Call it bad timing. Call it ignorance. Call it laziness. Whichever you choose, Gringo has a problem. A couple of years ago, a film could probably call its villain "the Black Panther" and ignore the fact that the comic book character exists. Now, mere months after the first-ever standalone Black Panther movie became one of the highest-grossing superhero flicks ever made, the name is impossible to overlook. Every time it's mentioned in this crime comedy, the moniker sounds awkward. More than that, it also sounds like screenwriters Anthony Tambakis (Jane Got a Gun) and Matthew Stone (Soul Men) just thought the name was cool, but didn't think much more about it. That seems to have been their general approach anyway — well that and filling the script with as much caper chaos as possible. Despite regularly travelling to Mexico for his pharmaceutical job, Nigerian immigrant Harold (David Oyelowo) is unaware of the Black Panther's (Carlos Corona) existence. The same can't be said for Promethium's ruthless CEOs, Richard (Joel Edgerton) and Elaine (Charlize Theron). The scheming duo happily took the drug lord's money and supplied him with their medical marijuana pills, but now they're keen to end the arrangement so they can sneakily sell off the business — something else they're keeping from Harold. Of course, when Richard and Elaine accompany their underling on his latest trip across the border, they discover that the Black Panther doesn't want things to change. Rather, he wants the formula to the firm's lucrative product and will do whatever it takes to get it. That includes kidnapping Harold, although the secret recipe is yet another thing the lackey doesn't know. Complicating matters is the fact that, in response to his growing personal and professional troubles, the mild-mannered middle manager has already decided to pretend that he has been abducted. Gringo's needlessly convoluted narrative is just getting started, with Harold's unhappy wife (Thandie Newton) and Richard's ex-mercenary brother (Sharlto Copley) also playing their parts. So does a young woman (Amanda Seyfried) with no idea that her boyfriend (Harry Treadaway) is trying to smuggle Promethium's drugs back into the US. To the surprise of no one, there's more than one link between the various characters, and between the array of intertwined plot threads. Jam-packed would be the nice way to describe the movie, which has been spliced together by three editors yet drags over its 111-minute running time. Overblown, unfunny, messy and meandering is another way to put it. If there's any sliver of a saving grace, it comes from Oyelowo and Theron, who stand out among the film's high-profile cast. While neither are at their best, you could put these two in nearly any picture and they'd make a considerable difference, even when they're saddled with woefully underwritten roles. Oyelowo almost makes the hapless Harold's journey believable — emphasis on "almost", because the character's jump from believing in the American dream to breaking bad for revenge feels incredibly convenient. Theron has plenty of fun chewing the scenery as the wily, icy Elaine and certainly makes more of an impression than Edgerton, not to mention the rest of the acting lineup. The last time Edgerton starred in a big-screen effort by his director brother Nash, the end result was the ace 2008 Australian crime thriller The Square. Nominated for seven AFI Awards, the film boasted well-executed twists, genuine tension and smart black comedy — and Joel co-wrote the script. With a much weaker screenplay, Gringo plays like an overdone, ineffective attempt to up the ante, using similar components but boosting the star power and budget. Still, Nash demonstrates a definite eye for action with his second full-length film, as evident in the movie's shoot-outs and chase scenes. But by the time these antics properly kick in, it's a case of too little, too late. https://www.youtube.com/watch?v=sx0KDIFCAu0
University students might be accustomed to pairing their education with a few alcoholic beverages; however most don't expect their tertiary institution to have its own tipple. That rings particularly true when one of the most famous and prestigious universities in the world is involved — but, as well as teaching bright minds, Oxford University is bursting boundaries. The British uni has just added an official brand of gin to its list of achievements: Physic Gin, aka an especially aptly named juniper spirit. It's a product of The Oxford Artisan Distillery (TOAD), which is located in the same city, but is separate from the university. With their collaboration — the result of one of TOAD's distillers meeting one of Oxford's botany professors — they've created the first gin made for the university and bearing its name. Branding isn't Physic Gin's only Oxford connection. It's also flavoured using plants from the uni's botanic garden. Founded in 1621 to help teach herbal medicine, the patch of greenery in question is the oldest of its kind in the country. In total, 25 botanicals grown and foraged in Oxford's garden are used in the tipple, most of which were listed in a catalogue kept by its first keeper back in the 1640s. According to TOAD master distiller Cory Mason, anyone keen on a sip should expect a rich, earthy taste thanks to ingredients such as wormwood, rue and sweet woodruff — which "bring a deeply complex flavour to bear and take us back to the time when plants formed the base of all medicine." TOAD also use ancient, organic, super-sustainable grains in their production of Physic Gin, plus their original Oxford Dry Gin and Oxford Rye Vodka. For more information, visit www.spiritoftoad.com Via The Guardian. Image: The Oxford Artisan Distillery.
Along with Glastonbury, Coachella is one of the biggest, most famous and highly coveted music festivals in the world — the type of fest that everyone wishes they could nab a ticket to at least once. While this year's festival has been postponed — from April till October — come next week, you'll be able to relive highlights from its 20 year history. Hitting YouTube at 5am AEST on Saturday, April 11 (12pm PT Friday, April 10 — when the 2020 festival was scheduled to start), Coachella: 20 Years in the Desert will feature behind-the-scenes stories, never-before-seen footage, interviews and performances from some of the world's most famous musicians. While Coachella hasn't announced exactly what performances will make it into the doco, its website does tease some highlights from every year. Jane's Addiction 2001 reunion show, MIA asking fans to storm the stage; Daft Punk debuting their pyramid stage; Dr Dre and Snoop Dogg performing with a hologram of 2Pac; Beyoncé famous 2018 show; and Amy Winehouse, Jay-Z , Björk, Tame Impala, Kendrick Lamar and so many more big-names hitting the stage. With music festivals across the world — and Australia — cancelled and postponed, and people self-isolating and social-distancing, the doco will be a great way to escape — virtually. And, if you've ever wanted to head to the Cali festival, but haven't been able to snag tickets or afford to go, it's free way to experience it. While you wait for Coachella: 20 Years in the Desert to drop, you can watch Netflix's Homecoming — a doco about that Beyoncé set — and eyeball the trailer below: https://youtu.be/pflR5xxx0bQ Coachella: 20 Years in the Desert hits YouTube at 5am on Saturday, April 11 AEST.
Ever had a hankering for a midnight ice cream, a 1am wander through a department store or a 3am trip to an art gallery? If so, come April 2018, you'll be in luck. That's when the Commonwealth Games come to southeast Queensland, and 24-hour trading along with them — for a limited time only, including in Brisbane's 4000 postcode. Sports fans just can't fit their browsing and buying into normal operating hours, or so it seems, during the Games' 15-day run. Or, maybe they'll just be too busy filling every other waking moment with the state's accompanying cultural festival. Either way, with the city hosting a number of events between April 3 and 17, the Queensland Industrial Relations Commission has included the Brissie CBD in their ruling allowing non-stop shopping during the period, as well as the Gold Coast City Council area. Supermarkets, department stores and shopping centres are among the businesses included, with independent stores, restaurants, bakeries, butchers, chemists and service stations all already allowed to operate 24/7. The decision doesn't change the state's liquor licensing laws or lockouts, so the same drinking rules apply even when you're shopping into the early hours of the morning. Via Brisbane Times. Image: Brisbane City Council.
Since time immemorial, poets and bards have compared rolling hills to the fecund curves of the human body: "To whit, yon vale dost suggest to mine eye the breathing bosom of my lady fair." Or some such wankery. Now photographer Carl Warner makes the literary literal, in a series of 'landscapes' composed entirely of naked men and women. Using studio lighting and Photoshop compositional trickery, individual bodies becomes duplicates, limbs are seen from multiple angles, and skin becomes desert rock hewn by the wind of millennia. With titles like 'The Cave of Abdo-Men', 'Desert of Backs' and 'Shin Knee Valley' (a personal favourite), it's easy to see both the human and geological aspects of each picture, while imagining that they're images from a real world. Channelling the idea that a body that's lived in by an individual can be conceived as a larger place to live, Warner's pictures are sensual and intriguing, inviting you to take time identifying what body parts you're actually looking at. You can scope out the full series on Warner's website. A seasoned 'Otherscaper', for decades he's been crafting his trademark artificial landscapes out of food, office supplies, tools and all manner of products — and attracting many advertising clients in the process. His most famous body of work is his Foodscapes, entirely different in colour spectrum and emotional tenor but just as impressive as these mountains and valleys of luscious skin. The Desert of Sleeping Men Shin Knee Valley Shoulder Hill Valley Desert of Backs
When the John Wick franchise first burst onto screens back in 2014, it taught the world an important lesson. Whether he's avenging his beloved puppy, repaying past debts or avoiding a contract on his life, there's little that the formidable assassin wouldn't do. So far across the original film, 2017's John Wick: Chapter 2 and 2019's John Wick: Chapter 3 — Parabellum, the character played so commandingly by Keanu Reeves hasn't had to ride a roller coaster all day to either get revenge or escape his enemies. But, if he had to, we're certain he would. We doubt that idea will form part of the next two John Wick movies — because, yes, two more flicks have already been announced — but combining the determined hitman and a theme park ride is definitely going to be on the agenda next year. At Motiongate Dubai, patrons will soon be able to take a spin on the John Wick: Open Contract roller coaster. We assume that dogs won't be allowed on when it opens at a yet-to-be-revealed date early in 2021, but no one should tell the titular figure that. If you're keen to add the attraction to your must-visit list once international travel starts returning to normal, John Wick: Open Contract will run across a 310-metre track, and hit speeds of up to 64 kilometres per hour. You'll start by stepping inside The Continental, the hotel safe haven for assassins seen in the franchise. Then, you'll have two choices according to Variety: help John Wick or chase after him. Either way, you'll be zipping both forwards and backwards, and doing freestyle spins. If the roller coaster can mimic even a little of the film franchise's kinetic, balletic action scenes, everyone strapping themselves in will be in for quite the ride. In fact, it'll hopefully have you exclaiming a Keanu-style "whoa!" several times. Motiongate Dubai will also welcome Now You See Me: High Roller, which is based on the Now You See Me movies. And, both of its new rides will join existing attractions inspired by everything from Shrek, Kung Fu Panda and Hotel Transylvania to Ghostbusters, The Smurfs and The Hunger Games. If you need a reminder of just how frenetic the John Wick flicks are, check out the trailer for Parabellum below: https://www.youtube.com/watch?v=_BULB0aX4lA John Wick: Open Contract will open at Motiongate Dubai in early 2021. To keep an eye out for further details, visit the park's website.
Life might be a bittersweet symphony, as The Verve told us all back in 1997, but right now is a pretty great time to be a fan of a hugely influential late-90s teen flick that helped immortalise that very track. The movie in question is Cruel Intentions, of course, and it's about to hit the stage in Australia. And yes, the musical's soundtrack is filled hits from the era, including 'Bittersweet Symphony', obviously. Indeed, if that song and Placebo's 'Every You Every Me' get you thinking about Sarah Michelle Gellar, Ryan Phillippe, Reese Witherspoon and Selma Blair, then you're clearly a fan of the film. And if you were a 90s or 00s teen who watched and rewatched the 1999 classic over and over again — soaking in all those dangerous liaisons, the scheming that went with them, Joshua Jackson's blonde locks and Gellar in a decidedly non-Buffy role — then you'll probably be first in line to see Cruel Intentions: The 90s Musical. The movie-to-theatre production has been unleashing its teen tumult and throwback soundtrack in America since 2015, and now it's finally heading to our shores. That was first announced back in 2021; however, now the local leg of the production has confirmed its full Aussie dates. Cruel Intentions: The 90s Musical's Melbourne stint was already locked in to start on Wednesday, May 25 at the Athenaeum Theatre, and its Sydney run will now kick off on Thursday, June 30 at the State Theatre as well. Then, it'll head to Brisbane's Fortitude Music Hall from Wednesday, July 27, before hopping over to Adelaide's Her Majesty's Theatre from Thursday, September 8. Because it's a jukebox musical, Cruel Intentions: The 90s Musical is also filled with a heap other tunes from that late 90s, early 00s era; think: *NYSNC's 'Bye Bye Bye', Britney Spears' 'Sometimes', No Doubt's 'Just A Girl', Jewel's 'Foolish Games', Christina Aguilera's 'Genie In A Bottle' and Sixpence None the Richer's 'Kiss Me', for starters. If you've seen the movie — the original, not the direct-to-video 2001 and 2004 sequels, one of which starred a very young Amy Adams (Dear Evan Hansen) taking over Gellar's role — then you'll know the story. Based on 1782 novel Les Liaisons dangereuses, which was also been adapted in the 1988 film Dangerous Liaisons with Glenn Close, John Malkovich, Michelle Pfeiffer and Uma Thurman, Cruel Intentions follows step-siblings Sebastian Valmont and Kathryn Merteuil. Manipulating each other's love lives is their main hobby, a pastime that levels up a few notches when Kathryn places a bet on whether Sebastian can sleep with Annette Hargrove, the headmaster's daughter at their exclusive prep school. On-screen, Phillippe played Sebastian, Gellar vamped up the film as Kathryn and Witherspoon stepped into Annette's shoes. Exactly who'll be following in their footsteps when Cruel Intentions: The 90s Musical tours Australia hasn't yet been revealed, with auditions underway now. Cruel Intentions' writer/director Roger Kumble co-created the musical, so it comes with quite the screen-to-stage pedigree. Also, it's arriving in Australia via David Venn Enterprises, who also brought The Wedding Singer: The Musical Comedy and Bring It On: The Musical our way. CRUEL INTENTIONS: THE 90S MUSICAL 2022 AUSTRALIAN TOUR: Melbourne, at the Athenaeum Theatre: Wednesday, May 25–Sunday, June 12 Sydney, at the State Theatre: from Thursday, June 30–Sunday, July 10 Brisbane, at Fortitude Music Hall: from Wednesday, July 27–Sunday, August 7 Adelaide, at Her Majesty's Theatre from Thursday, September 8 Cruel Intentions: The 90s Musical will tour Australia between May–September. For more information, and to buy tickets now for the Melbourne and Sydney seasons — and to join the waitlist for Brisbane and Adelaide tickets, which'll go on sale from Tuesday, March 29 — head to the musical's website.
Since opening last year, sleek Surry Hills star Nomad has made waves in Sydney's restaurant scene, boasting a sophisticated, local-focused menu and an even more notable wine list. Known for its dedication to serving exclusively Australian wine from smaller, boutique producers, wine lovers will now be able enjoy these hard-to-find wines at home with Nomad's Online Cellar Door. The service lists most of the 50-odd wines from the restaurant's main wine list and a selection from the reserve list, as well as other locally produced sparkling, rose and dessert wines. With the online range changing regularly, Nomad's Online Cellar Door is the perfect way to acquaint yourself with the impressive, if little-known, wines produced in our own backyard. In the spirit of the silly season, Concrete Playground is giving away three of Nomad's Celebration Bundles — a range of mixed half dozens sure to get your festivities into full swing. Go in the running to win a Christmas BBQ Bundle (valued at $210), or get lucky with the Cellar Reserve Selection ($489) — six of Nomad's best red wines, ready to quaff now or savour in another 20 years. For fans of sparkling, don't miss the chance to win the New Year's Celebration Selection ($199) for the ultimate NYE party, containing Prosecco, Courabyra and Arras NV. Thanks to Nomad Online Cellar Door, we're giving away three Celebration Bundles — one each week until the end of the year. Delivery within Australia is included in the prize. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address: Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
Another year coming to a close, another batch of relaxing COVID-19 restrictions. That's the case in 2021, just as it was in 2020, as different parts of the country ease out of their latest lockdowns again. So, as also occurred last year, border rules around the nation are changing once more — with New South Wales, Victoria, Queensland and now Tasmania announcing plans for visitors from elsewhere. Today, Friday, October 22, Tasmanian Premier Peter Gutwein revealed that the Apple Isle will reopen to all non-Tassie residents who've had two COVID-19 jabs — travellers from interstate and international destinations — on Wednesday, December 15. That's when the state is expected to have reached the 90-percent double-vaccinated threshold, if you're wondering what motivated that choice. And, yes, that's when the double-vaxxed from Australia and around the world alike will be able to enter without quarantining. "At the 90-percent fully vaccinated target for 12 years and over, anyone will be able to enter Tasmania from anywhere within Australia, subject to being fully vaccinated," the Gutwein advised. "That's if they've had a negative test result within 72 hours of travelling. The testing requirement will remain in place for up to four weeks subject to review." "Now, at the 90-percent vaccination mark as well, no quarantine for fully vaccinated overseas arrivals. It will be the same rules for everyone. If you're coming from overseas and you're coming to Tasmania, you'll have the same rules if you're coming out of Sydney or Melbourne or South Australia or Queensland," the Premier continued. That testing requirement is exactly what Victoria has just announced, too, for international arrivals — however, in Tasmania, it'll apply to both Aussie and overseas visitors. The Premier also noted that the only exemption to this will be for Tasmanians that return from a short trip to the mainland. "So, if you want to go shopping in Melbourne... if you're away for a couple of days, you'll be able to return, so long as you're fully vaccinated, without needing to meet the 72-hour test rule. So, if you travel and the travel is less than seven days, you'll be able to return," Gutwein said. The news comes just two days after Tassie hit the 70-percent double-vaxxed milestone among residents aged 16 years and over. For potential visitors who aren't double-jabbed or refuse to take a test before heading to Tasmania, there'll still be quarantine and testing requirements from Wednesday, December 15. To find out more about the status of COVID-19 in Tasmania, and the state's corresponding restrictions, visit its online COVID-19 hub.
2022 was a glorious year for Taika Waititi, and for the writer/director/actor/comedian's fans. He was the subject of the Archibald's Packing Room Prize-winner, with his likeness becoming an award-worthy piece of art. He had that little Marvel movie Thor: Love and Thunder hit cinemas. Another season of Reservation Dogs, which he produces, arrived. Oh, and he went and co-starred in one of the best new TV shows of the year, Our Flag Means Death. Also, that swashbuckling comedy was renewed for a second run. 2023 is looking mighty fine for Waititi as well, and also beginning of 2024. Reservation Dogs is back for its final season. Big-screen soccer comedy Next Goal Wins, which he directed and pops up in, is on its way. And, so is that second sailing for Our Flag Means Death — complete with a just-dropped trailer. No, Taika's stint playing a pirate isn't over yet, in supremely welcome news for everyone who cruised through Our Flag Means Death's first season. His latest collaboration with fellow New Zealand comedian Rhys Darby (after also working together on Flight of the Conchords, What We Do in the Shadows, Wellington Paranormal and Hunt for the Wilderpeople), it satirises the buccaneering times of the 18th century. As its first season unfurled, Our Flag Means Death also proved to be a sweet and warmhearted romance, as well as essential viewing. HBO clearly agreed, greenlighting the show's second season for its streaming service Max. Now, that next run has a first sneak peek, and a Thursday, October 5 release date in the US. Fingers crossed that Binge in Australia and in Neon in New Zealand drop new episodes at the same time. Spanning eight episodes, season two will pick up where its predecessor left off. If you haven't hopped aboard already, Our Flag Means Death stars Darby stars as Stede Bonnet, a self-styled 'gentleman pirate', a great approximation of Flight of the Conchords' Murray if he'd existed centuries earlier, and a man determined to bring a bit of kindness and elegancy to the whole swashbuckling game. He's based on an IRL figure, who abandoned his cosy life for a seafaring existence. The show is a loose adaptation of Bonnet's tale, though. As for Waititi, he dons leather, dark hues aplenty, an air of bloodthirsty melancholy and a head of greying hair as Edward Teach — the marauder better known to the world as Blackbeard. While the famed pirate seems like Stede's exact opposite, disproving that is a big part of the show's narrative. After sparks flew, then season one came to a memorable end, season two will follow what happens for Stede and Edward next. Also featuring among Our Flag Means Death's cast: Samson Kayo (Bloods), Vico Ortiz (The Sex Lives of College Girls), Ewen Bremner (Creation Stories), Joel Fry (Bank of Dave), Matthew Maher (Hello Tomorrow!), Kristian Nairn (Game of Thrones), Con O'Neill (The Batman), David Fane (The Messenger), Samba Schutte (Forspoken), Nat Faxon (Loot) and Leslie Jones (BMF), all returning from season one. This time around, they'll be joined by a heap of new recurring guest stars in Ruibo Qian (Servant), Madeleine Sami (Deadloch), Anapela Polataivao (The Justice of Bunny King) and Erroll Shand (The Clearing), plus Minnie Driver (Chevalier) and Bronson Pinchot (The Mysterious Benedict Society) as guest stars. Check out the teaser trailer for Our Flag Means Death season two below: Our Flag Means Death will return for season two in the US on Thursday, October 5 — we'll update you with Australian (via Binge) and New Zealand (via Neon) dates when they're announced. Read our review of season one. Images: Nicola Dove/ HBO Max.
Happy Birthday The Edge! You’re growing up so fast! Considering all of Brisbane’s creative types can still remember when you were a wee little infant who had just burst into the world, the fact that you’ve already made it to your ‘terrible twos’ says things both about how fantastic you are and how quickly time goes by. Seeing as their overall aim is to engage and teach anything imaginative the mind fancies, The Edge celebrating their birthday with a We Made This party seems more than right. Especially when you find out it involves workshops, bands, and a suitcase rummage – creative trinity! Partying the only way they know how, this Saturday will definitely go down in history as heaven for the creative DIY types of Brisbane. Offering fifty free workshops over five hours, the topics vary so much it’s ridiculous. If you can’t find something you like happening on the day you need to crawl back under your rock immediately. Highlights include: DIY bookbinding, pizza box oven making and paper plane creating. There is something for everyone so a good perusing of The Edge’s website is in order. But the best part of this birthday is yet to be mentioned – everything is free! Come celebrate The Edge’s anniversary and enjoy the free creative activities on offer.
You're in a pub, having a beverage with your best mate, and you both keep picking up your pesky smartphones. It's a problem we all know too well — and something we're all guilty of, admit it. At London's new pop-up pub, it's simply not an option. Firstly, at the Make Time For It craft bar in Greenwich, you and your BFF will be the only people there. Yep, the short-term venue in Greenwich only seats two people. That's what happens when you open up the tiniest, cosiest of bespoke pubs in a garden shed that's smaller than a pool table. Plus, to make sure you really do have a good natter, you have to hand in your phone when you enter. That's right — good things don't just come in the smallest of packages here, though, but in the quietest and most distraction-free. Make Time For It's limited operation from October 21 to 30 is designed to highlight the importance of time, and of unplugging from digital distractions. You'll get free beer for your troubles, with the entire place the brainchild of craft brewer Meantime. After fashioning a range of special tipples that stress the concept of disconnecting from the screens in your pocket, they've taken the idea to the next level. Sure, it's a gimmick, but it's also Britain's smallest bar, and probably the world's, as well as the kind of place you instantly want to visit. You can pre-book a slot, or simply turn up and enjoy your time in the teensy-weensy watering hole. And if you're heading elsewhere in the UK at a later date, you might just be in luck — Meantime is pondering taking the bar on the road. Via Meantime.
Imagine flying through the air on a plane fuelled by mustard seeds. It might sound somewhat futuristic, but it's Qantas' real-life plan for its Los Angeles to Melbourne Dreamliner route and it's set to happen as early as next year. It'll mark the world's first biofuel flight between the USA and Australia, with the aircraft powered by an oil derived from an industrial kind of mustard seed, called Brassica Carinata. Qantas has also teamed up with the seed's developers — Canada-based Agrisoma Biosciences — and will work with local farmers to have Australia's first commercial aviation biofuel seed crop grown by the year 2020. If the Australian program follows in the footsteps of large-scale overseas operations, it could see up to an 80 percent reduction in carbon emissions. The plan is to soon be growing 400,000 hectares of carinata locally, which would equate to over 200 million litres of the bio jet fuel each year. Not only would use of this kind of fuel see a hefty reduction in carbon emissions, current field trials in Queensland and South Australia have shown the crushed seed is a viable non-genetically modified food for livestock. It's not the first time Qantas has dabbled in biofuel — back in 2012, the airline conducted trial flights between Sydney and Adelaide, and Melbourne and Hobart, using fuel derived from cooking oil.
Swan Lake is one of those ballets you always hear about but most probably never get around to seeing. Fret no more as QPAC and the Queensland Ballet are bringing the classic tale to life once more, giving you a prime opportunity. After Black Swan came out, I’m sure ballet studios worldwide received a surge in popularity as everyone wanted to be the next Natalie Portman. Start your training with the ballet that drove her (character) crazy! Who knows what could happen? (Actually, I’m almost 99% certain that no one will die at this performance). For this particular interpretation, Francois Klaus has reinterpreted the storyline whilst maintaining all the elegant dances and choreography from the original, featuring the beautiful sounds of the Queensland Symphony Orchestra. So even if you have seen the performance before, this will be something new for you as well.
If you like music and you like trivia, TV shows such as Spicks and Specks and Never Mind the Buzzcocks likely sit high on your favourites list, with both combining tunes, musicians and questions about them. But in Brisbane, you don't have to confine your music trivia fix to staring at a screen. One of the city's most reliably entertaining evenings out comes in the form of Not On Your Rider, the IRL quiz show that's also filled with well-known faces — but staged live in the River City, with Brisbanites invited not only to watch but to also play along. This pop-culture delight has been doing the rounds for a few years now — and testing its contestants via rounds of questions — and it's back again in 2023. From the end of March, Brisbanites can look forward to monthly shows at The Triffid. Yes, given there's an October 26 date on the list, you can probably expect another Halloween celebration. And, come December 14, a Christmas show as well. If you're not already acquainted with Not On Your Rider, it takes something that everyone loves — showing off their music trivia knowledge — and dials it up a few notches. Here's how it works: the event is hosted by The Creases' Aimon Clark, and features Velociraptor's Jeremy Neale and The Grates' Patience Hodgson as team captains. Also, while the two on-stage teams are always filled with musos, comedians, drag queens and other guests, anyone can buy a ticket, sit at a table and answer questions along with them. Previous events have boasted folks from Powderfinger, Ball Park Music, The Jungle Giants, The GoBetweens, Dune Rats, DZ Deathrays, The Kite String Tangle, Butterfingers, Last Dinosaurs, The Chats and more, because you never know which music figures might be involved on the night. Guests change each show, but the past lineup has also spanned Robert Irwin, Kate Miller-Heidke, Ben Lee and Steven Bradbury, as well as Trent Dalton, Ranger Stacey, Mel Buttle and Ian 'Dicko' Dickson. And as for the quiz itself, it's accompanied by chats about the music industry, plus other mini games involving attendees. NOT ON YOUR RIDER 2023 DATES: Thursday, March 30 — The Triffid Thursday, April 27 — The Triffid Thursday, May 25 — The Triffid Thursday, June 29 — The Triffid Thursday, July 27 — The Triffid Thursday, August 31 — The Triffid Thursday, September 28 — The Triffid Thursday, October 26 — The Triffid Thursday, November 23 — The Triffid Thursday, December 14 — The Triffid
Survival is an ongoing process. If the first season of The Last of Us didn't already make that clear, the second season of the HBO series is set to arrive in 2025 to stress that message again. How does humanity endure in the aftermath of the Cordyceps virus, and the global devastation caused by it? What does it mean to persist? Also, who do we become in the process? Audiences will find out again from April. At the end of 2024, the US network confirmed that The Last of Us would return sometime in autumn Down Under. Now, it has locked in a month. An exact date is still to be revealed, but the show's comeback is getting closer. Also revealed: a new teaser trailer for the hit TV show that's based on the hugely popular gaming series, following prior sneak peeks — including as images and in promos for the network's full upcoming slate, plus an earlier season two teaser trailer. Prepare for a time jump. Prepare for a guitar. Prepare for hordes of infected. Prepare for a haunting feeling, too. Also, prepare for sirens, flares and a stern warning: "there are just some things everyone agrees are just wrong". In season two, it's been five years since the events of season one. And while there has been peace, it clearly isn't here to stay. Yes, Joel and Ellie are back — and, in their shoes, so are Pedro Pascal (The Wild Robot) and Bella Ramsey (Chicken Run: Dawn of the Nugget). This time, however, part of the conflict comes from each other. In season two, the show's main duo also have company from both familiar faces and a heap of newcomers. Rutina Wesley (Monster High) and Gabriel Luna (Fubar) return as Maria and Tommy, while Kaitlyn Dever (Good Grief), Isabela Merced (Alien: Romulus), Jeffrey Wright (American Fiction), Young Mazino (Beef), Ariela Barer (How to Blow Up a Pipeline), Tati Gabrielle (Kaleidoscope), Spencer Lord (Family Law), Danny Ramirez (Black Mirror) and Catherine O'Hara (Beetlejuice Beetlejuice) are the season's additions. The two teasers for the second season so far give fans a glimpse of plenty of the above new cast members, including Dever as Abby and Wright as Isaac. The Last of Us made the leap from video games to TV in 2023, and was swiftly renewed after proving a massive smash instantly. The series gave HBO its most-watched debut season of a show ever — and its first episode was also the network's second-largest debut of all time. Locking in a second season was also hardly surprising because the 2013 game inspired a 2014 expansion pack and 2020 sequel. For first-timers to the franchise on consoles and as a TV series, The Last of Us kicked off 20 years after modern civilisation as we know it has been toppled by a parasitic fungal infection that turns the afflicted into shuffling hordes. Pascal plays Joel, who gets saddled with smuggling 14-year-old Ellie (his Game of Thrones co-star Ramsey) out of a strict quarantine zone to help possibly save humanity's last remnants. There wouldn't be a game, let alone a television version, if that was an easy task, of course — and if the pair didn't need to weather quite the brutal journey. As a television series, The Last of Us hails from co-creator, executive producer, writer and director Craig Mazin, who already brought a hellscape to HBO (and to everyone's must-watch list) thanks to the haunting and horrifying Chernobyl. He teams up here with Neil Druckmann from Naughty Dog, who also penned and directed The Last of Us games. Check out the latest teaser trailer for The Last of Us season two below: The Last of Us season two will arrive sometime in April 2025 — we'll update you when an exact date is announced. Season one is available to stream via Binge in Australia and on Neon in New Zealand. Read our review of the first season. Images: HBO.
It might just be Australia's brightest festival: Parrtjima - A Festival In Light, which has just finished its fourth and most expansive annual program in Alice Springs. Shifting from the fest previous spring timeslot to autumn, the 2019 event attracted a record crowd of 25,000 — and, if you're keen to be among them next time around, organisers have announced that the fest will return in 2020. While exact dates haven't been revealed, the nation's first indigenous festival of its kind will light up the Red Centre in April, once again filling the region with dazzling light installations. This year's free ten-day public celebration of Indigenous arts, culture and storytelling included seven luminous displays gracing both the Alice Springs Desert Park Precinct and the Alice Springs Todd Mall. Expect a similar lineup — with all-new lighting pieces, of course — to feature next year. [caption id="attachment_715721" align="aligncenter" width="1920"] Lighting the Ranges, Parrtjima festival, Alice Springs, Australia. 5/4/2019. Images courtesy Parrtjima / NTMEC[/caption] If you're already thinking about blocking out your diary, 2019's highlights might help cement your plans. Alice Spring's CBD was lit up with new installations and events, and just out of town, tourism and conservation facility Alice Springs Desert Park came alive with the festival's main attraction. Once again, a huge artwork transformed a two-and-a-half-kilometre stretch of the majestic MacDonnell Ranges, showering it with light from 6.30–10.30pm each night of the festival — and featuring an audio track voiced by Aussie acting legend Aaron Pedersen. Visitors were also able to immerse themselves in art and storytelling as part of the returning Ahelhe Itethe – Living Sands (Grounded), with installations projected onto the earth and accompanied by a striking soundscape. New additions to this year's lineup included an illuminated tunnel that attendees walked through as they enter the festival space, called Angkentye Anpernirrentye-kerte – The Language of Kin; an array of over-sized sculptures relaying the social history of First Nations station workers and their language of the land, dubbed Angkentye Stockmen Mape-kenhe – The Language of Stockmen; and a series of sculptured large-scale moths, badged The Language of Moths, in Todd Mall. There was also a huge maze for kids and a set-up of three bush taxis displaying works by First Nations artists. [caption id="attachment_715716" align="aligncenter" width="1920"] Language of Kin, Parrtjima festival, Alice Springs, Australia. 5/4/2019. Images courtesy Parrtjima / NTMEC[/caption] With the news that Parrtjima will shine again, the Northern Territory will boast two glowing attractions in 2020 once again. The festival it's a nice supplement to Bruce Munro's Field of Light installation, which has been extended all the way through until December 31, 2020. Parrtjima – A Festival in Light runs until April 14, 2019 around Alice Springs in the Northern Territory. For more information, visit the festival website. Images: James Horan.
Lengthy is the list of Australian actors who've started their careers on home soil, then boosted their fame, acclaim and fortunes by heading abroad. Some have won Oscars. Others are global household names. One plays a pigtailed comic book villain in a big film franchise, while another dons a cape and wields a hammer in a competing blockbuster saga. David Gulpilil doesn't earn any of the above descriptions, and he isn't destined to. It wouldn't interest him, anyway. His is the face of Australian cinema, though, and has been for half a century. Since first gracing the silver screen in Nicolas Roeg's Walkabout, the Yolŋu man has gifted his infectious smile and the irrepressible glint in his eye to many of the nation's most important movies. Indeed, to peruse his filmography is to revel in Aussie cinema history. On his resume, 70s classics such as Mad Dog Morgan and The Last Wave sit alongside everything from Crocodile Dundee and Rabbit-Proof Fence to Australia, Goldstone and Cargo — as well as parts in both the first 1976 film adaptation of Storm Boy and its 2019 remake. The latest film to benefit from the Indigenous talent's presence: My Name Is Gulpilil. It might just be the last do to so, however. That sad truth has been baked into the documentary ever since its subject asked director Molly Reynolds and producer Rolf de Heer — two filmmakers that Gulpilil has collaborated with before, including on Another Country, Charlie's Country, Ten Canoes and The Tracker — to make something with him after he was diagnosed with stage-four lung cancer. That was back in 2017, when he was given just six months to live. Gulpilil has been proving that diagnosis wrong ever since. This heartfelt portrait of an Australian icon like no other also benefits from his defiance, particularly in practical terms. Initially starting out as a 30-day shoot, the doco eventually extended over twice that period, with Gulpilil, Reynolds and their movie alike all given the most precious thing there is: more time. The film that results celebrates a star who'll never be matched, and reminds viewers exactly why that's the case — but My Name Is Gulpilil isn't a mere easy, glossy tribute. Anyone could've combined snippets of Gulpilil's movies with talking heads singing his praises. In the future, someone probably will. But Reynolds is interested in truly spending time with Gulpilil, hearing his tale in his own words, and painting as complete a portrait of his life, work, dreams, regrets, spirit, culture and impact as possible. Accordingly, this touching feature steps through Gulpilil's highs and lows as relayed by the man himself. It spends much of its duration enjoying simply being with dancer, painter and actor, in fact. It surveys his daily routine in Murray Bridge in South Australia, too, where he now lives with a carer so that he can get western medicine's help. It also follows him to appointments, then watches on as he weathers his treatments. In her thoughtful, contemplative, affectionate and astute approach, Reynolds lets her audience peer deeply and listen intently. Her film favours soaking, basking and ruminating over clapping and cheering, and it was always going to be all the better for it. Marking and commemorating Gulpilil's many achievements is important, and his feats should and will rightly be remembered and saluted — but even the most vivid collection of clips and most enthusiastic rundown of his awards and other successes can only convey part of his story. There's just nothing like just passing the minutes with Gulpilil, especially when he stares directly at the camera, dives into his memories and unleashes one of his many sprawling but powerful tales. There's also nothing like facing him, taking in all that he's done for Aussie cinema and Indigenous representation, and simultaneously confronting the fact that he's unlikely to brighten up our screens again. My Name Is Gulpilil is many things, including a clear-eyed picture of a man trying to navigate terminal cancer and everything that comes with it — and it doesn't shy away from that reality at any turn. Just as moving and pivotal is its commitment to showing Gulpilil's approach to the end that awaits us all. By choosing to live in Murray Bridge to undergo treatment, he chooses to live away from Country, a decision that visibly haunts him. So, he prepares for what he describes as a one-way ticket home by planning. He spins his hair into fibre, and talks through the ceremony that will farewell both his body and spirit. For Reynolds, he poses in a coffin beneath unspooled reels of film. There's playfulness in the latter image, but such a forthright approach to death never comes as a surprise. When My Name Is Gulpilil addresses Gulpilil's time in the long grass, his run-ins with the law and his addictions, mentioning them alongside his trip to Cannes, meeting with the Queen, and interactions with everyone from Muhammad Ali to Bob Marley, the film is similarly frank and unflinching. My Name Is Gulpilil does still feature glimpses of its namesake's movies, of course. Given the wealth of material at hand — spanning plenty of the aforementioned titles, plus plenty more — no ode to Gulpilil would be complete without clips here and there. Just as Reynolds ensures that her audience genuinely takes in his inimitable presence, his culture, his health, and his ups and downs, she finds poetic ways to segue from archival and film footage to present-day scenes and back, putting them all to the most meaningful use. With editor Tania Nehme's (ShoPaapaa) considerable help, this documentary proves an act of cinematic weaving, rather than unfurling. It knows when to watch Gulpilil and an emu walk the same dusty path, when quiet reflection from the man himself is in order, and when snippets of his candour and charm from his 2004 one-man autobiographical stage show are needed instead. It's also well aware that no one will ever get the chance to make this movie again, and that only a film of astounding intimacy, honesty and insight could ever do the face of Australian cinema justice. https://www.youtube.com/watch?v=vK1DLvEkvtA&feature=emb_logo
According to all reports, climactic temperatures are on the up. So, how best to keep ours down? Air conditioning has been the favoured solution for years, but is it really the most satisfactory? It's a drain on the household budget, it'll leave the air drier than the jokes in an Oscar Wilde play, and it'll make you the natural enemy of asthmatics, athletes and singers. What's more, despite keeping things cool at home, air conditioning contributes to the emission of greenhouse gases. Architects, designers, engineers and scientists the world over are busy in their labs and studios developing more sustainable and attractive methods for making homes and workspaces livable. In Italy, recycled plastic is being turned into insulation; in Germany, maximum airtightness is minimising temperature fluctuations; in the United States, one man has combined heating and cooling his place with building gigantic ice sculptures. 40,000 Plastic Bottles Hold onto your soft drink bottles; you'll need 40,000 of the plastic kind to model your home on this zero energy beauty, titled Tvzeb. Designed and developed by Traverso-Vighy Architecture in conjunction with the University of Padua's Department of Technical Physics, it's hiding in the woods in north-eastern Italy, just a few kilometres outside the World Heritage listed city of Vicenza. The bottles were transformed into a 90mm layer of insulating polyester fibre, which combines with a heat minimising structural design and reflective glass to keep the elements at bay. Plants. Hundreds of Them. Inside. This is model and activist Summer Rayne Oakes' Brooklyn apartment. She keeps temperatures at an equilibrium by living in a vertical garden, with 220 plants filling her kitchen, living room and bedroom. Keeping them alive doesn't require any sacrifice of her hectic eco-awareness promoting schedule. An automated subirrigation system does the job. Pump it Up Minnesota artist Roger Hanson builds gigantic ice sculptures and keeps his home comfy using geothermal heat, which takes advantage of the Earth's stable temperatures. For cooling, a pump sends water underground, where warmth is removed; for heating, the opposite occurs — water is pumped up from the hot surface layer of the Earth's crust. Passive House The Passive House, or Passivhaus, as its German and Swiss originators call it, is all about extreme energy efficiency. To qualify, a building must meet some pretty stringent standards, including a maximum hourly air leak of only 0.6 times its entire capacity and an annual energy consumption no higher than 120kWh/m2. This is achieved through a 'passive solar' design and airtightness as close to 100 percent as is manageable. About 30,000 Passive Houses can be found in the world, most of them on the European continent. Follow the Sun Australian couple Luke and Debbie Everingham have designed and built a rotating house. Located on the Nowendoc River in the Manning Valley, it's powered by an engine that's only slightly bigger than one you'd find in a washing machine. Access to both sun and shade is optimised and construction costs are on par with those of building a regular home. Caveman Style The troglodytes had it figured out all those thousands of years ago. American couple Curt and Deborah Sleeper built this house into a sandstone cave in Festus, Missouri. Before their purchase of the space, it functioned as a roller-skating rink and concert venue, where the likes of Tina Turner and Bob Seger made appearances. The need for air conditioning is eliminated via a blend of natural insulation, thoughtful design and geothermal heat. Back to Basics Architect Giles Blunden knows about living in hot climates. He spent his childhood in the Australian outback before moving to the American South. In 2000, Natural Home magazine awarded him Home of the Year for this house, which is situated in North Carolina's first co-housing neighbourhood, Arcadia. A moderate temperature is maintained through old-fashioned methods: cross-ventilation, high ceilings, fans, a tin roof and eaves. According to Blunden, “Many of these features are just common-sense things that people have forgotten.” In the Treetops Artists Beth Kraminstein and Roy Levy wanted to live and work in their place without depending on air conditioning. So the environmentally conscious architects at Jersey Devil conjured this one up for them. Cross-ventilation is achieved through three garage doors and seventy carefully positioned windows. A new wing has been built to sit in the treetops, maximising the cooling effect of ocean breezes, while insulation is achieved through a blend of concrete, corrugated steel and Galvalume steel. Go Underground No, it's not a scene from The Lord of the Rings, it's a real-life, tall person's home, to be found in Vals, Switzerland. Certainly inspired by J.R.R. Tolkien's imaginary world, this Hobbit Hole is the product of the combined efforts of Christian Muller Architects and SeARCH. Temperatures are kept at a civilised level by virtue of its being underground, but the oval design allows plenty of sunlight to shine through and affords mountain views. Find Some Fans If an architect-designed house is beyond reach, or you can't see yourself catching up with Gandalf underground, you can always opt for a simpler solution: fans. Think of your home as you would your MySpace page. There are loads of unusual ceiling fans on the market these days, and if you want to get really serious about it, you can always consider a mega whole house cooling package, offered by businesses like Breeze Power.
When the end of the year hits, do you get 'Christmas is All Around', as sung by Bill Nighy, stuck in your head? Have you ever held up a piece of cardboard to tell the object of your affection that, to you, they're perfect? Does your idea of getting festive involve watching Hugh Grant, Liam Neeson, Colin Firth, Laura Linney, Alan Rickman, Emma Thompson, Keira Knightley, Rowan Atkinson and Martin Freeman, all in the same movie? If you answered yes to any of the above questions, then you clearly adore everyone's favourite Christmas-themed British rom-com, its high-profile cast and its seasonal humour. And, you've probably watched the beloved flick every December since it was first released in cinemas back in 2003. That's a perfectly acceptable routine, and one that's shared by many. But this year, you can do one better. A huge success during its past tours of the UK and Australia (to the surprise of absolutely no one), Love Actually in Concert is returning in 2022 to make this festive season extra merry. It's exactly what it sounds like: a screening of the film accompanied by a live orchestra performing the soundtrack as the movie plays. And, to the jolly delight of Aussies around the country, it's heading to Brisbane, Hobart, Wollongong, the Gold Coast, Adelaide, Sydney, Melbourne and Perth. Dates and times vary per city — and not all places have a venue locked in as yet — but obviously you'll be getting your Love Actually fix in the lead up to Christmas. Here, you'll revisit the Richard Curtis-written and -directed film that you already know and treasure, step through its interweaved Yuletide stories of romance, and hear a live orchestra play the movie's soundtrack. And, yes, Christmas (and love) will be all around you. Ticket on-sale dates vary per city, too, starting on Wednesday, September 28 in some places — but you can join the waitlist now no matter where you are. LOVE ACTUALLY IN CONCERT 2022 DATES: Saturday, December 10 — 4pm, Great Hall, Brisbane Convention and Exhibition Centre Saturday, December 10 — time and venue TBC, Hobart Wednesday, December 14 — 7.30pm, WIN Entertainment Centre, Wollongong Thursday, December 15 — 7.30pm, The Star Gold Coast Friday, December 16 — time and venue TBC, Adelaide Saturday, December 17 — 4pm, Darling Harbour Theatre, ICC Sydney Saturday, December 17 — 4pm, Plenary, Melbourne Convention and Exhibition Centre Saturday, December 17 — 4pm, Perth Convention and Entertainment Centre Love Actually in Concert will tour Australia this December — head to the event's website for further details, and to join the waitlist, with tickets in some cities going on sale on Wednesday, September 28.
Winter has come to Scotland — and with it, the perfect place for Game of Thrones fans to have a pint or two. Here, pretending that you're wetting your whistle in a boozy establishment in the Seven Kingdoms is easy as heading to Edinburgh's latest popup. Taking inspiration from the pages of George R.R. Martin's epic 'A Song of Ice and Fire' as well as the accompanying TV adaptation that no one can stop watching, Blood & Wine is the latest venture from events team The Pop Up Geeks. Every Wednesday and Thursday evening throughout January and February, they'll serve up GoT-inspired wines, ales, spirits and infusions. When you're sipping on Myrish fire wine and eating Frey pies (yep, they went there), you'll forget that new episodes of everyone's must-watch program aren't slated to return until June. https://www.instagram.com/p/BPKpLalDCok/?taken-by=thepopupgeeks Drinks wise, you'll also find the likes of Dornish Sour Red, The Imp's Delight and The Old Bear's Hot Spiced Wine on the menu, as well as a flight of seven tipples that lets you sample everything that Westeros and its fellow realms has to offer. Or, if you still have a Lannister-like thirst, opt for a Goslings Hot Mead or a glass of Icelandic Mountain Vodka. If the picture on the back of the bottle doesn't tip you off, the latter is made by a company co-owned by Hafþór Júlíus "Thor" Björnsson, the actor who plays Ser Gregor "The Mountain" Clegane on the show. To add the requisite finishing touches, the whole candlelit space is decked out with the appropriate bits and pieces; think shields, swords, posters, props and medieval-like flourishes. If that's not enough to send you scurrying over land and sea like a lost Stark child, then keep an eye on The Pop Up Geeks next venture, Perilous Potions, where they'll delve into the wizarding world of — yep, you guessed it — Harry Potter. Via Uproxx. Image: The Pop Up Geeks.
Been spending the start of 2018 looking to the future? That's what new years are all about, but tonight you might want to look to the skies as well. As part of a summer filled with supermoons, an extremely rare celestial event will occur: a super blue blood moon — or a supermoon, a blue moon and a total lunar eclipse, aka a blood moon, all at once. On the evening of January 31, it'll be time to peer above to see a piece of history. The last time this trifecta happened at the same time was back on March 31, 1866. They'll be more frequent in the coming decades, with others expected on December 31, 2028 and January 31, 2037. Still, if you miss it this month, ten years is a long time to wait. WHAT IS IT? If you're more familiar with The Mighty Boosh's take on the moon than actual lunar terms, here's what you need to know. As we all learned back in November 2016, a supermoon is a new moon or full moon that occurs when the moon reaches the closest point to Earth in its elliptical orbit. They're not uncommon; two have taken place since the beginning of December. The supermoon at the end of January will be a full moon, which is why it's also a blue moon. A blue moon refers to the second full moon occurring in a calendar month. Despite the saying, they happen more often than you might think, with the last taking place in July 2015, and another due in March this year. And then there's the lunar eclipse, when the moon passes directly behind the Earth, into its shadow, blocking direct sunlight. When the three celestial bodies are lined up, it makes the moon look like it has been tinted red. WHEN CAN I SEE IT? If you're keen to catch a glimpse, timeanddate.com has put together a handy to-the-minute schedule of when the eclipse will be happening in Sydney, Melbourne and Brisbane. The super blue blood moon is expected at around 12.30am in Sydney and Melbourne, and 11.30pm in Brisbane. [caption id="attachment_655292" align="alignnone" width="1920"] Sydney total lunar eclipse times via timeanddate.com[/caption] Have your cameras at the ready, obviously — and see if you can outdo the last big batch of supermoon snaps. WHERE CAN I SEE IT? Being in the southern hemisphere, we get some of the best views in the world — weather permitting, of course. Everyone in Australia should be able to catch a glimpse, but, even so, if you're living in the city, it would be best to as far away from light pollution as possible. Typically, clouds and rain are predicted for today along the east coast, which could prove really screw up visibility. If you can't get a clear view, The Virtual Telescope Project will be live streaming the eclipse from 10.30pm AEST (9.30pm in Brisbane) here. Otherwise, there will be another total lunar eclipse on July 28. Via Space.com and timeanddate.com. Updated: January 31, 2018.
A Separation is an Iranian drama film that revolves around the divorce of Nader and Simin, who have been married for fourteen years and share an eleven-year old daughter, Termeh. Simin wishes to move the family outside of Iran in light of the turbulent conditions, while Nader wishes to stay in the country to care for his elderly father. A rapid series of events takes place following the separation, which lead to accusations of violence, theft and murder. What results is a fascinating insight into gender customs and religious devotion in Iranian society. Moreso, it unfolds as a story which explores the global themes of guilt, self-reflection and responsibility in a fascinating environment. The film has garnered unanimous critical acclaim since its original release in 2011, which has been solidified with a plethora of awards. These include Best Film at the Sydney Film Festival, a Golden Berlin Bear at the Berlin International Film Festival, the esteemed Golden Globe for Best Foreign Language Film at the Golden Globe Awards, and, as of today, the Academy Award for Best Foreign Language Film. Critics have praised the film for its fast pace, weaving complexity and bravery for commenting on themes which have been kept hidden to much of the Western world. A Separation is a gripping film that raises more questions that it answers, leaving viewers meddling in thought and contemplation. Thanks to Hopscotch, Concrete Playground has five double passes to give away. To win tickets to see A Separation, just make sure you are subscribed to Concrete Playground then email your name and postal address through to hello@concreteplayground.com.au https://youtube.com/watch?v=B2Sswx_vrWk
It gets us around the country, and the world, much faster than any other form of transport that's in widespread use; however, there's plenty about air travel that's far from fun. No one loves being crammed into the tiny amount of space that comes with each economy seat, for instance, or getting stuck having awkward mid-air conversations with strangers. Thanks to Qantas, skipping both of those frustrations is now possible. The Australian airline has just launched a new 'neighbour-free' option. It sounds like the Australian TV landscape now that a certain beloved soap opera is off the air, but it's actually an in-flight move to give you some extra room. The concept really is as self-explanatory as it sounds — aka you'll take to the air without someone sitting in the neighbouring chair. Before you go dreaming about how you'll use the added space on your next getaway, Qantas is still trialling its neighbour-free offering at present, so it isn't available on all routes or flights. The test is only running domestically, too — so cramped overseas trips still await. Unsurprisingly, you do need to pay for the added space, with prices varying depending on the route. The Australian Frequent Flyer forum advises that the cost starts at around $30 — on top of your existing fare, of course — for short flights. Here's how it works: if you're eligible to go neighbour-free, you'll get an email 48 hours before your departure, inviting you to take up the service. You're then able to make the request up to an hour before your flight, including when you reserve your seat — or by hopping into your online reservation if you've already picked where you want to sit. That's when you'll pay the neighbour-free fee, too, and receive confirmation via email. Obviously, the whole thing is subject to availability — and it also can't be cancelled after you've set it up. If Qantas has to seat someone in your extra spot, however, you'll automatically be refunded the neighbour-free cost. (The airline advises that that might happen "for operational, safety or security reasons, even after boarding the aircraft".) [caption id="attachment_823330" align="alignnone" width="1920"] Brent Winstone[/caption] Yes, you could always do this by booking two seats if you really wanted to avoid sitting next to anyone. This new option is much cheaper, though. There's no word yet as to if or when the ability to go neighbour-free might become a standard Qantas offering, or if it'll also be trialled or brought in for international trips. We can think of a few of flights where it'd be particularly handy: the 17-hour direct Perth–London route, and the planned non-stop legs from Australia's east coast to London and New York. For more information about Qantas' new neighbour-free option, head to the airline's website.
Clear your calendar. Check your annual leave balance. Dust off your biggest suitcase. In the space of less than 24 hours, not one but two dream vacation spots have added themselves back to everyone's must-visit lists — and, even better, to our can-visit lists. First came Japan, which'll drop its travel restrictions on individual international tourists in mid-October. Also announcing a big change to its border requirements: Hong Kong. The Special Administrative Region's Chief Executive John Lee advised on Friday, September 23 that it'll ditch compulsory hotel quarantine for incoming travellers from Monday, September 26. Yes, in a matter of days you'll be able to jet over to the popular getaway destination and enter without spending a stint holed up in a hotel first. The quarantine requirement will lift "for inbound persons from overseas places or Taiwan" after "analysing scientific data and striking a balance among factors such as transmission risks", the Hong Kong Government said in a statement. "The Government's goal is to minimise the inconvenience faced by inbound travellers due to quarantine requirements and allow room for Hong Kong to connect with the world as far as possible, while being able to contain the epidemic development." Also changing: testing requirements, with travellers no longer needing to provide a negative PCR test to enter Hong Kong from Monday, September 26, too. Rather, you'll have to show a negative COVID-19 result from a rapid antigen test, which needs to be taken within the 24 hours prior to getting on your flight. There are a few other caveats. A period of "medical surveillance" lasting three days applies, which requires self-monitoring from wherever you're staying in Hong Kong. And, during that period, travellers can't enter bars or restaurants — places considered "high-risk premises involving mask-off or group activities" — but they can use public transport, and shop in supermarkets and markets. You'll also need to undertake daily RATs for a week, and take a PCR test upon arrival — and on days two, four and six of your stay. Currently looking for your passport? Making big summer plans? Plotting out your bucket-list 2023 trip? That's understandable. Hong Kong's compulsory quarantine requirement will lift on Monday, September 26. For further information about travelling to Hong Kong, visit the Hong Kong Government's website.
With a slew of brewers on the beer manufacturing scene, nowadays, those crafting the hoppy delights have to work particularly hard to differentiate their beers and draw drinkers in. But you may not know that, long before craft brewers made seasonal releases hugely popular, Coopers was creating zeitgeist-capturing beers that reflected what beer fans wanted — and the Australian brewery has continued this tradition into 2018 with the release of this year's Coopers Vintage Ale. To celebrate the release of the 2018 vintage — which has, for the first time, been made using the malt from Coopers' own malting facility — we're looking into five current beer trends that brewers around the country, and the world, are embracing. [caption id="attachment_678613" align="alignnone" width="1920"] Flickr.[/caption] AGED BREWS Generally, beer should be consumed as fresh as possible — but there are some notable exceptions that prove wine isn't the only alcoholic beverage worth cellaring. Breaking with tradition, the Coopers Vintage Ale is brewed to be cellared — so, instead of popping it straight in the fridge, you're best to save it for a later date. Alongside this, local breweries have been ageing a number of small-batch brews in barrels. Oak barrels — previously used for chardonnay, shiraz and bourbon — impart subtle flavours of vanilla and light spice which can add new depths of flavour to already outstanding beers. PADDOCK-TO-PINT BREWING Ownership matters, as does knowing where your product has come from. Off the back of the paddock-to-plate movement in the culinary world, brewers and drinkers alike are embracing the paddock-to-pint mentality. Just this year, Coopers brought its malt production in-house — and, as such, the 2018 Vintage Ale will be the first vintage made using Coopers' own malt. Not only does this save Coopers the carbon impact of importing the malt from interstate and overseas, it also makes for a more consistent end brew. SEASONAL RELEASES Seasonal brews are limited release beers designed to be enjoyed at various points throughout the year. They are often based on what ingredients are most readily available at the time of brewing. The general trend among today's brewers is to do a dark ale, stout or porter in winter, and a light session beer for the warmer months. Coopers has been pumping out seasonal releases for 20 years now with its Coopers Vintage Ale. It favours the style of an English strong ale yet varies year-to-year based on the seasonal hops available. This year's offering is the first to use a house malt variety which will likely encourage rich honey, toffee and caramel malts — complemented by seasonal hop varieties that provide a balanced bitterness. Due to its strength, Coopers Vintage Ale is a great beer to age — the flavours develop and change over time, much like a fine wine. SESSIONABLE ALES There's no denying that Aussies like to congregate around a few cold ones, but a recent trend is leaning towards beers designed specifically for a drinking session. These beers are comparatively lower in strength than what many would be used to, often sitting around four percent. There was a time when less alcohol meant compromising on flavour — but, with the correct hopping regime and malt balance, we're seeing refreshing yet complex flavours finding their way into sessionables. The Coopers Session Ale, for example, is a 4.2-percent beer with plenty of fresh citrus notes. COLLABORATIVE BREWING Brewing brings people together — and we're seeing more and more breweries teaming up to create unique beers that reflect a union between the brewers and their idiosyncratic styles. For example, Batch Brewing Company recently recreated Scottish brewing powerhouse BrewDog's iconic Punk IPA for Australian shores. Collaborative brewing efforts are also seen in large-scale brewing companies like Coopers, which brews both New York City's Brooklyn Lager and Carlsberg under licence for Australian distribution. Collab brews are also popular with bars — a venue can create a brew with a brewer which speaks to its brand. SOUR BEERS Sours are the new IPAs — or that's what most beer geeks would have you believe. But sour beers are not exactly new, with recipes dating back to medieval times. Sour or wild ales can be soured with bacteria and yeast strains: lactobacillus gives sharp and acidic flavours, whereas brettanomyces gives tart and funky flavours. Sours are akin to fine wines in the depth and range of flavours they offer, hence they have found resonance with seasoned drinkers who enjoy high-quality beer. The flavour can be a bit intense at first — it's a bit of an acquired taste, but one that's definitely worth acquiring. Well, get with it — get your hands on some of the limited release Coopers Vintage Ale 2018 and try it yourself.
Popping bubble wrap is one of those things which will never grow old. Regardless of who you are, where you are from, and what you do, bubble popping is a universally accepted means of entertainment. For all poppaholics, behold the Bubble Calendar — a poster-sized calendar with a bubble to pop every day. This 122cm x 26cm monolith of a calendar is sure to make up for any dull day of the year. Whether it's returning from a vacation or retreating back to your cave from a tough day at work, Bubble Calendar is sure to provide you with at least one thing to look forward to in the day. [Via Lost At E Minor]
The silly season is for cooking, decorating and creating napkin swans for Aunt Julie, who insists on tradition even though it is 40 degrees outside and everyone is already in a punch coma. Yes, DIY Christmases are where it's at. Join those who actually know what they are doing (and buy some gifts with the same amount of love) at this year's Christmas Design Market. Find jewellery, ceramics, textiles and pre-loved fashions for some of your favourite humans (or perhaps as a self-gift, because you're worth it). The annual market always compiles a bunch of well-known names in the creative gifts department — and taking the time to peruse the GOMA collection of books and art is always recommended, as is checking out the edible delights to keep you going. Remember: cute design gifts call for cash, as EFTPOS facilities might not be available at all sellers. The QAGOMA Store Christmas Design Market runs from 9am–4pm on Saturday, November 30 on the GOMA forecourt. Merry shopping!
War on Waste, the ABC documentary series presented by The Chaser's Craig Reucassel, brought some shocking statistics into lounge rooms all over the country earlier this year. 1.6-million viewers discovered that Aussies use more than ten million plastic bags per day and chuck out 3.3 million tonnes of food waste per year. The good news is that the show seems to have triggered some action. In mid-July, Woolworths and Coles announced that, over the next twelve months, they'll be phasing out plastic bags. And, a few days ago, the City of Sydney pledged funding for the Responsible Cafes campaign, which is helping local cafes to get rid of disposable cups. Meanwhile, the City of Melbourne is running a project that transforms cigarette butts into plastic products. Every week, the council collects more than 200,000 butts from 367 dedicated bins across Melbourne. "[It's] litter that may otherwise end up being washed down drains and into the Yarra River," said Lord Mayor Robert Doyle AC. Unfortunately, cigarette butts are not biodegradable and take ages to break down. So, in collaboration with Enviropoles (who does the collecting) and TerraCycle (who does the recycling), the City is ensuring the butts are turned into usable items, including plastic furniture and shipping pallets. Funding comes from the Victorian Government, via the Litter Hotspots program. "[So far], we have collected 1.2-million butts from around Melbourne's universities and hospitals and busy CBD locations that can be repurposed," Lord Mayor Doyle said. To draw attention to the project, there's a Perspex box filled with cigarette butts in Queensbridge Square, on the banks of the Yarra. The initiative follows the lead of Vancouver, Canada, and New Orleans in the US. "Cities around the world are looking for new ways to reduce the amount of waste that goes to landfill," said Councillor Cathy Oke, Chair of the City of Melbourne's Environment portfolio. Photo via City of Melbourne.
Us Brisbane-dwellers do love our bottomless food. And now, thanks to the Salisbury Hotel, we can add bottomless southern-syle fried chook to our weekday must-eat lists. Head on down to the family and dog-friendly pub on Thursdays, from 6–8pm, and you'll be settling in for two hours of all-you-can-eat succulent, fried chicken — for just $20. The pub's also went under a spiffy renovation recently. So, you can check out the new lounge, gaming room, events space and spacious beer garden — which is where you'll most likely be spending most of your time sinking brews and tucking into your bucketloads of chook. Your fried feed also comes with sides, so, you'll also be tucking into slaw and mash, plus covering everything with gravy. To feast on all-you-can-eat fried chook you must book, which you can do here.
Winner of Best Innovation in Theatre and Best Performance at the Melbourne Fringe Festival, Show Me Yours, I’ll Show You Mine is a dissection of the life of a sex-worker – love, family, intimacy. In an interview, Not-Nick reveals the intimate details of his life to Tim, who in turn ends up revealing pieces of himself. Described as an ‘alluring study of integrity and play acting, made volatile by the rules of theatre’ – Show Me Yours is an engaging piece of theatre that makes its mark by exploring a topic that has been largely hidden in the shadows. The work is performed by Tim Spencer (also the writer) and Charles Purcell. It is showing at La Boite theatre as part of the second wave of their Indie showcase. Be sure to check this production out while you can. The likes of this wont be seen again in Brisbane for a long time.
First Melbourne hosted Heston Blumenthal's Fat Duck, then Sydney got the upper hand by coaxing Rene Redzepi to bring his world-renowned restaurant Noma to Barangaroo for a few months. Now Melbourne has one-upped Australia's biggest city to take back the culinary crown, nabbing the rights to host next year's World's 50 Best Restaurants awards. The announcement was made by the World's 50 Best Restaurants group editor William Drew ahead the 2016 awards, which are being held in New York tomorrow night. It's a pretty big deal for little ol' Melbourne (and Tourism Australia) as it's only the second time the awards will be held outside of London. "After hosting 14 successful editions of The World's 50 Best Restaurants awards in London, we feel the time is right to make the event truly global," said Drew in a press release. "2017 in Australia will be the second time we have held the awards outside of London, following New York this year. There's so much international interest in Australia as a food destination, it's exciting for us to have the opportunity to take the events program to this unique country." Well, shucks. If you're not familiar with the awards, they're the ranking that everyone uses when talking about the best restaurants in the world. Last year Spain's El Celler de Can Roca was awarded the number one spot, while Noma has been a former list-topper multiple times. 2015 gave special mention to Melbourne's Attica and Brae, as well as Sydney's Quay and Sepia, which probably has a lot to do with why they've decided to come Down Under in 2017.
New year, new plans to eat healthier. Yes, we all know how resolutions go. And if you're kicking things off by ditching meat — altogether, or just by trying to work more plant-based options into your meals — but you don't want to cook each and every dish that you tuck into, Deliveroo has announced a handy special to start 2022. Until Monday, January 31, the delivery service is offering Australians free delivery from more than 1500 local restaurants, but only if you're ordering plant-based fare. Looking for an excuse to munch on a fried cauliflower burger from Mary's, one of Zeus Street Greek's pitas with plant-based lamb, Katsu King's vegan katsu curries or a classic vegan burg from Betty's Burgers? We've just found it. Other eateries involved include Huxtaburger, MadMex, Fishbowl, Grease Monkey and Grill'd, plus Oriental Teahouse, Royal Stacks, Grassfed, I Love Pizza and Gnocchi Gnocchi Brothers. Obviously, the list goes on. Odds are that if you can think of a dish that doesn't include meat, it's part of the deal somewhere around the country. Of course, whichever plant-based dish you choose, you'll still need to pay for whatever you'd like to eat; however, you won't have to fork out more on top to get it brought to your door. Deliveroo is calling the special 'veganuary' — and, as you usually do, you'll need to place your order via the Deliveroo app. Deliveroo's free delivery on plant-based dishes on offer until Monday, January 31 Australia-wide via the Deliveroo app.
It's time to hit the galleries, as The National has returned. Having launched in 2017, the massive biennial showcase of contemporary Australian art exhibition is again happening across Carriageworks, the Museum of Contemporary Art Australia and the Art Gallery of NSW. This year, the program features works from 65 emerging, mid-career and established artists in three incredibly thought-provoking and impressive exhibitions. The showcase brings together artists from all over the country, with fresh perspectives on Australia that span culture, gender and place. Expect installations, performances, sculptures, videos, paintings and drawings that examine what it means to be Australian. Here are ten highlights that you can't miss. [caption id="attachment_714608" align="alignnone" width="1920"] Zan Wimberley.[/caption] GHOST LINE BY TOM MÙLLER, CARRIAGEWORKS When you're checking out the exhibition at Carriageworks, be sure to stand outside at 11am and 4pm, when Ghost Line is activated. The installation transports viewers back in time to the days when Carriageworks was the Eveleigh Railway Workshops. The entire laneway is flooded with smoke, to the point where your view of your surroundings is completely obscured. Suddenly, it really seems as if a steam train is about to pull in, making a grand return to the old tracks that still line the path. It's a surprisingly simple yet disorienting experience, making this site-specific performance a must-see. Ghost Line is activated at 11am and 4pm every day. [caption id="attachment_714595" align="alignnone" width="1920"] Zan Wimberley.[/caption] (DIS)ORDER BY EUGENIA RASKOPOULOS, CARRIAGEWORKS Eugenia Raskopoulos' (dis)order takes on many layers. Part projected performance and part installation, the artwork instantly draws the viewer into the scene. On a life-like projection, Raskopoulos hovers over a tower of domestic appliances, then throws them one at a time onto (what seems like) a growing pile of broken junk. Of course, this pile is not growing, but, you cannot help but cringe with each perfectly timed crash. On the wall opposite, a neon sign blinks between 'order' and 'disorder', showing the thin line between those two states. The overall effect is an immersive, timely and defiant feminist performance that will keep you watching for far too long. [caption id="attachment_714751" align="alignnone" width="1920"] Zan Wimberley.[/caption] SONG FOR VON GUÉRARD BY MARK SHORTER, CARRIAGEWORKS Hidden at the back down several pitch black corridors, Song For von Guérard is easy to miss — and, depending on how easily you're disturbed, you may wish you had. Mark Shorter's piece is inspired by the 1863 Australian landscape painting by Austrian painter Eugene von Guérard titled North-east view from the northern top of Mount Kosciusko. It's a comment on how modern Australian identity has been defined by exaggerated European ideas of our country. Traverse the cave-like rooms and you'll stumble into a dimly illuminated space where a replica of the painting spans an entire wall. But watch out, on performance days those dark chambers will be haunted by Shorter's time-travelling persona called Schleimgurgeln — he takes the disturbing form of a naked man covered in feathers with boiled eggs for eyes. The character will hold a lit match over the piece, physically destroying the colonial European gaze of Guérard's painting. It's strange, it's creepy and it challenges old notions of Australian identity. Performance times are noon–6pm on March 31; April 6, 20, 27; May 4, 18, 25; and June 1, 15, 22. [caption id="attachment_714637" align="alignnone" width="1920"] Photo by Jacquie Manning. Image courtesy of the artist and Mimili Maku Arts.[/caption] KAMANTAKU TJUKURPA WIYA BY KUNMANARA (MUMU MIKE) WILLIAMS, MCA Kamantaku Tjukurpa wiya is the last in a three-year series of paintings, all created on repurposed canvas mailbags. While this is the artist's largest work, its message is bigger still. A comment on the conflict between Commonwealth and Anangu law, the painting is an urgent demand for recognition of the enduring culture, languages, power and humanity of Tjukurpa — the religion, law and moral systems of the Anangu people. It's a politically charged work, centring on an outline of Australia that isn't restricted by state or territory. The words written in Pitjantjatjara need no translation — instead, these words call for respect of the language and for the true owners of the land. [caption id="attachment_714636" align="alignnone" width="1920"] Photo Jacquie Manning. Image courtesy of the artist and the MCA.[/caption] THE AUSTRALIAN UGLINESS BY EUGENIA LIM, MCA Remove your shoes and enter the domed 'fishbowl', in which a lineup of yellow bean bags imitate a mini-cinema. Lim's three-channel video installation The Australian Ugliness is a reinterpretation of Neptune's Fishbowl restaurant in South Yarra, designed by architect Robin Boyd. The film moves through 30 architectural sites in Melbourne, Sydney, Canberra and regional locations — these include the Sydney Opera House, the Sirius Building, the Melbourne Recital Centre and the Australian Islamic Centre. Apart from the buildings, the film's central figure is the gold-suited 'ambassador' of Lim's previous works Yellow Peril (2015) and The People's Currency (2017). In her work, Lim uses architecture to convey messages on gentrification and a loss of heritage, posing the question "who holds the right to design our spaces?" Her film calls on viewers to questions what architecture says about our culture and to learn to embody the spaces we inhabit. [caption id="attachment_714583" align="alignnone" width="1920"] Photo by Jacquie Manning. Image courtesy of the artist and the MCA.[/caption] FORT THUNDER BY LUCAS ABELA, MCA Fort Thunder: An Electro-Acoustic Playground is just what it sounds like. Artist Lucas Abela encourages participants to interact and quite literally play in his installation, which is a synthesiser that generates electronic noises as you touch it. These impromptu performances follow the artist's mantra that experiential music is meant to be played more than it is observed. The 'instrument' is best played with three points of contact, but is otherwise dependent on participants' creativity. Don't expect a trance-style sound to be emitted, either — it's more akin to an amplified rock 'n' roll guitar riff. This one is a loud and intense experience, but it's also a whole lot of fun. [caption id="attachment_712623" align="alignnone" width="1920"] Daniel Boud[/caption] LICK LICK BLINK BY WILLOH S. WEILAND, MCA Willoh S. Weiland's striking new work combines film, performance and breast-shaped gelato. Lick Lick Blink is a ten-minute cinema experience, that only one person can view at a time. The work is inspired by the #MeToo movement and examines how female images are consumed in film. Expect the screen to be solely occupied by women — a rarity in mainstream cinema. And, to take this experience to a more immersive level, Gelato Messina has created a range of breast-shaped, nipple-topped, milk-flavoured ice cream cones for participants to eat while figuratively devouring the female images on screen. The chocolate coating comes in a variety of shades, which is a reflection of the female diversity that is all too often absent in film. It's truly a trip to the movies like no other — make sure to check the performance schedule so you don't miss out on this one. Lick Lick Blink screenings are free, but booking is required in-person on the day at the MCA information desk (level one). For the full performance schedule, head online. [caption id="attachment_714586" align="alignnone" width="1920"] Photo by Jacquie Manning. Image courtesy of the artists and the MCA.[/caption] HEALA BY HANNAH BRONTË, MCA Hannah Brontë's powerful audio video installation Heala combines hip-hop with themes of trauma, Country and the womb. Brontë describes the installation as "swimming in one's grief, right down to the depths of it...[and] washing off our own trauma stories". The orange drapes are meant to replicate the light and feeling of being back in the womb, while a music video of sorts is projected in the centre. The work speaks to female trauma and empowerment within the First Nations communities and beyond. Her work examines traditions of First Nations women to tell a rhythmic story of what overcoming trauma can look like, and is a powerful reminder of female strength and resilience in the face of pain and loss. [caption id="attachment_714613" align="alignnone" width="1920"] Robert Andrew, Transitional text — Buru (2016).[/caption] A CONNECTIVE REVEAL BY ROBERT ANDREW, AGNSW This transient work changes throughout the exhibition's four months. The two soil pillars of A Connective Reveal each have a string attached, which is gradually pulling the pillars to pieces. As each layer is revealed, more and more soil falls to the ground around the work. The pillars speak to the ever-changing nature of First Nations cultures and identities, and challenge the assumptions that this culture is 'bound to the past'. Like the artwork, the First Nations past, present and future is in a constant state of motion. At the same time, the wall across from these pillars holds another artwork that gradually reveals the 'bleeding' Gadigal word buduwa — a term which refers to 'warming one's hands by the fire and then gently squeezing the fingers of another person'. The word marks a cultural refusal to be marginalised, stereotyped or ignored. As this piece develops slowly over time, it's best to view it several times throughout the exhibition months. The image above is of one of Andrew's previous works. [caption id="attachment_714770" align="alignnone" width="1920"] Photo by Mim Stirling. Image courtesy of the artist.[/caption] IRHAL (EXPEL), HOPE AND THE SORROW OF DISPLACEMENT BY RUSHDI ANWAR, AGNSW Rushdi Anwar's striking work speaks directly to his experience as a Kurdish refugee, having fled his hometown after a chemical massacre in 1988. Burnt chairs are piled unstably high, giving the sense that they could topple at any moment. The wreckage is a tribute to the ruin of displacement and a home denied. At the same time, the installation offers a message of hope, as the continually rising chairs resist their destruction — a show of strength and resilience. Anwar's installation is set against the only other artwork in the room, a series of collage prints by Eliza Hutchison, titled The difference between the eternal and the infinite. Her fractured images carry a pulse nearing chaos, creating a disorientation that then turns to confrontation in Anwar's work. Together, the two works create a dialogue about the precarious state of the modern world. The National runs from March 29–July 21 at the AGNSW and from March 29–June 23 at Carriageworks and the MCA. Top image: Mark Shorter, Song for von Guérard at Carriagworks. Photo by Zan Wimberley.
UPDATE: FRIDAY, JUNE 1 — To celebrate the release of the new batch of Bloody Shiraz Gin, Four Pillars will be giving keen drinkers a free taste of the stuff this Saturday, June 2 at bottle shops around the country. This includes the Oak Barrel, P&V Merchants and Paddington Cellars in Sydney; Mr West, Carwyn Cellars and Blackhearts & Sparrows in Melbourne; and The Cru and The Wine Emporium in Brisbane. See the full list (and tasting times) here. For the past three years, gin lovers across the country have tripped over themselves to get their spirit-loving fingers on a bottle of Four Pillars' Bloody Shiraz Gin — and that's before they've even had a sip of alcohol. The limited edition shiraz-infused concoction really is that good, so we thought you'd like to know that the next batch goes on sale this Friday, June 1. If you haven't come across the gin before, it's basically what it says on the label: gin infused with shiraz grapes. This gives the spirit a brilliant deep cerise colour and some sweet undertones (without a higher sugar content). That, along with its higher alcoholic content — 37.8 percent, compared to an average 25 percent in regular sloe gin — makes the Bloody Shiraz Gin a near-perfect specimen. Four Pillars created the game-changing gin back in 2015 when it came into a 250-kilogram load of shiraz grapes from the Yarra Valley. Experimenting, the Victorian distillers then steeped the grapes in their high-proof dry gin for eight weeks before pressing the fruit and blending it with the gin, and hoping like hell it would turn out well. It did. The last few batches have sold out really quick, so this year the distillery has acquired more shiraz to make more of the gin than ever before. Still, you'll need to move fast. The gin will go on sale for $85 this Friday, June 1 at selected bottle shops and online at fourpillarsgin.com.au. Godspeed.
When you hear about a company called Briefs, many connotations and guesses about what it could possibly be about spring to mind. For example: maybe it’s an underwear company, or perhaps they write official documents that ‘brief’ their superiors. One guess that I certainly didn’t have is that they are a male troupe of performers that put on a half circus, half burlesque show. However here we are, and that is what Briefs is. Touring Brisbane again after both an overseas jaunt in the United Kingdom and an award winning turn at the Melbourne Fringe Festival, the boys have whipped up a new show, Circus, that comes with plenty of festive cheer. Renown for their cheeky performances that include both the aforementioned circus and burlesque, they are also fused with plenty of crass humour and a lot of bared flesh. Their shenanigans are so naughty in fact that they even recommend the audience be 18 years and over, making this a circus that I would like to see more and more. Included in their troupe is the Las Vegas 2011 King of Burlesque, Mark Winmill so you can be guaranteed that the show will include all the dancing and stripping talent you desire. However be warned, the last two seasons of Briefs sold out in Brisbane, so if what you’re craving is an adults-only show of contorted (but sexy) man flesh then you should act fast.
They can't all be great. They can't all be good. They can't all even be watchable. Every year, cinemas and streaming queues fill up with new movies — and every year, that includes a whole heap of excellent films. But, as the annual Golden Raspberry Awards also recognise, it also spans awful flicks as well. While the Oscars and Golden Globes shower love on the best and brightest movies of the past year each time that they roll around, the Razzies do the opposite, handing nominations and gongs to the films it considers the worst of the annual bunch. 2023's accolades mark the awards' 43rd and they're aiming big, with high-profile titles such as Blonde, Morbius, Elvis and Disney's live-action Pinocchio among the contenders. Of course, just as naming ace flicks is subjective, so is shaming terrible ones. Expect Elvis to notch up Academy Award nods, too, for instance. But the Razzies has given Baz Luhrmann's film two nominations, and both for Tom Hanks: for Worst Supporting Actor and Worst Screen Couple with his latex makeup. Hanks isn't just one of the world's favourite actors, but one of the Razzies' this year, also picking up a Worst Actor nomination for playing Gepetto in Disney's Pinocchio. That film received six nods in total, coming third to Marilyn Monroe biopic Blonde with eight and Machine Gun Kelly's stoner comedy Good Mourning with seven. Also among the nominees: Pete Davidson twice, for Marmaduke and Good Mourning; the Firestarter remake's Ryan Kiera Armstrong for Worst Actress; filmmaker Judd Apatow for the pandemic-set supposed comedy The Bubble; and the two 365 Days sequels. And yes, it's morbin' time at the Razzies, with the Jared Leto-starring supervillain flick ranking fourth nominations-wise with five: for Leto for Worst Actor, Worst Picture, Worst Supporting Actress (for Adria Arjona), Worst Director (Daniel Espinosa) and Worst Screenplay. The 43rd Annual Razzie Award winners will be announced on Sunday, March 12, Australian and New Zealand time. Check out the full list of nominees below: GOLDEN RASPBERRY NOMINEES 2022: WORST PICTURE Blonde Disney's Pinocchio Good Mourning The King's Daughter Morbius WORST ACTOR Colson Baker (aka Machine Gun Kelly), Good Mourning Pete Davidson (voice only), Marmaduke Tom Hanks (as Gepetto), Disney's Pinocchio Jared Leto, Morbius Sylvester Stallone, Samaritan WORST ACTRESS Ryan Kiera Armstrong, Firestarter Bryce Dallas Howard, Jurassic Park Dominion Diane Keaton, Mack & Rita Kaya Scodelario, The King's Daughter Alicia Silverstone, The Requin WORST SUPPORTING ACTOR Pete Davidson (cameo role), Good Mourning Tom Hanks, Elvis Xavier Samuel, Blonde Mod Sun, Good Mourning Evan Williams, Blonde WORST SUPPORTING ACTRESS Adria Arjona, Morbius Lorraine Bracco (voice only), Disney's Pinocchio Penelope Cruz, The 355 Bingbing Fan, The 355 and The King's Daughter Mira Sorvino, Lamborghini: The Man Behind the Legend WORST SCREEN COMBO Colson Baker (aka Machine Gun Kelly) and Mod Sun, Good Mourning Both real life characters in the fallacious White House bedroom scene, Blonde Tom Hanks and his latex-laden face (and ludicrous Aaccent), Elvis Andrew Dominik and his issues with women, Blonde The two 365 Days sequels (both released in 2022) WORST DIRECTOR Judd Apatow, The Bubble Colson Baker (aka Machine Gun Kelly) and Mod Sun, Good Mourning Andrew Dominik, Blonde Daniel Espinosa, Morbius Robert Zemeckis, Disney's Pinocchio WORST REMAKE, RIPOFF or SEQUEL Blonde Both 365 Days sequels: 365 Days: This Day and The Next 365 Days Disney's Pinocchio Firestarter Jurassic World Dominion WORST SCREENPLAY Blonde Disney's Pinocchio Good Mourning Jurassic World Dominion Morbius
Whip out those dancing shoes and get ready for a DJ dance revelry because it’s time again for another triple j par-tay! In celebration of crazy party themes, breakfast radio and live music, triple j’s party hosts Tom and Alex are throwing a party palazzo at Brisbane's favourite student club night Lambda Lambda Lambda. So what is the theme of this party? Well, it’s quite simple really. After asking the people of Australia for suggestions on what the party theme should be, it was decided to dedicate the entire night to the vigorous celebration of Brisbane’s own 21-year-old Steph and her odometer clicking over 3000km after only three weeks of owning it. If that doesn’t make you feel like bustin’ a move, not to worry, there are plenty of other things to shout about. Like Brisbane's own Evil Eddie and Last Dinosaurs making an appearance, Alex Dyson challenging Nina Las Vegas to a DJ battle, and you will also spot international comedy celeb’ Arj Barker attending the festivities to entertain and do what ever the hell he wants. Best part about this party is it’s free before 10pm. Oh, and don’t forget, Lambda’s premium in house service of pouring beverages into etch-a-sketch cups. See you there!
Back in 2023, word arrived that two nostalgic favourite flicks from decades back were getting sequels: Beetlejuice and Freaky Friday. If there's a way for Hollywood to revive a beloved hit, it always will — whether or not Tinseltown executives have had a disagreement with their past, received a fortune cookie predicting the future, felt an earthquake shudder and then woke up years earlier. So, in 2024, Beetlejuice Beetlejuice will hit cinemas. Then, in 2025, so will the as-yet-unnamed follow-up to 2003's mother-daughter body-swapping comedy. Just like the second Beetlejuice, the new Freaky Friday will feature familiar faces — and yes, that means reuniting Everything Everywhere All At Once Oscar-winner Jamie Lee Curtis with Lindsay Lohan (Irish Wish) two decades later. Production has just begun, with the pair back as Tess and Anna Coleman. Also returning: Mark Harmon (NCIS), Chad Michael Murray (Sullivan's Crossing), Christina Vidal Mitchell (The Terminal List), Haley Hudson (Queen Gorya), Lucille Soong (Raya and the Last Dragon), Stephen Tobolowsky (Hacks) and Rosalind Chao (3 Body Problem). Drinking, dancing, getting angry that your mum won't let you go to your band's big audition, eating those enchanted cookies — perhaps that'll all get worked in again, too. This time, Anna has a daughter herself and is about to gain a stepdaughter, with Disney teasing "a multigenerational twist". Will there be multiple swaps? Will kids be trading places with their grandmother? Other than the fact that two families merging will be at the heart of the tale and that more hijinks are in store, nothing else plot-wise has been revealed. On-screen, the returning gang will have Julia Butters (The Fabelmans), Sophia Hammons (The Absence of Eden), Manny Jacinto (The Acolyte) and Maitreyi Ramakrishnan (Never Have I Ever) for company. Behind the lens, Nisha Ganatra (The High Note, Late Night) is directing, with Curtis and Lohan among the executive producers. @disneystudiosThe band's back together and coming to theaters in 2025 🤘. The sequel to Freaky Friday is now in production!♬ original sound - Disney Studios The first Curtis and Lohan team-up didn't start the Freaky Friday franchise. Instead, it began with the 1972 book by Mary Rodgers, then the 1976 Jodie Foster (True Detective: Night Country)-starring first movie adaptation, and also a 1995 remake with Gaby Hoffman (Eric). After 2003's beloved Curtis- and Lohan-led take, horror flick Freaky gave the idea a spin in 2020. There's no footage yet from the Freaky Friday sequel, but check out the trailers for the 70s and 00s iterations below: The Freaky Friday sequel doesn't yet have an exact release date, but will hit cinemas in 2025 — we'll keep you updated when more details are announced. Top image: photo by Andrew Eccles. © 2024 Disney Enterprises, Inc. All Rights Reserved.
The very beginning of Nick Broomfield's new Whitney Houston documentary features voiceover from one of the singer's friends talking about how she died. We all know the story: one of the most talented voices of our time succumbed to substance abuse and drowned in a bathtub. But her friend posits that while drugs were involved, perhaps they weren't the root cause. Perhaps Whitney Houston died of a broken heart, she says. This sad idea settles over the rest of the film like a cloud, as Broomfield recounts the story of a supremely talented yet obviously troubled young woman surrounded by people unable or unwilling to get her the help that she needed. The Whitney we first see is so young that it's difficult for us to believe she'll become the woman in the bathtub. She's bubbly and bright, singing in her gospel choir at church (led by her mother, gospel singer Cissy Houston). That trademark smile is instantly recognisable. She's just a kid with a huge voice, and she's happy. But that huge voice soon proves to be both a blessing and a curse. Signed at the age of 19, Whitney was thrown into the deep end of an industry that had its own plans for her, moulded into a pop princess by a team of men who worked at Arista Records. Interviewing some of them in the present day, it seems the muscle memory of their puppeteering is still fresh. Her old management team still talks about her like an object rather than a person, and there's little doubt that their level of control over Whitney contributed negatively towards her mental and physical health. You're left feeling sad and frustrated, wanting to call these men into account. Why didn't they help her? Whitney: Can I Be Me uses a large amount of footage from the singer's 1999 world tour, some of which is absolutely staggering. At this point in her life her voice was still in prime condition – the effort she puts into every single song leaves her drenched in sweat; her calling card "I Will Always Love You" works the audience up into a frenzy; while her ability to "caress notes", as the Arista representatives say, is unrivalled. In a time where there was no Beyoncé and certainly no Janelle Monae or Nicki Minaj, Whitney's music was a carefully crafted brand of pop, and was often sent back to the studio for being "too black-sounding". The movie's title becomes a sad realisation that hits you mid-way through. As much as this is a story about Whitney losing her life, it's also about her losing herself. The sweetest parts of the film come from home video footage of Whitney just sitting around eating takeaway and watching movies, or acting out silly scenes with her husband Bobby Brown. In these moments, we're reassured that she has friends and family who love her. And yet ultimately, these relationships all fall apart. Even Robyn, her childhood friend who stuck with her for years, eventually fades away. A lot is made in the film about Robyn and Whitney's relationship, and whether it was more than just a friendship. But regardless of whether Whitney was gay, or bisexual, we get the feeling Robyn is one of the pillars in her life. That they parted ways mid-tour seems to just weaken Whitney's grip on her voice, her health, and her increasingly unhappy marriage. The footage of her being interviewed by Diane Sawyer in 2002 about her addictions is especially moving. When asked what her biggest devil was, she replies that it is herself. Whitney: Can I Be Me paints a tragic portrait of a woman who didn't have the right people around her, nor the drive to get herself the help she required. To add to the grey cloud, Whitney's daughter Bobbi Kristina lost her life in 2015 in eerily similar circumstances. Sadly, the film feels more like a story about this pattern of unhappiness than it does a celebration of the singer's talent – a shame for a woman who had so much. https://www.youtube.com/watch?v=1G2fY0xci_c
Robert Vagg, Cameron Hawes and Glen Schenau might be known in some circles as some of Brisbane's most accomplished musicians. Members of notable bands such as Wonderfuls, I Heart Hiroshima and Per Purpose respectively, each of the trio are capable of conveying thought into music on a whim, creating striking soundscapes with haunting lyrics to match. All three musicians have contributed work to a brand new exhibit at A-CH Gallery, in a series entitled, 'Decesead Estate'. The exhibition brings together the work of each artist, drawing on themes of isolation, living on the fringe of society and primitive expression, while blending humour with dark textures and illustration with paint. If you are a fan of the musical works of these artists, you might find yourself enjoying their foray into art. Like much of their musical output, 'Deceased Estate' is an enthralling foray into the minds of Brisbane's best musical voices. Abrasive and confronting, yet enticing and remarkable - worth a look while it's on.
First birthdays are not all pleasant. Banal observations like "I can't believe it's only been a year!" fly out of people's mouths as unwelcomely as the projectile vomit now covering your brand new button-up (thanks, birthday boy). But upon hearing that Spotify Australia turned one today, we couldn't help but join the chorus of disbelief. It's only been a year? Really? It's hard to remember life before Spotify. The days of trying to 'unmax out' your maxed-out credit card before clicking 'purchase'. Of artists watching through tears as their life's work is torrented to the masses. A year later, it's hard to imagine anything other than clicking that little green button to soak our ears in unlimited, legal music juice. We might not yet have struck the perfect balance between access for audiences versus payment for artists, but it feels like we're getting closer. So for that we'd like to say 'Happy Birthday, Spotify'. Now today, just like the last occasion on which you celebrated a first birthday, is all about gushing and goggling over pretty pictures. And, proud mother that she is, Spotify Australia has shared this super-amazing infographic which you just have to see. The stats are pretty friggen incredible — Australian Spotify users have streamed a mammoth 42.5 million hours of music and have created over 14 million playlists over the past 12 months. (That's over 4000 years of music — which, if played in order, would take about 50 generations to finish. We're talking 6013, guys.) Of those 14 million playlists, over 240,000 playlists have been created about love, romance and/or sex; 150,000 for exercise; and 65,000 for getting through the work day. Also, a whopping 230,000 were created for travel. So if you've ever wanted to scream, "I get it, arts student, your European experience makes you singularly unique", you at least have proof that their playlist probably wasn't. American duo Macklemore & Ryan Lewis and Icelandic indie-pop-folksters Of Monsters and Men dominated our listening habits, taking out Most Streamed Artist and Most Streamed Track/Album respectively. We can now also confirm that Australians like Flume. A lot. Not only was he the most streamed local artist, but he took out three of the top five local tracks of 2012/13. This had little to do with the Spotify habits of Prime Minister Julia Gillard, who eschewed the young producer for the likes of Bruce Springsteen and Midnight Oil. We can't confirm if Julia actually enjoys Midnight Oil or is just playlisting them for the unity of the federal front bench.
Australia has hosted some seriously heavy-hitting theatre shows of late. This year, we put on productions of internationally acclaimed musicals Book of Mormon, Chicago, Charlie and the Chocolate Factory and Saturday Night Fever — and next year is shaping up to be even more impressive. We have five more award-winning productions landing on our shores in 2020 — including a childhood favourite reimagined and one on a floating stage — though not all of them will make the rounds through Sydney, Melbourne and Brisbane. So, if you can score tickets before they sell out, each and every one is worth travelling interstate for. HARRY POTTER AND THE CURSED CHILD, PRINCESS THEATRE, MELBOURNE To say that Harry Potter and the Cursed Child has been a success so far would be an understatement. Everyone's scrambling for tickets to the show at Melbourne's Princess Theatre, which has resulted in the season being extended for a second time — right up until May 17, 2020. And, if you haven't yet seen it, another round of tickets will go on sale at 11am on Thursday, July 18 (yes, this week). So, with all this hype, what exactly is The Cursed Child about? Well, it picks up 19 years after Harry Potter and the Deathly Hallows and that abominably cheery epilogue on Platform 9 3/4. Harry is now an overworked Ministry of Magic employee, and the play focuses on both him and his youngest son Albus Severus Potter as they grapple with the past and future. The production is presented in two parts, so you'll have to book into two performances — there's the option to do so either on the same day (matinee and evening) or on consecutive evenings. Each part runs for about two and a half hours. If you've waited this long, the next round of ticket sales could very well be the last, so head to the website and prep yourself to book — interstate flights can come later. When? Until March 2020 [caption id="attachment_729348" align="alignnone" width="1920"] Handa Opera's 2012 'La Traviata' by Lightbox Photography[/caption] LA TRAVIATA, HANDA OPERA ON SYDNEY HARBOUR, SYDNEY Opera on a regular stage is one thing, but opera performed on a floating openair theatre atop Sydney Harbour, under the stars? Well, that's some unforgettable stuff. Especially when it's Giuseppe Verdi's famed classic La Traviata that's being given the overwater treatment — it tells the famously heartbreaking tale of a free-spirited Parisian courtesan and her tragic love affair with a nobleman. The glamorous three-act show is the latest production announced as part of Opera Australia's Handa Opera series, set to return to this unique stage in March and April 2020. Handa Opera has pulled over 400,000 guests since debuting with La Traviata back in 2012 — and its mix of drinking and dining options, breathtaking views and nightly fireworks making it one of Sydney's must-try cultural offerings. It's also considered one of the world's best openair opera venues. Tickets go on sale from the Opera Australia Box Office this Tuesday, July 16, so grab a couple and start planning your trip to Sydney. When? March–April 2020 [caption id="attachment_726234" align="alignnone" width="1920"] Shrek the Musical by Helen Maybanks[/caption] SHREK THE MUSICAL, THE LYRIC THEATRE, BRISBANE Fancy reliving your childhood film favourites on the stage? That seems to be the current trend. Next up, Shrek the Musical is bringing its all-singing, all-dancing version of the animated movie franchise to Sydney, Melbourne and Brisbane. Expect plenty of green when this Tony and Grammy award-nominated stage show finally makes its way to our shores, after first premiering on Broadway back in 2008. While Australian cast details haven't been revealed, Shrek lovers can expect a whopping 19 songs, an obvious colour scheme and plenty of other fairy tale references. The musical will first hit Sydney in January, but we're especially excited to see it round out its Aussie reign at Brisbane's Lyric Theatre. Those 2020 dates haven't been announced just yet, but you can join the waitlist here. We reckon its the perfect excuse for a Brisbane weekender. When? 2020 [caption id="attachment_672845" align="alignnone" width="1920"] Waitress by Joan Marcus[/caption] WAITRESS, SYDNEY LYRIC THEATRE, SYDNEY Perhaps in an effort to rival Melbourne's theatre scene — which nabbed the Australian 2019 premiere of Harry Potter and the Cursed Child — Sydney has clearly upped its commitment to theatre this year. Another we're especially excited about is Waitress. It first hit Broadway in 2016 and has gone on to gain stellar reviews, numerous Tony nominations and sold-out shows night after night. Based on the 2007 movie of the same name, Waitress tells the story of Jenna, a waitress and expert pie maker who dreams of a way out of her small town and loveless marriage. Waitress won't be here until 2020 and tickets are not yet on sale, but you can get on the waitlist over here. As of now it's only coming to Sydney, but interstate patrons won't regret flying in for this one. When? 2020 HAMILTON, SYDNEY LYRIC THEATRE, SYDNEY It's won 11 Tony Awards and is one of the Obamas' favourite musical, and now Lin-Manuel Miranda's game-changing musical Hamilton is finally coming to Australia. The critically acclaimed hip hop musical, for which Miranda wrote the music, lyrics and the book, is about the life of Founding Father Alexander Hamilton, as well as inclusion and politics in current-day America. As well as its many Tony Awards, which include Best Musical, it has nabbed a Grammy Award and even a Pulitzer Prize. Hamilton will make its Australian premiere at the Sydney Lyric Theatre in March 2021. Which is a little further away than the others, but it's still worth planning for. You can sign-up for pre-sale tickets now. There's no word yet on whether it'll head to other Aussie cities later on — so, if you don't want to risk it, those located interstate should to start planning a trip ASAP — we think it'll be more than worth it. When? 2021 Top image: Handa Opera by Hamilton Lund; Hamilton by Joan Marcus.
Brad Pitt almost unrecognisable as Henry Spencer from Eraserhead. Ryan Gosling as The Invisible Man. Viola Davis as Nurse Ratched from One Flew Over the Cuckoo's Nest. If this has you intrigued, you're going to love the video exhibition that the New York Times Magazine has put together, directed by Alex Prager. In part an homage to the greatest villains from film and a showcase of some of the most talented actors we see on our screens today, each vignette is a carefully crafted moment exploring the darker side of these wicked characters. No actor speaks in the vignettes, but repetitive, spine-tingling music plays, reflected in the sinister, depraved look in each character's eyes. The camera creeps up Kirsten Dunst's body as she holds a green apple close to her lips; Glenn Close is a mysterious, almost ghostly version of Theda Bara, the silent film star. If you're a budding movie director, this could well serve as inspiration for your next horror short... See the exhibition, A Touch of Evil, here and the mood board that inspired it.
We last saw Bob Evans (aka Kevin Mitchell) in Brisbane when he cruised through town to support his Double Life EP last year. He played some captivating shows on that tour, performing solo acoustic sets that showcased his natural musical ability and confidence on stage. In the lead-up to the release of his fourth studio album, Familiar Stranger, Mr Evans is touring the country again, this time with his full live band in tow. Making stops all across the country, the former frontman of alt-rock heroes Jebediah is bringing his (comparatively tamer) alt-country leanings to stages nationally. Familiar Stranger reportedly sees Mr Evans shifting away from the acoustic sound of previous recordings, with a "progressive pop sound from an artist brimming with new-found inspiration". This can only mean exciting things from a man with an immense back catalogue of material and legions of fans across the country. Bob Evans will be supported by Tigertown and Davey Lane.
What's big, spiky and attracts tourists from all over? Whether you grew up in the shadow of one of south-east Queensland's great tourist attractions, made the trek to the Sunshine Coast to marvel an oversized fake fruit, or always thought you'd snap a pic next to the pineapple to end all pineapples, you know the answer. Soon, however, you might be able to do more than just visit, take photos, browse the markets, meet some monkeys and eat the sweet, juicy food in question — you might be able to sleep there. Yes, glamping could be coming to the one and only Big Pineapple. If that's not news that'll make you hightail it to Nambour, then we don't know what is. With the iconic site under new ownership, the folks in charge are thinking big — well, bigger than the previous owners did, including the people responsible for building such a massive monument to a particular tropical fruit. Among the additions mooted for the 165-hectare site: a family fun park, an RV park, walking trails, outdoor sport and recreation facilities, and fancy, fancy tents so that you can stay the night. The plans are designed to help bring the Big Pineapple back to its former glory, with the 16-metre-high attraction's tourist trade not quite at previous booming levels. Since opening in 1971, the heritage-listed fruit tower has seen a few changes, opening and closing over the years, undergoing several revamps, and introducing the annual Big Pineapple Music Festival in 2013. "What we want to do is make a food-based and eco-tourism-based destination that incorporates the existing big pineapple, but adds other things ... and has outlets for local produce," co-owner Peter Kendall told ABC Sunshine Coast. "There's rainforest on the land that would lend itself to eco-walks [and] we've talked about things like zip lining." Existing favourites, such as the animal hospital and train, will be retained. And, for anyone who feels strongly about just what the Big Pineapple should add to the site, an open day will be held on February 18 for interested parties to offer their input into the new proposals. Via: ABC Sunshine Coast. Image: Holiday Point.
We were greeted on the morning of day one with blue skies (and barrels) that would see the ultimate start to our Splendour experience. However, it wasn't always going to be that smooth, as a shock hail storm struck as we were walking in, and this would be the last time we saw any grass at Splendour. No doubt this provided a huge spike in gumboot sales for the northern New South Wales retail sector and it remains the best $50 spent for me, essentially providing a $15-$20 per day accommodation for my feet. The blue skies would return no sooner than 30 minutes later, but the mud had taken over the grass. Thanks to Virgin Mobile, we were provided with the best possible experience to witness one of Australia's top three-day festivals. There was no doubt a number of personal highlights, including Miike Snow, Tame Impala, Azelia Banks, The Gossip and Yuksek, but the main aspect that impressed me, and essentially was the reason why we were there, was seeing what a brand can do to to enhance the experience for festival attendees, management and artists alike, while ultimately delivering value back to its coffers. Below is a summary of the highlights from our Virgin experience of Splendour in the Grass. Looking at things from a festival organiser's point of view, Virgin's sponsorship made the ultimate festival wishlists come true, from Live Streaming, Mobile Applications, through to customer benefits such as the Posh Pits and Wristband technology. Live Stream We were taken on a tour of the backstage area where the Live Stream was conducted like a broadcast that you would expect to see at a major sporting event. With a cost that runs into six figures, you can see why sponsors play a pivotal role in a Festival's product mix. Watch the rest of the Live Streaming here, including artist interviews and live performances. The results of this year's live streaming proved to be the second largest in Australia's history. Some key numbers from the livestream include: 457,000 live views20 different cameras used to capture the action 405 minutes of live music being recorded 3500 frames of high definition digital festival footage being captured 4kms of cable being run 4 separate crews recording 2 live stages 8 interviews in the Virgin Mobile interview area back stage 37 crew members working a total of 1940 hours Mobile Application Mobile Applications at Festivals have become somewhat of the norm these days, especially the bigger, multi-day events. However, a good one is hard to come by, and most of them tend to get too confusing to use. However, the SITG app, in cahoots with Virgin Mobile, was the first one I relied heavily on at an event, providing the much needed planner functionality and the basic map (for the first day). The torch application was also handy at times. There were a couple of flaws, namely, the push notification didn't show the name of the acts playing. Channel V Recovery Party After Day One, we, along with Virgin Mobile customers, were invited to the exclusive Channel V Recovery Party at The Beach Hotel. This included (and was a compulsory part of our Virgin experience) beers from 9:30am and/or Not So Virgin Bloody Marys. It also provided us with a sneak peek at Billy Corgan, which caused a buzz amongst the lucky few that were gracing the famous beer garden. This was once again another great activation and provided the necessary motivation for us to kick day two off. Posh Pits What looked more like a Mosh Pit when we first turned up (due to the hail storm), the value of the Posh Pit was realised as the mud slowly took over the festival. Exclusive to Virgin Mobile customers, we continued to find ourselves turning up back at the Posh Pit due to the lack of queues for the toilets. Star Treatment Stop Probably the least valuable activation (but a nice touch all the same) was the Star Treatment Stop in Broadwater, approximately an hour away from Byron. It provided an excellent bump of excitement as we neared the festival. Coffee, some lollies and great chat with Virgin Angels were included too. However, not sure being man-handled was what we were expecting, although it is clear that this didn't matter in the photo above. Sponsored post
After a night of festivities there's nothing worse than waking up to an abode with chip-trodden carpet, questionable wall smears and a never-ending sea of empties ultimately destined to inhabit your (and your neighbour's) rubbish bins for the weeks following. Such a scene is what initiated Morning-After Maids, a new Auckland startup set to take the hassle out of the weekend clean-up by delivering "an exceptional 'post-party' cleaning service". As well as the lesson in hygiene, the maids will go the extra mile by cooking up a quintessential fresh breakfast too. They have two menus available: one clean and one greasy. The blessed hangover angels also offer fast food runs, coffee, chocolate milk and all those little extras you always wish you'd thought of stocking up on the night before (blue Powerade, fried chicken, Panadol, etc.). The service is only available in Auckland at the moment, and seems like a more niche version of Airtasker or Sydney's Whizz. Their prices seem ridiculously cheap, with two cleaners costing just $30 per hour along with a mileage fee. Do note that you'll have to shell out $10 extra for every pile of vomit they have to deal with, and if you need an emergency clean up, it'll be $50 on top of other cleaning charges. Also, their price list mentions they can provide puppy cuddles free of charge. Puppies.
For the two past pandemic-affected years, the Melbourne International Film Festival has beamed its lineup to movie lovers online rather than in cinemas. Turning 70 in 2022, however, it's returning to where it has always belonged. After expanding its audience and going national with its virtual programs, MIFF isn't ditching its digital screenings — but once again showing hundreds of the latest and greatest titles in international cinema in Melbourne picture palaces is firmly the star of this year's show. That's the first piece of great news for Melbourne movie buffs. The second: while MIFF will grace the screens at a heap of inner-city favourites between Thursday, August 4–Sunday, August 21 — such as ACMI, The Capitol, Forum Melbourne, Hoyts Melbourne Central, IMAX, Kino Cinema and Cinema Nova — it'll also show in suburban Melbourne cinemas The Astor, Lido, Pentridge and Sun Theatre from Friday, August 12–Sunday, August 21, too. Throw in the online component as well, which runs from Thursday, August 11–Sunday, August 28, and that's almost an entire month of MIFFing to look forward to. Also among the ace announcements: the first 33 films that cinephiles can put on their must-see lists, whether on screens big or small. That includes homegrown titles to both open and close MIFF 2022, with the fest launching with the world premiere of coming-of-age feature Of an Age by director Goran Stolevski — then wrapping up with the Aussie premiere of documentary Clean, about Melbourne 'trauma cleaner' Sandra Pankhurst. Other highlights span 2022 Berlinale Golden Bear-winner Alcarràs; Australian docu-drama The Plains, which hones in on daily life and picked up an award in Rotterdam; Dual, the Aaron Paul (Westworld) and Karen Gillan (Avengers: Endgame)-starring latest by The Art of Self-Defense's Riley Stearns; and Aubrey Plaza (Best Sellers) slipping into the thriller genre in Emily the Criminal. Or, there's horror-comedy Mona Lisa and the Blood Moon from A Girl Walks Home Alone at Night's Ana Lily Amirpour, which focuses on a telekinetic young woman; Where Is Anne Frank, the first feature film in eight years by Waltz with Bashir director Ari Folman; and doco Jane by Charlotte, with actor Charlotte Gainsbourg (Nymphomaniac) exploring the life of her iconic mother Jane Birkin. It wouldn't be a MIFF without a film by South Korean filmmaker Hong Sang-soo (The Woman Who Ran, On the Beach at Night Alone), which is where the Berlinale Silver Bear Grand Jury Prize-winning The Novelist's Film comes in. And, other standouts include New York-focused music documentary Meet Me in the Bathroom, about the 00s music scene; fellow doco Fire of Love, a Sundance-winner that surveys the lives of volcanologists Katia and Maurice Krafft; and Reflection, about a man's experiences in post-Maidan Ukraine. Thanks to the MIFF Premiere Fund, which helps financially support local flicks, the Australian contingent also covers ten more titles so far. Among the must-sees: Greenhouse by Joost, a documentary about zero-waste pioneer Joost Bakker and chefs Matt Stone and Jo Barrett making a self-sufficient, eco-friendly residence; the Western Australian-shot Sweet As, starring Tasma Walton (How to Please a Woman), Mark Coles Smith (Occupation: Rainfall) and Shantae Barnes-Cowan (Firebite); and the film student-focused Petrol, from Strange Colours' director Alena Lodkina. Plus, there's Under Cover, a Margot Robbie (The Suicide Squad)-narrated doco that focuses on women aged over 55 facing homelessness — and Moja Vesna, a drama about the impact of grief upon a Melbourne immigrant family that first premiered in Berlin. The list goes on — and, it'll only grow, with the entire program will be revealed on Tuesday, July 12. That's when exactly what'll screen in MIFF's new competition, which'll boast a $140,000 Best Film Award, will also be unveiled. In the interim, start steeling yourself for almost a month spent in darkened rooms, basking in the glow of the silver screen, committing the fest's ads to memory, and doing the usual dash up and down Swanson Street. Or, for checking out the program in Melbourne's suburbs — or online nationally. The 2022 Melbourne International Film Festival runs from Thursday, August 4–Sunday, August 28 at a variety of venues around Melbourne and Victoria, and online. For further details, including the full program from Tuesday, July 12, visit the MIFF website.
When it comes to design, there's minimalism and there's 'WTF-that-thing-defies-physics', and this is definitely the latter. Designer Peter Bristol's Cut Chair looks like an ordinary white chair that somebody sliced big diagonal chunks out of across the legs and back, leaving the seat seemingly unconnected to the front legs. Also, is it just us or is it weirdly cute that he made the cut parts red so it looks like the chair's bleeding? It probably would have been tempting to leave people scratching their heads, but Bristol decided to reveal the secret behind the illusion on his website — the answer lies underneath the rug that the chair's sitting on, and it's surprisingly simple. The rug conceals a metal plate that the legs are all welded to, cantilevering the chair so you can sit on it. And if big grey shaggy rugs aren't your style, the rug part is customisable — it basically just has to cover the plate to complete the illusion. The chair is available for purchase, but it'll set you back US$4000 — although if you had the money, seeing people's confused expressions when you offer them a seat would be priceless. Via Fast Company.
