When Emi Kamada and Marie Yokoyama headed to Japan to study with traditional chefs — and, specifically, to learn everything they needed to know about yakitori — they weren't the first to visit the country and feel inspired. But the pair did make the most of that sensation, creating Brisbane's expanding Bird's Nest Yakitori chain. The brand started in 2013 in West End, with its OG site now boasting three sibling venues — including the just-launched Portside Wharf outpost. The Hamilton spot joins Bird's Nest Yakitori's outposts in Fortitude Valley and Toowong, too, the latter just for takeaways. All four share a key focus, of course: grilled Japanese skewers. The latest Bird's Nest Yakitori has made its home in a 100-square-metre space, with getting cosy aptly on the menu. Diners can choose between indoor and al fresco dining — and if you go with the former, you'll eat while peering into the open kitchen, with the bottle-lined bar also in sight, plus under atmospheric lighting. The mood: casual but authentic and also intimate, in a place that takes its design cues from the nation that clearly holds significant influence over all things Bird's Nest Yakitori. In other words, it's an enticing place for a drink over a bite, including picking from cocktails, sake and Japanese brews. If you've been to one of the brand's other locations, you'll know what to expect food-wise. The skewers range from chicken thigh, chicken skin, chicken meatball and pork belly to zucchini, oyster mushrooms and grape tomatoes; however, that's just the start of the culinary lineup. Rice bowls are also a feature, including charcoal chicken, both katsu and karaage chicken, slow-cooked wagyu, yakiniku, teriyaki salmon and eel — while Japanese burgers, wings and gyoza are also on offer. "We're excited to welcome new and existing customers to our Portside Wharf store to experience our signature dishes, including succulent grilled chicken bowls, flavourful Japanese burgers, fresh sashimi, drinks and sake in new and unexpected ways," said Yokoyama. "Like all our venues, our Portside Wharf store grills our fresh selection of high-quality ingredients over binchoutan, a Japanese white charcoal, that enhances the flavour of our dishes. We are the only yakitori bars in Brisbane that practise this method." Bird's Nest Yakitori is Portside's latest new addition, with the precinct adding a heap of fresh spots to eat and drink since announcing its current revamp — such as the Gold Coast's Rosé Gelateria and Rise Bakery making their Brisbane debuts, plus brand-new seafood restaurant Fosh, Find Bird's Nest Yakitori at Portside Wharf, 39 Hercules Street, Hamilton — and head to the venue's website for further details.
We've all had days that can only be salvaged by hurling an axe at a wooden target — and, from Saturday, August 11, Brisbanites can enjoy this very specific form of stress relief. Already offering both casual and competitive axe throwing on the Gold Coast, Lumber Punks is bringing its distinctive sporting antics to West End. Yes, moseying on down to Montague Road from Thursday to Monday, picking up actual bladed weapons and then chucking them across the room is about to become a very real thing. "It's kind of like darts, but with big axes," explains co-owner Tyson McMillan, who started Lumber Punks with Sam Hay. The idea came to the pair after a stint of throwing axes in the backyard, which is where the sport has traditionally been practised. Commercial outfits started popping up around the world about a decade ago, but this is just Australia's second joint — with Maniax operating in Sydney and Melbourne. Patrons can simply gather the gang and start throwing across a 90-minute session, or take part in the axe throwing league. The game is comprised of five rounds, each with five throws, with everyone flinging their axes towards a pattern of concentric circles. Get inside the outer blue ring and you'll score one point. Make it into the middle red ring and you'll nab three. A bullseye — aka inside the black ring — is worth five points, although you can earn a whopping seven if you hit an adjacent green circle on your fifth throw. For those worried about safety, Lumber Punks advises that their activities are "as safe as we can make it", with everyone using self-contained lanes to minimise the risk of wayward axes. Only the thrower is allowed into the lane, those watching and waiting have to stand behind a barrier, and everyone gets a tutorial before they are allowed to take part. You will have to sign an online waiver before you can get to chucking, however, and you definitely won't be able to drink alcohol. While Lumber Punks is all about blowing off steam in a fun and unusual way, it really is best for everyone that throwing axes and booze don't mix. Find Lumber Punks at 2/427 Montague Road, West End from Saturday, August 11.
Just a couple of months ago, spending a few hours in a cinema soaking in a dose of movie magic — and eating plenty of popcorn and choc tops — was a normal everyday activity. Since the COVID-19 pandemic hit, mass gatherings were banned and picture palaces closed, however, seeing a film on the big screen in a darkened room filled with other people has become a relic of the past. But with Australia slowly starting to relax coronavirus restrictions, that might only remain the case until mid-July. The National Association of Cinema Operators-Australasia — a nationwide organisation comprised of Australia's major national cinemas, as well as independent movie theatres — has announced that the country's big screens are aiming to open in time for the planned release of Christopher Nolan's Tenet, which is currently slated for Thursday, July 16. As reported by Variety, the NACO board said it "is enthusiastic about the prospect of reopening and is hopeful of conditions enabling it to do so in July". Some Australian states, such as Queensland and New South Wales, have already eased some stay-at-home requirements. More developments in this space are expected in the coming days and weeks — with some social distancing and public gathering rules likely to be limited this coming Friday, May 8, when the national cabinet next meets; Australia-wide principles regarding sport and outdoor recreation already proposed; and Queensland working towards a June reopening date for bars, cafes and restaurants. So, with that timeline in mind, letting folks back into cinemas by mid-July seems perfectly reasonable. There are two major caveats, though. The federal and state governments obviously need to allow cinemas to reopen, after requiring them to close back in March. And, cinemas need access to new movies to screen for audiences — which doesn't just depend on the coronavirus situation in Australia. Over the past few months, a huge number of big-name flicks have postponed their releases, setting new dates for later this year and even next year. This started happening even before COVID-19 cases ramped up outside of China and Italy, because when a new movie hits the silver screen, it's usually a global event. So, the likes of A Quiet Place Part II, No Time to Die, Fast and Furious 9, Wonder Woman 1984, In the Heights, Ghostbusters: Afterlife, Candyman and more all pushed back their release dates. Tenet wasn't one of them — in fact, it's one of the only movies that didn't move its original release date — but that could still happen, especially if American cinemas aren't ready to open by mid-July. Without a big movie like Tenet to screen — or Mulan, which moved its release date to Thursday, July 23, so the following week — it's possible that Aussie picture palaces will delay their plans, even if they've been given the go-ahead by the government to start their projectors again. And opening a huge blockbuster like the aforementioned movies in Australia weeks before they open in America just isn't going to happen. https://www.youtube.com/watch?v=LdOM0x0XDMo Either way, when Aussie cinemas do reopen, going to the movies won't be quite the same as everyone remembers. "The Board is very mindful of social distancing restrictions needing to be put in place and acknowledges that the impact this will have on trading due to these reduced capacities," NACO said in its statement. That also likely means bigger gaps between session times to avoid crowds milling about in the foyer, only partly filling theatres to ensure social distancing requirements can be met, making hand sanitiser available everywhere, cleaning cinemas more regularly, and preferring contactless and cashless transactions. For Queenslanders, these are some of the new strategies already being put in place at Yatala Drive-In — which first reopened over the weekend of May 2–4, playing movies that were screening in cinemas when they closed. The move was a success, so it'll be doing so again between May 7–10 and May 14–17. Via Variety.
Goodbye Birdees, hello The Beaumont Beer Garden: that's the new setup on Gipps Street in Fortitude Valley. A fresh name isn't the only change, following a hefty revamp and a switch of focus. Brisbane's latest rooftop bar takes inspiration from Australia, and The Great Dividing Range in particular. Among the drinks highlights: boozy Milos, a margarita made with bush tomato and chilli-infused agave syrup, and a gin and green chartreuse concoction garnished with lemon myrtle and pepperberry caviar. Announced in March and open since Monday, April 7, 2025, The Beaumont Beer Garden aims to be the River City's new destination for sky-high sips. From its berth above the road that Wickham and Ann streets, it's splashing its love for Aussie flora, fauna, flavours and colours across its food and beverage range, and also its decor. Equally an influence: classic Aussie pubs, although most aren't found even a few levels about the ground. To get inside, you'll be entering via BUNK's entrance at 21 Gipps Street, not on Ann Street. After heading up, expect eucalyptus plants, vintage signage, timber and iron accents aplenty — including wooden tables and benches — plus festoon lighting beneath the open sky. Outside, you'll also be located next to BUNK's pool. If you're most excited about the drinks, they're all courtesy of Bar Manager Tiwene Kaimoana. Expect the Milo Flip made with spiced rum, Licor 43, Milo syrup, condensed milk and fresh egg to be a hit. The Outback Blaze Marg — crafted on tequila, cointreau, bush tomato and chilli-infused agave syrup and lime, with a chilli salt rim — is sure to become a favourite as well. So is The Last Cheers, which is where that mix of gin, maraschino, green chartreuse, lime juice, lemon myrtle and pepper berry syrup, with lemon myrtle and pepperberry caviar as a garnish, comes in. Another cocktail to try is the Aussie Sunrise, as fashioned with vodka, amaretto, finger lime, lime, Kakadu plum syrup and lemonade. Or, the classics range spans everything from espresso martinis and negronis to old fashioneds and mojitos. Five types of spritzes are also on offer, alongside two-and-a-half pages of spirits, plus a range of vino and craft brews. If the Milo Flip doesn't get you feeling nostalgic, the Vegemite fries among Head Chef Joshua Kelly's food options will. They're skin-on chips dusted in Vegemite salt, and they're ready to pair with a heap of other dishes. So, the Byron Bay burrata comes with chargrilled mango and witlof salad, the spring rolls feature crocodile and lemon myrtle, and the Mooloolaba king prawns are coated with red gum and garlic butter. There's a wagyu rib fillet with Granite Belt red wine jus, and the venue's hot dog is made with grilled kangaroo sirloin and bush chutney. If you'd rather a pizza, topping combinations span chilli, chargrilled pineapple and prawns; grilled peaches and prosciutto; and lemon myrtle kangaroo with a Kakadu plum glaze. Or, head by early for breakfast, where bacon, egg and hashbrown brekkie wraps sit beside Nutella croissants, smashed avo on sourdough, cinnamon raisin toast and more. "The Beaumont Beer Garden pays homage to these 'beautiful mountains' through our menu and cocktail list, and our design aesthetic and colourings. We borrowed the earthy tones (burnt orange, eucalyptus green and navy) with playful pastel accents of Australian flora from these ancient mountains," says Danny Webster-Clamp, Group General Manager. "The menu at The Beaumont Beer Garden shines the flavour light on Australia's rich culinary heritage, blending traditional flavours with modern twists," he continues. "We have a commitment real to local and will showcase high-quality, locally-sourced ingredients and unique native produce. From grilled barramundi with finger lime and macadamia crumble to slow-cooked eucalyptus lamb, our mains have bold flavours." Find The Beaumont Beer Garden at 21 Gipps Street, Fortitude Valley — open 12pm–late Monday–Friday and 11am–late Saturday–Sunday. Head to the venue's website for more details.
Bring together a heritage-listed building, Heston-esque gastronomy, a bit of viand magic and impeccable service and you have the lab bar + restaurant. It's rare to find such a quality restaurant that strikes the perfect balance of fine dining enjoyed in a relaxed, completely unpretentious atmosphere; however, in the lab, located in heart of Brisbane in the stunning architectural gem that is the Treasury Hotel, you'll find just that. As soon as you enter the venue you feel transported back to a time of old-world glamour, with a charming mahogany saloon-style bar to the right and big, beautiful bay windows running the length of the dining room. With the waitstaff dressed in all white providing attentive silver service, it's hard not to feel like a high roller. And then there's the food. To not indulge in a three-course meal here would be sacrilege and a missed opportunity to taste the talent and skill of the team in the kitchen. Entrees consist of both delicate flavours (dishes like the scallops with lentils, cauliflower, speck and onion vinaigrette), as well as heartier plates, such as the impressive ballotine of prosciutto wrapped quail with parsnip, sweet corn and cavolo nero. For main, the venison is a hands-down winner, served medium rare with celeriac, baby beets and crunchy edamame and finished with a thick, sticky, sensory explosion of a cacao jus. But for some of that gastronomic magic, it's the house-made beetroot ravioli that steals the show. The pasta itself is actually made with dehydrated beetroot, ground down to a fine powder and filled with a confit tomato and crumbled feta mixture, topped with fried basil. Finally, the desserts showcase quality ingredients with an exotic twist. The piece de resistance is sous chef Lauren Curmi's creation of Espresso Japonaise (an Opera style cake with layers of meringue, espresso butter cream and chocolate ganache), served with a creme anglaise egg. The egg itself is also molecular gastronomy at work — prepared then frozen solid and dipped repeatedly into a 'special lab solution' until an egg yolk-like layer forms around the outside — which bursts open once pierced, just like a poached egg. Alternatively, the chocolate tart made from 70 percent cacao and served with house-made raspberry marshmallows and boysenberry ice cream is a chocolate lover's dream. the lab bar + restaurant's promise of "great chemistry, incredible food" isn't an empty one. Your tastebuds will be tantalised by phenomenal flavour combinations and eyes delighted by perfectly deconstructed plating and presentation. Even better; although you might feel the pinch of your belt from a full stomach, you won't feel it in your wallet.
Two Australian music legends. Decades of collaboration. One long-awaited album. One huge tour. That's the maths behind the Australian leg of Nick Cave and Warren Ellis' Carnage tour, which Cave first announced was in the works back in early February via his The Red Hand Files email list. Now, after already locking in dates in Hanging Rock — which have sold out, unsurprisingly — the duo have unveiled their full 2022 Aussie tour schedule. Yes, this is some news to come sail your ships around — with 15 gigs slated in five states and one territory, all from mid-November through to mid-December. The tour will kick off with a two-night stop in Adelaide, before heading to those Macedon Ranges gigs, then to Canberra, Melbourne, Perth, Brisbane, the Gold Coast, Tamworth and Newcastle. And, to cap things off, Cave and Ellis will hit up the Sydney Opera House's newly revamped Concert Hall for a two-gig big finale. [caption id="attachment_845539" align="alignnone" width="1920"] Palma Sabina[/caption] The pair are doing the rounds to support the 2021 album that shares the tour's name, which actually marks Cave and Ellis' first studio album as a duo. Bandmates across several projects since the 90s — including Nick Cave and the Bad Seeds, and Grinderman — Cave and Ellis are Aussie icons, with careers spanning back decades. Together, they also boast more than a few phenomenal film scores to their names as well, including for The Proposition, The Assassination of Jesse James by the Coward Robert Ford, The Road, West of Memphis, Far From Men, Hell or High Water and Wind River. Cave and Ellis are heading home after an American Carnage tour, and following Cave's subsequent tour with the Bad Seeds in Europe. "I can't begin to tell you how happy Warren and I are to be finally returning to Australia to perform. The wait has been way too long. See you all soon for the Carnage experience!," said Cave, announcing the news. [caption id="attachment_845538" align="alignnone" width="1920"] Laurine Payet[/caption] It's already been a big year for fans of Cave and Ellis, thanks to film This Much I Know to Be True, as directed by Chopper, The Assassination of Jesse James by the Coward Robert Ford and Killing Them Softly filmmaker Andrew Dominik. It explores Cave and Ellis' creative relationship, largely through watching them at work in stunning live scenes. Dominik also made 2016 Cave doco One More Time with Feeling, and his latest flick is available to stream now. [caption id="attachment_845537" align="alignnone" width="1920"] Laurine Payet[/caption] NICK CAVE AND WARREN ELLIS 'AUSTRALIAN CARNAGE' 2022 TOUR: Tuesday, November 22—Wednesday, November 23: Festival Theatre, Adelaide Friday, November 25—Saturday, November 26: Hanging Rock, Macedon Ranges — SOLD OUT Monday, November 28–Tuesday, November 29: Canberra Theatre, Canberra Friday, December 2: Palais Theatre, Melbourne Monday, December 5—Tuesday, December 6: Riverside Theatre, Perth Friday, December 9: Brisbane Convention and Exhibition Centre Great Hall, Brisbane Saturday, December 10: Gold Coast Convention Exhibition Centre, Gold Coast Monday, December 12: Tamworth Regional Entertainment and Conference Centre, Tamworth Wednesday, December 14: Civic Theatre, Newcastle Friday, December 16—Saturday, December 17: Sydney Opera House, Sydney Nick Cave and Warren Ellis' Australian Carnage tour will head around the country in November and December 2022. Tickets go on sale at 10am local time in each city on Friday, July 29 — for more information, head to Nick Cave's website. Top image: Megan Cullen.
Few Australian actors just starting out — not even half a decade into their resumes, in fact — have enjoyed the jump into the spotlight that Eliza Scanlen did between 2018–2020. After a 15-episode run on Home and Away in 2016, Scanlen made her international debut on HBO's Sharp Objects, so in a miniseries based on a novel by Gone Girl author Gillian Flynn, and starring Amy Adams (Nightbitch) and Patricia Clarkson (She Said). Her initial role in a US film came next as one of the March sisters, Beth, in Greta Gerwig's (Barbie) adaptation of Little Women, with Scanlen starring alongside Saoirse Ronan (Blitz), Florence Pugh (We Live in Time), Emma Watson (The Circle), Timothée Chalamet (A Complete Unknown), Laura Dern (Lonely Planet) and Meryl Streep (Only Murders in the Building). Then, for her first Aussie movie, she earned a well-deserved AACTA Best Actress Award for Babyteeth, where she played a 16-year-old navigating a cancer diagnosis; Essie Davis (Apple Cider Vinegar) and Ben Mendelsohn (The New Look) portrayed her parents. Amid those impressive television and film parts, Scanlen also hit the stage at home, featuring in Sydney Theatre Company's 2019 production of Lord of the Flies with Mia Wasikowska (Blueback), Yerin Ha (Dune: Prophecy, and soon to be seen in Bridgerton's fourth season) and Daniel Monks (Kaos). On Broadway that very year, she did the same, but in To Kill a Mockingbird with Ed Harris (Love Lies Bleeding) and Nick Robinson (Damsel). 2025 sees the screen and stage sides of Scanlen's career collide. After past movies The Devil All the Time, Old, The Starling Girl and Caddo Lake, plus TV's Fires, The First Lady and Dope Girls, Scanlen is back in Australian cinemas thanks to her theatre work. From late November 2024–late January this year, the Aussie actor trod the boards in London in National Theatre's glorious new staging of The Importance of Being Earnest. Down Under, viewers can now watch Scanlen as Cecily Cardew in the Oscar Wilde-penned farce via NT Live. The British theatre company's love of recording its productions and beaming them around the world has long been an initiative to celebrate, and the reason that stunning works such as Danny Boyle's (Yesterday) version of Frankenstein with Benedict Cumberbatch (Eric) and Jonny Lee Miller (Guy Ritchie's The Covenant) alternating between Victor Frankenstein and his monster, the Carey Mulligan (Spaceman)- and Bill Nighy (That Christmas)-starring Skylight, and Jodie Comer (The Bikeriders) in Prima Facie have been accessible to audiences who couldn't attend the live shows in the UK. Add The Importance of Being Earnest to NT Live's must-sees and sparkling gems, with Scanlen joined by Ncuti Gatwa (Doctor Who) as Algernon Moncrieff, Hugh Skinner (Wicked Little Letters) as Jack Worthing, Sharon D Clarke (Wicked) as Lady Bracknell and Ronkẹ Adékọluẹ́jọ́ (Alex Rider) as Gwendolen Fairfax. Director Max Webster — who also helmed National Theatre's Macbeth, Life of Pi and Henry V, all of which enjoyed the NT Live treatment — couldn't be having more fun with Wilde's now 130-year-old work. Neither could Scanlen and her co-stars, visibly so from the moment that this iteration opens with Gatwa in a hot pink dress. The last play by its author, premiering mere months before his imprisonment for homosexual acts and clearly drawing upon Wilde's own experiences as it tells of living double lives, The Importance of Being Earnest has always possessed queer subtext. Webster pushes that further forward, alongside the search for identity, plus what it means to be your own person and break free of expectations. This is still "a trivial comedy", as its originator himself dubbed it. It remains a story about impersonation and romance, too. No one has brought it to the stage like this before, however. Of course, the narrative still charts Jack's attempts to be an upstanding custodian to his ward Cecily in his country existence, only to live it up in town under a different name with his friend Algernon — and the latter's own similar scheme, aka "Bunburying", aka making up a fictitious ailing friend that often needs his attention as an excuse to ditch the city. And, this The Importance of Being Earnest remains the tale of two young women, Cecily and Gwendolen, with their sights set on married futures, but the reality of their hopes and dreams impacted by Jack and Algernon's duplicity. What's Scanlen's take on Cecily's journey? When the character falls in love with Jack's made-up brother Ernest, "I think she knows that deep down that he might not exist, but she's so invested in this imaginary world that she's built for herself to escape the boredom of her life in the country that she's willing to do anything to will this person into existence," she tells Concrete Playground. "And so when Algernon shows up at her home, she assumes him to be Ernest, her fiancé. I guess he represents to her freedom, an escape from the boredom of her life, and a promise of wealth and fun. I think she's a kindred spirit with Algernon in the play." Asked if her path to here, to acting on the London stage in a famous farce that's now screening in cinemas afterwards, was something that she could've imagined when she booked her stint in Summer Bay almost a decade ago now, and Scanlen notes that "never in my wildest dreams did I imagine I'd be onstage playing Cecily at the National Theatre. I think that is pretty special". She continues: "I don't think I was looking that far ahead. I knew that my heart was in films and television, and I knew that I wanted to make films, too. But I did find acting through theatre originally, so theatre has always had a special place in my heart — and I returned to theatre when I was 19, I think, at Sydney Theatre Company." "I guess with this career, it's not really something that you can plan. You just have to give yourself up to whatever happens, and I'm really lucky to find myself here," Scanlen also advises. "I can't see myself doing anything else. I've been doing it for so long now that the idea of pivoting careers seems crazy to me. I can't really see my life without acting and film and TV and theatre. I've just followed my curiosity along the way, and I don't really know exactly where I'm going, but I think that's how it works. You just have to stay inspired and stay curious. And I've been lucky enough that it's taken me to some just some wonderful places and I've met some wonderful people along the way." One of those people: Gerwig. Taking inspiration from her Little Women director is part of the reason that Scanlen is in The Importance of Being Earnest at all — and Gerwig came to see her in the production during its London stage season. The actor-turned-filmmaker's influence on Scanlen's career; the excitement of playing Cecily; Webster's vision for the play; being part of such a phenomenal cast; what she looks for in roles; the experience of that whirlwind Sharp Objects, Little Women and Babyteeth run: we also dug into them all with Scanlen, among other topics. On What Excited Scanlen About Being Part of The Importance of Being Earnest Onstage "It didn't take much — it didn't take anything for me to audition for this. When I heard that the National Theatre was putting on The Importance of Being Earnest, I was so excited to take a crack at it. And I auditioned and it was quite daunting, because it's such a well-known play and the language is quite challenging. And physically, too — the physical comedy is quite specific. So going into the audition, there was a lot I was thinking about. And I think also this play can be interpreted in a number of different ways, depending on what lens you're looking at it through, so I didn't really know what Max, the director, wanted to do with it at that point. So I was just taking a shot and I just gave it my best, and it worked out." On Getting Into Cecily's Mindset in Webster's Version of the Play "I guess Oscar Wilde wrote Cecily as this farcical character. Cecily is based on this farcical character of the time, which was this bloomer-wearing, cigarette-smoking, bicycle-riding, independent woman. And I guess in this play, all the characters in the play are based on tropes and stereotypes of characters at the time, and he sets them up to subvert them. So Cecily is illustrated as this young, innocent woman, but she's actually very much in charge of her own destiny and makes all the decisions. To get into character, it felt like to get into the head of Cecily, I had to do a lot of mental gymnastics — because Cecily, she doesn't feel real sometimes. And her way of seeing the world is quite convoluted because of her diary. I think Cecily is usually seen as a fantasist, but I don't think that's the most-helpful way for an actor to access the character. So I did a lot of mental gymnastics trying to understand what Cecily wanted, and why she is so attached to her diary. And she spent so much time with her diary that now her diary is the compass for truth and reality, so anything that diverges from what she's written in her diary is false. She's got a very specific worldview, I suppose. I think a lot of getting into character for this play, though, was just having fun and enjoying the surface-level nature of the play. And also interacting with the audience. The audience is really important for this play and we had very direct contact with them whilst we were performing. So just getting comfortable acknowledging the audience and getting the audience onside. It was a huge learning experience for me." On Working with the Rest of The Importance of Being Earnest's Cast "It was such a joy to come in every day and be onstage with this group of people. It's a very special time that I know I won't get back. And I think that the beauty of theatre is that it's all so temporary, but what we created together was beautiful. Honestly, I don't really know any other way to describe it other than pure joy. It was just a joy to be onstage with the company every day. Obviously, there's days where you're tired and maybe you didn't sleep well or someone's sick, but you can't really do this play without having fun. So even if you rocked up in a bad mood, you're bound to come out of it in a good mood." On NT Live Bringing the Production Beyond London and Broadening the Show's Audience "I think it's incredible. I think it's the closest thing to being there and the technology has improved so much that what NT Live is bringing out to the world is incredible and hugely impactful, too. I think theatre can feel inaccessible at times, and what NT Live does is make it really accessible, and people from all around the world can watch this play. I also think that this play has a really important message to share about being yourself and expressing yourself. And queer pride, queer joy, all of those things, I think are really important for younger audiences, and it makes me really excited to know that this play can be seen by so many school kids around the world, too. This play, it's been done many, many times before, but it's for a reason, and I'm really happy that it's been immortalised. It's really cool." On Digging Into the Play's Interrogation of Identity and Breaking Free of Expectations "I think that was a really important theme to our interpretation of the play. In the past, other versions of this play feel quite stuffy, and it is more about the snobbery of high society than it is about identity and expression and queerness. And we wanted to make it feel fresh and use the queer lens more than anything. This play is about young people inventing themselves in virtuosic expression.The opening of the play, too, the dance sequence that we put in the opening of the play, I think really represents that. It's the dream. We wanted it to be feel like an empowering play rather than weighed down by the satire of it." On the Experience of Starring in Sharp Objects, Little Women and Babyteeth in Such Short Succession at the Start of Scanlen's Career "It was pretty overwhelming. I'm aware that most people, it doesn't happen in such quick succession, usually. And I did find it quite overwhelming and felt the urge to withdraw from it all, but knew that I couldn't — and was very aware that the opportunities I was getting were really special and it would be silly not to ride the wave. But I was very young, and I think I handled it as well as I could've. But now that I'm older and I have a bit more experience and am probably a bit more mature, I can look back on that time and think to myself 'how did I do that?'. I would say that now I feel a bit more robust and in control. I think I'd be more prepared if something like that happened again. But I wouldn't change it for the world, though." On Scanlen's Trend of Starring in Adaptations, Screen and Stage, of Classic Works "It's not something that's intentional, but I feel really honoured that I'm a part of these incredible classic texts. I did To Kill a Mockingbird onstage as well, and I studied To Kill a Mockingbird in high school, so it's really cool to be able to return to these texts as an actor — and there's still so much to be learnt from these texts. I guess I'm really lucky." On What Being Cast in Little Women Meant to Scanlen — and the Influence It Still Has "It was pretty life-changing being a part of that film. Looking back now, I realise that getting roles like that are few and far between, and to be that excited about a role is pretty rare. And to get no-brainer roles as well, it's very rare. Again, I was so young, and spent a lot of time watching other people and learning. And obviously that's a text that most young women have read and have a relationship with. I think Greta, in particular, was a huge inspiration for me, because I really am inspired by the way she's moved into writing and directing, and that's something I want to keep exploring. I remember being on set on that film and thinking about going into theatre, and she was super encouraging. And so I went on to do that. I think she had a huge part to play in how I made decisions on my career and made decisions on what I wanted to do. And she actually came and saw The Importance of Being Earnest, and it felt like a really special full-circle moment." [caption id="attachment_997124" align="alignnone" width="1920"] Max[/caption] On What Else Inspires Scanlen's Choice of Roles — Other Than Gerwig "My choices on roles are informed by a few different things, but usually the question I ask myself 'is have I done this before?'. I think that's a question that most actors ask themselves. And I know I'm in a privileged position to be able to ask myself that question and not have to take every job, but I think that I'm at a stage in my career where I feel like I'm having to resist, a bit, falling into stereotypes or falling into typecasting. And I'm constantly looking for things that push myself as an actor. I felt like, for example, The Importance of Being Earnest was a huge challenge for me. I'd never done a comedy before. And I had never been entrusted with a character as substantial as Cecily and as iconic as Cecily onstage. So I felt like I was really stretched as an actor in the rehearsal room, and I guess that's the kind of thing that I'm looking for. But it's hard. It's really hard, especially in film and TV. There's so many things that need to fall into place for a film or a show to happen, and it's really hard for all of those things to be right. But I guess that's how I see things." On the Joy of Making Babyteeth in Scanlen's Home Town, and What She Looks for in Australian Projects "I love making things at home. It's an incredibly special experience. And what I loved about Babyteeth was that we shot it in my home town, so it was an incredible experience seeing a city I know so well become a set for a film. And there's parts of Sydney that I now look at in a completely different way because of it — and I just think that's really amazing. But I'm not looking for anything in particular. I think the script is obviously incredibly important, and I would love to make a film here next. But I guess I'm just waiting for the right thing to come along — but I'm desperate to work in Australia again." NT Live's The Importance of Being Earnest opened in Australian cinemas on Thursday, March 27, 2025. The Importance of Being Earnest images: Marc Brenner.
Enter the charming little dream world of Lucy Folk, from her covetable candy-hued cocktail clutches to wearable works of art, and make them yours thanks to its online archive sale — all for a fraction of the price, too. Older styles and past collections are available at up to 70 percent off retail price. We're talking crocheted copper earrings, choker necklaces, colourful loungewear, clutches and basket-woven bags, retro-inspired shades and more. The Australian designer is known for her incredibly luxe yet playful accessories and wares, drawing inspiration from a variety of avenues in her life, although food and travel are two of the clearest. In the online sale, you'll find Moroccan-inspired clothing such as boldly striped robes, boilersuits, dresses, pants and kaftans — all of which are perfect for lazing around the house. Jewellery-wise, expect sphinx-like earrings and ones that look like coral; pearl-encrusted hoops; simple gold, silver and copper chokers; fun beaded necklaces; and a bunch of rings and bracelets — from fine and dainty to statement pieces. You can also nab a pair of her coveted sunnies for just $100, which usually retail for upwards of $375, as well as $125 off her much-loved beaded clutches. As we move into cooler autumnal weather and shorter days — and not to mention spending almost all our time at home — future you will thank Lucy Folk (and your shopping habits) for adding a burst of cheer to your every day outfits. The sale ends at midnight tonight, Monday, April 20 — so you best be quick. Lucy Folk Archive Sale runs until 11.59pm AEST.
In the opening seconds of Ema, on a seemingly ordinary night in the Chilean port city of Valparaíso, a traffic light flickers with flames. The inky evening streets are silent and still otherwise, save for the film's eponymous protagonist (Mariana Di Girólamo, Much Ado About Nothing) — but Pablo Larraín (Jackie) well and truly starts his eighth feature as he intends to continue. Ema peers on from just a few paces away, her platinum blonde hair slicked behind a protective visor, a flamethrower strapped to her back and a nozzle in her hand. She's ready and eager to set her world alight. She's positively bursting to torch everything that's holding her back, in fact. Figuratively more than literally, she won't stop until she's watched the status quo burn. Anchoring a movie about trauma, power, family, restriction and freedom, she'll swiftly prove a blazing force, as well as an unforgettable central figure in one of Larraín's very best movies so far. Before 2021 comes to an end, the Chilean filmmaker will have given the world Spencer, a new biopic about Princess Diana featuring Kristen Stewart as the royal figure. Also on his hit list this year: Lisey's Story, a Julianne Moore-starring TV adaptation of a Stephen King book that has been scripted for the screen by the author himself. But with the release of the phenomenal piece of cinema that is Ema, he's already gifting viewers something exceptional — and something that'll be hard to top. A new project by Larraín is always cause for excitement, and this drama about a reggaeton dancer's crumbling marriage, personal and professional curiosities, and determined crusade to become a mother rewards that enthusiasm spectacularly. That it stands out amongst the director's already impressive resume is no small feat given he's the filmmaker behind stirring political drama No, exacting religious investigation The Club and poetic biopic Neruda, too. For the first time in his career, Larraín peers at life in his homeland today, rather than in the past — and, in the smouldering interrogation that results, he may as well be holding the flamethrower himself. Ema is filled with gleaming, dazzling and glowing sights like the image it first splashes onto the screen, with Larraín's now six-time cinematographer Sergio Armstrong (Tony Manero, Post Mortem) lensing an exquisite-looking picture. When its lead is first seen dancing for the company overseen by her choreographer partner Gastón (Gael García Bernal, Mozart in the Jungle), she stands before a giant blue fireball. It's a projection on a screen, but even just five minutes into the movie, it comes as no surprise when the eye-catching backdrop soon turns vibrant hues of red, orange and pink. Little else about Ema is that predictable, though, including its persistent penchant for glaring at its namesake as intently as it can. Faces and bodies fill the feature's frames, a comment that's true of most movies; however, in the probing patience it directs its protagonist's way, the intensity of its lingering shots that continually place her at the centre of the image and the kinetic fluidity of its dance sequences, this feature brilliantly, blisteringly and evocatively surveys and stares. There's much to take in, all sparked by Ema's struggles after an attempt at motherhood goes awry. With Gastón, she adopted a child — an older boy, rather than a baby — but something other than domestic bliss eventuated. Following a devastating incident and the just-as-stressful decision to relinquish the child back to the state's custody, Ema is scrambling to cope. But, in a script by Larraín, Guillermo Calderón (The Club, Neruda) and Alejandro Moreno, this isn't a situation she's simply willing to accept. Social services won't give her another chance, or even let her see the boy she still calls her son. Things with Gastón have changed irrevocably, too. To combat both, to rally against the oppressive rules and expectations thrust her way, and to reclaim her sense of self emotionally and in her career, Ema makes a series of bold decisions that reshape and reignite her existence. Unspooling its narrative like a mystery to be pieced together one enigmatic and melodramatic moment at a time, Ema is many things. Most potently, it's a portrait of a woman who is willing to make whatever move she needs to, both on the dance floor and in life in general, to rally against an unforgiving world, grasp her idea of true liberty and seize exactly what she wants. Impeccably cast as the unflinching dancer, and acting with internalised cool, control and command, the magnetic Di Girólamo exudes perseverance from her pores, as well as allure — two traits that couldn't be more crucial to Ema's plans. Whether she's showing off her best reggaeton moves against a vivid backdrop, staring pensively straight at the camera or being soaked in neon light, the film's star is hypnotic. Like the brightest of flames, she's impossible to look away from. One of Larraín's regular players, Bernal also leaves an imprint, perfecting a thorny role that ties into the film's interrogation of Chile's class and cultural divides. That said, so much of his performance involves responding to Di Girólamo that everything about Gastón would be completely different without her presence. Larraín has always had a knack for casting (see: each and every one of his movies listed above). His skill as both a visual- and emotion-driven filmmaker shines here as well, and that too isn't new. The experience of watching Ema almost feels like dancing through it alongside its titular figure, because that's how mesmerising each stunning image proves, especially when paired with an intoxicating soundtrack that sets the beat and tone all at once. Nothing about this movie fades quickly; not its ideas, inimitable protagonist, or rousing exploration of trauma, shock and their impact. Little feels like anything else in Larraín's filmography, and yet it's always still evident that he's behind the camera. Add it alongside Gaspar Noé's Climax in the list of dynamic dance movies that romp, swirl and gyrate to their own electrifying rhythm. That comparison can't paint the full picture, though, because a cinematic light this strong and scalding sparks in nobody's ashes. https://www.youtube.com/watch?v=COrqRKMZ2KM
Tex Mex hot-spot El Camino Cantina comes from Sydney, where is has two outposts. This loud venue is casual and over-the-top with giant cocktails, rock 'n' roll jukeboxes, lively Tex-Mex fare and sprawling 300-seat dining room and bar. At the big L-shaped bar, eight slushie machines signal big nights and brain freezes — El Camino's margaritas come in a swag of flavours and multiple sizes, including a group-friendly two-litre tower. Other options include a host of beers from near and far, and a collection of over 100 mezcals and tequilas. To match, the food lineup is equally vibrant. Think fiery buffalo wings, sizzling fajitas, plump burritos, soft shell tacos loaded with punchy flavour combinations and unlimited complimentary corn chips and salsas. It's all rounded out with a solid selection of daily specials, including $2 tacos on Tuesdays, 10-cent chicken wings on Wednesdays, brunch on weekends and a weekday happy hour from 4–6pm. El Camino is part of the Rockpool Dining Group, which also owns Sake, Burger Project and the nearby Bavarian Beerhaus. Images: El Camino Cantina Manly by Tom Ferguson.
It's time to get excited about dinosaurs again, not that anyone ever stopped being fascinated with the planet's ancient creatures. Come May, one of 2022's best new shows is making a return for 2023 with a brand-new season filled with dino love — yes, David Attenborough's spectacular Prehistoric Planet is returning. Apple TV+ has just announced the roaringly great news, and will again air the show's second season as a five-part nightly event. So, across Monday, May 22–Friday, May 26, one instalment will arrive each day, serving up more stunning dinosaurs, more informative insights voiced by the one and only Attenborough, and more of Hans Zimmer's soundtrack. "The award-winning first season of Prehistoric Planet brought dinosaurs back to life in a way global audiences had never seen before," said Jay Hunt, Creative Director, Europe, Apple TV+, announcing the news. "Collaborating with the brilliant Jon Favreau and our fantastic partners at the BBC, we are thrilled that viewers will once again have the opportunity to be immersed in our world as it was 66 million years ago and to experience even more weird and wonderful creatures." This time around, the team at BBC Studios Natural History will be using photorealistic visual effects by MPC — the kind that Favreau used in his versions of The Jungle Book and The Lion King — to focus on new dinosaurs, habitats and scientific discoveries. So, you'll spend time with the Tarchia, one of the largest Ankylosauri, for instance. That said, the Tyrannosaurus rex will be back among other dino favourites. Of course it will. What's better than one of the Attenborough siblings marvelling over our planet's ancient creatures? None other than David following in his brother Richard's footsteps, of course, just as it was in 2022. While the latter showed dinos some love back in Jurassic Park — with the now-late actor and filmmaker even uttering the iconic words "welcome to Jurassic Park" — his broadcaster, biologist and natural historian sibling largely surveyed the rest of the earth's living creatures in his iconic documentaries before Prehistoric Planet. With its first season, the show instantly earned its place among David Attenborough other doco highlights — a list that spans The Living Planet, State of the Planet, The Blue Planet, Frozen Planet, Blue Planet II, Our Planet, Seven Worlds, One Planet, A Perfect Planet and Green Planet, as well as Planet Earth and Planet Earth II, plus documentary David Attenborough: A Life on Our Planet), just to name a few. There's no trailer for Prehistoric Planet's second season yet, but you can revisit the season one trailer below: Prehistoric Planet season two will hit Apple TV+ across Monday, May 22–Friday, May 26, with a new episode available to stream each day. Read our full review of Prehistoric Planet season one.
Tonight, tonight, there's only Steven Spielberg's lavish and dynamic version of West Side Story tonight — not to detract from or forget the 1961 movie of the same name. Six decades ago, an all-singing, all-dancing, New York City-set, gang war-focused spin on Romeo and Juliet leapt from stage to screen, becoming one of cinema's all-time classic musicals; however, remaking that hit is a task that Spielberg dazzlingly proves up to. It's his first sashay into the genre, despite making his initial amateur feature just three years after the original West Side Story debuted. It's also his first film since 2018's obnoxiously awful Ready Player One, which doubled as a how-to guide to crafting one of the worst, flimsiest and most bloated pieces of soulless pop-culture worship possible. But with this swooning, socially aware story of star-crossed lovers, Spielberg pirouettes back from his atrocious last flick by embracing something he clearly adores, and being unafraid to give it rhythmic swirls and thematic twirls. Shakespeare's own tale of tempestuous romance still looms large over West Side Story, as it always has — in fair NYC and its rubble-strewn titular neighbourhood where it lays its 1950s-era scene. The Jets and the Sharks aren't quite two households both alike in dignity, though. Led by the swaggering and dogged Riff (Mike Faist, a Tony-nominee for the Broadway production of Dear Evan Hansen), the Jets are young, scrappy, angry and full of resentment for anyone they fear is encroaching on their terrain (anyone who isn't white especially). Meanwhile, with boxer Bernardo (David Alvarez, a Tony-winner for Billy Elliot) at the helm, the Sharks have tried to establish new lives outside of their native Puerto Rico through study, jobs and their own businesses. Both gangs refuse to coexist peacefully in the only part of New York where either feels at home — even with the threat of gentrification looming large in every torn-down building, signs for shiny new amenities such as Lincoln Centre popping up around the place and, when either local cops Officer Krupke (Brian d'Arcy James, Hawkeye) or Lieutenant Schrank (Corey Stoll, The Many Saints of Newark) interrupt their feuding, after they're overtly warned as well. But it's a night at a dance, and the love-at-first-sight connection that blooms between Riff's best friend Tony (Ansel Elgort, The Goldfinch) and Bernardo's younger sister María (feature debutant Rachel Zegler), that sparks a showdown. This rumble will decide westside supremacy once and for all, the two sides agree. The OG West Side Story was many things: gifted with a glorious cast, including Rita Moreno in her Academy Award-winning role as Bernardo's girlfriend Anita, plus future Twin Peaks co-stars Russ Tamblyn and Richard Beymer as Riff and Tony; unashamedly showy, like it had just snapped its fingers and flung itself off the stage; and punchy with its editing, embracing the move from the boards to the frame. It still often resembled a filmed musical rather than a film more than it should've, however. Spielberg's reimagining, which boasts a script by his Munich and Lincoln scribe Tony Kushner, tweaks plenty while also always remaining West Side Story — and, via his regular cinematographer Janusz Kaminski (The Post) and a whirl of leaping and plunging camerawork, it looks as exuberant as the vibrant choreography that the New York City Ballet's Justin Peck splashes across the screen, nodding to Jerome Robbins' work for the original movie lovingly but never slavishly. From the famous first whistle that's always opened the tale, West Side Story feels like it's dancing through the narrative instead of merely telling it. The savvy realisation that gang struts and brawls suit balletic movements — a notion from when the idea first hit the stage — pairs marvellously with the peppier visuals, too. Spielberg's fluid and kinetic stylistic approach springs from the same source as many of his other touches, with the director aiming not just to finally make a musical, bring the playfulness of his action scenes to the genre, or to give a work he loves his own stamp, but to ground the story in notions that are pressingly relevant today. Viewers here see more of the west side, get a bigger sense of the place, tap into its energy, and glean a more grounded view of the poverty, racism, factionalism and violence that's always sat at West Side Story's core. Switching some of the film's Leonard Bernstein-composed, Stephen Sondheim-penned songs between characters and locations makes this a more thoughtful and textured movie as well. See: the on-the-street version of earworm 'America' led by Hamilton veteran Ariana DeBose as the new Anita, and transforming 'Somewhere' into a community-focused ballad sung by the returning Moreno as a new figure. Both are magnificent. Still, as delightful as almost everything about Spielberg's film is — its inspired changes and passionate tribute to the first feature alike — it has an Ansel Elgort problem. He's a bland island in a sea of spectacle, and the lack of chemistry between him and the radiant Zegler would be a killer if examining the place, time and struggles that give rise to Tony and María's love didn't take precedence over the romance itself. Make it a 1950s NYC R+J, but about why its tragedy unfolds: that's another of Spielberg and Kushner's clever choices. And, while it takes a lifetime of unfortunate moves to strand the Jets and Sharks in their bloody turf war, thankfully one bad casting decision can't taint everything that glimmers about their latest big-screen outing. Indeed, enough praise can't be slung Faist, Zegler, Alvarez or DeBose's way, in what deserves to be a movie star-making effort for all four. Faist's turn as Riff is sinewy, smooth and vulnerable all at once — the film is electric every time he's on-screen — and Zegler's woozy and hopeful performance as a woman in the throes of first love is equally revelatory. Bringing EGOT-recipient and all-round entertainment icon Moreno back is touching, as well as exactly the right kind of nostalgic; looking both backwards and forwards is another of this sublime achievement of a feature's many successes, after all.
If you've been battling with the idea of deactivating your Facebook account but decided against it because it would 'disconnect' you from a considerable amount of social happenings, then news of Facebook Messenger, a standalone SMS app that was launched yesterday, might just clench this reality. Competing against Google+ and its accompanying mobile app, Facebook Messenger allows you to communicate with other Facebook users (not necessarily your Facebook friends) via SMS. According to Wired, the app "wrangles all private communication" between Facebook users into one thread. The app also features group chats, picture distribution and location services so you can continue to keep in touch even if you aren't logged onto Facebook - all communication is delivered by either notifications or texts. The app is available through iTunes and the Android Store for free, and if this is Facebook's attempt to do away with SMS by providing the same service at no cost, then deactivating your account might be just a tad bit harder to do. https://youtube.com/watch?v=wcRipEHsA64 Image: cydiaiphoneblog.com
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 QAGOMA Store Christmas Design Market — which is sprawling over two days in 2022 (because one day just isn't enough). 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) among the more stalls. 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. The 2022 QAGOMA Store Christmas Design Market runs from 9am–4pm on Saturday, December 2–Sunday, December 4 on the GOMA forecourt. Each day will welcome in more than 50 stalls, so expect to be spoiled for choice. Merry shopping!
In a year when we're all spending a whole lot more time at home than we ever planned to, you may have become obsessed with upgrading your abode (and we don't blame you). One of the best ways to brighten up your space is with pops of colour, and that goes hand-in-hand with one of the most colourful art movements of the last century — the pop art era. Distinguished by its flashy imagery and bold colours, pop art flourished in the 1950s and 60s across the UK and US, and, to a degree, Australia. Whether you're an art lover or just want to freshen up your space, we've picked out six simple ways you can bring a slice of pop art into your life, with help from our friends at LEGO Art — from kitschy statement jewellery to patterned cushions and build-your-own artwork. We've also made sure you can order these items from the comfort of your home. Each item can be shipped directly to your doorstep. [caption id="attachment_782323" align="alignnone" width="1920"] Nikita Majajas by Liz Ham[/caption] WEAR POP ART-INSPIRED JEWELLERY FROM DOODAD AND FANDANGO Sydney-based jewellery brand Doodad and Fandango is all about that pop art look, thanks to founder Nikita (Margarita) Majajas' obsession with Japan's Harajuku fashion movement. She creates wearable art that's inspired by the bakelite and celluloid costume jewellery of the 1930s and 50s, and she wants her customers to experience the glamorous look of the era with new, modern designs. These products are anything but fast fashion — every piece is handmade to order using locally sourced, collector's-grade material and the process is sustainable, too. Plus each item is just really fun — think a Stud choker ($140), Act Now earrings ($80) and even a range of bolo ties ($90) to choose from. BUILD ANDY WARHOL'S MARILYN MONROE AND FRAME IT We've been loving the rise of adult colouring books, paint sets and other calming kidult trends. And now a childhood favourite is offering a much more adult version of your favourite coloured bricks. There's a new LEGO Art range which is specifically designed for grown ups. Our pick is the iconic Marilyn Monroe portrait ($199), based on the artwork by Andy Warhol, one of the leading figures of the pop art movement. Each set comes with four different building options, so you can recreate and display the entire portrait series — all with a Warhol signature tile to boot. If puzzling together colourful squares isn't therapeutic enough, the experience also comes with a specially curated soundtrack to listen to as you build. SIP FROM THESE POP ART-INSPIRED MUGS Miss perusing the museum gift shop after seeing an exhibition? Sydney's Museum of Contemporary Art has you covered. Whether you live out-of-state or are just being 'rona safe, you don't have to head into the museum to check out its store. The online shop offers a huge range of art-adjacent products that can be delivered direct to your doorstep. Including these Andy Warhol-themed mugs ($24.99), dubbed the 'Andy Tea-Hall'. It's sure to make your daily (or hourly) cuppa a bit more fun. The shop also offers heaps of other ceramics and homewares, as well as jewellery and gift ideas. BRIGHTEN UP THE LOUNGE WITH PATTERNED CUSHIONS World-renowned Finnish brand Marimekko has a penchant for patterns, and it has been brightening up homes and wardrobes around the world for six decades. Expertly crafted to last, the brand's products are the perfect addition to any house. While there are stores all over Australia and New Zealand (and over 100 around the world), you can also simply order online. Marimekko's designs come in all different hues and patterns, with pillows, covers and cushions all on offer — think orange groves, vivid greens, floral patterns and bold black and white shapes. All of the textiles are printed at the company's factory in Helsinki. Cushion covers (50 x 50 centimetres) start from $53, and shipping is free if you spend over $150. STOCK YOUR LIBRARY WITH POP ART BOOKS A coffee table book is a great way to bring pop art into your home without committing to it long-term. There are (not surprisingly) heaps of books on the subject, and Brisbane's Queensland Art Gallery of Modern Art (QAGOMA) is a good place to start. Its online shop offers stacks of art books and specialises in Australian and First Nations art and artists. If you're just beginning your pop art collection, our top pick is Flavia Frigeri's Pop Art: Art Essentials ($20). The book follows the movement from its beginnings in post-war consumerism all the way to its global rise in the 1960s. Explore works by well-known artists like Roy Lichtenstein alongside Japan's Ushio Shinohara and Argentina's Marta Minujín. Delivery is a $15 flat rate across Australia, $30 for New Zealand and $10 if you live locally. SPORT YOUR LOVE FOR WARHOL WITH WEARABLE PIECES OF ART If you're looking for other ways to show your love of pop art without decorating the house, there's a huge range of clothing, jewellery and other art-related fashion accessories up for grabs from the Museum of Contemporary Art. This wooden Andy Warhol brooch ($29) is a hand-painted statement piece that closely aligns with Warhol's quote, "Fashion wasn't what you wore someplace anymore; it was the whole reason for going". Created by Milk Thieves' designer Emma Lee, the brooch was handmade on the South Coast using sustainably sourced, laser-cut bamboo. And it'll add a bit of nostalgic pop culture into your accessory roster. Discover more about the new LEGO Art range, here.
Thirsty? If you're not now, you will be once you've read this. That's the only appropriate reaction to a festival of beer, after all. Just think of all the amber liquids and foamy goodness. Okay, enough drooling; here are the important details that every ale-lover needs. When Beer Fest on the Grass returns for its whopping 11th year from 11am on Saturday, August 10, 2024, more than 250 beers and ciders will be on offer. To line your stomach, there'll also be a range of international food trucks. Basically, if there's a beer heaven, this is it. Yes, Eatons Hill Hotel has been hosting this tipple-fuelled shindig for over a decade — and will once again celebrate drinking, eating and enjoying a day in Brisbane's glorious outdoors. If you're serious about your beverages, you'll want to taste, sip, sample and chat to folks from a huge selection of breweries. Beyond beer and cider, ginger beers, wine, spirits and non-boozy tipples will available. And, if you're serious about fun, you'll want to gather some mates and take part in the event's other fun activities — in previous years, there's been an inflatable beer obstacle course, a keg-stacking comp and a life-sized game of foosball. Tickets are on sale now, with second-release entry starting at $23.80. Top image: Brisbane Beer Fest.
Spring in Brisbane means many things: jacarandas blooming, and their purple flowers scattering around the streets; knowing that the city's five chilly days for the year are well and truly behind us; and the citywide arts and culture event that is Brisbane Festival, for starters. As part of the latter, it's also when Riverfire brightens up the Brissie night sky, usually to end the fest — but in 2022, it'll be helping start the fun (and the month) instead. After a chaotic few years for the annual fireworks display — which was scaled back in 2019, then replaced with a light and laser show in 2020 due to the pandemic — Riverfire will move to the beginning of Brisbane Festival this year. So, it'll liven up the place on Saturday, September 3. If you're the type of person who plans your entire day around staring upwards, mark your diaries now. The reason for the shift of dates: to move the event out of school holidays. Still, if you don't have kids, you might still be looking forward to beginning Brisbane Festival with a pyrotechnics display, rather than farewelling it. Of course, no matter when it's held, Riverfire always attracts a crowd. Usually, more than 500,000 people attend, and South Brisbane sports the masses of people to prove it — as does anywhere with a decent vantage over the river. As always, the Riverfire playlist will be simulcast via Triple M, too, while Channel Nine will broadcast the fireworks if you can't get a decent view. Even if fireworks aren't usually your thing, you might still be interested in the Riverfire shindigs that always pop up on the night, with bars around town usually throwing plenty of parties with quite the lit-up backdrop. Full details about the this year's Riverfire won't be revealed until the Brisbane Festival program is released later in the year, which usually happens around mid-July. Obviously, it'll be as straightforward as it usually is — with fireworks doing their thing for more than 20 minutes across the evening, and folks around Brissie finding the right spot to look up. Riverfire 2022 will take place on Saturday, September 3, during this year's Brisbane Festival. Further details will be announced with the full Brisbane Festival program later in 2022.
You swing by Starbucks before work, longing for a latte or flat white to bring you to life before a morning full of meetings. The barista hands over your cup of energy for the day and with a smile on your face you continue your journey to the office. You finally lift the cup to take a sip, and much to your dismay instead of enjoying the first taste of caffeine your tongue is brutally scalded by the piping hot liquid. You now have a temporary lisp and food is tasteless for the next three days. Not anymore — Coffee Joulies have come to the rescue of burnt tongues everywhere. The coffee-bean sized capsules are made of a thermodynamic, non-toxic material surrounded by stainless steel and are designed to cool hot beverages three times faster than normal and maintain a "perfect" drinking temperature for twice as long. How does it work? The Joulies are made to melt at about 60 degrees Fahrenheit (coffee is typically brewed at 90, give or take), and as they melt they absorb that extra heat from the drink. When the drink starts to cool down, the Joulies release that heat and begin to re-solidify. They may be called Coffee Joulies but they work for any hot drink, tea, hot chocolate, you name it.
Six years after launching its first-ever store in Sydney, salad chain Fishbowl has finally made the move north. Since mid-July, Brisbanites can now head to Newstead to tuck into the brand's Japanese-inspired bowls, with its debut Queensland outpost opening at Gasworks. For newcomers to Fishbowl, the chain heroes fast but healthy vegetable-filled bowls, all revolving around its range of house favourites. So, you can enjoy its original salmon sashimi number, its coconut chicken bowl and a warm 12-hour braised brisket option — among other varieties — but personalise it by choosing from brown rice, sushi rice, glass noodles, mixed cabbage, mixed leaves and soba noodles as bases. Down south, where Fishbowl operates 22 stores in Sydney and five in Melbourne, the company serves up more than 10,000 bowls of its most popular dish — The OG, that salmon sashimi bowl with kale, savoy, beets, shallots, edamame, red onion, roasted sesame dressing, seaweed salad, tobiko and crispy shallots — every week. Since first making its name in Bondi in 2016, back when founders Nathan Dalah, Nic Pestalozzi and Casper Ettelson were all uni students, the brand has clearly expanded its footprint considerably. But it's not just about tucking into bowls; Fishbowl has also set up run clubs and created its own surf team, and also opened smoothie and salad bar Side Room, seafood eatery Fish Shop and takeaway joint FSH MKT. Images: Nikki To.
If you Google 'Michael Jackson's legacy', you'll find the following pearls of pop culture wisdom: he made R&B the sound of pop, he made music videos an 'event', he made dancing a prerequisite to any occasion, he was instrumental (no pun intended) in developing the celebrity charitable-industrial complex, and his 1977 book The World Guide to Beer created the modern concept of beer styles that underpins the craft beer movement to this day. That last fact may come as a surprise to devoted fans of the King of Pop, but probably not to craft beer aficionados who are well aware that there's more than one Michael Jackson in the firmament. When it comes to craft beer, the 'real' Michael Jackson was an English writer, journalist and TV presenter, and not a moonwalking, anti-gravity-leaning, crotch-grabbing singer. Although it's easy to see how confusion could arise. The book explored the wide and wonderful world of craft beer styles — from porter to pilsener and everything in between. It elucidated their history, discerned their characteristics and uncovered unique (and decidedly roguish) facts about each type. Almost 40 years on, thanks to the work of Michael Jackson and other craft beer evangelists like James Smith, more people are aware of the beer varieties available to them. But what do the different styles mean and how does sampling them introduce you to a whole world full of flavour? Let us explain. Porter Brewed from brown and dark coloured malts, this moderately hopped beer became popular in 18th century London. Sharing similarities with stout, it descended from brown ale. Expect a complex, interesting beer with flavours of chocolate and coffee. Many tall tales have been told about the origins of this style of beer. No one can be certain which is true, which only adds to the porter's mystique and appeal. India Pale Ale (IPA) Also originating in the 18th century, this strong, hoppy (yet also light, bright and sparkling) beer was brewed specifically to last the journey from England to India in the days of the British Raj, so that the thousands of ex-pats living there could still enjoy their creature comforts. On arrival in India, IPA was said to be watered down before being given to the rank and file British troops, meaning only the officers got to enjoy it in all its glory. American-style Pale Ale Typified by strong citrus and fruity hop aromas, American pale ales were developed in the 1980s and take their name from the use of American hops such as Cascade. The style has since been adapted to embrace hops from around the world, while retaining the key taste characteristics and a good balance of malt and hops. Anchor Liberty Ale is regarded as the first modern American pale ale. It was first brewed in 1975 to mark the start of the American War of Independence, when the US colonies effectively said 'up yours' to their British overlords. Golden Ale Combining elements of pilsners and wheat beers, golden ales are technically part of the broader pale ale family. Noted for their alluring colour, golden ales are light, refreshing and highly drinkable, with a restrained bitterness and dry finish. Often called 'summer ales', this is the fastest-growing style of beer in the UK, charming drinkers away from the heavily promoted lager brands. Pale Ale Originating in northern England (Burton upon Trent, to be precise, a town blessed with plenty of rich, hard water, which helps with clarity and enhancing the hop bitterness), the term stems from the practice of using coke to dry-roast malts, resulting in a lighter-coloured beer. Pale ales tend to be fruity and hoppy, and can vary in colour from amber to golden. Craft beer fans around the world have innovative chemist CW Vincent to thank for identifying the calcium sulphate content in the Burton water that first allowed for hoppy beers to be brewed. The act of adding gypsum to water is now known as 'Burtonisation' and now allows the likes of the Malt Shovel Brewery (home to the James Squire craft beer range) to bring out the flavours of the hops. Copper Ale Named after their distinctive colour (which perhaps isn't the most creative approach, but at least you know what you're getting), copper ales can vary in taste from mild to bitter. In the US, copper ales are classed as American amber ales and originated on the West Coast, home to various counter culture movements and alternative, individualistic approaches. Amber Ale Another member of the pale ale family, and another named after its colour, amber ales tend to be balanced, rich and effortlessly flavoursome. Coloured malts such as Crystal are used to create the rich amber colour. Amber ale was the first craft beer brewed in the James Squire range. Now known as Nine Tales Amber Ale, it tells James Squire's remarkable life story in a toffee-caramel nutshell. Pilsner Also (and more correctly) spelt pilsener, this pale lager takes its name from the Bohemian city of Plzen (or Pilsen) where it was first brewed. There are now three main styles of pilsner: Czech — golden, earthy and bitter; German — colourful, light and foamy, European (mainly Dutch and Belgian) — sweeter. Josef Groll, the brewer who invented pilsner, was a Bohemian in every sense of the word, from his revolutionary approach to brewing to the manner of his death — of natural causes while happily telling stories at the regulars' table in his favourite pub. Australian lager Synonymous with Australian beer, lagers are European in origin (the word comes from lagern, meaning 'to store' in German). The fundamental difference to ales comes from the type of yeast used (bottom-fermenting as opposed to top). Lagers tend to be clean and crisp, and often have grassy characteristics. In the US, lagers brewed before Prohibition were often crafted with a high percentage of corn. Coincidentally, James Squire also brewed beer from corn in Australia's earliest days — which perhaps makes 'necessity is the mother of invention' the rogue's motto. Photo credits: Daveybot, Jaryl Cabuco | Fitted.Life, Keithius, Claudio Brisighello, Speed-Light, Matthew Black, blondinrikard, and martingarri via photopin cc.
If a luxury getaway is on the cards this summer, NSW has a stunning new outback accommodation option to add to your wish-list. Set on a 9000-acre family-run, third generation beef and sheep property near Warialda in the state's north (about seven hours from Sydney and five from Brisbane), the newly launched Faraway Domes promises a luxury secluded escape, with the added bonus of a minimal carbon footprint thanks to an off-grid power supply. Designed to be able to create its own natural heating and cooling, the self-contained geodesic dome structure fits two and is kitted out in style. You're sure to feel right at home with the luxury four-poster king size bed, a proper bathroom, open-plan living area with TV and, if you choose, a full kitchen stocked with your choice of gourmet eats and ingredients. Meanwhile, a surrounding elevated deck (complete with an outdoor bath) takes full advantage of those sweeping rural views, ideal for nights spent sipping wine under the stars. When you're not living it up in your gorgeous temporary home, you'll find plenty nearby to keep you entertained — Macintyre Falls, Copeton Dam, Cranky Rock Nature Reserve and the Ceramic Break Sculpture Park are located all within an hour's drive of the dome. Faraway Domes currently just has one dome on the property, with plans to construct more in the future. Faraway Domes opens for bookings today with a one-night stay priced at $372. You'll find it at 405 Munsies Road, Warialda, NSW.
If you haven't attended SXSW Sydney yet, then you've missed on not one but two Down Under iterations of the annual massive music, technology, screen and gaming festival, which made the leap to the Harbour City in 2023, then returned in 2024. For the event's third year, organisers have announced a number changes, all designed to give more folks more reasons to head along. One: additional free programming. Another: more flexibility with ticketing. It was in late 2024 that SXSW Sydney confirmed that it'll be back in 2025, continuing to prove a highlight of not just the Harbour City's cultural calendar, but also Australia's. The dates for its third iteration: Monday, October 13–Sunday, October 19, 2025. There's still no lineup details as yet, but being able to attend more of the fest without paying a cent — and, for ticketed parts of the program, being able to buy single-day conference passes and single-session movie tickets — is great news. Free sessions have always been a component of SXSW Sydney, but adding more is always going to be a welcome move. Again, the specifics lineup-wise haven't been unveiled; however, the event has promised a significant expansion of its free programming, including in its brand and partner experiences, and its music showcases. On the fest's Sunday date this year, Darling Harbour will become a hub of family-friendly entertainment, in one new move. Fancy hitting up the Innovation Expo without bothering your wallet? That'll now be on offer on the Saturday. As for ticketing, the single-day conference pass will set you back $295 and get you access to more than 75 sessions. The full-week pass to the conference and festival starts at $495. Movie lovers, if you just want to see one flick, you can do so for $25. SXSW Sydney's festival wristbands will be back, though, giving access to either the screen, music or games showcases — and the early-bird price this year is $100. 2024's SXSW Sydney, the second-ever Down Under, featured 1400 conference sessions, 95 screenings, 315 performances and 150 games. It also hosted more than 92,000 unique visitors, with folks attending from 56 countries. In terms of total visits, the seven-day festival notched up 300,000 — including 190,000-plus people heading along to the 163 events as part of the free programming in Tumbalong Park. Whatever graces the bill in 2025, it'll follow on from Black Mirror's Charlie Brooker, Chance The Rapper, Future Today Institute founder and CEO Amy Webb and Nicole Kidman in 2023, plus The Kid LAROI, human rights lawyer Jennifer Robinson, author Johann Hari, The New Boy filmmaker Warwick Thornton, The Babadook composer Jed Kurzel, Grace Tame and Tim Minchin in 2024 — and heaps more. SXSW Sydney 2025 will run from Monday, October 13–Sunday, October 19 at various Sydney venues. Head to the SXSW Sydney website for further details. Images: Paul McMillan, Jess Gleeson, Jordan Kirk, Jaimi Joy, Brendon Thorne/Getty Images for SXSW and Nina Franova/Getty Images for SXSW Sydney.
Adam Wolfers has been a big name in Brisbane's hospitality scene since 2019, when he became Gerard's Bistro's Head Chef. In his new gig, he'll have his fingerprints all over not just one huge River City restaurant, but several. Anyday, the hospitality crew behind Agnes, Biànca, sAme sAme and hôntô, has just announced Wolfers as its new Group Chef. All four of the aforementioned eateries are among Brisbane's best restaurants — and they'll now benefit from Wolfers' talents, as will fellow Anyday venues LOS (sAme sAme's cocktail bar) and Agnes Bakery (Agnes' woodfired pastry offshoot). The chef left Gerard's Bistro in 2023, after multiple health issues, including a stroke. Now, he's ready for a new challenge. "Adam comes to us with a wealth of experience, both celebrated and broad-ranging. We're thrilled to be bringing him into the Anyday fold and have no doubt he'll boost the culinary experience at all our venues," said chef Ben Williamson, one of Anyday's founders, announcing the news. "Adam and I share a common love of great, fundamental cooking and surprising flavour combinations, which align with our vision for Anyday's stable of restaurants. The group looks forward to the evolution of our existing and future venues under Adam's mentorship and guidance." Before his time at Gerard's Bistro — where he stepped into Williamson's shoes at the time — Wolfers came up in the kitchens of Sydney's Est. and Marque, then worked in New York and at Spain's three-Michellin-starred Quique Dacosta Restaurante. When he returned to Australia, he enjoyed a stint with The Bentley Restaurant Group and launched pop-up series Ételek. How his influence will be felt across the menus at Anyday's venues hasn't yet been revealed, but whatever new dishes eventuate are sure to be among Brisbane's must-try bites. [caption id="attachment_849811" align="alignnone" width="1920"] Melanie Colwell[/caption] For more information about Anyday and its Brisbane eateries, head to the group's website.
A glass of bubbly is always a pleasure, but the return of World Champagne Day provides ample excuse to add a little more sparkle to your upcoming weekend. Taking over QT Hotels & Resorts across Australia from Friday, October 24–Sunday, October 26, the brand's lineup of luxe off-beat stays have teamed up with true-brut style Perrier-Jouët for a cork-popping experience. To mark the occasion, guests are invited to double-down on their love of champagne, as your first flute purchase scores a second pour of top-quality champers on the house. Just swing through any of QT's signature restaurants — like Gowings & Parlour at QT Sydney, Pascale Bar & Grill at QT Melbourne and Yamagen at QT Gold Coast — to toast yourself with a fizzy encore to match.
There's never a bad time to bust out the lyrics to 'Footloose', the Kenny Loggins-sung, Oscar-nominated theme to the film of the same name that helped Kevin Bacon dance to fame four decades back. Still, although the track doesn't get a spin in X, Pearl or MaXXXine, its opening line feels particularly relevant to the trilogy, which Bacon has now joined. Since coming up with the idea for three horror movies inspired by pornographic film classifications in the US in 2019, writer/director Ti West (The House of the Devil, The Innkeepers, The Sacrament) has been working so hard to bring a unique slasher saga to the big screen. Working so hard to chase a dream and do more than punch a card has also throbbed within every instalment. Before it had Bacon (Beverly Hills Cop: Axel F) as a sleazy private detective and Australia's own Elizabeth Debicki (The Crown) as a film director, the franchise first had X initially mark the spot in 2022, with the New Zealand-shot feature kicking it back to 1979, to a Texas farmhouse where a porn production featuring an aspiring adult-film actor turns bloody. The talent: Maxine Minx, a force of nature in the movie played by Mia Goth, the X series' own force of nature. Fresh from stealing scenes in Emma, and with standout roles in Nymphomaniac: Vol II, A Cure for Wellness, Suspiria and High Life also on her resume, Goth cemented herself as the consummate horror star in two X roles. She captured Maxine's lust for a life worthy of her ambitions and desires, shooting her shot in the X-rated game, and for survival. She also made the elderly Pearl, one of the remote property's owners, an unforgettable adversary. When X reached audiences, splashing around gore like it truly was a 70s horror flick — and styled playfully to look the part, as if it'd just been unearthed in a dusty barn or basement — good news already beckoned when the film hit the spot with viewers. West and Goth had shot a sequel immediately after the first film, stepping back to 1918 when Pearl was a young woman with her own hopes for the future that spanned far beyond rural life. This time, as the movie's eponymous figure covets chorus-girl gigs and also gracing the pictures, West also took cues 50s-era musicals and melodramas. He didn't hold back in getting bloody, though, and nor did Goth for even a second. Again, viewers lapping up Pearl knew that more was coming. MaXXXine brings the trilogy to a close by once more exploring the pursuit of a Hollywood-tinted dream, also paying tribute to everything that gives movies that I-want-to-be-in-them sheen and equally championing a woman who isn't going to settle for anything less than her fantasies by choice. It's now 1985, Maxine has made it in porn, but she wants to move out of skin flicks and go legit, winning a role in — what else? — a horror sequel. The timing steeps the picture in the backlash against supposedly inappropriate pop-culture wares, while also setting it against the Night Stalker killings, all as someone begins taking a literal stab at Tinseltown's starlets and others in Maxine's orbit. [caption id="attachment_965315" align="alignnone" width="1917"] Stewart Cook/Getty Images for A24[/caption] West and Goth's three films haven't ever lacked name power. West has been a genre favourite ever since 2009's The House of the Devil, which also gave a slasher a satanic panic spin. Goth's stature was rising already in 2022, and fast. Jenna Ortega (Scream VI) and Scott Mescudi (Silent Night) were among X's other actors, while Pearl precedes the next Superman — playing the Man of Steel, too — on David Corenswet's (We Own This City) resume. But it's the 80s in MaXXXine, so everything is bigger, including the film's array of familiar faces. Cue not just Bacon and Debicki cutting loose in the franchise, but also Giancarlo Esposito (The Boys), Lily Collins (Emily in Paris), Bobby Cannavale (Bupkis), Michelle Monaghan (The Family Plan) and Halsey (Americana). With Bacon, who visibly relishes getting shady as questionable detective John Labat, MaXXXine's love of the 80s and its cinema couldn't be paired with a better icon from the period. With The Night Manager, Widows and Tenet's Debicki as Elizabeth Bender, the female filmmaker helming The Puritan 2 — Maxine's hopeful big Hollywood break — the movie earns another opportunity to explore the expectations enforced upon women and the battle to buck them. Ahead of MaXXXine reaching cinemas Down Under on Thursday, July 11, 2024, we chatted with Bacon and Debicki about joining the trilogy, covering Debicki's admiration for Goth, the full-circle feel for Bacon and another way that the feature wears its love for cinema on its frames: multiple scenes set on the Universal backlot on the Bates Motel set from Psycho. On Sliding Into a Franchise with Such Commanding Performances by Mia Goth at Its Centre Maxine Minx will not accept a life that she does not deserve in MaXXXine. That isn't just an observation — it's a mantra. If it was revealed that Goth had been uttering the same words IRL but about starring roles, in fact, it wouldn't come as a surprise. In the saga's latest chapter, nothing is going to get in Maxine's way, not a serial killer, not a private detective rifling through her past, not the weight of expectation when it comes to her first chance in Hollywood. How does acting against a performance like that help Goth's co-stars? Debicki, who also shares Everest on her filmography with Goth, has nothing but praise. "I think she's phenomenal and she's quite mesmerising. She's really a unique creature. She occupies a very interesting energy field. And I felt that when I watched the two films. I've been a fan of hers for a long time because I think what she's been doing in this genre is really kind of radical — she's amazing to watch on screen," Debicki explains. "So it was really just delightful for me, because the first thing I shot was the golf cart monologue and I spent maybe eight hours talking. We were just going round and round in a golf cart, and I was just chewing her ear off, and she was a very good sport about it." "But she exudes Maxine energy. There's no other way to put it. And so because she's the centre of the film and we all come in and out and shoot however many days, she's the vibration — in a way — that you meet, and each character meets and reflects off. I don't know how else to put it. She's the thing we all orbit around. So she really has to hold that space, and she does it amazingly well." Debicki knows Bender's perspective on Maxine, too, as any actor playing a part should of their on-screen alter ego. "I found her kind of maddening, as in the character. She's so on another stratosphere that as Liz Bender, I want rip her down to earth and get her to react the way I want her to. But also, you know that Liz Bender knows her value is that she's kind of on another planet." Seeing MaXXXine's finished product only cemented Debicki's appreciation, however. "I just think she's amazing in this film. And I felt that watching it too — a mesmeric performance that really holds you for the whole thing. I'm a big fan." On Throwing It Back to Footloose-Style Pop-Culture Backlashes, Getting a Start in Horror and All Things 80s From the instant that X started flickering, West's commitment to revelling in the film's period setting was as clear as the determination in Goth's eyes that she, like Maxine, wasn't going to let anything that she wanted pass her by. The years changed, but that era-appropriate dedication didn't fade in Pearl. MaXXXine makes it three for three, while expanding the movies beyond the farm that was so pivotal to the initial two instalments. That sense of immersion isn't just about aesthetics, either. It must've felt that way on paper, and it definitely plays like it on-screen: casting Bacon is a stroke of genius, especially in a feature arriving 40 years on from Footloose that places him in another picture where music and entertainment is considered evil by some. He's also in an 80s-set slasher film after the OG Friday the 13th, an 80s slasher film, was one of his early on-screen credits. Ask Bacon if being in MaXXXine feels a bit like a full-circle moment and of course he sees it, too. "You know, it really does. It's also 40 years since Beverly Hills Cop, and I'm in the new Beverly Hills Cop. And MaXXXine takes place in 85, which is a year hence from when both of those movies came out," he tells Concrete Playground. "I think it really hit me — there's a scene out on Hollywood Boulevard at night. And I walked up there and I saw all the period cars, and I saw that the sets were dressed and the stores, things that were all super, super authentic, and the way that people were dressed. And I went 'wow, this is really like time traveling'." On the Layers of Mythology, Horror Love and Film History That Come with Shooting on the Bates Motel Set Still on blasts from the past, MaXXXine nods back further than the 80s (or even the 70s, when mentions of X's events pop up). Not once but twice while she's on the Universal lot making The Puritan 2, including with Bender and then Labat for company, Maxine walks in the footsteps of Marion Crane. As immortalised by Janet Leigh — mother of Jamie Lee Curtis, for more horror ties — the character's mid-shower fate in one of Alfred Hitchcock's masterpieces gave cinema the definitive slasher sequence. West doesn't dare attempt to recreate the scene, even if the 1998 remake with Anne Heche (All Rise) did, but love for Psycho is splattered on welcomely and gloriously thick. Accordingly, MaXXXine is well-aware of film history, and strengthens its homage to filmmaking at every possible point, with working in the set to one of the earliest slasher flicks while making a slasher flick one such tactic. Yes, that adds another layer to the picture's cinema worship — and swirls in more meta hijinks for Bacon, more eeriness for Debicki and more fun for both. "I think that the two times that we shot on the lot, for me, were very meta in a way. Not even just the Bates Motel horror movie part, but just the whole making of films and running through the flats, and going in and out of these fake buildings — it was great. That was some of the most fun I've had making a movie in a really long time," Bacon advises. "And certainly to end up with that chase scene at the Bates Motel, to walk up those steps and, you know, knock on that door — great, great moment for me." "The same for me," Debicki adds. "There's a very specific — I'm very esoteric today — but there's a very specific energy off that set. I think it's what you bring. It's a pretty creepy place. Would you agree, Kevin? Like it's got a super creepy, it's a creepy vibe." "It does," Bacon concurs. "So you feel it," continues Debicki. "It's something about how it's sort of exactly how you remember in the film, but really kind of dilapidated. Some of the crew were going in and out of the actual rooms in the motel, and someone was like 'come and look at this'. And I was like 'I am not'. Because actually it feels super weird to me." "So I loved it. It really helped me, again, to have that scene where we drive up and we land in this place that's steeped in this mythology. It's just really fun, actually, to have that. And it really helped me. If we'd been shooting off a mockup of that set, it wouldn't be the same performance, I don't think, from either of us." MaXXXine opens in cinemas Down Under on Thursday, July 11, 2024. Read our review.
Brisbane's streets are about to look a whole lot brighter — and sport a lot more paint, feature giant murals aplenty and showcase a heap more art in general. The reason: the returning Brisbane Street Art Festival, which'll take over the city from Saturday, May 6–Sunday, May 21 in its eighth year. When it comes to splashing art across the streets, spraying some paint around and stencilling up a storm, this festival offers a firm reminder: no, Banksy isn't the only artist worth celebrating and never has been. Indeed, the street art scene has been thriving in Brisbane for years, which is why this fest even exists. (That said, this year's BSAF will arrive around the same time as a huge Banksy exhibition hits the River City, so it's basically street art Christmas.) [caption id="attachment_848397" align="alignnone" width="1920"] Sheep Chen and Adnate by Joshua Taten.[/caption] Illma Gore also stands out among BSAF's 2023 roster of talent. The Australian artist lives in Los Angeles and has made a name for herself with a toilet made from $100,000 worth of Louis Vuitton bags, a mural made with the blood of 60 protestors and a nude Donald Trump. Also on the Aussie artist list: Fintan Magee, Gus Eagleton and Tori-Jay Mordey. Cat Eagan, Katherine Viney, Keys and Meimei will all be displaying pieces, as will Mulga, Jeswri, Phoebe Paradise, Pencil Head, Sevens and Vance. In total, the full lineup spans 43 artists and collectives. The festival's 16-day run will also be complemented by a range of art events, including a big party at Felons Brewing Co, workshops, and using Northshore as its headquarters. [caption id="attachment_848405" align="alignnone" width="1920"] Cam Scale.[/caption] Top image: Drapl and Treazy by Aimee Catt. Updated March 23.
The original 300 was a divisive film; a pantomime of hyper violence and fascist doctrine with as much historical accuracy as a university freshman piecing together his O-Week. Still, it was also wildly entertaining and, visually, one of the first to follow in the wake of the Sin City graphic novel framing and design mould. Fast forward seven years and we're presented with the somewhat unexpected sequel; unexpected because 99.3 percent of all characters in the first film were killed off, and not in any sort of ambiguous 'daytime soap, did he really drown?' kind of way. It was more beheadings, dissections and Spartans skewered on spears like 6'2 devils on horseback. Instead, Israeli director Noam Murro's sequel is, much like The Bourne Legacy, a concurrent tale with the focus on the Athenian response to the same Persian threat that felled the infamous 300. Leading the Greek defence is Themistocles (played by Aussie actor Sullivan Stapleton), a war hero and politician whose actions during the Battle of Marathon both earned him fame and set in motion the eventual Persian invasion by the demigod Xerxes and his naval commander, Artemisia (Eva Green). Green is the standout in 300: Rise of an Empire. Adorned in a series of full-length gothic gowns-come-battle armour, her fearsome stare and contemptuous smirk command the focus in every scene she inhabits, to say nothing of that sumptuous Franco-British accent that makes a word like 'sword' an aural blanket in which to wrap yourself. With a backstory so bleak you scarcely judge her for tearing off a man's head and then kissing him, Green's Artemisia out-menaces Xerxes entirely, rendering the gold-painted God a mere passenger sporting an (at best) conservative Mardi Gras outfit. Stylistically, the film faithfully adheres to Zack Snyder's original monochromatic approach, and employs so much slow-motion that without it, 300: Rise of an Empire would just be a four-and-a-half minute ab workout video. Every flesh-tearing strike is luxuriated in with three-dimensional, Dolby-enhanced ecstasy, an orgiastic fountain of blood sprayed across the battleground as though each combatant were a warrior Pro Hart festooning his rug. The action's so video-gamey at times, you feel yourself ghost-thumbing 'Up Up Down Up Y' just to help the hero navigate the chaos, and yet the whole affair remains an entrancing visual style that should more than satisfy the fans of the original. https://youtube.com/watch?v=2zqy21Z29ps
While working with one of the first female master gin distillers in the world, Joanne Moore of Greenall's Gin, to develop a bluffer's guide to the botanical drop and to get the lowdown on some top gin drinks to make at home, we were inspired by Joanne's story. She's helped pave the way for female distillers and within a heritage company like Greenall's. So, we thought we'd have a look at some other ladies who are also shaking things up, making things happen and pioneering some pretty excellent projects. We've sourced the creme de la femme from a wide range of careers and corners of the globe and asked them, well, pretty much everything from where French mademoiselles hide their croissant crumbs (though, spoiler alert, we still don't know) to how to actually master the barbecue to what it takes to go head-to-head with Tommy Shelby of Peaky Blinders. Here we present some inspiring women to put on your radars — if they're not there already, that is. JOANNE MOORE — MASTER DISTILLER, GREENALL'S GIN Joanne Moore is one of the world's first female master gin distillers, and seventh master distiller for Greenall's, which has been in operation since 1761 — making it Britain's oldest gin distillery. Knowing that she wanted to work with one of the oldest and most revered gin distilleries in the world, Joanne started her way in quality control, where she learned about the production process. Raw ingredients, distilling and bottling eventually led her into the wonderful world of botanicals and creating gins. Around the same time as the Peaky Blinders were creating their fictional gins, Greenall's was creating a single powerful enterprise: they were distillers, rectifiers, wine and spirit merchants, importers, brewers, maltsters and ale, beer and porter merchants. And as much as we'd like to believe it's all sipping and nattering for a master distiller — though, we're not necessarily saying it's not, either — it does take years of expertise. A typical day for Joanne can involve approving samples on the Greenall's tasting panel (raw ingredients or finished products), taking customer visits, doing house tours or hosting masterclasses. Joanne's advice for anyone getting into distilling is "do it for the right reasons…You won't be an expert immediately, but have fun, and don't be afraid to make mistakes. That's how we evolve and learn." [caption id="attachment_668102" align="alignnone" width="1920"] Peter Tarasiuk.[/caption] KATE REID — FOUNDER, LUNE CROISSANTERIE Kate Reid can't remember her first ever croissant, but estimates that "it sure as hell wouldn't exactly have been an artisan one!" She's come a long way since to prove what one innovative woman unbound to traditional methods can truly achieve. Slung in the back streets of Fitzroy, Lune is notorious for selling out of its creations (think cruffins with lemon curd and twice-baked black forest beauties) plus it's been said with authority that the croissanterie is serving up quite probably the best croissants in the world. Yet, when Kate started Lune, she realised her stint in France (where she trained at top Parisian boulangerie Du Pain et des Idees) saw her learning only 15 to 20 percent of the entire artisan craft. "My background in engineering played a big part in the development of techniques. I would change one variable at a time and analyse the differences it made to the final baked product. If it was an improvement, it would become the new baseline technique. "This has the bonus knock-on effect of not being tied to a century-old classic French technique; all of our processes are always up for improvement and development," she says. And when it comes to any advice for us antipodeans oneating a pastry like a French mademoiselle, the whole 'no crumb left behind' sort of deal is still a mystery to her, too. But if anyone were to work it out, it'll surely be Kate. [caption id="attachment_668103" align="alignnone" width="1920"] Izzy Gramp.[/caption] LISY KANE — CO-FOUNDER, GIRL GEEK ACADEMY AND LEAGUE OF GEEKS To those thinking the only roles for women in STEM involve being the social bridge (here's looking at you IT Crowd's Jen Barber), then think again. In a global movement aimed at encouraging women to learn technology and build more of the internet, the Girl Geek Academy (GGA) squad has more arms and intelligence than an octopus. Co-founder Lisy Kane has also curated the first ever Australian all-female game-making day #SheMakesGames and was recognised by Forbes in the prestigious top 30 list, Forbes 30 Under 30 2017: Games. "Whether directly or indirectly, I'm now on the map and I get invited to provide keynotes at really prestigious industry events in Australia, the US and the UK. Through these opportunities, I get to hold myself up as a young woman in the game dev industry and show other young women that it's normal to be a girl in games. That's exactly the image we need to project out there to help bridge the gender gap in the industry." [caption id="attachment_668101" align="alignnone" width="1920"] Madeline Kate Photography.[/caption] JESS PRYLES — PITMASTER AND CO-FOUNDER, AUSTRALASIAN BBQ ALLIANCE Having co-founded the Australasian BBQ Alliance, Jess Pryles is an internationally respected authority on live fire cooking and barbecue and has been breaking the outdated barbecue code (see: male-dominated) for the past ten years. She explains how there's so much more to the title of pitmaster than one may realise. "Generally, the term is bandied about and there's no regulation for it. But there's a consensus that it should be reserved for someone who has reached the top of their art and not just somebody who happens to be a barbecuer," says Jess. Jess was lured into the craft when she had her first taste of intensely smoked meat in Texas. "It's such a different experience for the palate that it became this 'aha' moment." She's now whipping up everything from beef tongue that perfectly falls apart for tacos to whole deer neck that she makes into smoked venison stock. Her advice on smoking meats and firing through to the top? "You've got to have a tremendous amount of patience. It's expensive and laborious, and the reality is, you [need to] cook and fail, and do it again and again and understand how to troubleshoot. That's what it takes." [caption id="attachment_668104" align="alignnone" width="1920"] Greg Holland.[/caption] SIOBHAN MCGINNITY — MUSICIAN AND AUDIOLOGIST, MUSICIANS FOR HEARING The most sensory gigs happening in Australia right now could rightly be the Musicians for Hearing events. Established by Siobhan McGinnity, the company presents live music translated into Auslan and performed in tandem by interpreters. Her quest involves helping raise awareness and creating connections — plus, bridging an ironically unheard of gap in healthcare: hearing. Siobhan found her way into audiology by stumbling into a clinic and quizzing the doctor. She's now on the path to specialise in rehabilitating hearing loss and balance disorders. "I want to work in a niche area: protecting musicians and their hearing," she says. And with one in six Australians being affected by some sort of hearing loss — 74 percent of musicians with a form of hearing injury — it makes sense we should care about how we appreciate music. The gigs according to Siobhan are "a music fruit salad" — rock, pop, contemporary, hip hop, you name it — and funds raised from events being donated overseas toward hearing care in countries like Cambodia. "It's the most beautiful thing seeing people who are deaf and hearing standing side-by-side and being able to communicate through music," says Siobhan.
If keeping your eyes glued to a screen comes as naturally to you as breathing, then awards season brings plenty of news that you already know. You watched the best movies and TV shows of the past year, and now they're winning awards. Sometimes there's surprises. Sometimes everything that everyone expects to nab a shiny trophy does. Sometimes something deserving misses out, or wasn't even nominated. That comes with the territory, including at the Golden Globes, which usually kicks off the year in gleaming pop-culture accolades — and did again in 2024. Hearing everything that you already know in the opening monologue, though? That's something that no one wants. Were you aware that Oppenheimer is long? That Saltburn includes nudity? That Robert De Niro is an icon? So went the first few jokes from this year's host Jo Koy, amid mentioning that he "got the gig ten days ago" — which isn't too far off the mark. Thankfully, while the ceremony's hosting fell flat, as did Jared Leto's gags about himself while co-presenting the first awards with Angela Bassett, the gongs weren't short on highlights. You just had to look to the award recipients and presenters for the gold. So, let's remember the 2024 Golden Globes for Australia's Margot Robbie, Sarah Snook and Elizabeth Debicki all emerging victorious; Lily Gladstone's historic win and unforgettable speech; and Anatomy of a Fall winning Best Screenplay, a category that rarely goes to films in languages other than English. Succession's Matthew Macfadyen dubbing Tom Wambsgans a "human grease stain", then Kieran Culkin winning over Brian Cox and Jeremy Strong; Ayo Edibiri's excitement, including while thanking her managers' and agents' assistants for answering her emails, when she won for The Bear; Kevin Costner reciting America Ferrara's Barbie monologue; The Boy and the Heron getting the nod for Best Animation: they're all standout moments as well. Also worth sitting through this year's first night of nights for all things film and television: Emma Stone ribbing Australia's Poor Things screenwriter Tony McNamara about her attempts to do an Aussie accent, Christopher Nolan calling Cillian Murphy his partner-in-crime for 20 years and Murphy's just-as-touching acceptance speech. Your questions from here? What'll happen when Oppenheimer and Barbie face off at the Oscars, which doesn't separate dramas from musicals and comedies? Will the TV winners be mirrored when the delayed 2023 Emmys hand out its trophies later in January? How many more shades of pink can Margot Robbie don? And if your biggest query now is "who else won?", here's the full list of winners and nominations — and you can also check out our picks for the eight best winners you can watch right now. GOLDEN GLOBE NOMINEES AND WINNERS: BEST MOTION PICTURE — DRAMA Anatomy of a Fall Killers of the Flower Moon Maestro Oppenheimer — WINNER Past Lives The Zone of Interest BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE — DRAMA Annette Bening, Nyad Lily Gladstone, Killers of the Flower Moon — WINNER Sandra Hüller, Anatomy of a Fall Greta Lee, Past Lives Carey Mulligan, Maestro Cailee Spaeny, Priscilla BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE — DRAMA Bradley Cooper, Maestro Leonardo DiCaprio, Killers of the Flower Moon Colman Domingo, Rustin Barry Keoghan, Saltburn Cillian Murphy, Oppenheimer — WINNER Andrew Scott, All of Us Strangers BEST MOTION PICTURE — MUSICAL OR COMEDY Air American Fiction Barbie The Holdovers May December Poor Things — WINNER BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY Fantasia Barrino, The Color Purple Jennifer Lawrence, No Hard Feelings Natalie Portman, May December Alma Pöysti, Fallen Leaves Margot Robbie, Barbie Emma Stone, Poor Things — WINNER BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY Jeffrey Wright, American Fiction Joaquin Phoenix, Beau Is Afraid Matt Damon, Air Nicolas Cage, Dream Scenario Paul Giamatti, The Holdovers — WINNER Timothée Chalamet, Wonka BEST MOTION PICTURE — ANIMATED The Boy and the Heron — WINNER Elemental Spider-Man: Across the Spider-Verse The Super Mario Bros Movie Suzume Wish BEST MOTION PICTURE — NON-ENGLISH LANGUAGE Anatomy of a Fall — WINNER Fallen Leaves Io Capitano Past Lives Society of the Snow The Zone of Interest BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE Danielle Brooks, The Color Purple Da'Vine Joy Randolph, The Holdovers — WINNER Emily Blunt, Oppenheimer Jodie Foster, Nyad Julianne Moore, May December Rosamund Pike, Saltburn BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE Charles Melton, May December Mark Ruffalo, Poor Things Robert De Niro, Killers of the Flower Moon Robert Downey Jr, Oppenheimer — WINNER Ryan Gosling, Barbie Willem Dafoe, Poor Things BEST DIRECTOR — MOTION PICTURE Bradley Cooper, Maestro Greta Gerwig, Barbie Yorgos Lanthimos, Poor Things Christopher Nolan, Oppenheimer — WINNER Martin Scorsese, Killers of The Flower Moon Celine Song, Past Lives BEST SCREENPLAY — MOTION PICTURE Anatomy of a Fall — WINNER Barbie Killers of the Flower Moon Oppenheimer Past Lives Poor Things BEST ORIGINAL SCORE — MOTION PICTURE The Boy and the Heron Killers of the Flower Moon Oppenheimer —WINNER Poor Things Spider-Man: Across the Spider-Verse The Zone of Interest BEST ORIGINAL SONG — MOTION PICTURE Bruce Springsteen, 'Addicted to Romance', She Came to Me Mark Ronson, Andrew Wyatt, Dua Lipa and Caroline Ailin, 'Dance the Night', Barbie Mark Ronson and Andrew Wyatt, 'I'm Just Ken', Barbie Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond and John Spiker, 'Peaches', The Super Mario Bros Movie Lenny Kravitz, 'Road to Freedom', Rustin Billie Eilish and Finneas O'Connell, 'What Was I Made For?', Barbie — WINNER CINEMATIC AND BOX OFFICE ACHIEVEMENT Barbie — WINNER Guardians of the Galaxy Vol. 3 John Wick: Chapter 4 Mission: Impossible — Dead Reckoning Part One Oppenheimer Spider-Man: Across the Spider-Verse The Super Mario Bros. Movie Taylor Swift: The Eras Tour BEST TELEVISION SERIES — DRAMA 1923 The Crown The Diplomat The Last of Us The Morning Show Succession — WINNER BEST PERFORMANCE BY A FEMALE ACTOR IN A TELEVISION SERIES — DRAMA Bella Ramsey, The Last of Us Emma Stone, The Curse Helen Mirren, 1923 Imelda Staunton, The Crown Keri Russell, The Diplomat Sarah Snook, Succession — WINNER BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES — DRAMA Brian Cox, Succession Kieran Culkin, Succession — WINNER Gary Oldman, Slow Horses Pedro Pascal, The Last of Us Jeremy Strong, Succession Dominic West, The Crown BEST TELEVISION SERIES — MUSICAL OR COMEDY Ted Lasso Abbott Elementary The Bear — WINNER Barry Only Murders in the Building Jury Duty BEST PERFORMANCE BY A FEMALE ACTOR IN A TELEVISION SERIES — MUSICAL OR COMEDY Rachel Brosnahan, The Marvelous Mrs Maisel Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear — WINNER Elle Fanning, The Great Selena Gomez, Only Murders in the Building Natasha Lyonne, Poker Face BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES — MUSICAL OR COMEDY Bill Hader, Barry Steve Martin, Only Murders in the Building Jason Segel, Shrinking Martin Short, Only Murders in the Building Jason Sudeikis, Ted Lasso Jeremy Allen White, The Bear — WINNER BEST TELEVISION LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION All the Light We Cannot See Beef — WINNER Daisy Jones & The Six Fargo Fellow Travellers Lessons in Chemistry BEST PERFORMANCE BY A FEMALE ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION Ali Wong, Beef — WINNER Brie Larson, Lessons in Chemistry Elizabeth Olsen, Love & Death Juno Temple, Fargo Rachel Weisz, Dead Ringers Riley Keough, Daisy Jones & the Six BEST PERFORMANCE BY A MALE ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION David Oyelowo, Lawmen: Bass Reeves Jon Hamm, Fargo Matt Bomer, Fellow Travellers Sam Claflin, Daisy Jones & the Six Steven Yeun, Beef — WINNER Woody Harrelson, White House Plumbers BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE ON TELEVISION Abby Elliott, The Bear Christina Ricci, Yellowjackets Elizabeth Debicki, The Crown — WINNER Hannah Waddingham, Ted Lasso J. Smith-Cameron, Succession Meryl Streep, Only Murders in the Building BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE ON TELEVISION Alan Ruck, Succession Alexander Skarsgård, Succession Billy Crudup, The Morning Show Ebon Moss-Bachrach, The Bear James Marsden, Jury Duty Matthew Macfadyen, Succession — WINNER BEST PERFORMANCE IN STANDUP COMEDY ON TELEVISION Ricky Gervais: Armageddon — WINNER Trevor Noah: Where Was I Chris Rock: Selective Outrage Amy Schumer: Emergency Contact Sarah Silverman: Someone You Love Wanda Sykes: I'm an Entertainer The 2024 Golden Globes were announced on Monday, January 8, Australian and New Zealand time. For further details, head to the awards' website.
A coffee roaster opening its own cafe is the caffeinated equivalent of a beloved movie or TV character scoring their own spinoff. This version sparks a different kind of buzz, though. Australian favourite Single O is no stranger to slinging its own brews, thanks to cafes in both Sydney and Tokyo — but finally launching in Brisbane is a new and welcome leap. If you're a fan of the 20-year-old brand, then you might be familiar with its self-serve tap system in its cafes elsewhere. In more excellent news, that's now in place in the River City as well. Single O is currently pouring — and getting customers to — on Austin Street in Newstead, where it opened at the end of August. Since 2019, coffee lovers nabbing their caffeinated brews from Single O's Surry Hills cafe in Sydney have been getting their cuppas themselves — basically, it's the coffee you make when you're not actually making the coffee — which Brisbanites can also enjoy at the first coffee-on-tap setup in the Sunshine State. The filter brews on offer will rotate through single-origin batch options. Crucially, Single O's beloved oat iced latte has earned the tap treatment, too. Also among the standout sips made on La Marzocco machines, then drunk from Malcolm Greenwood's ceramic cups: Single O's Reservoir signature blend for espresso fiends, which customers can pair with either dairy or plant milks. With local gelato makers Allora Black, the roaster has also brought its Affogato Project to town. The Brisbane version starts with coffee-infused-gelato — favouring Kenyan and Costa Rican beans — then pours on a shot of the same brew. Teaming up with Newmarket's Allora Black is just one of Single O's local collaborations. Working with Agnes Bakery is another, in an excellent development for pastry fiends. Plates come from Noosa's Kim Wallace Ceramics, while Brisbane-born artist Gemma O'Brien has given the Austin Street spot its bespoke artwork, including her first-ever hometown large-scale mural. For bites to pair with your caffeine fix, Single O owner Dion Cohen has tapped into nostalgia. Sandwiches and toasties might sound rather standard, but Cohen has taken cues from his time spent as the chef at Single O's OG location in 2003. From Surry Hills, banana bread with espresso butter makes the jump north, as has the brunch favourite that is the Avo Show (yes, it's avocado on toast, but Single O's eye-catching version). While you're eating and drinking, you'll be sat in space that heroes eco-conscious practices both in making its coffee and in decking out its cafes. Design-wise, think: raw materials aplenty, and Defy Design whipping up bar tops and stools made from recycled plastic. The venue is also Single O's new distribution and training facility for its wholesalers, aka the places you've been drinking its coffee at before now.
This suburban gem has been keeping Tarragindi locals in breakfast, brunch and lunch since October 2016, but since they launched their dinner menu it's given us a whole new reason to venture southside. An imaginative menu greets diners every Friday and Saturday night from 5pm, where new dishes meet the classics. Creamy pumpkin rotolo ($14) rubs shoulders with that omnipresent dinner stalwart, the beef burger — except Bruno's is served with a twist: with Korean BBQ beef, radish and slaw on a brioche bun ($18). If you're the sharing kind you'll find plenty to keep you happy; an inspired mushroom bibimbap comes with kale, lentils and kimchi ($25), or maybe pork belly tacos and guacamole ($28) are more your bag. Heck, you might even want to settle in for the night and try everything on the menu, because the buttermilk calamari and haloumi hot dog (both $14) are both hard to say no to. Oh, and be sure to save room for dessert — they whip up a pretty mean Turkish delight panna cotta ($14).
When you're deciding how to spend your next brunch — and where to spend it, more importantly — perhaps it's a case of what you'd like to drink. Tired of mimosas? Fancy something stronger with your first Sunday meal? Or, maybe you just really love gin. West End gin joint Covent Garden is getting into boozy bottomless brunch game, with gin tap cocktails flowing freely. You can drink as much of the monthly cocktail special as you like, or you can tuck into a few Pimm's cups (and then a few more). Pimm's is based on gin, after all. For $49 per person, you'll also sip red or white wine sangria, and munch on a shareboard spread — choosing between charcuterie, remoulade, chutney and mustard, or feta, pickled vegetables and baba ghanoush. Both come with that breakfast and brunch staple, too, aka bread. The food and drink feast goes down between 11am–3pm each week and, while bookings aren't essential, it's recommended that you secure your spot in advance anyway. There'll also be live music from 2pm. Updated December 24.
When an actor adds new movies to their resume quickly — popping up in new flicks every couple of months or so, and never proving far from their next film — there's a chance they might run out of worthy on-screen opportunities. The one actor that'll never apply to: Nicolas Cage. He's prolific, he stars in far too many terrible flicks, when he's at his best he's downright brilliant, and he always has something interesting around the corner. In 2021 alone, he's shouted expletives from Netflix, battled demonic animatronics and teamed up with one of Japan's most out-there filmmakers. He also played a truffle hunter on a quest for revenge after his pet pig is stolen, in the aptly named Pig, which is one of the year's definite movie highlights. The latter saw him turn in one of the best performances of his career, in fact, but Cage has been preparing his entire life to play his next part: himself. Yes, we've seen Cage break out of Alcatraz, sing Elvis songs, run around the streets convinced that he's a vampire, let his long hair flap in the wind and swap faces. He's voiced a version of Spider-Man, driven fast cars, fought space ninjas and stolen babies as well. Staying in his own shoes stands out, though, which is exactly what The Unbearable Weight of Massive Talent will serve up in April next year. Announced earlier in 2021, and just dropping its first trailer now, the movie will follow the on-screen, fictionalised Cage as he accepts an offer to attend a super fan's birthday. Getting paid $1 million is just too much to pass up. He needs the money, but he also has to save both himself and his loved ones along the way. Yep, that sounds about right. As well as Cage playing Cage — not to be confused with his work in Adaptation, where he played two characters — The Unbearable Weight of Massive Talent features Pedro Pascal (Wonder Woman 1984) as the aforementioned Cage devotee, and also Tiffany Haddish (The Card Counter), Sharon Horgan (This Way Up) and Neil Patrick Harris (It's a Sin). Are We Officially Dating? filmmaker Tom Gormican sits in the director's chair, because if there's anything this story needs, it's the director of a Zac Efron and Michael B Jordan-starring rom-com pivoting to total Cage worship. And yes, whether this'll be one of Cage's undeniable delights or pure cinematic chaos won't be discovered until the film hits cinemas — but he's clearly having a ball based on this sneak peek, and seeing him play and parody himself really does demand everyone's eyeballs. Check out the trailer for The Unbearable Weight of Massive Talent below: The Unbearable Weight of Massive Talent will release in Australian cinemas on April 21, 2022.
Mazel tov ladies and gentlemen, for you have made it through the treacherous waters of 2016 and arrived at your destination: the end of the year, aka Christmas. This year we've had Turnbull, Trump, plane crashes, fires and earthquakes. We've said a teary adios to Bowie, Prince, Alan Rickman, and that nice lady from The Brady Bunch. Even Leonard Cohen has left the building. Perhaps what the world needs now is a little good karma to start 2017 off right — and you can do your bit towards righting the out of whack good-bad scales, starting with your Christmas shopping. This Christmas, why not bypass Myer and shop for a better cause than looking great on New Year's Eve? There are easy ways to do something a little bit nice for the world, and you don't have to spend a fortune. Below, we've put together a list of gifts sold by companies that use the proceeds to give back to charity or the community. If you're shopping online, you can even use this handy browser extension by Folo that gives a proportion of what you spend to a charity you nominate. The warm and fuzzy feelings are complimentary. [caption id="attachment_601295" align="alignnone" width="1280"] Image: Thomas Martiinsen.[/caption] A BOTTLE OF SAV BLANC FROM GOODWILL WINES Wine is the sort of Christmas gift that will never go astray (unless your giftee is under the legal drinking age — best avoid that). Instead of going to Dan Murphy's, buy the annual bottle of Savvy B for Aunt Judy from Goodwill Wines, who are this year donating proceeds from certain wines to Animals Australia. Tasty wine and saving cute little puppies – Aunty J will be extra happy. goodwillwine.com.au A DOZEN ROLLS OF DELIGHTFULLY PATTERNED TOILET PAPER FROM WHO GIVES A CRAP Who gives a crap? Well, everyone should. Who Gives A Crap, who are A+ toilet paper suppliers all year-round (they donate 50 percent of profits to building toilets for those in need and save trees by only using recycled paper, bamboo and sugarcane fibres in their paper), also provide very viable Christmas pressie options. This year they put together a special holiday-themed print, but unfortunately they've all sold out already. Either way, their regular print is pretty cute, so give your Dad a dozen rolls or splash out on your sharehouse and chuck a 48-pack into your cart — we can guarantee that it'll be appreciated after turkey feasts on Christmas Day. au.whogivesacrap.org A MONTHLY SOCK SUBSCRIPTION FROM SOCIAL SOCK CLUB Buy your family or friends something worthwhile for both their toes and those in need — that is, a subscription to the Social Sock Club. One pair of socks a month is sent to the lucky person's door and, for every pair bought, another is donated to a homeless shelter or person on the street. It'll be a sock surprise bonanza once a month for whomever you're gifting, but a dear necessity for someone who needs them, too. socialsockclub.com A COOKBOOK FROM OZHARVEST The OzHarvest Urban Harvest Cookbook is the sort of cookbook that, while benefiting those who have tiny gardens on balconies in apartment blocks, also does more important work. Each purchase from OzHarvest aids their work of collecting perishable food excess from retail outlets and delivering it to charities across Australia — just one book purchase will help deliver 120 meals. ozharvest.com PYJAMAS FROM ONE NIGHT STAND Sleepwear generally finds itself into Santa stockings everywhere, so perhaps mix up the Kmart tradition a little by shopping from One Night Stand. Founded in Melbourne by Jamie Green, One Night Stand produces beautiful sleepwear with a big donation impact: 50 percent of their profits go to providing shelter and employment for young people sleeping rough. And, for every purchase, one meal is provided to a person in need. It's a win-win-win. onenightstandsleepwear.com.au DOGGY BANDANAS FROM EDGAR'S MISSION Edgar's Mission has long been a mainstay of the fight for humane lives for animals, with their sanctuary in Victoria playing home to a bunch of rescued, adorable, fluffy pals. Their mission is kindness, and you can take a leaf out of their worthy book this holiday season by either getting your pooch a snappy bandana, or buying someone a Gift of Kindness for Christmas — that is, a donation in their honour. This year, someone incredibly generous is matching all the donations Edgar's receives so there's no better time than now. edgarsmission.org.au A BACKPACK BED FROM SWAGS The Australian-made Backpack Bed is the most awarded ultra lightweight camping tent in the world, so buying one for your mate for their upcoming summer camping trip wouldn't go astray at all — especially as all the profits go to homeless projects. And, while you're at it, you can also donate one to a homeless person at the same time. A bed is an incredibly useful life necessity that many people couldn't do without, and if you're sleeping on the streets, having a Backpack Bed might just make the difference between life and death. Something to think about. swags.org.au AN UGLY RASHIE FROM KOZII AND THE CANCER COUNCIL What's Christmas for, if not wearing ugly things elderly relatives have hand made for you? This season you can tote around a bit of ugliness for a better cause than placating the oldies, and it's all down to the Ugly Xmas Rashie — a rash vest made in the pattern and colours of a Christmas sweater. Buy one for yourself or a family member, make sure you sport it on your next beach day, and rest assured all your dollars go to the Cancer Council Australia and their research. uglyxmasrashie.com.au [caption id="attachment_602546" align="alignnone" width="1280"] Hoo Doo Lou Lou on Etsy.[/caption] CRAFTY GOODIES FROM ETSY This season's Make For Good collection on Etsy is created by crafty Australian folk who also strive to empower females. The collection donates at least 20 percent of every sale towards the Because I am a Girl campaign — a movement devoted to ending violence against women and girls, and which advocates for full and equal rights for men and women. Make For Good has enough lovely jewellery, homewares and arty bits and bobs to appease your whole Christmas list, so get choosing. etsy.com/au A CANDLE FROM ENROU Enrou is an American website offering heaps of gift options that give back, but to start with, try their Prosperity Candle range. Each candle comes with a guarantee that its purchase provides employment for Burmese refugee women in Massachusetts, and the hours of work put into each product are listed too. The Atesby Votive Candle even comes with a little story card of the woman who created it, so anonymous internationally-made goods are a thing of the past over here. enrou.co
