have the audience as misdirected as the characters. Boyle says that even the artwork at the centre of the criminals' plot is a part of this tactic. Witches in the Air by Goya "introduces a slightly surreal element into the film to prepare you". Depending on your viewpoint, the use of hypnotherapy as the plot's driving force might add to this sense of the surreal. In a film more bound up in realism, it would be laughable to posit the possibility of mind control through hypnotherapy, but it's easier to swallow in the hypercolour confusion of Trance. The film's actors are split on this issue. Dawson says she had a very intense experience in a hypnosis centre in California which convinced her that "it's not a parlour trick or a gimmick." It didn't work on McAvoy, but he still believes "it has a place and a power, even if that power is placebo. Placebo is a powerful drug for some people." Cassel's response is the most revealing. While he was resistant to being hypnotised, he thinks he knows why the subject fascinates his director. "Danny Boyle is a control freak. Maybe he wanted to talk about that. It's a personal problem for him and that's what makes it so interesting." Control freak he may be, but he's a prolific one. Boyle managed to pull off two completely different projects concurrent with the production of Trance: directing the 2011 theatrical production of Frankenstein and acting as artistic director for the Opening Ceremony of the 2012 Olympic Games. The pressure on an Olympic opening ceremony is huge, with each country attempting to top the last. But when Boyle is asked if he felt that pressure he hesitates slightly before responding. "Well ... no, to be honest. People say were you nervous on the night, and I wasn't nervous at all." The relaxed attitude extends to his advice for the next opening ceremony, to be held in Rio De Janeiro in 2016. "I think Brazil has such personality. Provided they just reflect that personality, they'll be fine." With all this so recently behind him, one might expect Boyle to take a break. But this doesn't seem to be in his nature. He's currently working on two period films — another new genre for him — and is keen to develop an original musical. Excitingly for fans, there are also preliminary plans for a sequel to his 1996 hit, Trainspotting, about drug culture in Edinburgh. He confirms that "We're trying to make a Trainspotting 2 — T2," adding that he doesn't know what James Cameron will think of that title. The variety of work Boyle produces makes it tempting to try to tie down Trance, to figure out where it fits in his ever expanding portfolio. But Cassel feels this would be a mistake. "Any genre movie made by a good director becomes that director's movie and nothing else. It's a Danny Boyle movie." And as his other leading man, McAvoy, reminds us: "He's not making obscure art. He's making proper entertainment." On that front, the deliriously paced, lushly shot and brilliantly acted Trance certainly delivers. Trance is in cinemas across Australia from April 4. Read our review here.
Whenever a new true-crime tale arrives, audiences fall into three camps: those who are well aware of all of the case's ups and downs, folks who remember the headlines but are vague on the details, and others that come to the whole saga and its specifics brand new. With The Staircase, it's highly likely that more viewers will fall into the first two categories. The eight-part HBO miniseries isn't just based on an IRL crime, after all, but also on a French documentary series of the same name. For those learning about the story afresh, it all started in 2001, when novelist Michael Peterson reported the death of his wife Kathleen. He said that she had fallen down the stairs at their North Carolina home — yes, hence the name — but the authorities weren't convinced. Given that occurred more than two decades ago, how it all turned out is now a matter of history. So, you'll either know it and be intrigued to see how it plays out on-screen with Colin Firth (Supernova, 1917) and Australian star Toni Collette (Nightmare Alley, Dream Horse) as the central couple, or you'll want to discover the intricacies for yourself while watching. Plunging famous faces into a twisty miniseries is firmly HBO's approach of late, with The Staircase following everything from Big Little Lies and The Undoing to Mare of Easttown. Joining the high-profile duo when the US network's latest hits Binge in Australia and Neon in New Zealand from Thursday, May 5: an all-star cast that also features Juliette Binoche (How to Be a Good Wife), Michael Stuhlbarg (Call Me By Your Name), Parker Posey (Lost in Space) and Sophie Turner (Game of Thrones), as well Rosemarie DeWitt (Little Fires Everywhere), Dane Dehaan (Lisey's Story), Patrick Schwarzenegger (Moxie), and Aussie actors Olivia DeJonge (Better Watch Out) and Odessa Young (Shirley). There are clearly plenty of moving parts to this narrative, which comes to TV courtesy of writer/director Antonio Campos (The Devil All the Time, The Sinner). As the just-dropped full trailer shows, there's plenty of drama as well. That's true both before and after the Peterson family find themselves immersed in a heartwrenching tragedy. Indeed, the sneak peek starts with happy times — with saying cheers to happy folks sat around the dinner table, in fact — but that isn't how it ends. Given that it's hitting screens 18 years after the original The Staircase, this dramatised version even mentions the film crew eager to start recording the details after Kathleen's death. So, when it starts airing in May — dropping three episodes at once to kick things off, then going weekly — the show will cover a well-known true-crime case as well as the just-as-well-known TV show that's already been made about it. Check out the trailer for The Staircase below: The Staircase will start streaming via Binge in Australia and Neon in New Zealand from Thursday, May 5.
When Bisou Bisou opened its doors in 2021, the Fortitude Valley restaurant brought a taste of French fine-dining to Brunswick Street. Taking over the ground level of Hotel X, which also launched the same year, the eatery was all about letting patrons pretend that they were on the other side of the world. Two years later, change is afoot, with Ghanem Group revamping the venue's focus — and a more casual French experience is the end result. Your tastebuds are still largely being spirited away to Europe, but the hospitality outfit behind Iris Rooftop upstairs in the same building — plus Byblos Bar and Restaurant, Blackbird Bar and Grill, Boom Boom Room Izakaya and Donna Chang elsewhere around Brisbane — is out to show that French restaurants aren't just for swanky outings. Steak frites remains on the menu, of course, and the freestanding rotisserie is still a big feature. Indeed, the brasserie is now heroing those kinds of French staples. Accordingly, opt for rotisserie chicken — whole or half, or whatever the special is that day — and you'll be able to pair it with classic French sauces like bearnaise and beurre noisette. Or, tempt your tastebuds with another big standout dish: pot-cooked mussels, which come in half- and one-kilo serves accompanied by a baguette, and also with a range of sauces. Bisou Bisou remains an all-day eatery, with catering for breakfast — especially if you're slumbering in the hotel — as well as lunch, dinner, snacks over drinks and just beverages all on its lineup. If you're just heading by for a bite, the new menu has exactly that in mind with its salted cod and herb croquettes with saffron aioli, whipped goat's curd and vegetable crudites, and chicken liver parfait with prune jam and toasted brioche. Or, you can choose any of those options as a starter before a main if you're settling in for the long haul. Other food highlights to say bonjour to include warm custard-filled cronuts, loaded croissants, banana crumpets and croques both monsieur and madame on the brekkie lineup; charcuterie and ocean trout rillettes among the snacks; bacon cheeseburgers and pork schnitzel from the mains menu; and sorbet, dark chocolate mousse, and watermelon and strawberries in sparkling pinot shiraz for dessert. Drinks-wise, the wine and spirits list remains hefty, and tap beers are poured from behind the lobby bar. The cocktail selection will change seasonally; however, taking cues Harry's New York Bar in Paris is a drawcard with Bisou Bisou's takes on the sidecar, boulevardier and French 75. Find Bisou Bisou inside Hotel X at 458 Brunswick Street, Fortitude Valley — open from 6.30am–late daily. Images: Markus Ravik.
Gaspar Noe is a filmmaker with vision — of that, there is little doubt. Whether his vision is something you would ever want to watch is where things get a little more complicated. An Argentinean expat living in France, he’s best known among cineastes for his 2002 film Irreversible, a non-linear crime thriller whose bold cinematography and ruminations on revenge are inevitably overshadowed by discussions of its most notorious sequence: a nine-minute rape scene shot in one unflinching take. Noe’s most recent film, Love, isn’t shy on graphic sexual content either, although thankfully this time it’s of the consensual variety. Debuting at this year’s Cannes Film Festival to a mixture of boos and rapturous applause, it’s a divisive picture that bares all from the very first frame, opening with a static shot of a man and a woman masturbating one another to orgasm. It’s the first of many long sequences of graphic non-simulated sex in the film — sex that Noe uses as emotional markers in his 130-minute portrait of a tumultuous young relationship gone bad. The story, such as it is, is told from the perspective of Murphy (Karl Glusman), a self-involved American film student living in Paris with his French girlfriend Omi (Klara Kristin) and their infant son. After a drug-fuelled New Year’s Eve, a groggy Murphy awakens to find a voice message on his phone from the concerned mother of Electra (Aomi Muyock), an ex-girlfriend who has gone missing, and for whom Murphy still harbours strong feelings. The rest of the film unfolds through a series of flashbacks, as Murphy reminisces about his tumultuous past with his former lover and the mistakes that tore them apart. Like all of its director’s films, Love is worth seeing for its formal elements alone. Long, gliding camera takes and blink-like edits capture the feeling of slipping into a memory, while Noe’s use of lighting and colour, although less overt than in Irreversible or his 2009 headtrip Enter the Void, remains as evocative as ever. The soundtrack is a deliciously eclectic grab-bag that makes use of everything from classical compositions to slow electric guitar jams to the iconic score from Assault from Precinct 13. The latter track pops up during a scene set in an underground sex club, and frankly, could hardly sound more at home. But most memorable of all is the film’s use of 3D — and we’re not just saying that because Noe includes a close-up of a penis ejaculating directly into the camera. A born provocateur, the director can’t help but indulge his juvenile side — yet for the most part he uses the added dimension in subtler and more imaginative ways. A heated argument at a rave is made all the more intense by strobe lights firing from the back of the frame. A lengthy threesome, meanwhile, is shot from high above, its participants seeming to plunge deeper into the bed as their lovemaking picks up steam. Indeed, it’s the sex scenes that are perhaps the most elegant and fully realised segments of the film. At one point, Murphy talks about wanting to make a movie that shows “sentimental sexuality” — and that’s clearly Noe’s intention as well. Over the film’s two-plus-hour runtime, Noe’s depiction of sex ranges from loving to spiteful, exciting to mundane, erotic to repulsive and joyful to just plain sad. And yes, at times he aims to titillate. Yet he never loses sight of the human feeling behind the sex. As a result, Love never feels pornographic in the way you might expect. But Love isn’t just about sex. It’s also about masculinity and misogyny — and it’s in the film’s handling of these prickly subjects that many viewers will (perhaps justifiably) take issue. It’s hard to think of a film with a less sympathetic protagonist than Murphy. He’s a selfish, whiny, insecure, arrogant, sexist, homophobic, slut-shaming loser who frankly made this writer embarrassed to be in the possession of a Y chromosome. But then again, that may very well be the point. Personally, we’d argue that Love condemns Murphy’s views and behaviour. The truth, though, is that you could just as reasonably claim that it endorses them. And perhaps more to the point, no matter which reading you subscribe to, it won’t make the dickhead’s company any less difficult to stand. Still, in a strange way, that’s actually another aspect that makes the movie worth watching. Like we said at the outset, Noe is a filmmaker with vision — and to be brutally honest, we’d rather watch a disastrous, offensive failure than something bland and middle of the road. See Love. See it in 3D. For the craft, and for the arguments you’ll have with people once it’s over.
The CBD is teeming with bland, generic cafes and their catering-company egg-and-lettuce sandwiches, might-as-well-call-it-cake muffins and wraps that have seen better days. It’s hard to find a hearty lunch that will fill you up without the guilt of of consuming a 7/11 pie, fried chicken or oily noodles. The Cutting Board is just what the CBD ordered for lunch — fast, fresh, home-style cooking that’s both good for you and doesn’t break the bank. The best way to describe TCB is it’s a carvery, but cool. At lunch time, if you can reach the glass counters, the place is packed with city workers. Within one counter sits an exciting range of gourmet salads that change daily, in another is the carvery part — think slow-cooked meats and roast vegetables. Behind the counter, large boards let you pick and choose burgers and sandwiches that are made-to-order. Overall the place has an Americana meets Aussie carvery influence. Beef brisket or beef ragu lasagne? Reuben or chicken burger? The best idea is to pick a meat and combine it with two sides — The Cutting Board let you choose your sides from all the salads on offer, roast vegetables and chips — for around $12-14. If you eat in, they will serve it up on one of those white, blue-rimmed tin plates with real cutlery. The decor is on-trend with hanging edison bulbs, brown butcher’s paper menus and sheeny wooden walls. The venue itself is a grab-and-go kinda space, but round the side The Cutting Board have set up a courtyard of ample tables and wooden stools (usually in the sun) to help make the most of your lunch hour. If you get in early enough, The Cutting Board have a shorter breakfast menu too. Our hot tip is to grab a muffin with your coffee. The flavours change daily but on rotation is rocky road; nutella, peanut and coconut; orange poppyseed and double choc; raspberry, white choc and cherry ripe; blueberry, cream cheese and fig; and strawberry, thyme and coconut. Need we say more?
After opening several German-themed beer halls around the city, plus a colourful Mexican cantina (with another one on the way), Rockpool Dining Group just keeps expanding its Brisbane footprint — this time, with a European and American-inspired joint that specialises in wings. Named Winghaüs by Bavarian, first announced back in August and seating 240 both inside and out, the new concept is an offshoot of the hospitality empire's popular Bavarian spots. Now open on Edward Street in the CBD, it's the first venue in the country. Chicken is main culinary attraction — buffalo wings specifically — although you'll also be able to tuck into fried wings dusted in either chipotle or habanero powder, or opt for boneless chicken tenders. They'll all be available in servings of ten, 15, 20, 50 or 100 pieces, with eight hot sauces and six dips on offer, including teriyaki, blue cheese, ranch dressing, and honey and mustard. For folks hankering for other US-style bites, think burgers slathered with Texas barbecue sauce, sides such as onion rings, potato gems and deep-fried pickles, plus New York-style cheesecake. And if you like your desserts both sweet and warm, a selection of deep-fried chocolate bars are a certain highlight, with patrons able to choose from hot, gooey Mars, Snickers and Picnics. While the food menu skews American, European influences come through in the drinks and decor. Like The Bavarian, Winghaüs features a stein chandelier made from 200 one-litre glasses, and serves German brews such as Löwenbräu, Paulaner, Franziskaner, Spaten and Hofbräu. US tipples like Goose Island also feature, plus Aussie beers such as Pines and Pirate Life. And, cocktail-wise, the bar's taps pump out margaritas, sangria, spritzes, negronis sand espresso martinis. Brisbanites can also expect plenty to keep them entertained at the diner-style spot, whether you're settling in at the long bar or getting cosy in a leather booth beneath neon signs. Given that sports memorabilia lines the walls, it should come as no surprise that big-screen TVs can play up to 30 live sports attempts at a time — and that you can use your phone to listen into your game of choice. If you're not interested in whatever match happens to be on — or sport in general — you can hit the pinball machines and arcade games instead. Find Winghaüs by Bavarian at 144 Edward Street, Brisbane. It's open from midday till late seven days a week.
Since 2016's Suicide Squad, the DC Extended Universe has tasked Viola Davis with corralling super-powered folks, including villains forced to do the state's bidding (as also seen in The Suicide Squad and Peacemaker) and regular world-saving superheroes (the just-released Black Adam). In The Woman King, however, she's more formidable, powerful and magnificent than any spandex-wearing character she's ever shared a frame with — or ever will in that comic-to-screen realm. Here, she plays the dedicated and determined General Nanisca, leader of the Agojie circa 1823. This is an "inspired by true events" tale, and the all-female warrior troupe was very much real, protecting the now-defunct west African kingdom of Dahomey during its existence in what's now modern-day Benin. Suddenly thinking about a different superhero domain and its own redoubtable women-only army, aka the Marvel Cinematic Universe's Dora Milaje in Wakanda? Yes, Black Panther took inspiration from the Agojie. If you're thinking about Wonder Woman's Amazons, too, the Agojie obviously pre-dates them as well. Links to two huge franchises in various fashions aren't anywhere near The Woman King's main attraction, of course. Davis and her fellow exceptional cast members, such as Lashana Lynch (No Time to Die), Thuso Mbedu and Sheila Atim (both co-stars in The Underground Railroad); The Old Guard filmmaker Gina Prince-Bythewood and her grand and kinetic direction, especially in fight scenes; stunningly detailed costumes and production design that's both vibrant and textured; a story that still boasts humour and heart: they all rank far higher among this feature's drawcards. So does the fact that this is a lavish historical epic in the Braveheart and Gladiator mould, but about ass-kicking Black women badged "the bloodiest bitches in Africa". Also, while serving up an empowering vision, The Woman King also openly grapples with many difficulties inherent in Dahomey's IRL history (albeit in a mass consumption-friendly, picking-and-choosing manner). It's under the cover of night that Nanisca and the stealthy, feline-quick Agojie first show The Woman King's audience exactly what they're capable of, as camped-out male slavers from the rival Oyo Empire are swiftly and brutally dispensed with during a mission to free abducted Dahomean women. From that vivid opening, the female-led The Woman King on- and off-screen lets viewers know what it, Davis, Prince-Bythewood and their collaborators are capable of, too. Potent, ferocious, mighty: they all fit. When it comes to the film's protagonist, she's fierceness personified, yet also always nuanced. In a role that'll likely garner her award nominations at the very least, to go along with past Oscar nods for Doubt, The Help and Ma Rainey's Black Bottom — and her win for Fences — Davis is tremendous in the part, in battle and otherwise, exuding world-weariness, raw strength, and the kind of resilience that's only forged by navigating deep horrors. After the film's initial rescue gambit, the Agojie are down in number. Abandoned to Dahomey's King Ghezo (John Boyega, Small Axe) because she won't marry men who beat her, headstrong Nawi (Mbedu) becomes a new recruit. As the teen trains to become permanently accepted among them, including by the resolute and mischievous Izogie (Lynch) and Amenza (Atim), Nanisca endeavours to bend the ruler's ear about future battles and policies. The Oyo will keep attacking, and keep trying to trade Dahomey's populace into slavery. A Portuguese-Brazilian aristocrat (Hero Fiennes Tiffin, After Ever Happy) knows that he can profit off the Dahomey-Oyo tensions, and gain slaves to hawk along the way. Also, Dahomey itself isn't above selling Africans into subservience themselves. Nanisca has other concerns, too: getting revenge over a heartbreaking chapter of her past, the pain and sacrifice she still bears as a result, and instilling the Agojie's brand of sisterhood in Nawi. The Woman King's title isn't just another way to say 'queen'. Rather, it's a label given by Dahomey's male leader to the woman he sees as his equal in their lands. His preferred wife Shante (Jayme Lawson, The Batman) wants the designation in a firmly regal sense, but the conventions of storytelling and filmmaking mean there's zero doubt that Nanisca deserves the status. Bestowing the moniker is hardly the chief concern to her, Prince-Bythewood or screenwriter Dana Stevens (Fatherhood) — who also shares a story credit with actress Maria Bello (NCIS) — though. Nanisca is still the force to be reckoned with either way, and a compelling figure worthy of the movie's appreciation. So, in a feature about striving for freedom, fairness, parity, progress and justice, as well as countering misogyny, colonialism and greed, and also surviving trauma, consider that title a reminder about the fight for equality, and how female power is perceived and treated — two centuries ago and also now. Slavishly devoted to every single fact, Prince-Bythewood, Stevens and their film aren't. First and foremost, they're committed to their aims, themes and ideas — to being a rousing action flick about the Agojie, primarily; to delving into all that represents; to celebrating strong and skilled women; and to making a movie that truly doesn't otherwise exist — so thinking of its take on the truth as akin to Once Upon a Time in Hollywood's is wise. The Woman King doesn't hide this, given that it finds time for long-lost family connections that could've sprung straight from a soap opera, and for a romance between Nawi and the often-shirtless half-Dahomey slaver associate Malik (Jordan Bolger, Tom & Jerry). When everything else in the movie is so stirring, getting loose with reality and throwing in pure emotion-swelling Hollywood inclusions never drags The Woman King down. Indeed, not that they have to here, but the phenomenal quartet that is Davis, Lynch, Mbedu and Atim could lift any material. For all the mastery that ripples from Davis, she's in astonishing company, with all three of her key co-stars turning in weighty, resonant and career-cementing portrayals — Lynch with perceptiveness, Mbedu with volatility, and Atim with both wisdom and comfort. Not that they have to either, but Prince-Bythewood, cinematographer Polly Morgan (Where the Crawdads Sing) and the former's regular editor Terilyn A Shropshire (dating right back to 2000's Love & Basketball) could improve any fray-filled picture as well. When it's in full fight mode, with radiant lighting that adores its cast, plus sharp, visceral, muscular and balletic action choreography, The Woman King is not just electrifying but spectacular. That won't be a surprise to fans of The Old Guard, another riveting feature that saw Prince-Bythewood take on a familiar template, give it a female focus and reinvigorate it. That's a warrior's skill, too, and she's terrific at it.
A documentary that's deeply personal for one of its directors, intensely powerful in surveying Australia's treatment of its First Peoples and crucial in celebrating perhaps the country's first-ever Aboriginal filmmaker, Ablaze makes for astonishing viewing. But while watching, two ideas jostle for attention. Both remain unspoken, yet each is unshakeable. Firstly, if the history of Australia had been different, Wiradjuri and Yorta Yorta man William 'Bill' Onus would be a household name. If that was the case, not only his work behind the camera, but his activism for Indigenous Aussies at a time when voting and even being included in the census wasn't permitted — plus his devotion to ensuring that white Australians were aware of the nation's colonial violence — would be as well-known as Captain Cook. That said, if history had been better still, Bill wouldn't have needed to fight so vehemently, or at all. Alas, neither of those possibilities came to a fruition. Ablaze can't change the past, but it can and does document it with a hope to influencing how the world sees and appreciates Bill's part in it. Indeed, shining the spotlight on its subject, everything his life stood for, and all that he battled for and against is firmly and proudly the feature's aim. First-time filmmaker Tiriki Onus looks back on his own grandfather, narrating his story as well — and, as aided by co-helmer Alec Morgan (Hunt Angels, Lousy Little Sixpence), the result is a movie brimming with feeling, meaning and importance. While Aussie cinema keeps reckoning with the nation's history regarding race relations, as it should and absolutely must, Ablaze is as potent and essential as everything from Sweet Country, The Nightingale and The Australian Dream to The Furnace, High Ground and The Drover's Wife The Legend of Molly Johnson. As the last filmic ode to a key Indigenous figure within cinema also did, aka My Name Is Gulpilil, Ablaze has a clear source of inspiration beyond the person at its centre. Appearing on-screen, Tiriki begins with two discoveries that put him on the path to making the movie: finding a suitcase filled with Bill's belongings, which included photographs of Indigenous boys in traditional paint peering at a film camera; and learning that the National Film & Sound Archive was in possession of footage of unknown origin that it believed to be linked to Bill. Accordingly, Ablaze is as much a detective story as it is a tribute, with Tiriki puzzling together the pieces of his grandfather's tale. Structuring the film in such a way is a savvy decision; even viewers coming to Bill with zero prior knowledge will want to sleuth along to solve the feature's multiple mysteries. Connecting the dots starts easily, after Tiriki spies the boys in Bill's photos in the NFSA's nine-minute reel — footage from which it's an enormous treat to see in Ablaze. From there, though, the what and why behind the material takes longer to tease out. So too does exactly why Reg Saunders and Doug Nicholls — the first Aboriginal officer in the Australian Army and the famed Aussie rules footballer-turned-pastor, respectively — appear in Bill's silent footage. Also an opera singer, Tiriki guides Ablaze's viewers through the answers, while delivering a biographical documentary-style exploration of Bill's existence along the way — from being born in 1906 at the Cummeragunja Aboriginal Reserve, on the Murray River in New South Wales, through to his passing in 1968 following the successful 1967 referendum on counting Indigenous Australians as part of the population, for which he spearheaded the campaign. As is any fascinating doco's curse, much in Ablaze could fuel several movies. Bill packed plenty into his time, although filmmaking, activism, and sharing his culture far and wide are recurring themes. Before shooting the reel that helps spark Ablaze sometime around 1946, Bill had gleaned how influential cinema could be to spread a message. And, from working on other productions — such as Charles Chauvel's Uncivilised in 1937 and Harry Watt's The Overlanders in 1946 — he was intent on using that power to tell the world about Indigenous Australians and their plight. In addition, with the same quest, he took to the stage. As Ablaze shows among its treasure trove of archival materials, white Aussies were flocking to a horrendously offensive-looking production called Corroboree, starring white performers in hand-stitched blackface bodysuits — which Bill set to counter. Even the newly crowned Queen Elizabeth II was among Corroboree's audience, as seen in another of Ablaze's impressive compilation of clips from decades back. Contrasting that fact with glimpses of Bill's White Justice, his theatre piece inspired by the 1946 Pilbara strike by Indigenous workers — a show that was filmed and forms part of that unearthed reel — is just one instance of a trend that keeps popping up throughout the documentary. Each time that Tiriki unfurls a new strand to Bill's story, more infuriating horrors come with it. When Bill travelled overseas to attend a peace festival East Germany to draw global attention to the situation back home, he was reportedly surveilled by the Australian Security Intelligence Organisation. When he received an invite from Walt Disney to go to America, ASIO helped put a stop to it. The atrocities go on, and aren't always personal. As explained by actor and now-elder Jack Charles (Preppers), even the traditional act of making possum skin wraps that chronicled the wearer's life was banned by white Australia, with the animal fur commandeered for fashion instead. With its mix of archival footage, motion graphics made from old photographs, animation and interviews — plus Tiriki's travels — Ablaze has a wealth of other threads weaved through its frames. As they're all stitched together, another truth solidifies: this film, and its wide-ranging examination of how Indigenous Australians have been treated since colonisation, is exactly what Bill was dedicated to bringing to the screen. Its moniker also feels extra apt, even after being outlined early (we have a caravan fire to thank for its subject's prowess behind the camera, and what he shot, being so little-known). Scorchingly obvious in almost every second of Ablaze, Bill was aglow with fiery determination. There's little that's remarkable about the way this cinematic homage to his efforts is put together but, given who it focuses on and his tireless crusade for equality, this doco was always going to burn bright.
Combining three staples of everyday life - science fiction, freeform music and Detroit techno, Laurel Halo is the definition of musical fusion. Described by Pitchfork as, “oddly stacked and constantly shifting harmonies, portamento pitch-bending, narcotic melodies, [and] a prevailing sense of technological dread", Laurel boasts a style of music surreal enough to be deemed super-art, yet real enough to be enjoyable. Halo’s work, while originally being classical and piano-based in nature, has stemmed to a wall of bass and percussion that attacks the body in soothing, parabolic way - it’s that rare combination of art-house and spiritualisation. And rarer still, bass and vocal making for a truly defining genre that is coming to Australia for the first time. This musical innovation can be yours for just $29 dollars per 2.5hrs starting at 8:30pm. So, if you feel like having your mind rocked on Thursday 19 September, why not see the future of music at Powerhouse. If not because it sounds good, then for the hipster bragging rights. Check out Laura Halo's 'Thaw'
Do you remember the first time that you saw a pastel-hued facade, ornate interior detailing, or something gloriously symmetrical indoors or out, then thought "that looks like something out of a Wes Anderson film"? For almost three decades now, we've all done it. Since his feature debut Bottle Rocket, the Asteroid City and The Wonderful Story of Henry Sugar director has firmly established his stylistic trademarks, ensuring that a Wes Anderson movie is always immediately recognisable as a Wes Anderson movie no matter which of the filmmaker's regular actors is in front of the camera. Brooklyn-based husband and wife Wally and Amanda Koval shared this line of thinking to the point of creating an Instagram account around it in 2017. Accidentally Wes Anderson now has 1.9-million followers. The social media feed is a curated selection of images from real life that look like Anderson has staged, styled and shot them, but hasn't — and after taking films as inspiration for an online compilation of images, Accidentally Wes Anderson has taken the IRL route itself via an exhibition. At Accidentally Wes Anderson: The Exhibition, 200-plus images await — and they're all coming to Australia for the first time. Following past runs in Tokyo and Seoul, and present seasons in London and Los Angeles, the immersive art experience will make its Down Under debut in Melbourne from Wednesday, September 18, 2024, complete with ten rooms. Some of the exhibition's walls feature facades that Anderson must covet, others find landscape that'd make the perfect Anderson backdrop, and plenty highlight either vintage vehicles or enchanting hotels. Yes, pastel tones pop up frequently. So does symmetry, including in the exhibition's presentation. The idea is to make you feel like you're stepping into Anderson's flicks by showing how the world beyond his frames often conjures up that sensation anyway. To borrow from a different filmmaker, is this the Wes Anderson version of Inception? Attendees enter an exhibition of real-life pictures inspired by an Instagram account that's inspired by Anderson's moving pictures, particularly his aesthetic within them that takes cues from real life. Accidentally Wes Anderson has also been turned into a book, too, plus a website with a map spanning almost 2000 spots across the planet that fit the theme. At Accidentally Wes Anderson: The Exhibition, patrons arrive via the lobby, then explore a space dedicated to portals, then embrace an array of facades. Checking out sections devoted to coastal scenes, planes and trains (and automobiles, of course), sports, accommodation and nature is also on the agenda. There's a space that'll get you watching big-screen travel adventures, too — and, just for Australia, one about Aussie spots that evoke Anderson. For souvenirs, you'll exit through the Accidentally Wes Anderson shop. The place will clearly look the Wes Anderson part. As for visitors, wearing a blazer and red beret, an Adidas tracksuit, a purple lobby boy uniform or khaki while you're spending an hour wandering around is up to you. There's no word yet if Accidentally Wes Anderson: The Exhibition will display elsewhere across Australia, or if folks outside of Melbourne will need to pack their matching Louis Vuitton suitcases for a trip to the Victorian capital to see it. Accidentally Wes Anderson: The Exhibition displays at 360 Bourke Street, Melbourne from Wednesday, September 18, 2024. Head to the exhibition website to join the waitlist, with tickets on sale from 6pm on Tuesday, July 30, 2024.
Break out the waffles: Amy Poehler is coming to Australia. If you're a Parks and Recreation fan, nothing less than eating breakfast foods non-stop between now and the end of May will do to celebrate. The actor behind Leslie Knope — and Saturday Night Live legend, and voice of Joy in both Inside Out and Inside Out 2 — has a date with Vivid Sydney, heading to the Harbour City for a just-announced in-conversation event that'll see her chat through her career. Inside Out 2 releases in cinemas in mid-June, so it'll receive plenty of focus when Poehler gets talking — so much so that the Sydney Opera House evening that'll be moderated by Zan Rowe will include a 30-minute first-look at the film. But her work spans far and wide beyond the animated Pixar franchise, including to films such as Baby Mama and Sisters, writing the hilarious Yes Please and unforgettable Golden Globe hosting gigs with Tina Fey. [caption id="attachment_793108" align="alignnone" width="1920"] Photo by: Chris Haston/NBC[/caption] "I'm really looking forward to taking part in Vivid Sydney this year, a place that welcomes Joy in every way," said Poehler about her impending session in the Harbour City. "I can't wait to share a little of Inside Out 2: a movie that lets Joy and Sadness, Anxiety and Envy all try to work together in hilarious and touching ways." [caption id="attachment_925839" align="alignnone" width="1920"] © 2023 Disney/Pixar.[/caption] Poehler's session will take place on Monday, May 27, making it one of the early highlights of the festival. It comes after 2023's Vivid Sydney also featured a massive screen-focused in-conversation session, welcoming The White Lotus' Jennifer Coolidge and Mike White. "Amy Poehler is comedy royalty and the perfect person to join us as part of Vivid Ideas for this year's Vivid Sydney. We're so proud to add her to the growing list of guests set to captivate visitors throughout 23 nights of the festival," said Vivid Sydney Festival Director Gill Minervini. "Amy's new film Inside Out 2 ties in perfectly with the theme of this year's festival, humanity, with an accessible take on how the human mind makes decisions and processes emotions. Allowing audiences to have an insight to how one of the world's great writers and performers operates is sure to be a great thrill." Check out the trailer for Inside Out 2 below: In Conversation with Amy Poehler takes place on Monday, May 27, 2024 at the Joan Sutherland Theatre, Sydney Opera House, with tickets on sale now. Vivid Sydney runs from Friday, May 24–Saturday, June 15 at various locations around Sydney. Head to the festival website for further details and tickets.
Eagle Street Pier has long been home to a lineage of high-rated restaurants, from swank stalwarts to fuss-free franchise staples. And now, among the riverside's good, great and decent, stands a chopstick-wielding Madame Wu, proving her pier-worthiness, one dumpling at a time. If you know your way around Eagle Street Pier, this Asian restaurant should take little hunting to find. It sits high and open, facing the river, in between Fridays, Riverbar and Kingsleys, but by no means crowded by these eating spots. The outdoor space sits facing the Story Bridge, with the inside resembling a high end cocktail bar, architecturally prim enough to be comfortable but showy enough to partially permit the prices. The aromas of Madame Wu could sell this spot alone. Sure, come here for cocktails — we recommend the Koh Samui Colada for sweet teeth, and the Sleeping Dragon if you're a bit more game — but the food is what you want. While it doesn't come out too quickly, it sure disappears in a flash. The Wagyu dumplings are a safe entree choice, hearty in texture and colour. The chicken ribs (who knew they were for eating?) are crumbed and deep-fried in a perfect layer of crunch, with tang sui dressing adding a strangely sweet bite. For lighter options, the smoked ocean trout salad and raw yellow fin with kim chi and crispy lotus let the fantastic flavours of the fish swim delicately in dressings of perfect balance. Some dishes, like the pork hock and butternut pumpkin, are overwhelming, each base over-swept with sweet and somewhat stark braises. The menu, however, is endless, with two banquets on offer, and dishes to suit every bud and his tongue. Take a risk and try something strange, like snapper poached in beer, and you might walk away feeling a little more worldly and a lot less hungry. If you come here, and feel outraged by the three-digit bill that is sure to succeed your evening, you should know better — this is the Eagle Street Pier of course. But the food on show here is presented in a modern way, with service that is politely personal, and sophisticated. Let Madame Wu give you a real taste of Asian dining, with the occasional gastronomic thrill and a view to match.
California's endless sunshine and awe-inspiring scenery helped establish it as the home of US filmmaking. Nowadays, just about every nook and cranny in the state has appeared on the silver screen, with Hollywood productions making the most of dynamic landscapes and architectural wonders. Ready to see some of pop culture's most iconic scenes in person? We've teamed up with Visit California to highlight ten of the best attractions to visit when you want to geek out on cinematic history. [caption id="attachment_960577" align="aligncenter" width="1920"] Hang Tran via iStock[/caption] Griffith Observatory, Los Angeles Perched on the side of Mount Hollywood, Griffith Observatory offers incredible views across Los Angeles stretching from downtown to the Pacific Ocean. After dark, it becomes a buzz of activity as free telescopes give visitors glimpses into deep space. Inside, cosmos-related exhibitions dazzle guests. A go-to spot for directors, Griffith Observatory has been the setting for hundreds of productions. You might recall the opening shot of The Terminator, featuring a stark-naked Arnold Schwarzenegger, or a mesmerising musical number in La La Land. Don't miss the James Dean busk to celebrate the observatory's role in Rebel Without a Cause. [caption id="attachment_960579" align="aligncenter" width="1920"] Travelview via iStock[/caption] Union Station, Los Angeles Few train stations have appeared on camera more than Union Station. Although it typically serves as LA's major rail terminal, its fascinating combination of art deco and Spanish colonial revival architecture gives it an undeniable gravitas that makes for a powerful scene. In the original Blade Runner, Union Station stands in for Los Angeles Police Station, while The Dark Knight Rises sees it transformed into a kangaroo court overseen by the Scarecrow. Although surprisingly rare, Union Station was simply a train station in Pearl Harbor. [caption id="attachment_961524" align="aligncenter" width="1920"] Ross G Perry[/caption] Fox Plaza, Los Angeles You might still debate whether Die Hard is a Christmas flick, but there's no doubting where it all began for Detective John McClane. Better known as Fox Plaza, or 2121 Avenue of the Stars, this LA skyscraper is where villainous mastermind Hans Gruber met his match. Yet McClane isn't the only cop to roam this building. In Brooklyn 99, Jake makes the team detour to the fictional Nakatomi Plaza, quoting McClane every step of the way. You can also catch Fox Plaza's exterior in Lethal Weapon 2, connecting more made-up cops to the building's legacy. [caption id="attachment_960584" align="aligncenter" width="1920"] Michael Overstreet via iStock[/caption] Bodega Bay, Sonoma County North of San Francisco, Bodega Bay is one of the top spots on the West Coast for whale-watching, peaceful hiking trails and day spas. It's also a must-visit on a cinema-inspired road trip along the coast. Though you might not get that impression from Alfred Hitchcock's 1963 classic, The Birds. After socialite Melanie Daniels follows lawyer Mitch Brenner to Bodega Bay, mysterious bird attacks terrorise the townspeople. Head along to discover how the reality is far more tranquil. [caption id="attachment_961526" align="aligncenter" width="1920"] Marie Beschen[/caption] Museum of Western Film History, Lone Pine Western films had a defining role in the development of American cinema, with the desolate surroundings of Lone Pine central from the beginning. Over 400 feature films were shot across the Alabama Hills, the Sierra Nevada and the Owens Valley since 1920, starting with the silent film, The Round Up, starring Roscoe Conkling "Fatty" Arbuckle. Iconic films like Gunga Din, High Sierra and The Lone Ranger have featured the same vast landscape. For a true movie-buff experience, the Museum of Western Film History offers a diverse collection of frontier film memorabilia. [caption id="attachment_960608" align="aligncenter" width="1920"] Olga U via iStock[/caption] Alabama Hills, Owens Valley On the outskirts of Lone Pine, the Alabama Hills is where numerous seminal western genre films were captured. Surrounded by towering rock formations and seemingly endless desert, traversing Movie Road with the Sierra Mountains adorning the horizon is a great way to get introduced. Films new and old were shot along this barren stretch, with the likes of The Lone Ranger, Iron Man and Gladiator just some of the best-known. Discover landmark geological wonders rising from the desert like the Mobius Arch, Nightmare Rock and Cyclops Arch. Kansas City Barbecue, San Diego Belt out 'Great Balls of Fire' just like Maverick and Goose in Top Gun at Kansas City Barbecue — the setting for the iconic diner scene. It was discovered by Paramount Studios' location scout ahead of production who liked the atmosphere so much that he returned with director Tony Scott. Situated in the harbour district of San Diego, Kansas City Barbecue serves up jam-packed meat dishes and hearty sides. If the classic diner vibe wasn't enough, the walls are adorned with assorted Top Gun memorabilia and the real piano used in the movie is still there. [caption id="attachment_960613" align="aligncenter" width="1920"] Damien Verrier via iStock[/caption] Death Valley National Park, Southwest California Tatooine might seem like a galaxy away in Star Wars Episodes IV and VI, but these otherworldly scenes were shot in the dunes and canyons of Death Valley National Park. Wander into Artist's Palette — a colourful collection of volcanic deposits — just like R2-D2 does in A New Hope. The movie also used one of Death Valley's most impressive vantage points, Dante's View, to capture a panorama of Mos Eisley, a spaceport town filled with scum and villainy. [caption id="attachment_961525" align="aligncenter" width="1920"] Courtesy of Flickr[/caption] Hillard House, San Francisco Featuring a masterclass in comedic performance by Robin Williams, Mrs Doubtfire remains an essential childhood film for millions. Many of the jokes might have gone over your head as a youngster, but this 90s classic still has much to say when you watch as an adult. Located in the upmarket Pacific Heights neighbourhood of San Francisco, Hillard House, featured throughout Mrs Doubtfire, still looks much the same. Although the interiors were shot on a soundstage, it's well worth climbing the hills to visit. Plus, the bay views are incredible. [caption id="attachment_960618" align="aligncenter" width="1920"] Rebecca Todd[/caption] Muir Woods, San Francisco Bay Delve into Muir Woods to discover a fascinating old-growth coastal redwood forest. With some of these towering trees dating to over 1,000 years old, this ancient landscape is bound to leave you feeling in touch with nature. Throughout the Planet of the Apes series, Muir Woods becomes home to a super-intelligent colony of apes. Although these scenes in the films were captured in Vancouver with the help of a little old-fashioned movie magic, the in-universe setting is a stunning location, easily driven to from San Francisco, and it makes for an unforgettable detour. Start planning your tour of California, America's ultimate playground, today. Header images: B Alberts via iStock, Visit California
Chris Salewicz is probably one of greatest music writers that ever was, and you can catch him in conversation this Saturday at the Triffid. Active at the height of British punk — i.e. the '70s — Salewicz was among the journos credited with really writing the book on music journalism. Through his time at NME, he forged lasting bonds wth some of the world's greatest musicians, such as Joe Strummer and Bob Marley. Now, he's releasing his latest of 15 books, called Redemption Song: The Ballad of Joe Strummer. Salewicz will be reading a few lines from his book and talking about The Clash, the early days of punk in the UK, all things reggae, and his long friendship with Strummer, of course. The evening kicks off at 5.30pm.
Perched amid the cafes and restaurants of leafy Leicester Street in Coorparoo, Sunday Society is a boutique homewares and interior design store that has become a go-to for locals and not-so-locals alike. Stocking a range of much-loved homeware brands including Globe West, Jones & Co and Sage and Clare, the store has attracted the attention of various interior magazines and the likes of Australian design trio, Three Birds Renovations. Browse a curated selection of rugs, lamps, bed and bath essentials and outdoor furniture to add relaxed flourishes that emanate the essence of this shop's namesake to your own place. Need a little help in the styling department? Let the in-house interior design stylist guide you and transform your house into a home. They'll create a look that is uniquely yours and tailored to suit your taste, lifestyle and budget, so you can get that Sunday feeling at home, every day. Each piece has been selected with that very feeling in mind, which is evident from the moment you step inside the store, or browse online.
Brisbane has already welcomed in 2025, but that's not the only new year that demands celebrating. Before January is out, Lunar New Year will hit, kicking off the Year of the Snake. Fancy marking the occasion with street food in South Brisbane's Fish Lane, a rooftop party in Sunnybank, watching the Mt Coot-tha Botanical Gardens light up, listening to the Singapore Symphony Orchestra, dancing to K-pop, giggling to stand-up comedy or enjoying a DJ-spun soundtrack? At BrisAsia Festival, you can. For 13 years now, the River City has commemorated Lunar New Year with a citywide fest, and that isn't changing in 2025. This year's lineup includes 25 events around town, all designed to get you in celebration mode. The Asia Pacific Triennial of Contemporary Art forms part of 2025's program, if you need another excuse to head to Queensland Art Gallery and the Gallery of Modern Art to check it out between now and April, but the bulk of the BrisAsia fun takes place across ten days from Friday, January 31–Sunday, February 9. After debuting in 2024, Asian street festival Lush is back again this year, with Southside Restaurant, Hello Please, Chu the Phat and Bird's Nest set to serve up bites to eat. That's just one of BrisAsia 2025's fests within the broader fest. While the Hội chợ Tết (TET Festival) is taking place in advance, on Friday, January 24, the Vietnamese festivities in Richlands are still included on the lineup. And, Southside by Night is back, once more combining street food with a car meet in Willawong. The Sunnybank Lunar New Year Rooftop Party is always a highlight, showcasing Sunnybank Plaza's eateries, busting out lion and dragon dance performances, and capping the night off with fireworks. Consider it the perfect way to help close out BrisAsia 2025, with the shindig happening on Saturday, February 8. New in 2025 is Lunar New Year in the Gardens at Mt Coot-tha, complete with sitar tunes, martial-arts displays, street food and K-pop. For more of the latter, the Thomas Dixon Centre is hosting a showcase. Other events for your calendar include BrisAsia Stands Up, enlisting Brisbane's Asian Australian comedians; a special presentation at Brisbane Planetarium; Longwang featuring Korean dishes across a Seoul-themed weekend; and Warehouse 25's BEAT STREET party in Milton. Or, albeit just after the fest's official dates — on Sunday, February 16 — you can catch the Singapore Symphony Orchestra at QPAC.
It's a comfort food staple and a favourite of dairy lovers, and it needn't only be on the menu when you're in your own house. That humble dish: the cheese toastie. When everyone's go-to dairy product is placed between two slices of bread, then warmed to its edible oozing point, it becomes a gooey force that cannot be contained — and it's now on offer at Melt Brothers' new Chermside location. Brisbane's dedicated cheese toastie joint first opened its doors back in 2016, starting in the CBD, then also launched a now-closed Mt Gravatt venue. It currently operates in two inner-city spots: the Myer Centre and Post Office Square, plus its new Westfield Chermside food court site. This chain's love of the best thing you can do with sliced bread knows no bounds — so it's spreading. Bringing Melt Brothers' dairy-filled delights to the shopping centre's first level, underneath the cinemas, the Chermside location dishes up the same delicious menu while also ensuring that northsiders don't have to hit the CBD to live out their melted cheese dreams. This is the first time that the brand has headed to this side of town, and it trades seven days a week. That includes sangas till 8.30pm during late-night trading on Thursdays, plus bites till 7pm on Fridays. Cheese fiends can grab all-day fare like the three-cheese Mouse Trap, and the bacon and egg-filled Morning Glory, or stop by for a M.C. Cheesy (with macaroni and cheese). Melt Brothers also does non-cheesy items, including avo toast with or without eggs or smoked salmon, bagels, hash browns, and fries. Clearly, the mozzarella sticks keep the theme going.
Not content with hosting the Brisbane Comedy Festival, queer culture fest Melt, and a jam-packed calendar of other events all year every year — and just adding a new outdoor venue, too — Brisbane Powerhouse is gifting music and art fans a brand-new boundary-pushing celebration of sound, tunes and performance. Meet ΩHM (pronounced "ohm"), a fresh venture that's all about getting adventurous. The New Farm venue has dubbed the event a "festival of other music", with a growing lineup that includes Peaches, Future Islands and Hear My Eyes doing Pan's Labyrinth to back up that statement. Across February and March 2023, ΩHM will take over the riverside spot with a program curated by Room40's Lawrence English alongside Brisbane Powerhouse Arts Program Director Brad Spolding, serving up a mix of big-name international headliners and emerging local acts — and gigs, cutting-edge shows and immersive installations. Peaches does the honours while she's in the country for Mona Foma, and Future Islands hits the fest as part of their first Aussie tour since 2017. Those two impressive headliners are part of ΩHM's previously announced first lineup drop, which also spans Monolake + Electric Indigo and The Chills, as well as Kae Tempest, Nakhane and black midi. There's more where that list of acts came from, too, with ΩHM turning its second program announcement into its big launch. Just announced today, Tuesday, November 29, ΩHM is screening Guillermo del Toro's Pan's Labyrinth like viewers have never seen it before — with a brand-new live score by Sleep D. This premiere performance marks Hear My Eyes' return to Brisbane, and continues its spate of stunning film-and-music combos (see: its take on Chopper in 2022 in Sydney and Melbourne, plus past tours of No Country for Old Men with Tropical F*ck Storm and Suspiria with King Gizzard & The Lizard Wizard). Also joining the bill are audiovisual artist Robin Fox, Los Angeles-based composer Yann Novak and Iranian sound artist mHz, who'll serve up a triple bill of audiovisual performances. ΩHM will host the Australian premiere of Fox's Triptych straight from UNSOUND KRAKOW, featuring three RGB laser projectors working in synchronicity. If you've seen his past works — Night Sky for Brisbane Festival, Aqua Luma for Mona Foma 2021, BEACON for Mona Foma 2022 and MONOCHORD for Rising Festival 2022, for instance — you'll know you're in for something special. As for Novak, he'll be using sound and light to explore how both can focus one's awareness on their experiences, as informed by his partial colour blindness and dyslexia. And, New Zealand-based Iranian sound artist mHz will take inspiration from material and architecture to hone in on sound and light production. [caption id="attachment_880277" align="alignnone" width="1920"] Robin Fox, Single Origin, Diego Figueroa.[/caption] Also, Swiss artist Zimoun will present two installations, both Australian premieres and exclusive to Brisbane. His ΩHM berth marks his debut exhibiting to Aussie audiences in general, and will showcase his work with everyday and industrial materials to mix sound and architecture. "Works like Zimoun's kinetic sound sculptures, Robin Fox's expansive audiovisual laser environments and Hear My Eyes: Pan's Labyrinth x Sleep D exist at a special nexus of sight, sound and space," said English, announcing ΩHM's new additions. "These dynamic pieces capture intensity and energy matched with a fearless sense of focus. The works are simply mind-blowing." ΩHM runs throughout February and March at Brisbane Powerhouse, 119 Lamington Street, New Farm. For more information and to buy tickets, head to the Powerhouse website. Top image: Hadley Hudson.
It might be mere months old; however Bakery Lane remains the pint-sized Fortitude Valley precinct that keeps on giving. Their latest gift is to your stomach, courtesy of the crew behind West End's Fat Dumpling. Meet Mi + Mian. Traditional Chinese fare is on offer, of course, though anyone who has been to the Boundary Street mainstay won't be complaining about getting more of the same over on Ann Street. There's just something about their home-style cuisine that tantalises the tastebuds and keeps loyal customers coming back from more. With that in mind, a new outlet on the other side of the city can only be a good thing. Staying simple, both food and décor wise, serves Mi + Mian well — even with a changing menu that retains the staples but mixes up the flavours and ingredients. Rice bowls, noodle soups and salads of the week are always a given, as are the northern Chinese pan-fried buns that are the closest they has to a must-devour specialty. Then, grab an outdoor table to soak in everything the laneway eatery has to offer, or head home with some of the best takeaway you could hope for.
UPDATE, October 29, 2020: Halloween is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Amazon Video. The boogeyman is back, and his warped face mask, stolen mechanic's overalls and gleaming kitchen knife too. But Michael Myers' return isn't the entire point of the latest (and second greatest) Halloween. While the creepy convicted killer stalks the streets of Haddonfield, Illinois as if he's never left, Jamie Lee Curtis' resourceful and determined Laurie Strode is back as well — and in the current version of events, she's spent four decades preparing for this very moment. Once a 17-year-old babysitter targeted by an escaped criminal asylum patient on October 31, Laurie is now a silver-haired, gun-toting grandmother. Living in a compound-like property in her hometown, she's so intent on facing her attacker that she has dedicated years to this very purpose. Laurie's now-adult daughter Karen (Judy Greer) resents her for the impact that it had on her childhood, while teenage granddaughter Allyson (Andi Matichak) is caring but concerned. Regardless, Laurie knows that Michael will come for her — and when he again breaks free en route to a new psychiatric facility, she's proven accurate. Carnage ensues, just as it did in John Carpenter's original slasher classic. As Haddonfield trick-or-treats like it's any other Halloween in any other place, Michael adds more notches to his body count, Laurie lies in wait and Allyson follows in her grandmother's footsteps like it's 40 years earlier. Directed by David Gordon Green (Stronger) and co-written with frequent collaborator Danny McBride, 2018's Halloween knows how to incite bumps, jumps and screams, many of which will be gloriously familiar to seasoned Halloween buffs. But, with Carpenter's blessing and a new musical score from the horror maestro and composer, this take on the franchise also knows how to carve its own path. Now reaching its 11th instalment, Halloween unleashes the series' fourth different timeline, ignoring everything else except the initial 1978 flick. Black Mirror just announced that it's making a choose-your-own-adventure episode, but this franchise has been doing it for decades. Viewers can pick the cultish thread that eventually connects the first five sequels (including the Michael-free Halloween III: Season of the Witch), Laurie's first big return in Halloween: H20 and its terrible follow-up Halloween: Resurrection, or Rob Zombie's two remakes, however the series' next chapter is the most thrilling, perceptive and satisfying. Green and McBride are clearly fond of Carpenter's seminal work, stripping the saga's underlying suburban nightmare back to its terrifying basics, while contemplating the consequences of terrible trauma. Their film recognises the scariest fact of life: that truly awful things happen for absolutely no reason, and that they cast a dark shadow. That makes 2018's Halloween a powerful account of the ways that horrific acts shape the lives of survivors, as well as a celebration of women rallying to reclaim their own story. Nothing robs inexplicable terror of its potency quite like its intended victims refusing to be defined by fear. Thankfully, this Halloween isn't just thoughtful — it's thoroughly entertaining, even when it's hitting recognisable notes. Balancing the old and the new is a game that this sequel plays as well as Michael plays cat-and-mouse, from subverting genre tropes initially established by the series, to lovingly nodding to its many predecessors. When the true crime podcasters (played by Jefferson Hall and Rhian Rees) who kickstart the film's narrative visit Haddonfield's cemetery, and when Laurie calls new doctor Sartain (Haluk Bilginer) the "new Loomis", franchise devotees will want to cheer. When the movie turns Laurie into Michael's boogeyman, rather than vice versa, everyone will want to applaud. Of course, as plenty of horror shockers have demonstrated over the last 40 years — including a few Halloween follow-ups — it's not enough to simply work through the Halloween checklist. While 2018's Halloween does that with finesse and fondness that goes beyond mere fan service,it also feels the part thanks to its unsettling atmosphere and ample blood splatter. There's lingering menace in Michael Simmonds' (Nerve) cinematography, both when it's mirroring old shots from the original and bringing its own flourishes. Collaborating with his son Cody and godson Daniel Davies, Carpenter's score reworks the iconic synth and piano-heavy music that has served the series so well, but with a suitably bleaker tone. They both contribute to the sequel that Carpenter's seminal picture has deserved for all of these years. That said, 2018's Halloween does present a conundrum. It's the perfect culmination to the long-running franchise but, more than any other chapter, it leaves the audience pumped for more. https://www.youtube.com/watch?v=cL_I2vNwkXQ
Coles, Woolworths and Aldi could be in for some stiff competition, as German supermarket giant Kaufland announces plans to open Down Under. Having launched way back in 1984, the chain's owned by the Schwarz Group, which takes out the title of the fourth largest retailer in the world. Now, with close to 1300 international stores under its belt, Kaufland wants a piece of the Aussie pie and it's revealed the locations of its first three local one-stop supermarkets. Set to drop a cool $459 million in initial investment, the group's scored planning approval to build stores in Dandenong, Chirnside Park and Epping in Victoria. Each site will be around 4000 square metres, with its own butcher, bakery and bottle shop, and an assortment of small businesses — such as nail salons, sushi bars and cafes — adjacent, too. Kaufland has also kicked off construction work on a mammoth, state-of-the-art distribution centre in the northern suburb of Mickleham. Taking up around 115,000 square metres — or the size of six MCGs — this building will be the largest of its kind in the country. Three further local retail sites are currently waiting on approval, with plans to open a stack more across the country after that. Kaufland is also planning to base its Australian headquarters in Melbourne and says it will source local products to stock its stores wherever possible. Kaufland's website states it's out to 'disrupt the Australian retail sector', delivering competitive prices across a hefty range of food and non-food items. Kauflands are slated to open at 592–594 High Street, Epping; 266 Maroondah Highway, Chirnside Park; and 1–5 Gladstone Road, Dandenong. We'll let you know as soon as opening dates are announced.
Since Brisbane rockers, Drawn From Bees formed in 2008, they have constantly evolved their sound and pushed the limits. For an interesting change, their latest musical production, the five-track album, Web of Thieves, represents a return to the group's earlier sound. If you are curious about the new-old sound, listen to their latest track, ‘Calling You Out’, which features the clear vocals of front man, Dan James, mesmerising harmonies, stripped back guitar and driving drums. The local boys have well and truly spread their wings and played at big name festivals such as, SXSW, Canadian Music Week, Music Matters, MusExpo, V Festival, St Kilda Festival and Woodford Folk Festival. They have also played with The Middle East, Jesus Hones and Emperors to name a few. Before Drawn From Bees take to Black Bear Lodge's stage, Little Odessa and Sports Fan will be treating the audience.
Nestled into South Bank's River Quay, The Jetty boasts one of the best locations in Brisbane thanks to its waterfront frontage and river vantage. Not content to rest on its picturesque laurels, the bar and eatery has undergone a huge revamp — changing its layout, menu and opening hours. Visitors to the long-time favourite will find a new layout that separates the venue's dining and drinking areas, providing two spaces in one. Pull up a stool at the L-shaped bar for a few afternoon or evening beverages, or take a seat in the restaurant for a leisurely meal. Amidst the timber, metal and tiled decor, the choice is yours. The fresh look and newly demarcated sections come with fresh menus to match, courtesy of chef Rhett Willis. Bar selections include oysters, salumi and soft-shell crab, plus panna cotta, chocolate brownies and sticky fig pudding for dessert, while sit-down options range from starters of papaya salad and charred beef rib with chilli caramel, to mains of wagyu burgers, steak frites and nicoise seared tuna. As for tipples, carafes of punch, Pimms and sangria sit alongside coconut espresso and lemon and vanilla martinis, as well as eight other cocktail concoctions and a hefty range of beer, wine and spirits. Further, in good news for people who like their breakfast and coffee with a scenic view, The Jetty South Bank has become the only shop on the restaurant strip to open at 7am daily. Early morning offerings include pastries and takeaway caffeinated brews. It's been a big few months for places called The Jetty — now, or previously. The Jetty South Bank's renovation and new food range comes hot on the heels of a big change for the place formerly known as The Jetty Oxford, which was rebadged and revamped as all-day Italian joint Il Molo back in May. Find The Jetty South Bank at River Quay, 4 Sidon Street, South Bank or visit their website for further details.
As the temperatures begin to soar, birds are dropping off their perch, snakes are slithering into bath tubs and the humans of Brisbane are starting to seriously sweat. To keep you cool and calm throughout the humid Brisbane summer, there are a few tactics to get you through: 1. Air conditioning - ignorance is bliss; 2. Hydrate - counteract the fact that you're dripping with sweat by drinking as many liquids as you can; 3. Embrace it - soak in the sun (after you've applied your 30+SPF), enjoy the heat and the fun that summer brings. Because we like to help you guys out, we have narrowed down our five best places in Brisbane to cool down - in whichever way that you prefer. Bacchus Located at Rydges in South Bank, Bacchus is one of Brisbane's newest hotspots and in turn one of Brisbane's coolest spots too. To embrace the summer heat, you can head to the Bacchus pool bar where you can lounge by the pool looking fabulous, or bomb dive* into the pool splashing said fabulous people. The pool bar is stocked with with top shelf booze sourced locally and from our Euro friends in Spain, France, Italy and Portugal. Pool side snacks include a selection of tasty tapas such as the tomato, basil and bocconcini empanada; and for something more substantial you have a delicious choice of hearty steak and club sandwiches or some fresh Greek salad, accompanied, of course, by shoestring fries. *Bomb diving is likely to be frowned upon. Cnr Grey & Glenelg Streets, South Bank; 07 3364 0843; www.bacchussouthbank.com.au Birdees In the heart of the Valley is Birdees, best known for backpacking, student partying debauchery. This bright and colourful place is the perfect spot for embracing summer, with Mexican food on the menu, reasonably priced drinks and pumping music. It's basically the scene out of a Cancun documentary. With a recently completed rooftop beer garden, and a 12 metre swimming pool, you'll be able to make the most of summer celebrating here with a big group of friends. 608 Ann Street, Fortitude Valley; 07 3257 3644; www.katarzyna.com.au/venues/birdees White Lightning Tiki Bar (Alfred and Constance) For a truly tropical experience, you must head to the White Lightning Tiki Bar, located upstairs at everybody's new favourite, Alfred and Constance. Be prepared to be lei'd upon arrival and keeping in the Hawaiian spirit, you should probably try the piña colada - served in a hollowed out pineapple. Icy-cold and delicious, this is one of the many incredible creations that the skilled bartenders can prepare for you. Everybody is happy including especially the bar staff who sing and dance behind the bar making it an unforgettable and awesome party vibe. Cnr Alfred and Constance Streets, Fortitude Valley; 07 3251 6500; www.alfredandconstance.com.au
Do you guys ever think about watching the biggest movie of 2023 in the comfort of your own home? Barbie is a pink-hued dream on the big screen, where everyone should see it once — and it'll beam just as brightly via streaming from Tuesday, September 12. That's when the highest-grossing box-office hit of the year will hit digital, arriving on premium video on demand to rent and buy in Australia and New Zealand. By now, thanks to the pandemic, we all know the fast-tracked drill: these days, films make their way to home entertainment far faster than they used to before 2020. In Barbie's case, like everything from Dune, The Matrix Resurrections and Everything Everywhere All At Once to Elvis, Nope and Don't Worry Darling before it, it'll be both screening in cinemas and shining Kenergy onto your TV at the same time. You'll find Barbie available to stream via all the usual platforms — think: Google Play, YouTube Movies, Apple TV, Prime Video, Fetch, Foxtel Store, Microsoft and Telstra TV Box Office — in Australia and New Zealand. And, of course, you'll find a Greta Gerwig-helmed, Margot-Robbie-starring smash that sports rosy colours, does indeed bring the popular doll to screens, but couldn't be more smart and meaningful about it. Marking actor-turned-director Gerwig's third solo stint behind the camera after Lady Bird and Little Women, Barbie gets its namesake (Robbie, Babylon) struggling with life's big questions — and, when the film's key Barbie and Ken (Ryan Gosling, The Gray Man) drive through Barbie Land's gates to discover what's on the other side, struggling with Los Angeles as well. Splashing as much humour as pastel tones throughout its frames, Barbie is scripted by Gerwig and fellow filmmaker Noah Baumbach — her helmer on Greenberg, Frances Ha, Mistress America and White Noise, and real-life partner — and boasts a cast that's a gleaming toy chest of talent. All those on-screen stars help fill the feature with Barbies, including Issa Rae (Insecure) as president Barbie, Dua Lipa (making her movie debut) as a mermaid Barbie, Emma Mackey (Emily) as a Nobel Prize-winning physicist Barbie, Alexandra Schipp (tick, tick... BOOM!) as an author Barbie and Ana Cruz Kayne (Jerry and Marge Go Large) as a supreme court justice Barbie — plus Nicola Coughlan (Bridgerton) as diplomat Barbie, Kate McKinnon (Saturday Night Live) as a Barbie who is always doing the splits, Hari Nef (Meet Cute) as doctor Barbie, Ritu Arya (The Umbrella Academy) as a Pulitzer-winning Barbie and Sharon Rooney (Jerk) as lawyer Barbie. There's also a whole heap of Kens, including Simu Liu (Shang-Chi and the Legend of the Ten Rings), Kingsley Ben-Adir (One Night in Miami), Ncuti Gatwa (the incoming Doctor Who) and Scott Evans (Grace and Frankie). And, Michael Cera (Arrested Development) plays Alan, Emerald Fennell (The Crown) plays Midge, Helen Mirren (Shazam! Fury of the Gods) is the narrator, America Ferrera (Superstore) and Ariana Greenblatt (65) are humans, Jamie Demetriou (Catherine Called Birdy) is a suit, Will Ferrell (Spirited) wears a suit as Mattel's CEO and Connor Swindells (also Sex Education) is an intern. We expect that you know all of the above already given how well Barbie has been doing in cinemas, where it has also cracked the top 15 of all time — and become the first movie by a solo female director to make $1 billion at the global box office. And yes, we expect that you'll now get 'I'm Just Ken' stuck in your head again (and again and again). Check out the Barbie trailer below: Barbie will be available to stream from Tuesday, September 12 via platforms such as Google Play, YouTube Movies, Apple TV, Prime Video, Fetch, Foxtel Store, Microsoft and Telstra TV Box Office in Australia and New Zealand. It's also still showing in cinemas Down Under. Read our review.
If you find yourself walking the grounds of the Barracks looking for a bite to eat, you may stumble upon a sunny courtyard, decked out with bright red tables and chairs, well-groomed shrubbery, shaded benches and bright hanging lanterns. This is the outdoor area and entrance to French-Vietnamese restaurant and bar Libertine. Make your way inside and you will find the interior is even more inviting than the exterior. Not sparse or minimalist in the way of many Brisbane restaurants, neither is it ostentatious or homely. Instead, Libertine is done up in self-proclaimed 'French-colonial bordello style'. Warm mahogany colours, red-fringed lampshades, chandeliers dangling from high ceilings, ornate wallpaper and gold leaf accents combine to quite lavish effect. Staff greet you at the door and once they have shown you to a table, are very ready to explain the menu, field any questions, and spruik the 'I'm Hungry!' meal option — $55 per person for seven of the chef’s chosen dishes. The menu is broken down under various headings. 'Street Food' is made up of petite dishes like dumplings filled with either free-range chicken or seven mushrooms and water chestnuts with chilli soy. 'Share Dishes' like the lemongrass, lime and Asahi chicken with galangal chutney and tobacco onions will feed larger groups or appetites. 'Nibbles' (Hanoi eight-spiced popcorn chicken with sweet chilli mayo) and sides (baguette with whipped butter) are plentiful, and desserts include the intriguing sounding chocolate orange chiboust with salted choc orange ganache, sesame croquant and orange vanilla cream. Though the food itself is outshone by the decor, for a convenient dinner before or after a movie at the Palace, Libertine easily fits the bill (especially on Movie Mondays when you can get a four-course banquet plus dessert and a movie ticket for $39 per person). A stone's throw from Suncorp Stadium, it is also a handy place for a pre/post-game tipple. Currently Libertine hosts a live DJ on Sundays from 2.30pm–5.30pm, so with fun-sounding cocktails like Puff the Magic Snap Dragon (vodka, peach, lemon, Vietnamese mint, sparkling) and plenty of French and Australian wines, Libertine would be a pleasant place for Sunday afternoon drinks.
Gelato Messina is bringing gourmet to the freezer aisle this month. The gelato mega brand has teamed up with Peters Drumstick to go mainstream — bringing its beloved gelato to supermarkets and convenience stores all over the country. Sure, you've eaten many-a-Drumstick in your day, with the brand launching in Australia all the way back in 1963 — whether it was a childhood favourite or now your late-night go-to, it's a long-standing ice cream staple. But now with the Sydney-based gelateria on board, the humble Drumstick cone of your youth has been spruced up — the Messina way. The new cones feature four classic Messina flavour combos, which were initially created in its Rosebery HQ, before being mass produced in Peters' Drumstick factory. Flavours include mango and salted coconut, made with Aussie produce and topped with mango sauce and coconut flakes; vanilla bean and peanut praline, topped with dark chocolate; roasted hazelnut gelato, made using imported Italian nuts; and, of course, dulce de leche, topped with caramel sauce and chocolate-coated biscuits. All four flavours are available at Coles, Woolworths and independent groceries across Australia. Each comes in pop art-style boxes of four, priced at $9.99 per box. As far as convenience stores and petrol stations go, only the mango and salted coconut and roasted hazelnut flavours are up for grabs as single cones for $4.90 a pop. The collab is limited though, so if you want 'em, come and get 'em. Gelato Messina X Peters Drumstick collaboration ice creams are available at supermarkets, petrol stations and convenience stores for a limited time.
Once, getting festive in Brisbane didn't involve taking to the greens to putt your way through Christmas trees, decorations and all things seasonal under twinkling lights. Thankfully, that hasn't been the case in the River City now for years. When the end of the year hits, Victoria Park's mini-golf course marks the occasion in the possible best way: by giving itself a jolly makeover. Now that Victoria Park's Halloween course has been and gone for 2024, festive cheer, bells, bows and more are taking its place from Friday, November 8, 2024–Thursday, January 2, 2025. The seasonal makeover will deck the greens with merriment all round, which usually means baubles, lights, mistletoe, foliage both green and white, and more. This is the excuse that you need to swap the backyard cricket for 18 holes this summer — and to battle your loved ones for supremacy in a different kind of sport when the holidays hit. In past years, the course has also sported holly, giant candy canes, gingerbread houses, elves, toy soldiers, polar bears, snow men and everything else festive that it can think of. Reindeers and Santa are usually involved, too, and different sections of the 18-hole site tend to be designed around ideas like Chrissy Down Under, Santa's mailroom and Christmas morning — plus there's even been a festive feast fairway, The North Pole and a 'deck the halls' hole. Find out whether you're naughty or nice while swinging a club from 6am–10pm Sunday–Thursday and 6am–11pm Friday–Saturday — which means that you can stop by on your way to work, during your lunch break or after quittin' time as well. If you drop by post-6pm, you'll take to the green beneath Christmas lights, naturally. If vying for mini-golf glory while getting merry also feels like an occasion for a beverage, boozy tequila slushies will be on offer. Also, the course lets you order drinks and snacks as you play. Christmas Putt Putt takes over the Victoria Park Putt Putt Course at 309 Herston Road, Herston from Friday, November 8, 2024–Thursday, January 2, 2024, operating 6am–10pm Sunday–Thursday and 6am–11pm Friday–Saturday — with tickets costing $23 for adults. For more information, head to the venue's website. Images: Stephanie Adams Photography.
The crushing news that Fortitude Valley icon The Zoo is closing permanently isn't something that Brisbane's music scene will get over quickly, or necessarily at all. But the best way forward for fans of live tunes is to keep showing up to gigs around town, supporting the events filled with and venues hosting them. Brunswick Street Live is one such shindig. Since 1997, the Valley has put itself in the spotlight with a huge street party, with Valley Fiesta taking a variety of forms over its quarter-century-plus run so far. It's a celebration of hearing live tunes, checking out art and shopping your way around markets — and hitting up the inner-city suburb's bars and eateries, too — that turns the Valley's regular haunts and activities into a festival. But because it's only a once-a-year happening, Brunswick Street Live was born in 2023 to help tide everyone over between Fiestas. [caption id="attachment_902925" align="alignnone" width="1920"] Brisbane City Council via Flickr[/caption] After a successful first year, the day-long Brunswick Street Live is making a comeback in 2024. The date for your diary: Saturday, May 11. At a time when it is definitely needed, Brisbane gets another excuse to revel in the Valley's live music scene. The name gives away the main place where it's occurring, and the lineup spans not just tunes but also street artists and performers. From midday, a roster of talents headlined by Eliza & The Delusionals will hit the stage in the middle of the Brunswick Street Mall stage. Also on the bill: Odarka, DJ Jaguar.B, Juno, Curbside Carnies, Neish, Dizzy Days, ixaras and Bean Magazine. John Smith Gumbula, Shaun Clarkson and Stewart Shuker will be roving around, as will the Curbside Carnies cohort with bubble art and aerial feats. And at The Royal George, Ric's Backyard, Retro's, Blute's Bar and California Lane, music will also echo. [caption id="attachment_902926" align="alignnone" width="1920"] Brisbane City Council via Flickr[/caption] Top image: Kgbo via Wikimedia Commons.
VJing on now-defunct pay TV music channel Channel [V], then hosting Australian Idol, The Bachelor franchise and The Masked Singer: they're dream gigs. So is appearing as yourself on Neighbours and Offspring, narrating Bondi Rescue, popping up on everything from Thank God You're Here to Have You Been Paying Attention?, running successful podcasts and writing a book. Since getting his start in radio in Brisbane, Osher Günsberg has ticked off all of the above and more for over two decades, and has rarely been far from the spotlight — but he's also always wanted to make fun of the news live in front of an audience. That show now exists, complete with the requisite tongue-twister name: NTNNNN: Night Time News Network Nightly News with Osher Günsberg. "It's an old joke, but it works," Günsberg tells Concrete Playground, his enthusiasm evident over the phone. "How many Ns can you make it? I think The Chaser had four and I wanted to get more than that, so I've gone with five Ns." Premiering in January and playing Marrickville's Factory Theatre in Sydney until Friday, February 17, then set for a debut Victorian stint at Malthouse's Beckett Theatre from Thursday, March 30–Sunday, April 9 as part of the Melbourne International Comedy Festival, NTNNNN is a fully improvised live satire of the news of the day. The show's targets don't stop with whatever's earning attention before each gig, however, also parodying the entire news industry plus Günsberg's stardom. "It's just such a ripe field to plough. It deserves fun being poked at it," Günsberg notes. "Essentially, it's a news show. It's like the six o'clock news or the late news, the 10.30 news. And it's the headlines of the day, with my intrepid NTNNNN news team out in the field — on stage," he continues. "It's completely unpredictable. It's news in the way you've never seen it before. It completely takes the piss out of what people want to cling to in times of uncertainty, which is someone being super sure on television — whether it be a leader or a news anchor or someone who's paid to do long-form editorials late at night on television. We have commercial breaks, because you've always got to have commercial breaks. And if you've never been in a TV studio for a filming, the commercial breaks are a very strange time. People at home are watching ads, but you in the studio are still there, and all the TV people are still in the room. So that actually happens." The end result: Günsberg in a comedic role that he doesn't usually get to slip into, and one that's worlds away from hosting The Bachelors and the like. He's also hoping that it's a step towards making NTNNNN an on-screen reality, as he explained in a chat about the onstage show, his own fame, his need to always give 100 percent and the best advice he's ever been given. "I've always wanted to host a live satirical news show. I'm going the long way about it, but yeah, absolutely, would I want to see this on TV one day? For sure. By the time that it gets there, will what we call television exist? Who knows. I'm only interested in building things that scale, so I'm going to see how far I can take it." ON MAKING HIS LIVE SATIRICAL NEWS SHOW DREAMS COME TRUE "I've always wanted to host a satirical news show since I was a kid. I've always felt that satire, particularly satire of news and current events, was as valuable in the public discourse as a really solid, well-researched editorial or a really great newspaper article that exposes something. I think satire has the ability to expose stuff that is usually shrouded in solemnity, for example the solemnity of office. 'Ooh, we can't say that, that person's very important' — but look what they've done, you know? When you use satire, you can break out of that stuff and look at things from a different angle. So I've always wanted to host a show like that, and I've had a few chances here and there — I've done a stint on a panel once or twice. And I guess I figured out that no one was going to walk down my front path knock on my door and say 'hey, we've got this great television show, can you come and host it?'. It was going to be up to me to create it, so that's what I've done. It's the news show that I've always wanted to host — it just isn't on television at the moment. But it plays with all of the language of television and television news, which is ridiculous. It's a product just like any of the TV shows that I make, and it deserves to have a bit of fun poked at it as well. So that's the show we've made." ON WHY MAKING FUN OF THE NEWS IS SO FUN — AND IMPORTANT "I think as the news becomes more and more of a product, in that it's a business — whether it's a website or a newspaper or a radio station, or a television network or program on a television network, essentially that's a product — it needs to rate. It needs to be able to justify the expense of it being created, so hopefully it brings in more money than it costs to make. There are ways to get that to rate. There are ways to get eyeballs onto your content, and it doesn't matter what's in the news — the way the news is framed is to try to push those numbers, which is also worth having a crack at. Those are the laughs that we find, I think: the laughs of just the ridiculousness of how the news is told, and the ridiculousness of the way the systems and the people who are in charge of those systems play the news against itself from one publication or one network to another. There's a way that you'll get quoted on one particular network and then the very same press conference will have a completely different soundbite, because that is the lens through which those networks view the situation. I think it is in exposing those moments and having fun with that, those are where the laughs are. So it doesn't matter what's in the news cycle, there's always something funny — there's always something to laugh at." ON TAKING THE PISS OUT OF HIMSELF AS WELL "I've been working in TV for nearly 25 years. It's ridiculous that I'm even still on air, so I think it's important — most of this is me taking the piss out of myself as well. I think I'm this ridiculous character on television, and I really enjoy taking the piss out of the way that I do some of the jobs that I do on television. I know I'm very good at them, but that's not everything about me. So it's funny for me to take the piss out of the person I become when I do those jobs — I think it's quite funny for me to have a crack at him, too. There's a lot to work with. I think there's this mystical idea of a person on television. I enjoy busting the bubble of what people think life is like when you have a job like the job that I have. Because there's only one person who's actually really living the mega mega mega mega dream, and that's the man who's the smartest with his money than any of us — that's bloody Larry Emdur. Me, I'm paycheque to paycheque, and I think that's hilarious — and well-worth making fun of. I was in television before the global financial crisis, and maybe there was a time when I was getting paid that kind of money. But, that was also a time when I was drinking very heavily, and I was doing really dumb stuff, so all that money's gone. And they don't pay that kind of money anymore, so it's pretty funny. I am going do whatever job people want me to. I have kids and a mortgage. I'm in the business of topping up my super and making sure I pay off my mortgage. I'm making sandwiches after this. I've got two podcasts going on, I'm trying to get this live show happening — I've got not enough room on my stove, there's that many irons in the fire." ON THE PATH TO NTNNNN "I'm nearly 50, and what you want in life changes over time. When I was working in radio at B105 in Brisbane, what I wanted in radio is certainly not what I want in radio now. Through this show, am I exorcising that need to question authority or challenge the status quo that I just adored watching people on television do when I was a kid? Yeah! I think that's important. Systems should be challenged, status quos should be challenged, because that's how you refine them. There's always 'ooh, you can't say that about the Prime Minister' — but you can. And it's useful when you do, if you do it in the right way. I'm thrilled to be calling back to that 14-year-old watching TV at night in Brisbane, feeling he was being naughty hearing someone say something about the leader of the country that he in his heart felt was also true. ON THE BEST PIECE OF ADVICE HE'S EVER RECEIVED "I lived in America for about ten years, and my manager was an absolute legend of the game over there, a bloke by the name of John Ferriter — a really big bigwig. I was so lucky to get in with him, and he's the one who told me that only you know how hard you've worked to make your dreams come true. He's right. Because you can tell everyone around you, 'oh, I didn't get into that course' or 'oh, I didn't get the job' or 'oh, he doesn't want to go out with me'. And people will go, 'yeah, no problem, moving on'. But you're the only one that knows 'did I actually pick up the phone enough times, did I put the work in, did I study hard enough, did I train hard enough?'. You're the only one that knows that, and you're going to have to be okay with that. That means that whether you're going for a job on television, or you're going for a job at the coffee shop down the road, or you're studying for your grade ten exams or your grade 12 exams, or you're trying to pass your apprenticeship certificate, or you're going for uni — or you're trying to meet someone and convince someone to fall in love with you, or you're trying to date somebody — only you will lie in bed at night knowing how much effort you actually put in. For someone like me, I am no good if I haven't put in everything. So I'm pretty stuck, I've got to do it as hard as I can, because I can't rest if I don't." NTNNNN: Night Time News Network Nightly News with Osher Günsberg plays Marrickville's Factory Theatre in Sydney until Friday, February 17, and will then head to Malthouse's Beckett Theatre from Thursday, March 30–Sunday, April 9 as part of the Melbourne International Comedy Festival.
The mercury is dropping, days are getting shorter and actually wearing long sleeves in Brisbane is about to become a reality. Also on the way: not just winter, but the longest night of the year, with West End's Solstice Market returning to celebrate. The inner-city suburb is no stranger to markets in general, of course, but this one will give the West End Markets a one-night-only spin on Friday, June 20. On the menu is all the food, drinks and stalls you'd expect — 150-plus stalls, in fact — plus live music and bonfires lighting up the night at Davies Park as well. When you're not shopping for artisanal wares and grabbing a bite to eat — from spots including Little Caracas, Tibetan Dumpling and Choco Bliss — you can hit up the Swiss Alps-themed pop-up bar and sip glühwein. Entry is free, as is parking, and the event runs from 4–10pm.
Take in the vista of Anzac Square from the floor-to-ceiling window of the Cuvée Lounge. Watch, negroni in hand, as the city lights blink to life. Chat over the chilled-out jazz filling the open-plan French-inspired bar. Cuvée is a spot for sophisticated socialisation, with a champagne and wine list to match. The whisky selection features some significant single malts, and the bar offers a range of Australian and imported beers. The cocktail menu includes a signature espresso martini and, if you can't see what you're looking for, Cuvée's skilled mixologists will indulge your fancy. The main restaurant of the Sofitel, Prive249, sits right beside Cuvée but the lounge also caters for various appetites, offering gourmet platters, all-day desserts and delectable nibbles. After all, what's a martini without a prawn cocktail, or champagne without fresh oysters? Cuvée provides a little Continental flair in the heart of Brisbane CBD.
For those of us who bemoan the destructive tendencies of music's digital revolution — making such endearingly humble (and ubiquitous) devices as vinyls and walkman permanently redundant — the newly released Sharetapes are giving modern music a decidedly old-school twist. Sharetapes, the product of an Australian start-up, are the iPhone and Spotify era equivalent of a casette mix-tape. The credit card-sized tape allows you to make a playlist using such online services as YouTube, 8tracks and Spotify and then writing it to one of your blank tapes by hitting record at sharetapes.com. Then, simply tap your tape on an NFC-enabled smartphone (recent Android, Windows or Blackberry devices) or scan it using any QR code application (all your other iPhones and smartphones) and you can easily share your favourite playlists with your friends. These transportable, shareable and fashionably retro cards are awesome for bands or DJs hoping to connect their music with fans. And in the spirit of the mix-tape heyday of the '80s and '90s, these cards are the perfect companion for the modern lover. While once upon a time, teenage romantics would use their casette mix-tapes of MC Hammer and Barry White to woo their high-school crush, the modern lover simply has to swipe their card across their prospective other's iPhone and get ready for the romance to get a-flowing. We're giving away five packs of Sharetapes, with each packet including five individual tapes. To be in the running, simply subscribe to Concrete Playground (if you haven't already) then email us with your name and postal address at hello@concreteplayground.com.au.
It's been three years since Brisbane welcomed Wildlands to the city's music festival scene, with the teams behind Melbourne's Beyond The Valley and Perth's Origin Fields fests giving the Sunshine State a big new summer party. Fast-forward to 2022 and the event isn't just returning to see out another hectic 12-month period and welcome in a new one — it's expanding to Perth and Adelaide as well. And, with a focus on dance music, electronic beats and hip hop, Wildlands has quite the lineup onboard to spread its sounds across three states, starting with Diplo, Denzel Curry and Dom Dolla. Clearly, alliteration has its fans among the fest's organisers. The Grammy-nominated DJ, American rapper and Australian house music producer will hit all three cities, joined by Yeat, Aitch, Kaytranada, Tkay Maidza, Honey Dijon and BENE. Plus, the bill also includes Yung Lean, Shygirl, Remi Wolf, Kanine and SG Lewis — as well as a few extra names popping up on different legs of the tour. Wildlands does like going big — its first-ever event back in 2019 featured Tyler, The Creator and Rüfüs Du Sol, after all. In 2021, The Veronicas, Spacey Jane, Cosmo's Midnight and more did the honours. The fest will run over one day per city, starting on December 30 at Stadium Park at Optus Stadium in Perth, then heading to Adelaide's Ellis Park on January 2. It'll then wrap up on January 7 at Brisbane Showgrounds, turning Brissie's show into a belated new year's celebration rather than an end-0f-year party. Tickets always prove popular, with registrations for pre-sales — which kick off at 6pm AEST on Tuesday, August 16 — open now. And vibe-wise, Wildlands goes with a "vibrant oasis" theme. WILDLANDS 2022–23 DATES December 30, 2022 — Stadium Park at Optus Stadium, Perth January 2, 2023 — Ellis Park, Adelaide January 7, 2023 — Brisbane Showgrounds WILDLANDS 2022–23 LINEUP All cities: BENEE Bicep (live) Cloonee Denzel Curry Diplo Dom Dolla Holy Goof Honey Dijon Jesswar JK-47 Kanine Kaytranada Mia Rodriguez Patrick Topping Remi Wolf Tkay Maidza Willo Brisbane and Perth only: Aitch Charlotte De Witte Jay1 Jnr Choi JOY Kee'ahn Kota Banks Memphis LK Ninajirachi SG Lewis Shygirl Yeat Yung Lean Brisbane only: Sofia Kourtesis Adelaide only: KLP Wildlands will hit Perth, Adelaide and Brisbane across December 2022–January 2023. Pre-sale registrations are available until 3pm AEST on Tuesday, August 16, with pre-sale tickets on offer from 6pm AEST on Tuesday, August 16 — and general sales from 12.30pm AEST on Wednesday, August 17. Top image: Mitch Lowe.
Keen for an overseas holiday as soon as you can possibly take one? Aren't we all — and Australians can now add Singapore to their list of international destinations. A quarantine-free travel arrangement between the two countries was first floated back in March, and it'll finally kick in on Monday, November 8. At present, this'll be a one-way setup, allowing double-vaccinated Australians to enter Singapore without quarantining. Dubbed a 'vaccinated travel lane (VTL)' by Singaporean authorities, it'll commence just a week after Australia's international border restrictions ease to once again permit Aussies to leave the country for holidays. Here's how the VTL will work: if you've had two jabs, you can enter Singapore without quarantining, although you will need to undergo COVID-19 Polymerase Chain Reaction (PCR) testing. If you're travelling with kids aged 12 years and under who aren't vaxxed, they'll be allowed to enter Singapore, too — as long as you're double-vaccinated. Obviously, double-vaxxed Aussies will be allowed to return back to Australia after their Singapore trips; however, Australia isn't opening up to overseas holidaymakers as yet — which is why it's a one-way arrangement Singapore has already established VTLs with a range of countries, including Germany, Brunei, Canada, Denmark, France, Italy, the Netherlands, Spain, the United Kingdom and the US. Switzerland will also join the arrangement on November 8, with South Korea following on November 15. When it was first suggested at the beginning of 2021, the Australia–Singapore arrangement was expected to start in July, but that clearly didn't happen. Then, in June, Australian Prime Minister Scott Morrison met with his Singaporean counterpart Lee Hsien Loong, with the pair releasing a joint statement affirming that they were working towards the travel arrangement. Singapore follows countries such as Fiji and Thailand in revealing when they're reopening to holidaying Australians. If you're currently thinking about booking flights, Qantas has already announced fares from Sydney from Tuesday, November 23. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
An expanding arts and cultural phenomenon in the heart of Austin, Texas, each year South by Southwest hosts thousands of musicians, showcases the latest innovations in technology and introduces some of the year's most intriguing movies to the world. Amongst the most buzzed about films of SXSW 2014 was an Australian production named The Infinite Man, a low-budget, sci-fi rom-com about a man who attempts to give his girlfriend the perfect romantic weekend, only to accidentally trap her in a never-ending time loop. In the wake of its world premiere in Austin, with a release date set for the middle of the year, we spoke with producers Kate Croser and Sandy Cameron about the process of getting the movie made, the story's biggest influences, as well as the rapturous reception that saw the film listed by Time, Indiewire and The Hollywood Reporter as one of the most exciting movies of the festival. WORKING ON A BUDGET Financed through Film Lab, an initiative of the South Australian Film Corporation that offers funding to Australian scripts that can be produced on a limited budget, The Infinite Man was written and directed by first-time feature filmmaker Hugh Sullivan, who Cameron first met at university. "When Film Lab was announced, it forced us to start thinking," Cameron recalls. "We came up with a bunch of ideas … and it quickly emerged that that was the one that would work." Low-budget filmmaking can be tricky, but the producers had high praise for their writer-director's work ethic. "I think he really enjoyed it, but at the same time it was very challenging," says Croser. "We promised the crew we wouldn't work any overtime, because we couldn't afford to. So as soon as we finished for the day, whatever was left over, Hugh and the director of photography would just go out and [film] themselves … they were working much longer hours than anyone else." INSPIRING SCI-FI Naturally, The Infinite Man is far from the first time that romance and science fiction has been mashed together. "A touchstone for us was always Eternal Sunshine of the Spotless Mind," asserts Croser. "It's not time travel, but it's got a similar sensibility and tone, and it's also a love story like ours … for us, the time travel is secondary to the exploration of the relationship and the characters." Cameron, meanwhile, makes a comparison that was also made by several critics, to Shane Curruth's cheaply made, highly convoluted time travel drama Primer. "Something that can be done on that low budget, that can get across that complexity of ideas, that was an inspiration, to a degree," says Cameron. "People were giving feedback in Austin saying 'this is like the funny Primer.'" HEADING SOUTH BY SOUTH WEST For the producers, getting into SXSW was always the goal. "A big part of our plans was to get a big festival to launch the film, because being such a small film, you need to get that exposure somehow," says Croser. "The SXSW audience is exactly the audience for the film." "The most exciting experience for us was the world premiere", she continues. "We got there and saw the name of the film up in lights, which was really exciting, and then we saw a line around the block. We sat down in the cinema with the audience and from the moment the film started, people were laughing, and the room felt so warm, and the response really felt genuine … that was just the best feeling."
In news as certain as Han Solo's swagger, C-3P0's disapproval and Leia Organa proving the fiercest princess in the entire galaxy, another round of orchestra-scored Star Wars screenings is making its way across Australia — and this time, Star Wars: Episode VI — Return of the Jedi will be unleashing the force. What was originally the final flick in George Lucas' space saga is headed to Sydney's ICC Sydney Theatre on Saturday, September 7, 2019, and Melbourne's Hamer Hall on Friday, November 8 and Saturday, November 9, 2019. While Brisbane details have yet to be announced, we'd expect them to arrive soon. If you've been hiding out on Tattooine and aren't quite sure what's in store, this climactic instalment features a second Death Star, a tribe of Ewoks on Endor, Han Solo imprisoned by Jabba the Hutt, plenty of family baggage and one heck of a father-and-son battle — so, classic Star Wars thrills. And, it's all set to John Williams' iconic score, which each city's symphony orchestra will recreate right in front of attendees' eager eyes and ears. As always, we've got a good feeling about this mix of movies and music, which should help fill the gap between this year's Solo: A Star Wars Story and next year's Star Wars: Episode IX. Star Wars: Episode VI — Return of the Jedi will screen at Sydney's ICC Sydney Theatre on Saturday, September 7, 2019, with tickets now available — and Melbourne's Hamer Hall on Friday, November 8 and Saturday, November 9, 2019, with tickets on sale from Wednesday, September 26. Details of a Brisbane session have yet to be announced.
Those in the know about Surfers Paradise Beachfront Markets will be aware of the hidden gems to be found in the hundreds of local stalls. Now, the market is turning the big 3-0, and to celebrate, The Esplanade will transform into a vibrant street party. On Saturday, September 27, from 4–9pm, this free street party will pay tribute to three decades of art, culture and community by the sea. Expect more than 100 market stalls from local artisans and designers, while you're treated to roving performers and live tunes. For those who have been hitting the Surfers Paradise Beachfront Markets since the 90s, you'll feel transported back in time with the themed decorations and carefree atmosphere. This 30th birthday celebration is all about legacy and bringing together the old and the new. That's why it's the perfect occasion for the whole family, keeping the kids occupied with a disco and activities, while the adults peruse the market stalls. Keep an eye out for Brazilian dancers who will bring plenty of colour and movement to the foreshore. At the same time, long-time market lovers can browse bespoke jewellery, homewares and fashion from independent creatives. There will also be plenty of surprise giveaways, adding an extra layer of fun to the anniversary event. Entry is free. So make sure to save the date and party like it's 1995. For more information, head to the Surfers Paradise Beachfront Markets Facebook page.
Whether you're treating yourself to a staycation or travelling further afield, no one likes going on holiday without their four-legged best friend. That adorable pooch isn't just your trusty companion at home, but in general — and, as every dog lover knows, those barking cuties like doing everything you do (and 100-percent think they can, too). At QT Hotels & Resorts across Australia and New Zealand, your dog can now come for a luxurious sleepover with you, with the chain going pet-friendly. Book yourself and your pupper in for a night, and you won't be the only one ordering off the dine-in menu or scoping out the mini-bar, either. Now on offer at all of QT's sites, the chain's Pup Yeah! fur-friendly stays include a night's accommodation for you and your doggo, an in-room menu specifically for woofers, a pooch-friendly mini bar offering and designer canine bedding. The doggy food range is overseen by the brand's head of treats — Nic Wood in Australia and Jiwon Do in NZ — and includes steak tartare with raw beef, mushrooms and egg yolk; bone marrow risotto with bone broth and crispy pigs ears; and chicken livers and pork necks on wholemeal toast with chicken gravy. Fancy a pupper dessert? There's also a bacon ice cream sandwich, made from bacon ice cream, dried liver and oat biscuits. If your canine has dietary requirements, QT also has appropriate options thanks to Eden Bondi — including vegetable terrine, sweet potato meatballs, and pupcakes with watermelon. And, in the mini-bar, there are also treats from pet bakery Woof Gateau for Aussie dogs, while NZ pooches can snack on bites from Wellington dog bakery Smack Bang. Bedding-wise, in Australia your pupper will be reclining in comfort thanks to a Nice Digs sleep set — and Wolves of Wellington is doing the honours in NZ. Some QT sites are even doing dog treatments at their onsite spas, such as pedicures, mud masks and blow dries. If you're now thinking of planning an indulgent getaway with your pooch, you'll just need to make sure it weighs less than 20 kilograms. Packages start at $450 per night, which includes bedding, a water bowl and a dish for your doggo from the in-room menu. For more information about QT Hotels & Resorts' Pup Yeah! dog sleepovers — and to book a stay — visit the chain's website.
In The Boys, wins and chaos are rarely far away from each other. Something goes right for its characters — its namesake group fighting corrupt caped crusaders, or vice versa — and then something often goes pear-shaped. Fans of the series are in that situation themselves right now, with season four about to start streaming from Thursday, June 13, 2024, but showrunner Eric Kripke freshly revealing that there's only one more season left after this. The Boys was renewed for season five back in May, before season three hits, but now Supernatural alum Kripke has advised that it'll be a last hurrah. "The Boys season four premiere week is a good time to announce: season five will be the final season! Always my plan, I just had to be cagey till I got the final okay from Vought. Thrilled to bring the story to a gory, epic, moist climax," he tweeted. #TheBoys Season 4 Premiere Week is a good time to announce: Season 5 will be the Final Season! Always my plan, I just had to be cagey till I got the final OK from Vought. Thrilled to bring the story to a gory, epic, moist climax. Watch Season 4 in 2 DAYS, cause the end has begun! pic.twitter.com/3p7Wt4jGA6 — Eric Kripke (@therealKripke) June 11, 2024 Since first making the jump from the page to the screen from Garth Ennis and Darick Robertson's comics series of the same name in 2019, The Boys has told of a version of earth where caped crusaders are real, as are superpowers, and a group called The Seven are placed above all superheroes. But, digging into the dark side of the scenario, not everyone thinks that should be the status quo. The series has always stood out as an antidote to narratives about powerful folks who are supposedly better than most, by both satirising and questioning that very idea. Here, superheroes work for Vought. They're still the main form of entertainment, but they're real, the most-famous celebrities there are and inescapable in daily life. While The Seven are the absolute top talent, most are hardly role models when the public isn't looking. Yes, that has made quite the change from the usual cinematic universes as the Prime Video show has kept notching up the seasons. The Boys has never been afraid to splash OTT violence — gory carnage, too — across its frames along the way, or to parody reality within its superhero tale. The same proved true in 2020's second season and 2022's third, and also in college-set spinoff Gen V, which arrived in 2023 and has been renewed for a second season as well. In the cast: Karl Urban (Thor: Ragnarok), Jack Quaid (Oppenheimer), Antony Starr (Guy Ritchie's The Covenant), Erin Moriarty (Captain Fantastic), Claudia Doumit (Where'd You Go, Bernadette), Chace Crawford (Gossip Girl), Jessie T Usher (Smile), Laz Alonso (Wrath of Man), Tomer Capone (One on One), Karen Fukuhara (Bullet Train), Colby Minifie (I'm Thinking of Ending Things) and Cameron Crovetti (Boy Kills World) — with Jeffrey Dean Morgan (The Walking Dead), Susan Heyward (Hello Tomorrow!) and Valorie Curry (The Lost Symbol) joining for season four. There's obviously no trailer for season five yet, but check out the trailer for The Boys season four below: The fourth season of The Boys starts streaming via Prime Video from Thursday, June 13, 2024. Read our reviews of The Boys season three and Gen V. Season five doesn't yet have a release date — we'll update you when one is announced.
Back in 2011, Ben Quilty won the Archibald Prize for one of his most striking pieces — a portrait of fellow Australian artist Margaret Olley. Befitting his usual style, it fashions her likeness out of heavy yet purposeful brushstrokes and visible, tangible smudges of paint, bringing not just colour to the painting, but discernible texture, movement and vibrancy as well. When the octogenarian Olley sat for Quilty, it wasn't the first time that the pair had crossed paths. She presented him with the Brett Whiteley Travelling Scholarship in 2002, and a friendship blossomed. While Olley passed away in the same year that Quilty's portrait nabbed Australia's top art prize, the two titans of the local art scene once again sit side by side at the Gallery of Modern Art's latest dual exhibitions — with Margaret Olley: A Generous Life focusing on her prosperous career and Quilty highlighting two decades of his work. On display until Sunday, October 13, the two free showcases are filled with standout pieces, spanning delicate sketches of Brisbane from times gone by, striking still lifes, mesmerising Rorschach-style landscapes, contemplative portraits and creative sculpture, among other works. With more than 170 items decking the walls across both exhibitions, each one is worth your time; however it you're wondering which paintings to look out for, here are our six tips. MARGARET OLLEY: A GENEROUS LIFE [caption id="attachment_730009" align="aligncenter" width="1920"] Victoria Bridge (1966), Margaret Olley. From the Moreton Bay Regional Council (Caboolture Art Gallery) Collection.[/caption] VICTORIA BRIDGE Living in the city on and off for much of her life, Margaret Olley turned many of Brisbane's streets and sights into art. Several pieces comprise an entire section of A Generous Life, not only offering a snapshot of the artist's work, but a time capsule of the city from five decades ago. Perhaps because it's such a crucial part of the CBD, or perhaps because it has changed significantly since Olley's 1966 work, her rendering of Victoria Bridge makes a splash. Linking the north and south sides of the river in the CBD, the overwater roadway is a functional crossing rather than anything spectacular to look at; however, in a simple inner-city landscape that combines pen and watercolour, this vivid piece will make you think otherwise. It actually depicts the previous version of the bridge, which was replaced by the current structure in 1969. [caption id="attachment_730007" align="aligncenter" width="1920"] The banana cutters (1963), Margaret Olley. Purchased 2014 with funds from Drs Philip and Lenna Smith through the Queensland Art Gallery and GOMA. [/caption] THE BANANA CUTTERS At GOMA's exhibition, separate areas are devoted to Olley's still-life paintings and her Indigenous portraits. Many straddle the divide — although, amidst bright pieces with eye-catching flowers and colourful fruit, The Banana Cutters stands out. Like her paintings of Brisbane as well, the piece captures Queensland history, showing a trio of the state's Indigenous workers plying their trade in the early 1960s. From a technical standpoint, it also achieves a significant feat as a detailed figure painting. There's much to marvel at in the intricate vision of three men making a living, as well as the window into the past that they represent. [caption id="attachment_730006" align="aligncenter" width="1920"] Portrait in the mirror (1948), Margaret Olley. Gift of the artist 2001, © Estate of Margaret Olley. Photo: Diana Panuccio, AGNSW.[/caption] PORTRAIT IN THE MIRROR Olley, like many artists, wasn't afraid of using her own reflection as inspiration, as A Generous Life makes plain. Several of her self-portraits grace GOMA's walls, offering an evolution of her style in a microcosm — an overview within an exhibition already designed to provide an overview, all by focusing on Olley's own form. And just as her eyes were drawn to her own guise over and over again, attendees will be drawn to 1943's Portrait in the Mirror, which features the artist surrounded by chosen belongings. Many will be instantly recognisable to those who've wandered through the preceding pieces, given that fruit and flowers feature prominently. QUILTY [caption id="attachment_730010" align="aligncenter" width="1920"] Margaret Olley (2011), Ben Quilty. Image courtesy of the Queensland Art Gallery and GOMA. Photograph: Natasha Harth, QAGOMA.[/caption] MARGARET OLLEY While it sits on the A Generous Life side of GOMA's ground floor, rather than across the wide hallway in his own section, Ben Quilty's portrait of Margaret Olley is the centrepiece of both exhibitions — a fitting status for a work that won the 2011 Archibald Prize. When he emerged victorious, it was a case of seventh time lucky for the artist. When you take in his painting, it's easy to understand why. Here, the piece gets its own wall, as well as its own space to shine. Making the most of its placement, spending time with it and truly peering at every inch is recommended. You'll not only stare into the eyes of a woman rightfully celebrated as a great of Australian art, but, through his thick, almost sculptural globs of paint, you'll see her through Quilty's affectionate but unsentimental gaze. [caption id="attachment_730005" align="aligncenter" width="1920"] Fairy Bower Rorschach (2012), Ben Quilty. Purchased with funds provided by the Patrick White Bequest Fund, 2012, Art Gallery of New South Wales, Sydney, Courtesy the artist.[/caption] FAIRY BOWER RORSCHACH Comprised of eight panels and taking over an entire wall, this Rorschach-style piece recreates a scenic landscape. Instead of an ink blot, Quilty uses heavy paint, a mirrored composition, and soothing hues of green and blue to depict a picnic spot in Victoria. But the place and the image both hide a darker secret, with the spot reputedly the sight of a massacre in 1834, with Aboriginal Australian women and children killed. That's why Fairy Bower Rorschach doesn't just seem peaceful, but foreboding — and why its central waterfall can't wash away that feeling. A word of warning: it's one of several paintings in the exhibition to use the visual technique, and it's easy to lose track of time while you're standing before them. [caption id="attachment_730004" align="aligncenter" width="1920"] Ben Quilty. Top row: Reza (2016), Gift of Paul Walker and Patricia Mason in memory of Reza; Omid Masoumali (2016), Gift of Paul Walker and Patricia Mason in memory of Omid Masoumali; Omid Ali Avaz (2016), Gift of Paul Walker and Patricia Mason in memory of Omid Ali Avaz. Second row: Ali Jaffari (2017), Gift of Paul Walker and Patricia Mason in memory of Ali Jaffari; Mohammad Nazari (2017), Gift of Paul Walker and Patricia Mason in memory of Mohammad Nazari; Khodayar Amini (2017), Gift of Paul Walker and Patricia Mason in memory of Khodayar Amini.[/caption] LIFE VESTS Sometimes, the simplest things make the biggest statement. For a person searching for refuge in Australia, making the perilous journey across the globe by boat and putting their very existence at risk, a life jacket isn't a simple item; however, to the rest of the world, its symbolism is now well-understood. Known as an Australian leader in activist art, Quilty's series of 12 life vests draws attention to the country's asylum seeker policy. More than that, it dedicates each image to the memory of someone who didn't survive the process, all after making it to the border and enduring what came next. Placed next to each other, this dramatic dozen is disarming by design and demands attention. It shouldn't escape notice that, while they're all grouped together, each vest sits alone in a separate piece, which is how the people who inspired them must've felt at the end of their lives. Margaret Olley: A Generous Life and Quilty are both free and on show at the Gallery of Modern Art, Stanley Place, South Brisbane until October 13. Top images: Margaret Olley: A Generous Life exhibition views at the Gallery of Modern Art (GOMA), Brisbane. Images courtesy the Queensland Art Gallery | Gallery of Modern Art (QAGOMA). Photographs: Natasha Harth / Chloe Callistemon, QAGOMA.
Last summer might only just be behind us, but it's never too early to start making plans for the next one — and for the festival fun that comes with it. Indeed, when the toasty weather returns at the end of 2022, it'll also herald another comeback, with music, art and food festival Spilt Milk locking in three events for this year. Originally only held in Canberra, then expanding to Ballarat, and now heading to Queensland as well — to the Gold Coast to be specific — the beloved event will return in November and December. First stop: its ACT home, of course, on Saturday, November 26 at Exhibition Park. It'll hit up regional Victoria next, on Saturday, December 3 at Victoria Park, before wrapping things up on Sunday, December 4 at Doug Jennings Park in the Sunshine State. The multi-city one-dayer has cemented its spot as a must-attend event for a heap of reasons — and tickets have sold out in under 30 minutes every year, including in a record nine minutes one year, to prove it. So, expect this to be one of the most anticipated returns of 2022, whoever is on the lineup. That bill won't be announced until Thursday, April 28; however, in the past, Spilt Milk has played host to Khalid, CHVRCHES, Juice Wrld, Channel Tres, BENEE, Lorde, Gang of Youth, Dom Dolla, Tones & I and more. This year, it's promising "a mega line-up with some of the most in-demand names on the scene". Start your guesses now, folks. Whoever tops the lineup — and whoever else helps fill the fest's stages — that musical roster will have impressive company, because the rest of the program always spans visual art, tasty eats and pop-up bars. Again, the details haven't yet been revealed, but it's worth blocking out your calendar now. SPILT MILK 2022 DATES: Saturday, November 26 — Exhibition Park, Canberra Saturday, December 3 — Victoria Park, Ballarat Sunday, December 4 — Doug Jennings Park, Gold Coast Spilt Milk will hit Canberra, Ballarat and the Gold Coast in November and December 2022. The full lineup will be announced on Thursday, April 28 — head back here then for further details — with pre-sale tickets go on sale from Tuesday, May 3 and general sales from Thursday, May 5. Head to the festival website for more info and to register for pre-sales. Images: Jordan Munns and Billy Zammit.
When Paniyiri rolls around in 2026, expect it to be bigger than ever, with the annual Brisbane festival set to celebrate its 50th year. That's next year's fun, however. Paniyiri will also be back in 2025, turning 49 with another two days of souvlaki, haloumi, barbecued calamari, loukoumades, dancing the zorba, smashing plates and sipping Mediterranean wine — all taking over Musgrave Park in May. For two days every year, this patch of South Brisbane and West pretends that it's on the other side of the world. The menu goes heavy on all of the above dishes, Greek vino flows freely and an array of market stalls celebrate Greek culture. It's one of the River City's biggest annual events, and it has a date with Saturday, May 17–Sunday, May 18 in 2025. First held in 1976, Paniyiri began at The Greek Club — where else? — as an exhibition. Now, it sees 50,000-plus people eat, drink and party like they're in Greece across a weekend. After a few pandemic cancellations and scaled-down revamps, plus the impact of soggy weather, the fest returned to its OG format in its OG timing in 2023, and has kept doing so since. So, if you've been before, other than between 2020–22, then you know what's in store. Food-wise, the spread of bites covers dishes from 11 Greek regions. If devouring as much as you can is your idea of a great time, the festival's regular food contests tend to keep stomachs satisfied. Then, to wash all of that down, that's where the Greek wine, Greek beer and Greek-inspired cocktails come in. For 2025, if you nab entrance in advance for the fest's first day, you can also book in for a Paniyiri picnic between 12–4pm. Your online ticket will get you a Greek mezze box on the day — think: keftethes, spanakopita, taramasalata, tzatziki, kalamata olives, feta and pita bread to feed four — and access to the VIP picnic area to enjoy it in. Either way, in addition to eating and drinking — usually including at 20-plus stalls — Paniyiri's array of Greek revelry spans grapes to stomp, plates to smash, TV stars to rub shoulders with and cooking demonstrations to watch. To really ensure that attendees feel as if they've jumped over to Europe, a pop-up Greek village also sets up shop. Also, it wouldn't be Paniyiri without fancy footwork via Greek Dancing with the Stars and the Hellenic dancers. Alongside relishing all things Greek in Musgrave Park, Paniyiri also takes over its original home at The Greek Club. And if you've always wondered why it has the name it does, that's for a very fitting reason: the event's moniker means 'festival' in Greek. Paniyiri 2025 will take place from Saturday, May 17–Sunday, May 18 at Musgrave Park and The Greek Club, Edmondstone Street, South Brisbane. For more information or to buy tickets, head to the event's website.
A lot of time, skill and dedication goes into building up a collection of precious goods. There's going to be a big opportunity to both flex your collection and gawk at others when the first-ever CollectFest rolls around. CollectFest is set to bring together enthusiasts of all fields, whether you're into comics, sneakers, toys and figurines, coins, stamps or more. You'll be surrounded by your people, and everyone will have a reason to celebrate, trade and sell to their hearts' content. CollectFest still has some time before it kicks off, as it's not taking place until Saturday, July 26 and Sunday, July 27, 2025, at the Brisbane Convention and Exhibition Centre. Tickets are projected to sell fast, so be ready when early bird tickets go on sale from Wednesday, September 18. Stay tuned for more information as it comes. The first-ever CollectFest will take place from July 26–27, 2025, at the Brisbane Convention and Exhibition Centre. Early bird tickets go on sale from Wednesday, September 18, 2024. For more information or to get tickets, visit the website.
With so many international and interstate artists gracing the stages of Brisbane, it is always exciting to see a home grown success story. This Sunday, July 22, Brisbane’s own Lauren Lucille will be presenting her latest musical offering, Hidden Here. In the making for the past year, the album showcases the very best of her talents as a musician, vocalist, composer and performer. All in all, Lucille has delivered audiences a polished, all-original, jazz album. Lucille is what we could call a “seasoned performer”. Her musical career began at the ripe age of 10, with mainstream guitar and piano folk/pop songs. Today, aged 28, Lucille is an admired jazz performer. To add to the fairytale, it has recently been announced she is a finalist in the 2012 qmusic Awards in the Jazz category (it’s kind of a big deal). Supporting Lucille’s much-anticipated performance will be fellow Brisbane group, Lady Abundance.
When West Village revamped its chosen patch of West End, it took over a site of significance. From 1928–1996, the Boundary Street spot was home to the Peters Ice Cream Factory, which churned out frosty dairy desserts for seven decades. That's why, to mark the precinct's past, West Village hosts an annual ice cream festival — and, from June, it'll also be home to Anita Gelato. The international chain already has stores in Barcelona, New York, San Juan, Tel Aviv and Sydney, but its new West Village spot will mark its first Queensland shop. Its specialty: boutique handmade gelato, with more than 150 flavours in its range. That hefty lineup includes yogurt and sorbets, too, as well as its organic, sugar-free, fat-free, soy-based and real cream-based gelato. For those new to the brand, it started almost 20 years ago in the Mediterranean, with its namesake and her youngest son Nir making frozen desserts for their friends and neighbours. Then, Nir began selling their ice creams — which use Anita's homemade jams for flavour — at local markets. Opening a store was the next step, then more followed around the world. Those jams, still made in Anita's kitchen, remain a feature — although you can choose from other toppings, such as fresh fruit, syrups and chocolate. When it opens its doors — with the exact date yet to be announced — Anita Gelato will join the likes of Beirut Bazaar and Harris Farm Markets at the expanding West End spot, with the latter due to launch in May. It'll add to Brisbane's sizeable list of ice cream and gelato joints, because this particular dessert does go particularly well with our usually warm and sunny climate. Anita Gelato will open at West Village, 97 Boundary Street, West End, sometime in June — we'll update you with an exact date when one is announced.
Only one Cantonese eatery in the middle of the Brisbane CBD is located inside a three-storey former shipping office that dates back to the 1800s. Only one such restaurant is nestled into a historic (and heritage-listed) building's top floor, perched above a brasserie plus a supper club-style cocktail bar and lounge, too. That place: The Fifty Six, the latest addition to Naldham House, joining the ground level's Naldham House Brasserie & Terrace and the second storey's Club Felix in the Felix Street building. The site itself relaunched as a multi-venue hospitality hub in 2024, but its final piece was still a work in progress until Thursday, February 13, 2025. Now, the landmark waterfront building's third reason to drop by has started welcoming patrons through the door, then upstairs. Traditional recipes made with modern techniques are the star under Chef Gerald Ong (ex-Tiger Lane, Chairman & Yip, Mrs Wang, Lucky Duck and Golden Panda in Canberra) — and, decor- and vibe-wise, so are arched windows peering out on leafy views, plus looking at the river while getting comfortable on the 48-person balcony. Ong's culinary inspiration: both the initial wave of Chinese immigration to Queensland, and also the influence since that cuisine in both Brisbane and Australia has taken from Chinese culture and food. Accordingly, if you're hankering for familiar Cantonese dishes, they're on the menu, but given a contemporary spin. Seasonal local produce is also in the spotlight. Think: Hervey Bay scallops paired with house XO, Queensland blue swimmer crab baked in its shell and Queensland baby lobster pao fan paired with shellfish broth. Elsewhere on the menu, when scallop and prawn siu mai isn't tempting your tastebuds, or the oysters with pink ginger mignonette and the drunken prawn tart, then raw Hirasama kingfish, salted egg prawns, duck pancakes with house hoi sin, tea quail egg with caviar, sweet and sour Berkshire pork, and steamed Murray cod should be. There's more menu highlights where they came from — including more dishes from the dim sum range curated by Ka Wai Kwok, such as the prawn toast that's paired with house-made chilli sauce; black pepper beef tenderloin and scallops as well as dry-aged five-spiced half duck with davidson plum sauce among the bigger options; and desserts like mango pudding, chocolate brownie mochi and deep-fried toffee ice-cream with char siu caramel. Can't decide what to order? Three separate tasting menus will come in handy, with one dedicated to vegetarian dishes and another focusing on seasonal options. The beverage selection is just as carefully constructed, whether a banana-infused old fashioned takes your fancy, or a margarita made with shiso-infused tequila and yuzu does the trick. The Fifty Six's take on a manhattan uses roast duck fat rye, the wine list is hefty — complete with a section dedicated to 'aromatics of intrigue' — and 11 different picks sit among the premium tea selection. "The Fifty-Six is a beautiful restaurant that will enhance the vibrant food scene of Brisbane and offer a taste of Hong Kong style. I am bringing my love and passion for Cantonese cuisine, and mixing it with modern techniques which I believe will be a very special dining experience," says Ong. Although the year listed above its entrance is from four decades back, Naldham House was first built 141 years ago. The site began its life as a shipping office, then underwent major renovations in 1988. From there, it became the Brisbane Polo Club from 1994–2015. Now, since mid-July 2024, it's one of the River City's newest drinking and dining destinations — still under the name Naldham House. Thank DAP & Co to transforming this patch of the Eagle Street side of Brissie's inner city into a three-venues-in-one haven. The hospitality group co-owned by Andrew Baturo, Denis Sheahan and Paul Piticco, which is also behind The Gresham, Popolo Italian and Walter's Steakhouse and Wine Bar, has made over the site as part of the Waterfront Brisbane project that's revamping this area of town. Find Naldham House at 33 Felix Street, Brisbane City, with The Fifty Six on the venue's top floor — and open from 12–3pm and 5pm–late Tuesday–Saturda. Head to The Fifty Six's website for more details. Images: Dexter Kim and Markus Ravik.
The lineup for everyone's favourite New Year's Eve party has just landed, and it's a doozy. Way back in 1993, a tiny one-day concert was held in Lorne, a beautiful coastal town on Victoria's Great Ocean Road. Over 10,000 people showed up, far more than were expected, and a great Australian tradition was borne. In 2003 the festival (now known as Falls) celebrated hitting the big 1-0 by spreading its wings and setting up across the Bass Strait in Marion Bay; and now, to celebrate their 20th instalment, the Falls team are bringing the New Year party to Byron Bay for the first time. And they will be celebrating in style with the greatest house band in the world, The Roots, who haven't played in Australia since the Great Escape festival (RIP) in Sydney in 2007. They always bring the party, and we should thank Jimmy Fallon for lending them to us even if just for the weekend. The other headliners include festival favourites The Wombats, the always-interesting Grizzly Bear, 2013 Album of the Year contenders Vampire Weekend, R&B star Solange and The Violent Femmes. And there's an excellent contingent of local acts, too, including Hermitude, Pond, Chet Faker and Big Scary. Tickets will be allocated via a ballot, which is currently open via the Falls website. Registrations close on midday, August 26. Ballot-winners will be able to purchase up to four tickets from August 29, 9am. There will also be an allocation of tickets set aside for general sales starting on September 4, 9am. Prices will be released soon. Falls Festival first announce line-up: !! (Chk Chk Chk)AstaBig ScaryBombinoBonoboThe Cat EmpireChet FakerCrystal FightersCyril HahnFlight FacilitiesGosslingGrizzly BearHanni El KhatibHermitudeJames Vincent McmorrowLondon GrammarMGMTNeil FinnPondThe Preatures The RootsRüfüsSolangeTom Odell Vampire WeekendViolent FemmesWhite DenimThe Wombats Event dates: Lorne, Victoria (18-plus): December 28–January 1Marion Bay, TAS (all-ages): December 29-January 1Byron Bay, NSW (18-plus): December 31–Jan 3
