Holy. Crap. We thought it was a big ol' publicity farce. No way, man. There ain't no Lexus hoverboard, that's just delicious social media bait for the Young People. But nay, Marty McFly's futuristic skateboard is an actual, physical thing, really made by Lexus and frothed over worldwide. A concept made famous by Robert Zemeckis’s 1989 Back to the Future II, the 'Slide' hoverboard has been realised by the Lexus team. Lexus first put out teasers for the hoverboard back on June 23, making everyone angry they’d even get our hopes up like that. But today, August 5, they've released their model 'publicly' — although you can only skate at their custom-built skate park in Barcelona. Yep, there's the switch. This isn't the first time hoverboards have been bandied about in reality. The Hendo Hoverboard's Kickstarter campaign promised to send out $10,000 hoverboards this spring. How did Lexus make it work? According to CNET, lots and lots of magnets. Well, it’s a little more complicated than that, involving supercooled superconductors, but essentially, magnets. Lexus have built this anti-gravity device into a deck (this was the tricky part, finding a way to cheaply make such a seriously epic device teeny), so you can skim across water without breaking a sweat. So yeah, you can't buy one yet. And when you finally can, you'll only be able to skate at Lexus's custom-built Barcelona skate park. But we're hopeful. Watch pro skateboarder Ross McGouran spin some McFly moves on the Lexus hoverboard here, with all the sexy, sexy liquid nitrogen you could ask for. Via CNET and Quartz.
What is it? Can I sit on it? Do I put my coffee on it? Mindbending origami furniture that confuses us all is by no means a new idea, but this designer has put a stunning modern spin on a tried and true design tactic. UAE-based designer Aljoud Lootah has created a brand new furniture collection called the 'Oru Series', which both fascinates and terrifies us with its perplexing angularity. But yes, you can put your books, coffee and butt on all of them. Designed for Dubai's Design Days 2015 event, Lootah's series debuted this just week. Taking cues from the ancient Japanese art of paper folding, the bite-sized 'Oru' series is made up of a chair, table lamp, mirror and cabinet; all created from copper, felt and the glorious, glorious badassery that is teak wood. "The name 'Oru' originates from the Japanese words 'to fold', and the idea behind the designs is to show that folding a flat, two-dimensional sheet can create aesthetically appealing functional three-dimensional forms," says Lootah on her website. "The products, with their faceted design looking like complex folds but with sophisticated simplicity, are a modern interpretation of an ancient form of art." Oru collection Oru cabinet Oru lamp Oru chair Oru mirror Via Design Boom. Images: Aljoud Lootah.
French filmmakers are a busy bunch. Every year, the country's cinematic talent pumps out nearly 300 new movies — enough to rank among the top five film-producing nations in 2016, behind only India, the US, China and Japan. It's no wonder, then, that Australia's annual Alliance Francaise French Film Festival is always jam-packed with flicks, spoiling viewers for choice when it comes to Gallic cinema's latest and greatest. The fest's team clearly has plenty of picks to choose from, with their 2018 event touring 47 features, two documentaries and one television series around local screens until mid-April. This year's fest kicks off with the laughs of C'est la vie! thanks to The Intouchables duo Éric Toledano and Olivier Nakache, ends with rom-com 50 Is the New 30, and features everything from multiple Isabelle Huppert appearances to multiple César Award winners among its lineup. In short: there's more than enough on offer to make you think you're on the other side of the world, and not just in your nearest cinema. And if you need some help deciding what to see, that's where we come in. https://www.youtube.com/watch?v=4ietLhsUOuQ BPM (BEATS PER MINUTE) When last year's Cannes favourite (and award-winner) BPM (Beats Per Minute) didn't make this year's Oscars shortlist for the best foreign-language film category, it was considered quite the shock. Come French cinema's own night of nights, the Césars, and the AIDS activism drama fared much, much better, taking out best film, editing, screenplay, score, male newcomer and supporting actor. It's easy to see why, the latest from Eastern Boys' filmmaker Robin Campillo is both intimate and wide-ranging as it explores the efforts of a passionate group to fight for acceptance and affordable HIV treatment in the early '90s. The writer-director himself was a member of ACT UP, the organisation at the movie's centre, adding an extra layer of authenticity — something the film already oozes courtesy of its naturalistic style, personal approach and exceptional performances. https://www.youtube.com/watch?v=h-haop2Ini0 LET THE SUNSHINE IN In Let the Sunshine In, Juliette Binoche plays a just-divorced 50-something artist attempting to find love again — and causing audiences to fall for the great French actress's many charms in the process. Take our word for it: if you weren't already a fan before seeing this thoughtful romantic comedy (and if not, why not?), then you will be afterwards. Headlining a distinctive change of pace from acclaimed filmmaker Claire Denis, Binoche glows even as her character struggles with re-entering the dating scene, navigating the ups and downs that go with it, and working out what she actually wants as she flits through a series of varying dates. When we saw and loved the feature at last year's Melbourne International Film Festival, we said it was "a smart, spirited and soulful exploration of affection and intimacy — as driven by Binoche's enigmatic candour — that cuts deep". We still think so. https://www.youtube.com/watch?v=y1KzHPDN1JI MRS. HYDE Another year, another Isabelle Huppert film in the AFFFF program. Anything else really is virtually unthinkable. The adored French star actually features in two of this year's festival flicks, but if the prospect of seeing the inimitable actress in a version of Dr. Jekyll and Mr Hyde doesn't get you excited, then nothing will. Lighter in tone than Robert Louis Stevenson's literary classic, and filled with commentary about class clashes in contemporary French society as well as laughter, Serge Bozon's effort is set within a Parisian high school. It also features a pivotal lightening strike and sees Huppert's stressed teacher undergo quite the transformation. https://www.youtube.com/watch?v=mXSnlxctWLY BARBARA French singer Barbara gets the biopic treatment in the film that shares her name, but it's also much, much more than that. The third feature directed by actor-turned-filmmaker Mathieu Amalric, it's a tale about an actress (Jeanne Balibar) preparing to play Barbara in a biopic, and a director (played by Amalric) who's obsessed with his subject. Yes, there's a film within a film, as well as archival footage of the real figure herself, just to keep things even more ambitious. Adding further layers to the flick, Balibar — who just won the Cesar for best actress for her excellent efforts — was once married to Amalric. https://www.youtube.com/watch?v=ihiS-A8yT2c REDOUBTABLE What's the French Film Festival without a dose of French film history? This year, they're delivering it in biopic form, focusing on one of the country's great directors and pioneers of the French New Wave. In Redoubtable, Louis Garrel steps into Jean-Luc Godard's shoes, following his relationship with his Weekend and La Chinoise muse Anne Wiazemsky (Stacy Martin), his career in the late '60s, and the surrounding French political and social unrest. Plus, for director Michel Hazanavicius, it's a return to making movies about movies after his Oscar-winning The Artist. https://www.youtube.com/watch?v=6iIkM6OvK78 CUSTODY The heartbreaking drama, anxiety and tension of a hard-fought custody battle sits at the centre of this aptly titled effort, which first premiered at last year's Venice Film Festival and has been garnering praise ever since. Actor-turned-writer/director Xavier Legrand plunges viewers into a social realist look at a divorcing couple and the 12-year-old son stuck in the middle, which might sound like a familiar situation. It is; however the first-timer favours naturalism and observation over heavy sentiment, and has earned many a comparison to the Dardenne brothers (Lorna's Silence; Two Days, One Night) as a result. https://www.youtube.com/watch?v=-KK-uzPspoA DOUBLE LOVER Another AFFFF favourite — but behind the lens — François Ozon (Frantz) is back in psychological sexual thriller territory with Double Lover. Yes, as the name gives away, there's duplicity involved. It's rarely a good idea to fall in love with a psychoanalyst in these kinds of films, so when former model Chloé (Marine Vacth) does just that with Paul (Jérémie Renier), there's unexpected consequences. Fans of Swimming Pool, In the House, Young & Beautiful and The New Girlfriend will know just the mood, tone and simmering unease they're in for, as well as the all-round provocative air. https://www.youtube.com/watch?v=IgHtE9OzrhU ISMAËL'S GHOSTS Films about filmmakers are a definite trend at this year's AFFFF. And not just that — films starring Mathieu Amalric as a filmmaker, too. The aforementioned Barbara director and star plays the titular Ismaël in Ismaël's Ghosts, who's just about to get immersed in his latest project when the past comes calling. Also featuring Marion Cotillard, Charlotte Gainsbourg and Redoubtable's Louis Garrel, the movie is the latest from My Golden Days' Arnaud Desplechin, and opened the Cannes Film Festival last year. https://www.youtube.com/watch?v=qbsuPXa9KJA THE WORKSHOP Another effort with a connection to Cannes, The Workshop not only premiered there last year, but was directed by 2008 Palme d'Or winner Laurent Cantet (The Class) and co-written with BPM's Robin Campillo. The drama unfolds at a creative writing workshop, where participants clash over more than just writing, and their novelist teacher (Marina Foïs) doesn't quite know how to react. With Cantent known for his naturalism, like Campillo, a portrait of modern-day France emerges as the feature plays out, delving into fears, fractures and friction. https://www.youtube.com/watch?v=w7nw6RhYwgI IF YOU SAW HIS HEART It mightn't be a French Film Festival without Isabelle Huppert, but it's often not a film festival at all without Gael Garcia Bernal. This time, the Mexican favourite stars in this French-language effort from first-time writer/director Joan Chemla. Taking inspiration from the work of Cuban author Guillermo Rosales, If You Saw His Heart follows a man holed up in a hotel and at a loss after the death of his best friend. The result promises a hefty dose of existential malaise, plus South of France scenery, all served up with Bernal's usual charm. The Alliance Française French Film Festival tours Australia from February 27, screening at Sydney's Chauvel Cinema, Palace Norton Street, Palace Verona, Palace Central and Hayden Orpheum Picture Palace from February 27 to March 27; Melbourne's Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Kino Cinemas and The Astor Theatre from February 28 to March 27; and Brisbane's Palace Barracks and Palace Centro from March 8 to April 4. For more information, visit the festival website.
2023 is proving an eventful year for Brisbane's oldest-surviving CBD pub. In February, it was announced that The Victory Hotel was closing its doors, with ALH Hotels deciding not to renew its lease on the 168-year-old Edward Street venue. But now it's up, trading and pouring beers again — since mid-March, under new management and with big plans in its future. Athena Group has inked a long-term lease on the site with owners Precision Group, and also revealed that it's giving the trusty spot a revamp. The Vic is heritage-listed thanks to its hefty history — it was first constructed in 1855, initially known as the Prince of Wales, and is a prime example of 19th-century corner hotels — and the facade will remain. But an interior makeover is in the works. Right now, the inner-city hangout is still doing what it has long done: serving brews, tunes and food. You'll hear live tunes in the beer garden from Thursday across the weekend, while Wednesdays are all about karaoke. And for a bite, there's classic pub fare — think: wings, steaks, lasagne, nachos, fish 'n' chips, burgers, schnitzels, salt and pepper calamari, and truffle mushroom arancini. The redevelopment's budget will hit the multimillions, and a development application is expected to be lodged in 2024 after design and planning work has been finalised in conjunction with the Brisbane City Council. Beyond that, however, no specifics in terms of cost or exactly what'll be done to the site have been unveiled. The Vic is no stranger to facelifts, though. This'll be one of many in its lifetime, including during the 1880s, 1920s–30s — when the venue's name was changed to the moniker Brisbane knows today — and then the 1950s as well. The beer garden area scored a makeover in the 1980s, with an awning added in 1995 and more changes to the outdoor space in the 2000s. [caption id="attachment_894552" align="alignnone" width="1920"] The Victory Hotel beer garden in 2009 via Wikimedia Commons.[/caption] Top image: Kgbo via Wikimedia Commons.
Spotify had best watch its back, because there's a brand new music streaming service in town. Launching this week, BitTorrent Now is an Android and soon to be iOS and Apple TV app that lets users stream ad-supported music and video, with a special focus on curated content that might otherwise fly under the radar. While BitTorrent is probably best known as a way of sneakily pirating TV shows, the company has actually been helping artists distribute their work for years. Since launching their BitTorrent Bundle service in 2013, they've worked with Radiohead frontman Thom Yorke, comedian David Cross and countless other lesser-known filmmakers, musicians and miscellaneous creatives. Artists who make their work available via BitTorrent Now can choose whether or not they wish to participate in the ad program. If they opt not to, they can instead make their work available for purchase, or upload it for free without any ads whatsoever. According to the company, artists will receive 70 percent of revenue generated by ads on their videos, and 90 percent of revenue if they chose to place their content behind a paywall. BitTorrent will also make a concerted effort to curate content on the app, in order to help artists find an audience and vice versa. The app includes trending and new release sections, and allows users to build a list of favourites. Nothing too revolutionary — perhaps the most interesting thing about it is the focus on smaller artists, who'll hopefully be able to use the platform to make a name for themselves. No word yet on if/when BitTorrent Now will be available in Australia. Via Engadget.
Forty years ago, a filmmaker wanted to journey to a galaxy far, far away, and he needed a republic cruiser's worth of epic tunes to go with it. Enter John Williams and the theme everyone now knows. When the first notes of Star Wars: Episode VI — A New Hope's score started playing over the film's opening crawl, movie and music history was made. Neither Williams nor George Lucas could've known just what they'd unleashed, nor that Luke and Leia, Han and Chewie, and the next generation of wannabe jedis and empire lackeys would still be gracing cinema screens decades later. To celebrate not only the space opera saga's longevity, but the upcoming release of Star Wars: Episode VIII — The Last Jedi in December, St Kilda's Palais Theatre is hosting the Star Wars event to end all Star Wars events: Star Wars: The Force Awakens in concert. We've got a good feeling about what promises to be a force-filled evening of sound and vision, with the last film in the franchise screened in all its Daisy Ridley, John Boyega, Oscar Isaac and Adam Driver-starring glory, and Melbourne Symphony Orchestra picking up their instruments to perform the corresponding score. Conducted by Nicholas Buc, who'll be living out one of his dreams, they'll play Williams' Oscar-nominated music from the saga's seventh flick live across three concerts on December 8, 9 and 10. Following in the footsteps of the similar Harry Potter shows enchanting audiences this year, also featuring a score by Williams, this is not a trap — but BYO lightsaber, droid and wookie. And if you're a Sydney jedi master or Brisbane rebel who can't make it south, try taking Yoda's advice and trusting the force. The Melbourne gigs have been badged as the series' Australian premiere, so this mightn't be your only hope. Fingers crossed the show will jump on the Millennium Falcon and tour the rest of the country. Star Wars: Episode VII — The Force Awakens will screen at the Palais Theatre on December 8, 9 and 10, 2017. Grab tickets here.
Located within an impossibly-cute weatherboard shack in Brisbane's West End, Bar Francine might just be the biggest surprise Brisbane has to offer. The interior features timber floorboards, rustic furniture and an elegant bar with a dozen or so stools. The windows open to the laneway and on a warm spring afternoon, there are few better seats in Brisbane than one perched up at Francine's bar with the breeze in your hair. The menu here is reimagined daily, so it's impossible to say what you will have on offer. But a sample menu includes the likes of french toast with a mushroom parfait and onion fritters with sour cream and sweet chilli for an entree, as well as globe artichokes with feta and tomatoes à la grecque. Mains include a barbecue beetroot steak with béarnaise sauce; monkfish with almond rouille and mussels and spaghetti capuliato with grana padano. There are sides and desserts on offer too, and if you can't decide, leave it in their more than capable hands to sort out a menu for you. You'll want to pair your meal with some wine, and by the glass, Bar Francine offers quite a lot. If you're thinking sparkling, a glass of Torzi Matthews prosecco from the Barossa is a treat, while a Clare Valley chenin blanc is a great choice for a light white. Their orange list includes a gewürztraminer from Tasmania, while its rosé is a malbec from the Macedon Ranges. The red list includes all the favourites, be it a pinot from Tumbarumba or a shiraz from the Barossa. Cocktails include the Francine Refresher, with XXXX and lemonade, the Fire Engine with Archie Rose vodka, rosella cordial and soda, and the Francine Negroni with plum bitters. If you're after a beer, they've got a good range, and they're one of the few joints in Brisbane where you can grab yourself a Reschs. Drinks-wise, Bar Francine has the lot.
He's collaborated with everyone from Kylie Minogue to Kendrick Lamar. Even Grumpy Cat wears that hat. Now, Pharrell Williams has teamed up with choreographer Jonah Bokaer and visual artist Daniel Arsham for a unique multidisciplinary dance project — and it's coming to Australia. From September 14 to 17, Brisbane Festival will host the Aussie premiere of Rules of the Game, which brings eight on-stage performers together in a combination of dance, music, video, art and theatrical expression. Williams crafts his first-ever orchestral score for the stage to accompany Bokaer's crisp, elegant dance moves and Arsham's offbeat, architectural environments. Loosely based on Nobel Laureate Pirandello's controversial play Six Characters in Search of an Author, the piece "recasts dance as something close to moving sculpture" as Bris Fest's artistic director David Berthold puts it. For Bokaer, who is as acclaimed and innovative in the field of contemporary dance as Williams is in music, it's a blending not only "of cultures, but a blending of forms, expressions, and of inheritance". Rules Of The Game's four-day, five-show Brisbane run will mark only the second time it will have be seen by an audience, after debuting in May at the SOLUNA International Music and Arts Festival in Dallas. In fact, the production won't premiere in New York until November. And if you're not in Brissie, you'd better book plane tickets fast, because it won't be showing anywhere else in Australia. Catch Rules of the Game at Brisbane Festival from September 14 – 17. Check out the Brisbane Festival website for tickets and further details.
An exploration of an exiled poet. The Australian premiere of legendary filmmaker Alejandro Jodorowsky's latest feature. An effort that's being called Peru's first bona fide horror movie. They're just three of the films in the freshly unveiled, first-ever Cine Latino Film Festival lineup, as Australia's first national fest dedicated to showcasing the best in Latin American cinema prepares to tour the country in August. While the complete program features more than 30 movies from Mexico, Brazil, Paraguay, Argentina, Cuba, Uruguay, Colombia, Venezuela, Chile, Guatemala and Puerto Rico, there's a reason that the first of the flicks mentioned above, the Pablo Larraín-directed, Gael García Bernal-starring Neruda, has been plucked straight from Cannes to open the festival. The last time the filmmaker and actor worked together, the excellent No was the end result, so expect another insightful look at Chilean politics from their second collaboration. Jodorowsky's Endless Poetry should rank among the festival's just-as-eagerly-anticipated titles, especially by fans of the director's '70s cult classics El Topo and The Holy Mountain and his most recent effort The Dance of Reality — or anyone who marvelled at what could've been when they watched the entertaining documentary Jodorowsky's Dune. And while The Womb doesn't come with quite the same pedigree, it does boast a chilling storyline involving one of the horror genre's favourite topics: motherhood. Elsewhere, a chronicle of the pop star known as the 'Mexican Madonna', an insight into current state of a formerly luxurious Havana hotel, and more than a couple of soccer-themed efforts all feature among the feast of Spanish and Portuguese-language fare, as do Peruvian road movie Solos and Venezuelan beauty queen black comedy 3 Beauties. Just perusing the program is enough to make you want to jump on a plane for Latin America, however for those who can't enjoy an overseas holiday at the moment, immersing yourself in the films of the region really is the next best thing. The Cine Latino Film Festival screens at Sydney's Palace Norton Street and Verona from August 9 to 24, Brisbane's Palace Centro and Barracks from August 11 to 24, and Melbourne's Palace Como and Westgarth from August 17 to 31. For more information, visit the festival website.
Strolling and spending is a weekend ritual for many, and in Brisbane, one set of markets has always come out on top. That'd be the Riverside Markets, the CBD shopping spot with pretty water views. You've browsed their stalls filled with craft goods, grabbed a snack from the many food vendors on site and enjoyed the breezy atmosphere — and you've likely done so more than once. In fact, you've probably grown up visiting Eagle Street Pier on a Sunday morning, given that the Riverside Markets have been a Brisbane mainstay since 1987. From December 6, though, you'll need to head in a different direction for your inner-city fix, with the weekly marketplace moving to the nearby City Botanic Gardens. A new name — Riverside Gardens Markets — accompanies the new location, representing perhaps the biggest changes in the event's 28 years of operation. The move was sparked by a change of ownership at Eagle Street Pier, and is welcome given that closing down completely was also rumoured. Swapping buildings for luscious greenery to stroll around sounds like a win as far as we're concerned. Of course, everything regulars know and love about the markets will transition over to 147 Alice Street — live music and street performers included, plus a few fresh additions. A bigger site means more room for new stalls and an enhanced range of eating options. You know what they say: a change is as good as a holiday. To that, we'll add: every holiday needs a good spot for market shopping. For more information about the Riverside Gardens Markets, visit their Facebook page.
For years, the Gold Coast has been known for its combination of sun and fun, whether lazing about on the beach or grabbing a drink with an ocean view takes your fancy. Soon, it might also be known for something else: amassing more than its fair share of breweries. Black Hops Brewing is the latest to join the fold, setting up shop in Burleigh Heads. If the name sounds familiar, that's because Eddie Oldfield, Dan Norris and Michael McGovern have been churning out their own brews since late 2014. If you've had a pint at one of south-east Queensland's craft beer bars over the past few years — including The Scratch, Brewski and Woolly Mammoth Alehouse in Brissie, plus House of Brews, Institution Ale House and Glenelg Public House on the coast — then you've probably already introduced their Gold Coast Pale Ale, Eggnog Stout or Code Red ale to your tastebuds. Now, you can head straight to the source for the complete Black Hops experience. You'll see how their tasty tipples are made, indulge in more than a couple of beverages in their eight-tap tasting room, and even get to sample a few exclusive batches that you won't find anywhere. Yep, it's a beer lover's paradise just a stone's throw away from Surfer's Paradise, as well as the second new brewery to open its doors on the Gold Coast in the last few months. The partially Mick Fanning-owned Balter Brewing Company only welcomed its first customers back in April, so if you haven't tried them out yet, we have three words for you: beer-tasting road trip. Find Black Hops at 15 Gardenia Grove, Burleigh Heads, and check out their website and Facebook page for more information.
For many moons, there’s been a secret passed around the ranks of students and young adults: Aldi sells $5 wine that’s actually not awful. In fact, those who’ve sampled it would know that ‘not awful’ isn’t strong enough. Now an official ruling body has declared what we young bohemians have known for a while now: Aldi’s $5 wine is objectively good wine. The Sydney International Wine Competition has announced its winning wine list for 2015, judging the top 100 wines from an entry pool of nearly 2000 and Aldi’s $5 bottle of 2014 South Point Estate rose has picked up a Blue Gold award in its blend category (just FYI the Blue Gold award is official proof that Aldi wine drinkers actually have good taste and aren’t just peasants). Aldi also won awards for their $12.99 bottle of Tudor Central Victorian shiraz and a $14.99 Blackstone Paddock “The Player” Barossa. So ner. So what do the judges look for in a good wine? Well firstly, the competition acknowledges that not all wines are created equal so they divide the plonk into categories according to palate weight – lighter, medium, fuller bodied dry whites (lol at wine terminology sounding like a sick burn) and dry reds. The wines are judged solo, then judged against other wines in each category. Then they pair each category with appropriate food and score on how well each variation complement the flavours of the meal. Then, and only then, do they aggregate the scores and hand out awards in each category. Check out the website to scope out the rest of the results and figure out the best and cheapest wine for your taste. But how do Aldi manage to sell an award winning wine for only $5? Aldi’s buying director told The Huffington Post that the secret is in the low overheads, a simplified range to cut distribution costs and understanding the young consumer. Oh Aldi, you do understand us. All we want in this life of sin is a $5 bottle of award-winning wine. We're just gonna leave this link to Aldi Liqueur online here, along with the fact that they deliver a case of 12 wines to metro areas for only $7. Merry Christmas, ya filthy animals. Via The New Daily. Image: Dollar Photo Club.
UPDATE, December 11, 2020: The Lobster is available to stream via SBS On Demand, Google Play, YouTube Movies and Prime Video. Imagine living in a world where the pursuit of love provided only two choices. You can find a spouse and live happily ever after in coupledom, or you can earn the scorn of others for failing to pair up. In this scenario, society champions the intertwined and persecutes the single. Does it feel familiar? It should. That such a situation doesn't seem too far from reality is the point of The Lobster, despite the clear exaggerations if gleefully plays with. In an unnamed time, those like the mournful David (Colin Farrell) who prove unlucky when it comes to affection — even through the death of their spouse or via infidelity — are shipped away to a matchmaking-focused hotel as a last resort, literally. If they don't connect with another person in 45 days, they'll be transformed into the animal of their choice. Their only other option is to run away and live in the nearby woods with a group of loners, who shun relationships, dig their own graves in a mournful bit of forward thinking, and seek solace by dancing alone to electronic music. If that sounds cynical as well as comedic in an absurdist, deadpan manner, that's because it is — and writer/director Yorgos Lanthimos is certainly known for raising his eyebrows and donning a wry smile in the face of many of the behaviours and preferences that define our lives and interactions. In his first English-language film after the equally heightened Dogtooth and Alps, he does the same with modern romance, skewering and dissecting the fact that finding monogamy and matrimony are championed by most as the be all and end all of human existence, no questions asked. That's not all he does, though, as he follows David's interactions with others looking for their similar other halves, such as Lisping Man (John C. Reilly), Limping Man (Ben Whishaw) and Biscuit Woman (Ashley Jensen). Nor is scepticism his only attitude when David meets Loner Leader (Léa Seydoux) and Short Sighted Woman (Rachel Weisz), finding a kindred spirit in the latter, even if he's not supposed to. Mixing suspicion with sweetness — not of the sappy rom-com kind, but bursting from a genuine appreciation of the joy that can result when two people really do find something special in each other beyond having superficial things in common, and are willing to sacrifice to keep it — is the key to The Lobster's brilliance. Lanthimos finds the overwhelming beauty that can lurk in the stark reality he depicts, perhaps surprisingly so given how stylised and precise everything else proves: the dialogue, setting, recurrent use of music and tightly shot visuals, for example. The impact is as astounding as it is intriguing. Consequently, prepare for a smart, sensitive and surreal movie that both looks on in horror and inspires hope as far as matters of the heart are concerned. And prepare to pay attention too, because the details mean everything. When the excellent international cast all speak in their native accents, aptly mirroring the film's conflict of structure and chaos in the process, or the soothing tones of Nick Cave and Kylie Minogue's ballad 'Where the Wild Roses Grow' contrasts with the overt tones heard otherwise, that's when The Lobster's wondrous, winning, witty take on love and life starts to truly shine.
With floor-to-ceiling windows, classy cream coloured booths and impossibly high ceilings, this Fortitude Valley restaurant has one of the finest dining rooms in Brisbane — and it does an impossibly good steak, too. With a mini grand-piano in the centre of the room, it's the kind of place you'll want to have dressed up for. Got a hot date? Bring them here. High powered business meeting? This is the joint. Trying to prove to your parents you're not a bum? Welcome, take a seat (just remember to bring your wallet). When class is called upon in Brisbane, SK Steak and Oyster have you covered. The menu starts off with its selection of oysters, served natural with a side of champagne mignonette. Its selection of seafood cocktails includes Fraser Island spanner crab, Mooloolaba king prawns and Tasmanian rock lobster, while the seafood platters range from affordable to "actually, Dad you can get this bill", and include the likes of oysters, prawns, scallops, lobster, mussels and crab. The raw seafood options include a king salmon tartare with shallots and capers and yellowfin tuna with mayonnaise, while the hot seafood delivers Moreton Bay Bugs and Southern rock lobster. From the grill, and let's be honest, that's why we're here, enjoy a steak Diane with cognac and Worcestershire, a veal schnitzel with lemon and tartare or a wagyu burger served American style. The steaks include a 180-gram petit fillet Angus at the lower end, while the costlier options max out with a Kiwami BMS 9+ 400-gram New York cut Sirloin. Pair these with a mixed lead salad, some honey roasted carrots and lobster mac and cheese. The wine list here is impeccable, with literally hundreds of bottles available. Be sure to seek out one of the highly skilled sommeliers when searching for the perfect drop. There are some great wines by the glass, too, with standouts including an Australian 2021 grüner veltliner, a Rias Baixas Albariño and a Henschke shiraz from Eden Valley. SK Steak & Oyster is a luxe fine-diner in Brisbane that any surf and turf lover should save for a special occasion.
While Reykjavik is praised for its "ability to make the most of an inhospitable climate", Auckland for its "unbelievably friendly folk", Budapest for "music... not just concerts, but in the streets, on the radio, and in cafés," and "wonderful pubs filled with laughter", Sydney has taken out the top spot as the friendliest city in the world. Run as a Reader’s Choice award by Condé Nast Traveler and focused on how a visitor feels in each city, the Friendliest and Unfriendliest City in the World poll asks readers to submit reviews of each city with a focus on the overall warm fuzzies generated by their experience. “Everything from location (no one likes an airport city) and political perception (everyone watches the news) to size and basic language barriers can make a destination unattractive to tourists and be a factor in their evaluation of a place’s ‘friendliness’," according to CN. Sydney's been praised for its people skills, regardless of what you might see on George Street any day of the week. "Such friendly people," enthused one voting reader. "So much so that after we met an Australian woman on our flight there, she offered to pick us up at our hotel and spent a whole day showing us her favourite parts of the city." Sydney earned snaps for the Bridgeclimb, the Cruise Like a Local Sydney Harbour boat tour, and Bonza Bike Tours got a big ol' high five as "a great way to see some of the lesser-known sights." Overall, readers found simply "nothing to not like" in Sydney, although importantly, all mentioned experiences are tourist-focused. Last year's friendliest winners were tied: Melbourne and Auckland. Sydney came in at number five; tied with Dublin, who just narrowly missed out on the top spot this year. Of course, Sydney was supremely modest about it. Ha! IN YOUR FACE @dubcitycouncil!! We're the friendliest city in the world! http://t.co/T1WgOPUVu7 via @CNTraveler pic.twitter.com/9rIafVZ59o — City of Sydney (@cityofsydney) August 18, 2015 Australia and New Zealand have done pretty nicely on worldwide city rankings of late — the Great Barrier Reef nabbed #2 on Lonely Planet's Ultimate Travelist and Melbourne ranked #1 Most Liveable City on the Economist Intelligence Unit's (EIU) liveability survey. So Sydney's apparently the friendliest, Melbourne's the most liveable, what do you reckon? CONDE NAST'S 2015 FRIENDLIEST CITIES IN THE WORLD: 10. Reykjavik, Iceland 9. Auckland, New Zealand 8. Budapest, Hungary 7. Kyoto, Japan 6. Edinburgh, Scotland 5. Bruges, Belgium 4. Kraków, Poland 3. Queenstown, New Zealand 2. Dublin, Ireland 1. Sydney, Australia But what of the jerks? The Unfriendliest Cities in the World side of things is a little hairier, with no Australian or New Zealand cities making the cut for another year. Up high. Cannes was dissed for being expensive and "bloated simply by the prestige of its famed film festival," while Jakarta was called "dirty and congested," despite gaining praise for its food.” Moscow got a bad wrap for "dour, unfriendly people" and "deplorable traffic", while Nairobi was flagged as "dangerous and volatile". But Caracas, Venezuela took out the top unfriendly spot as a place of "rampant crime, a scarcity of basic necessities, and a poor quality of life." CONDE NAST'S 2015 UNFRIENDLIEST CITIES IN THE WORLD: 10. Cannes, France 9. Jakarta, Indonesia 8. Moscow, Russia 7. Cairo, Egypt 6. New Delhi, India 5. Nairobi, Kenya 4. Guatemala City, Guatemala 3. Guangzhou, China 2. Casablanca, Morocco 1. Caracas, Venezuela Via Condé Nast Traveler. Image: Watsons Bay Boutique Hotel.
As much as we like to pretend we are all digital natives who will soon have our consciousness transferred into a gel-like neural network and live forever on the I N T E R N E T, the truth is that underneath it allwe're just tactile creatures who can't help but cry at sunsets. There’s nothing we like more than having something we can hold in our hands – and the people behind the droPrinter know exactly how we feel. Developed in Melbourne(!) by Zhenxun Yu, the droPrinter is one of the first portable, wireless smartphone printers available on the market – and despite being new to the scene, it isn’t as prohibitively expensive as you’d imagine. Like all cool things these days, the production of the droPrinter is being funded via Kickstarter and has already raised $43,967 – nearly three times its initial target – since launching on July 7 (see, people really love tangible old-school paper). The device clocks in at a tiny 10cm wide by 2.5cm deep and is operated via an Android or iOS app. With a 120 hour battery life you can print out literal reams of information: anonymous love notes, shopping lists, lists of baby names, wanted posters or maybe just miles and miles of emoticons – the world is now your oyster. It can even be used as a mobile power pack to charge your phone. Best of all, the droPrinter is affordable. The printer is expected to retail for $99, but for a pledge of $80 or more you can reserve yourself a printer (with an expected shipping date of March 2016) and one roll of paper. Further proof that the droPrinter folk aren’t trying to steal your hard-won Simoleans is that the device takes standard thermal paper, which can be purchased cheaply in office supply stores or online. For more information, check out the droPrinter Kickstarter.
The story of a young man staring down the barrel of an arranged marriage even as he finds himself falling head over heels for someone else, Ali's Wedding has been billed as Australia's first Muslim rom-com. It's an intriguing tag that could prove either a hook or a hindrance when it comes to attracting a mainstream audience. The good news? The film is fantastic. Director Jeffrey Walker and writer/star Osamah Sami (on whose life the story is closely based), have crafted a hilarious, heartwarming film about love, community and living up to the expectations of your family; a film that both embraces difference and celebrates the things that make us the same. And yet with the film due to hit cinemas on August 31, the question still remains: will local audiences be willing to embrace a story about a Muslim immigrant, in which there is hardly a white character in sight? "We're right on the edge of finding out," says Walker. "The way that I view it is: we've had thousands and thousands of people come and view the film, from small communities to big cities to festivals, and the feeling is the same. I think people go in, particularly if they're of a conservative background or whatever, already a little bit dubious. They go in, perhaps, with a preconceived notion. But the one comment we've had throughout all of the screenings is that by the end of the film there's a great deal of love and appreciation… and the sense is that once people have seen it, [they realise that] the things that we all have in common far outweigh the differences." https://www.youtube.com/watch?v=JEMeZDmvYhs ON REPRESENTING A (SLIGHTLY) DIFFERENT WORLD TO YOUR OWN "In the journey of this film, I came in quite late," says Walker. "But it's relative, because [it took] about seven years to bring all the pieces together. Osamah originally told Tony Ayres of Matchbox Pictures a story about his life, and that spurred on Tony to go and chat to [co-screenwriter] Andrew Knight." "They spent a long time writing it, they spent a long time financing it, they spent a long time bringing it all together," says Walker. "I was fortunate in some regards in that I joined it at the point that it was fully financed." Walker does admit to having a sense of hesitation in attaching himself to a project set in a world he knew so little about. "I loved the story, but there was an intimidating edge to it, because I also felt like I didn't want to do the community any injustice," he says. "But rereading it I almost just discounted all that, and went really to what I thought was the heart of the film, and the story, and the characters. From there I saw what the universal things and qualities were, and I felt like I could work with that." WORKING WITH OSAMAH According to Walker, one of the keys to the film's success was his collaborative relationship with Sami — both on screen and off. "I think the very first time we met he was going to take me out to visit a couple of mosques in Melbourne, and basically begin our journey working out how we were going to approach this film," Walker recalls. "So I met him much more as a writer, and in his capacity as an associate producer, than I did as the leading actor of the film. We struck up a great friendship, and making him feel proud and happy of this film has been a great motivator for me throughout the entire journey." "He made me feel extremely comfortable, and he was so open, and tolerated all my ridiculous and stupid questions," Walker continues. "Even when I think about asking them now, it's a bit like the ABC series You Can't Ask That. I just had to go there. But then I had a greater understanding of who he was, of who his family is, and of his world and his community. He gave me the confidence to be able to tell this story." ARE AUSTRALIANS READY FOR THIS FILM? As our interview with Walker comes to a close, our conversation returns to how audiences are likely to react to the film. "My desperate hope for the film is that while you might initially be trying to play catch-up on what it is to be in a mosque, or what's unique about being in a Muslim household, eventually that all washes away as you see that, ultimately, the [things] that young people go through in their twenties in the Muslim community is a version of exactly what someone with a Western background goes through," he says. As for any Australians who might be clinging to anti-immigrant views, Walker's message is simple. "We're a very young country. For anyone to stand with any sense of entitlement to Australia whose family history only goes back four or five generations is an odd standpoint from my point of view… the only people in Australia who deserve any entitlement are the Indigenous people, and the rest of us all just need to get along. We all travelled an immigrant's path to be here." Ali's Wedding screens at the Melbourne International Film Festival on August 10, and releases in cinemas on August 31.
When your nine-to-five plays out like a well-oiled machine, it can sometimes feel like each week is a little same-same. But Brisbane is brimming with a fine bounty of things to experience and explore each and every day. So aside from casual laziness and a little lack of inspiration, there's really nothing stopping you from squeezing some adventure and spontaneity into your schedule. We've teamed up with Mazda3 to celebrate the landmark 40th anniversary of their iconic small cars, and in turn, help you celebrate the little things that bring that sense of adventure to life. Shake things up, as we give you seven different detours to take each week in Brisbane. From Monday to Sunday, enrich your everyday with one completely achievable activity that inspires you to take the scenic route as you go about your daily routine. This week, tee off at the Victoria Park Driving Range, step into the action-packed world of Marvel and do the time warp again with Dr. Frank N. Furter and the gang. Plus, we've got your future detours sorted for the new few weeks here. All require no more effort than a tiny break from the norm — what's your excuse for not trying them all?
Ever driven across the Story Bridge and thought, "Wouldn't it be great to go to a market here?" We know, that might not have crossed your mind exactly. But it must've popped into the heads of the folks behind Hamilton's Eat Street Markets, because that's exactly what they're about to do. On July 5, the Brisbane landmark will be doing more than just linking Kangaroo Point and Fortitude Valley. In fact, cars will have to find an alternate route across the river, because a food market is taking over the entire bridge. Around 50 vendors have been invited to sell their delicious, delicious wares, so there'll be plenty of tasty treats on offer. A whopping 20,000 people are allowed on the bridge at a time, which sounds like a lot — but what Brisbanite would miss out on checking out this historic, ultra-novelty event? Indeed, given that everyone in Brisbane has already seen the bridge covered in fireworks many, many times, there's probably no better way to celebrate the 75th birthday of the heritage-listed icon. The bridge officially opened for business back on July 6, 1940 after five years of construction, and now sees an average of 97,000 cars zoom across it each day. While gathering for a bite to eat on the bridge might be something new, spending money there isn't. It was originally a toll road, with charges removed in 1947. Since 2005, people have been paying to scale its heights as part of the Story Bridge Adventure Climb experience. Now, for one night only, you can snack, browse and devour delicious local food with the best view in town. Brisbane's Story Bridge will closed to traffic for the food market for one night on July 5. Via Brisbane Times. Image: andzzz, judyvannorman and Tim Williams — Flickr via Wikimedia Commons and Eat Street Markets. View all Brisbane Events.
The future of museums is a bit William Gibson. As in, "the future is already here. It’s just not evenly distributed yet." One place with a pretty uneven head start — bringing the future to now — is the Cooper Hewitt Museum in New York City. A branch of the Smithsonian settled in a former mansion of the late magnate and philanthropist Andrew Carnegie. Its head start comes from being closed for renovations for three years. This gave it the chance to completely reinvent a lot of the things it did from scratch. Not least that whole internet, digital thing. For its Sydney-raised director of digital and emerging media, Seb Chan, that was the appeal. Chan had been in a similar role at the Powerhouse Museum (now the Museum of Applied Arts and Sciences) and was very much attracted to "a chance to reboot" a whole museum and think "what could this be?" JUST A PEN The Cooper Hewitt answers this question mostly with some pens. Visitors get handed a special black, rubber pen. Its smartphone-friendly tip lets you draw on interactive tables. The button on the other end lets it save the stuff you like. That's about it. "There's no screen. There's nothing to learn," Chan says. You can click the eraser end against little information cards and use the pen to bring up more info on the tables. When you leave, you look up a web address on your ticket and all the things you looked at are collected for you. 8KB FUN Seb hands me one he has with him. It feels good. "The pen itself is a capacitive stylus, with an NFC antenna and some memory. A small amount of memory: 8KB of memory. It doesn't have to be a lot." It is nicely weighted and well built. "It's a bookmark" he continues, "you're bookmarking the museum. That's all it is." That's not what you notice when you hold it. You want to point with it and you want to click. It feels built to just the right size. The idea is to make the physical and the digital sides to the museum mix effortlessly. "We're at a moment where, just like the internet in your pocket, digital is not something special." The museum is following suit, trying to "embed digital within the fabric of the museum visit [in a way] that normalises it. That naturalises it. And makes it feel like it should be there." By the time people reach the second floor, they've stopped being amazed by the pens, by the interactive tables. They just use them: "That's success." YOUR PUNY SCREENS The pen gets all the attention at the Cooper Hewitt, but its not the only direction that museums are heading in. The smartphone is one of the fundamental shifts museums are just beginning to get their heads around. Why wouldn't people just look things up on their phone at home instead of coming in to see your stuff? Like a cinema's giant screen to your puny big screen, museums are moving on to experiences that you can't get at home. Some of that is tech. Chan tells me about an exhibition he took his daughter to at New York's Museum of the Moving Image, Sensory Stories. The exhibition showcased 12 immersive, 3D documentaries using a virtual reality headset, the Oculus Rift. And then there's room-sized, "remote sensing" setups. These spaces let you explore sites not safe to visit in person. I suggest to Chan that Palmyra might be that sort of site. "Or a world heritage site that's too fragile to visit. Or maybe the international space station. Or maybe the surface of Mars," he says. Some of these not-at-home experiences are social. "That's one of the big shifts, I guess, in museums, is that they're now social venues." Most of these fixes are low-tech, like fixing the quality of coffee in the cafe. And the tech follows along. While the new Cooper Hewitt's interactive tables are 84", 4K high-definition screens, it's also important that they're big: "You can have as many as 12 people gathered around them. And when there are 12 people gathered around, you can bet they're talking." CHEAP JEANS AND CENTRIFUGES Where does this take us over the next ten years? Chan seems excited about the future of virtual reality, but sanguine. "VR is always an interesting piece with museums. And every ten years, there seems to be a new peak around this, and then it drops off again, and comes back again." Then there's the issue of what to collect. Chan wonders. "What should we be collecting from now that's gonna be as important as, you know, the cuneiform tablets?" He's interested in software and code. Maybe financial code, "collecting the algorithms — the quants used — that triggered crashes [from high frequency trading]" or even Stuxnet. How to do Stuxnet: The source code? A copy of the virus? "Ideally, what you would want to collect is one of the Iranian centrifuges that was knocked out by it." He points to Britain's Victoria & Albert Museum, whose experiments in "rapid response collecting" have seen it display a smashed Guardian laptop to talk about Edward Snowden or Primark cargo pants as a response to the Rana Plaza collapse in Bangladesh. YOUR DATA IS HERE, NOW There's also a long game here. Museums have new tools in the shape of analysing visitor movements from new tech like Cooper Hewitt's pens or even just free museum Wi-Fi. How does ten years of that add up? "Ten years of understanding it." Though Chan adds, "The challenge with analytics is that you're often collecting the wrong information. What I would hope is that it's ten years of people realising that we need to be thinking about how people behave and coming up with ways of understanding it." Seb Chan is in Sydney to talk at REMIX Summit, where he'll be giving Wednesday's keynote 'No Boundaries - The Museum of the Future.' Concrete Playground is a partner of REMIX Sydney.
Those final-round, half-popped remnants of the once-brimming popcorn bag have a solid fan base it seems, with two companies (two!) now selling bags of almost-there popcorn. Washington-based company HalfPops and Minnesota-based company Pop'd Kerns have decided that fully-popped kernels are wildly overrated, now selling half-popped corn as an actual snack. Their premature little bag buddies make for quite the potentially teeth-breaking snack, selling 170-gram bags at over 2000 locations America-wide and online (not for international delivery yet, so we'll have to live with the few skerricks in our popcorn bags for now). How the companies purposely half-pop the corn isn't made entirely clear on either of their websites, so we're willing to conjure up an image of the team hiding behind unsuspecting popcorn eaters and stealing their bags when they're almost done. Hiiiiiissssss, the sweet, sweet half-popped gold! The partially-popped friends made a strong appearance at New York City's Summer Fancy Food Show, the city's first ever specialty food week. Taking over NYC's Javits Centre from June 28 to 30, the inaugural SFFS15 nabbed the title of largest specialty food trade event in North America; a leading showcase of food industry innovation. For three days, American foodies found themselves surrounded by the newest and weirdest edible developments in the game. Half-popped corn wasn't the only thing turning heads at SFFS15. Probably the most grown-up type of ice cream in the freezer, wine ice cream is the work of an upstate New York dairy called Mercer's. Don't think this is simply wine-flavoured, these creamy, creamy confections have up to five percent alcohol. Other 'fancy foods' making waves at the specialty food week included the controversial maple water, tomato butter and the retch-inducing camel milk. Like, milked from a camel. Yeesh. Via The Kitchn.
Brisbanites already have plenty of excuses to hang out in, on, near and around the water. This is the River City, after all. But come May, you'll have another reason to hit the brown snake when GoBoat splashes into town. The Denmark-born company has been busy launching its eco-friendly picnic boats in cities all over Europe over the past few years, as well as in Canberra, Melbourne and the Gold Coast. Now, after announcing it was setting up shop in Brissie in recent months, bookings are now open for its local debut — so start getting excited about cruising along the river in a different way. Aimed at making the whole boating caper more accessible for everyday folk, the Scandinavian-designed vessels are slow-moving, a breeze to operate and don't require a boating licence, making for some fun, fuss-free sailing sessions. In a win for the planet, they also run on silent, pollution-free, electric engines, and are crafted from a mix of reclaimed timber and recycled PET bottles. Each of the contemporary GoBoats clocks in at 18-feet long, boasting a central picnic table with room for eight people (and all the necessary snacks and booze). And despite what you might be thinking, they're even affordable enough to fit your budget — simply BYO food and drinks, find enough eager sailors to jump aboard and a GoBoat session will start at around $14 per person, per hour. That's $109 hourly for the first hour, but the longer you book, the cheaper it gets. The Brisbane fleet will set sail from Breakfast Creek, with bookings available from Monday, May 24. And, the company's vessels are pet-friendly — surely you've got a very good boy who deserves a river jaunt. GoBoat will start operating from Breakfast Creek in Brisbane from Monday, May 24. For further details and to book, head to the company's website. Top image: Lean Timms
Australia is in for a big hot summer of music tours — a hefty end of spring, too — with everyone from Post Malone and The Weeknd to Taylor Swift and The Chemical Brothers on their way Down Under. Also on the list: Foo Fighters, who have a date with a heap of Aussie stadiums, and are about to release more tickets. It's times like these that you can add catching the Dave Grohl-fronted band to your calendar, with the group embarking on their first headline tour of Australia since 2018. It's also their first visit Down Under since drummer Taylor Hawkins passed away in March 2022. Foo Fighters were last in Australia that same month and year, playing a huge Geelong show to help launch Victoria's post-COVID-19 lockdowns live music program. The band unsurprisingly took a break from touring after Hawkins' death, only returning to live gigs earlier in 2023. On this tour, they're playing Perth, Adelaide, Melbourne, Sydney and Brisbane, with additional tickets becoming available due to changed production information — so, it's likely that the band's setup won't take up as much space as initially thought — and going on sale at 3pm AEDT on Friday, October 13. [caption id="attachment_903613" align="alignnone" width="1920"] Scarlet Page[/caption] Picking up the sticks: ex-The Vandals, Devo, Guns N' Roses and A Perfect Circle drummer Josh Freese, taking on the likely-daunting task of being the touring drummer in a band led by Nirvana drummer Grohl. Freese's stint with the band was announced in May, ahead of their first tour dates. When they hit our shores, the new-look Foo Fighters will weave in tunes from their new record But Here We Are, which released in June. Of course, all the hits from across their career will get a whirl, with their current setlist including everything from 'This Is a Call', 'Big Me' and 'Monkey Wrench' through to 'Learn to Fly', 'The Pretender' and 'Best of You'. And, yes, 'Everlong', because it wouldn't be a Foo Fighters show without it. [caption id="attachment_903618" align="alignnone" width="1920"] Jo via Wikimedia Commons[/caption] 'I'll Stick Around', which is also on the list, isn't just a song title from the group's first album. Given that their new tour comes 28 years after that debut release in 1995, it perfectly sums up Foo Fighters' longevity. Over the years, they've made it Down Under a heap of times, released 11 studio albums including the just-dropped But Here We Are, and made 2022 horror movie Studio 666. When they take to the stage again in Australia, they'll do so with Queensland punk act The Chats in support on a stack of dates, Manchester's Hot Milk also playing with them on the east coast, Teen Jesus and the Jean Teasers doing Melbourne and Body Type in Adelaide. FOO FIGHTERS AUSTRALIAN 2023 TOUR DATES: Wednesday, November 29 — HBF Park, Perth, with The Chats and Teenage Jones Saturday, December 2 — Coopers Stadium, Adelaide, with The Chats and Body Type Monday, December 4 — AAMI Park, Melbourne, with Teen Jesus and the Jean Teasers and Hot Milk Saturday, December 9 — Accor Stadium, Sydney, with The Chats and Hot Milk Tuesday, December 12 — Suncorp Stadium, Brisbane, with The Chats and Hot Milk Foo Fighters are touring Australia in November and December 2023, with additional tickets going on sale at 3pm AEDT on Friday, October 13. Head to the tour website for further details. Top image: Mr Rossi vi Wikimedia Commons.
Across its five seasons to date, Black Mirror has dedicated 22 episodes to imagining dystopian futures — and while it makes for compelling viewing, none of the sci-fi anthology series' predictions are particularly pretty. But, for all of its prognosticating, the Charlie Brooker-created show didn't foresee 2020's chaos. And now we've all endured this hectic year and are about to see it come to an end, the team behind Black Mirror has something to say about it. At 6pm AEST on Sunday, December 27, just before 2020 fades away forever, Netflix will drop a new comedy special called Death to 2020 — which is made by the Black Mirror crew. The show will look back on the year via a documentary-style special that uses real-life archival footage from the past 12 months, as well as narration from fictitious characters played by the high-profile likes of Samuel L Jackson, Hugh Grant, Lisa Kudrow, Kumail Nanjiani, Tracey Ullman, Samson Kayo, Leslie Jones, Diane Morgan, Cristin Milioti and Joe Keery. Immediately keen to see more? After revealing a teaser trailer for Death to 2020 earlier in December — when it first announced that the project even existed — Netflix has now dropped a full sneak peek. Jackson's character gets snappy, Grant's wants to make sure that a drink is close at hand, and Jones' advises she'd say 2020 "was a trainwreck and a shit show, but that'd be unfair to trains and shit". Brooker has a history of looking back at events that have just passed, as Newswipe with Charlie Brooker and his end-of-year Wipe specials between 2010–16 have all demonstrated — so satirising and savaging the year's developments definitely falls into his wheelhouse. Brooker and Netflix also love releasing new material over the holiday period, with interactive Black Mirror special Bandersnatch dropping between Christmas and New Year's Eve back in 2018. So, true to form, they're giving everyone an extra festive — and grimly funny — present this year. Check out the full Death to 2020 trailer below: https://www.youtube.com/watch?v=veUqfcyZ_Bo Death to 2020 will hit Netflix at 6pm AEST on Sunday, December 27 . Images: Saeed Adyani/Keith Bernstein.
Instead of shooting tequila and fighting back the tears while biting on a lemon, you might be better off using it as an alternative fuel. Originally seen as a potential saviour, crop-based biofuels are now criticised for competing for arable land, driving up grain prices and being grown in conditions that damage the environment. Agave, the plant used to make tequila, might just provide a solution. Since it grows in arid conditions, it doesn't compete for arable land and water supplies, and can adapt to future changes in the climate. Research into the energy and greenhouse cost of producing agave-derived bioethanol shows that it would be preferable to current biofuel crops, and one Australian company Ausagave is already giving it a try. So, the next time someone tries to force a tequila shot on you, you can refuse on the grounds that you'll need it for the drive home. Just don't put the salt or lemon in the tank... [via PSFK]
The Witcher wasn't Freya Allan's first acting role. But within a mere two years of her debut on-screen credit, she was in a streaming smash. The Netflix series arrived just as Game of Thrones ended, falling into the big wave of fantasy efforts endeavouring to capitalise upon the genre's Westeros-fuelled renewed TV popularity. It did just that, sparking two more seasons that've already aired, a fourth in the works — to be co-led by Liam Hemsworth (Land of Bad), who takes over from Henry Cavill (Argylle) — and both animated and live-action spinoffs. The Witcher also thrust Allan, the show's Crown Princess Cirilla of Cintra and one of its three central characters, to fame in a huge way. The English actor isn't done with her time as Ciri yet, but she's now added a new first to her resume: her first lead film part. In fact, Baghead is only her second movie stint, after co-starring in 2021's Gunpowder Milkshake. One thing remains familiar, as it did when she appeared in miniseries The Third Day as well: Allan and the supernatural keep being linked. While that connection isn't purposeful on her part, the two-time Saturn Award-nominee — the accolades handed out by the Academy of Science Fiction, Fantasy and Horror Films, with Allan twice in contention for Best Performance by a Younger Actor in a Television Series — can see why it keeps happening. "I think once you show a certain thing, people go 'oh, she's the girl that can do that'. And it's harder to break out of a certain box," Allan tells Concrete Playground. "But it's always a work in progress." [caption id="attachment_944097" align="alignnone" width="1920"] Susie Allnutt, Netflix[/caption] Baghead tasks her with getting otherworldly by talking to the dead in an eerie pub. Iris Lark, Allan's character, inherits the Berlin watering hole when her estranged father Owen (Peter Mullan, The Lord of the Rings: The Rings of Power) passes away. She didn't know about the bar's existence otherwise but, as encouraged by a disquieting solicitor (Ned Dennehy, The Peripheral), she's soon signing up to take it over. Inside, the run-down inn offers more than anyone could ever bargain for. In its basement exists an entity that can give patrons quite the deal: for two minutes, it will gift whoever sits in a chair opposite it the chance to spend time with a loved one that they've lost. It boasts Talk to Me vibes, but the premise initially fuelled Alberto Corredor's 2017 short that's also called Baghead. The full-length version is the director's feature debut. At the movie's centre sits two key elements: the "what would you do?" question, as part of its grappling with grief; plus Allan as the twentysomething woman tussling with that very query — which Iris only learns about after the mourning Neil (Jeremy Irvine, Benediction) arrives with cash for his own date with the pub's other inhabitant — and then experiencing the consequences. Taking the horror heroine route to the silver screen is a tried-and-tested path. After Baghead, however, Allan will next hit picture palaces in 2024 in Kingdom of the Planet of the Apes, the fourth film in the latest Planet of the Apes franchise. "Apes for me is my proudest project I've done so far. I just think that everyone involved is just superb at what they do. All the actors, I watched most of the film the other day, and they just killed it. So I feel very proud of it and I'm just excited for people to see it, and I hope that they can appreciate everyone's hard work," Allan advises. We also chatted with Allan about her response to Baghead's setup, what she'd do in the same situation, how she chooses projects, her relationship with horror and taking on her first lead part — and The Witcher, of course. On How Allan Would React If She Was Given the Chance to Talk to the Dead for Two Minutes "I would. Well, I wouldn't in this film, because there's a lot of risk factors involved. But in general, if I could talk to my grandparents, I definitely would. It was two years ago we shot it, but I'm sure we must have had a conversation about it at some point while shooting. I feel like it's the inevitable question." On Allan's Initial Response to Baghead's Premise — and How She Prepared for the Part "My first response as Freya, I was drawn to that element. I think grief is such a topic that everyone can really associate to and has experienced. And so I think that's immediately something that's very easy to connect to, and is such a prevalent part of life. You can't really escape it. So I think that's profound. I just came up with a backstory and made sure I had all the details I needed, and all the questions answered that I needed. And in regards to when she lost her parents, and understanding a bit more about peoples' experience in the foster-care system where she's come from. And having just lots of conversations with people and their experiences around grief as well, even talking to my mum about it, and Alberto and the other cast as well — just having those constant conversations." On the Challenge of Taking on Her First Leading Film Role "It doesn't necessarily feel totally different to The Witcher in terms of the pressure. I think I have the same pressure on every job I do. It never really goes, whether you have a smaller part or a larger part. And also, it very much felt like I was a part of a team with Ruby [Barker, from Bridgerton] and Jeremy, who played Katie [Iris' best friend] and Neil. So, it felt like we were there to support each other." On What Appeals to Allan About New Projects — Including Baghead "It depends. I think I definitely was at a place of still wanting to learn. I mean, I want to learn on every job I do, obviously — it's just a natural part of leaving a job, you always feel like you've learned even more for the next job. I saw this as a great opportunity for that. It was my first lead in a feature and it was a great ground to learn in order to go into other projects with more experience. And I would say from here, I love to do some stuff which is completely stripped back and has no supernatural at all." On Starring in a Horror Movie But Not Being an Obsessive Horror Fan "I feel like it's an inevitability for every actor. You can't really be an actor and not have done a horror film — and actually it's, like I say, a great ground for learning a lot of things, because a lot of it actually does really revolve around physicality and building a heart rate. And you begin to realise how much physicality plays into being an actor. That really helped me for for other things. But no, I'm not immediately a horror fan — I don't know everything about horror films, but I definitely have had great experiences of watching certain horror movies. I really do think that they can be the perfect film for cinema, to go and have a have a real experience with your friends, and be scared and have a snack." [caption id="attachment_944098" align="alignnone" width="1920"] Susie Allnutt, Netflix[/caption] On Allan's Journey with The Witcher So Far "When I got that role, that was huge for me and it was so exciting. That character is always going to be hold a very dear place in my heart, and I feel very lucky to have specifically played her. I think she really gets to have such an arc throughout the whole show by the end. But obviously, you do begin to want to do new things as well. So I think when it comes to an end, it will be a bittersweet thing of saying goodbye to a character that I'm hugely grateful for, but also being excited to do new things." Baghead opened in cinemas Down Under on Thursday, February 22. Read our review.
When Toto unleashed their single 'Africa' upon the world back in 1982, the drums echoed. Given the song's enduring success, it seems that everyone heard them. Now one particular patch of the Namib desert will hear the percussive reverberation for eternity, with a new art and sound installation playing the track on a never-ending loop. Toto Forever isn't just something screamed by die-hard fans of the American band. It's not merely the thinking behind one-night events that play the beloved tune over and over, such as an annual party in Brisbane. It's now the title of Max Siedentopf's new project, which the artist has set up as a "tribute to probably the most popular song of the last four decades". As seen on Siedentopf's site for the artwork, Toto Forever consists of seven plinths, arranged in a circle with one sat in the middle. Speakers sit atop the six boxes on the outside, with an MP3 player on the seventh. There's only one song loaded onto the device, so that's all that it can play. And if you're wondering about power, it's all attached to solar batteries. While Siedentopf has revealed the installation's general location — in the desert that stretches for 2000 kilometres along the Namib coastline — he's keeping the exact spot to himself. Whether he succeeds in gifting future generation some old forgotten words and ancient melodies will likely depend on the weather and environment, given that, as sure as Kilimanjaro rises like Olympus above the Serengeti, electronic equipment isn't designed to be left in a sandy expanse until the end of time — whether or not they're blessed by the rains. Image: Toto Forever by Max Siedentopf.
Film festival hubs, Robert Pattinson, writers fests, Spike Lee, Bridgerton-inspired balls, the Iron Throne: these are just some of the things — and people — that've popped up at Sydney Town Hall in recent years. But filling the inner-city venue with 26 tonnes of sand is solely the domain of Sydney Festival 2023, all thanks to acclaimed Lithuanian opera Sun & Sea. Where there's both rays of golden natural light beaming down from above and the ocean, there's usually sand, of course. This award-winning show, which was written and created by Lithuanian artists Rugilė Barzdžiukaitė, Vaiva Grainytė and Lina Lapelytė, uses so much of the granular substance that it turns Sydney Town Hall into a temporary indoor beach. That's the opera's setting as the durational performance runs on a 60-minute loop, following holidaymakers sunbathing and exploring the climate emergency in the process. Attendees can expect to hear the show's beachgoers singing elegies, too, about their lives and the changes they see in their natural surroundings. In this production, that world is ending as its characters spend a lazy afternoon by the shore. Expect to see swimwear, towels, hats and umbrellas aplenty, too, plus beach balls, nets to hit them over and people enjoying all of the above. While Sun & Sea won the Venice Biennale's Golden Lion in 2019, its Australian premiere — and exclusive — presentation doesn't just repeat the same thing that worked overseas. This local run has enlisted Sydney clubs and choirs to make the performance as specific to the city, and to its IRL beaches, as possible. From the imagery alone, the end result is a sight to behold — which opera attendees can in the round, looking down from the balcony above, across the show's three-day run from Friday, January 6–Sunday, January 8. That said, if you're keen to see what a famed Sydney building looks like as a beach, and just to enjoy everything that Sun & Sea has to offer, you'll need to already have a ticket. At the time of writing, the production's full Sydney Festival run is sold out. One of Sydney Festival's big drawcards, Sun & Sea sits on a lineup curated for the second time by Artistic Director Olivia Ansell, and boasting 748 performances across 54 venues. That includes more than 100 unique events, 26 of which won't cost attendees a thing. And, there's 18 world premieres and 14 Australian exclusives — aka shows that you'll need to travel to Sydney to see if you don't live there, because they won't pop up elsewhere, such as the also visually spectacular Frida Kahlo: Life of an Icon multi-sensory art experience. Sun & Sea runs from Friday, January 6–Sunday, January 8 at Sydney Town Hall, 483 George Street, Sydney. Sydney Festival 2023 runs from Thursday, January 5–Sunday, January 29 at venues across the city. For further details and to buy tickets, visit the Sydney Festival website. Looking for other Sydney Festival highlights? We've rounded up nine standout events under $50. Images: Wendell Teodoro.
With The Studio, Seth Rogen draws upon his years in show business to both satirise and shower love on Hollywood and the filmmaking game. He also plays the Apple TV+ series' lead: Matt Remick, a film executive who has always dreamed of getting the head job at Continental Studios, and achieves that feat when season one begins. Newly installed in his coveted gig, Matt unsurprisingly starts discovering the stresses of running a studio, including the difficult balance between artistic and commercial objectives — aka making something that he can be proud of and making hits. As one of The Studio's guiding forces, Rogen has achieved that mix with the show, which is both excellent and a success. The streaming platform behind it are clearly fans, because they've given it the ultimate tick of approval: renewal for a second season while its first is still dropping weekly episodes. There was always going to be ample material for an inside-Hollywood comedy from Rogen and his long-time collaborator Evan Goldberg (see: Superbad, Pineapple Express, This Is the End, Bad Neighbours and its sequel, The Interview and The Night Before). Together, they've co-created, co-written, co-directed and executive produced The Studio, partly drawing upon their own Tinseltown experiences. In both the regular cast and among the show's guest stars and cameos, Rogen and Goldberg have also enlisted a heap of other familiar faces to navigate everything from trying to make the next Barbie, one-take shots, giving famous filmmakers feedback and casting choices to awards ceremonies and whether the movie industry is important work. Rogen (Mufasa: The Lion King) leads, with Catherine O'Hara (The Wild Robot), Ike Barinholtz (Curb Your Enthusiasm), Kathryn Hahn (Agatha All Along) and Chase Sui Wonders (City on Fire) joining him in the main ensemble as fellow execs — some displaced by Remick, some gunning for the same gig, others wide-eyed and bringing a new perspective among seasoned Hollywood veterans. The core group frequently have company — so when Bryan Cranston (Argylle), Zoë Kravitz (Blink Twice), Paul Dano (Fantasmas), Olivia Wilde (Don't Worry Darling), Charlize Theron (Fast X), Anthony Mackie (Captain America: Brave New World), Zac Efron (A Family Affair), Sarah Polley (Women Talking) Greta Lee (Past Lives), Ice Cube (Teenage Mutant Ninja Turtles: Mutant Mayhem), Rebecca Hall (Godzilla x Kong: The New Empire), Adam Scott (Severance), Ron Howard (Jim Henson Idea Man) and Martin Scorsese (Killers of the Flower Moon) aren't making appearances, then Dave Franco (Love Lies Bleeding), Jean Smart (Hacks), Johnny Knoxville (The Luckiest Man in America), Josh Hutcherson (The Beekeeper), Quinta Brunson (Abbott Elementary), Ramy Youssef (Poor Things), Steve Buscemi (Transformers One), Zack Snyder (Rebel Moon), Aaron Sorkin (Being the Ricardos) and Parker Finn (Smile and Smile 2) are. "We're thrilled to be making a second season of The Studio. We're looking forward to taking the lived experience of making season one and immediately putting it into season two, then repeating that loop for ten more seasons. And, we're excited to keep all our industry friends and colleagues guessing as to when one of their personal stories will stream on Apple TV+," said Rogen and Goldberg about the renewal. The Studio joins a number of fellow Apple TV+ series that have locked in their comebacks in recent months, after news arrived that Ted Lasso's fourth season is finally on the way and that Severance will return for season three. There's obviously no sneak peek at season two as yet, but check out the trailer for The Studio's first season below: The Studio streams via Apple TV+ — and we'll update you with more details on season two when they're announced. Read our interview with Ike Barinholtz, Kathryn Hahn, Chase Sui Wonders, Evan Goldberg and James Weaver.
If you've spent any part of the past two decades dreaming about being a fabulously dressed New York writer who seems to do very little work but can still afford a fantasy wardrobe — or if you've just spent it drinking a lot of cosmos — then Christmas is coming early for you in 2022. Seventeen years after Sex and the City wrapped up its HBO run, the hit series is getting a spinoff, which'll start airing in mid-December. As an early present, it's just dropped a full trailer. That show is And Just Like That..., which was first announced back at the beginning of 2021, and is set to start streaming Down Under next week. The ten-part series reunites Sarah Jessica Parker, Kristin Davis and Cynthia Nixon more than a decade since they last shared a screen in the terrible 2008 and 2010 Sex and the City movies. And, if you're wondering what's in store, the new trailer expands upon the first glimpses seen when the show's release window was announced, and in the first teaser trailer a few weeks back. Once again, Parker's Carrie Bradshaw narrates the sneak peek. And yes, she's still waxing lyrical about life, love, friends, family, sex, New York and all her favourite topics. The famed fictional New Yorker also spends time looking at her shoes, because, as Manolo Blahnik devotees know, it really wouldn't be a Sex and the City-related series otherwise. Also featuring: glimpses of Carrie, Miranda (Nixon) and Charlotte (Davis) going about their lives — and of plenty of other familiar Sex and the City faces as well. The series' main trio don't have Kim Cattrall's Samantha for company this time, but Chris Noth, Mario Cantone, David Eigenberg, Evan Handler and the late Willie Garson all return. Yes, that's Big, Anthony, Steve, Harry and Stanford all accounted for. If you're already planning what you'll be wearing while you watch — we know what you'll be drinking — you'll be able to stream the first two episodes on Thursday, December 9 via Binge in Australia, with new episodes dropping weekly on Thursdays afterwards. In New Zealand, it'll air on Neon and Sky Go from Friday, December 10, with new episodes dropping at 1pm each week. It'll also head to SoHo from 9.30pm on Mondays from December 20. Due to Cattrall's absence, And Just Like That... is being badged as a "new chapter' in the Sex and the City story, rather than an additional season of the existing 1998–2004 program. Parker, Davis and Nixon are also named as producers on And Just Like That..., alongside Michael Patrick King, who worked as a writer, director and executive producer on the original (and on the two movies). Check out the full trailer below: And Just Like That... will start streaming in Australia via Binge from Thursday, December 9. In New Zealand, it'll air via Neon and Sky Go in New Zealand from Friday, December 10, and also on SoHo from 9.30pm on Mondays from December 20.
"Remember, the force will be with you. Always." Back in 1977, in a little movie called Star Wars — now known as Star Wars: Episode IV — A New Hope — Obi-Wan Kenobi uttered these words to Luke Skywalker. They were meant as encouragement and reassurance, but they've also proven true for fans of the George Lucas-created franchise. This space-opera series has been with us ever since, including through prequels, sequels, spinoffs, theme parks and more, and it shows absolutely no signs of going anywhere soon. In this very time, in this very galaxy, someone is usually on a screen somewhere talking about the force, in fact — and expect it to get more than a few mentions in the latest Star Wars streaming series that's headed our way. This one's a big one, and exactly why is all there in the title. Help us Obi-Wan Kenobi, you're our only hope for a new step into the Star Wars realm come Wednesday, May 25 on Disney+. Ewan McGregor (Halston) once again dons the iconic Jedi master's robes, in a six-episode series that's set ten years after Star Wars: Episode III — Revenge of the Sith. Bridging the gap in Obi-Wan's story between the prequels and the OG Star Wars flicks, it follows the fallout after Anakin Skywalker's (Hayden Christensen, The Last Man) turn to the dark side and reinvention as Sith Lord Darth Vader. And yes, Christensen is back as well as the villainous figure. [caption id="attachment_845698" align="alignnone" width="1920"] © 2022 Lucasfilm Ltd. & ™. All Rights Reserved.[/caption] While Obi-Wan Kenobi won't hit your streaming queue for just over two months, Disney+ has just dropped the next best thing: the show's first teaser trailer. A word of warning: for a show that splashes Obi-Wan Kenobi's name across its moniker, its first sneak peek is a little light on Obi-Wan himself, but it does set the scene for the showdown between the Jedi and his former padawan that's obviously coming. The sandy expanse of Tatooine earns some attention, with Obi-Wan keeping an eye on the young Luke Skywalker. Across the rest of the galaxy, the hunt to find where Kenobi is hiding is well and truly on. Coming to Disney+ following fellow Star Wars dramas The Mandalorian and The Book of Boba Fett, Obi-Wan Kenobi sees Joel Edgerton (The Green Knight) and Bonnie Piesse return as Owen and Beru Lars, too — and also stars Moses Ingram (The Queen's Gambit), Kumail Nanjiani (Eternals), Indira Varma (This Way Up), Rupert Friend (The French Dispatch), O'Shea Jackson Jr (Just Mercy), Sung Kang (Fast and Furious 9), Simone Kessell (1%) and Benny Safdie (Licorice Pizza). Check out the trailer for Obi-Wan Kenobi below: Obi-Wan Kenobi starts streaming via Disney+ on Wednesday, May 25.
Next time you fly domestically, you might notice something missing during your time in the air. Virgin Australia has announced an overhaul of its menus, effective immediately, with one big change bound to hit economy passengers' stomachs: the scrapping of free snacks. Those small bites to eat that helped stop your hunger pangs while zipping around the country have been axed, in favour of a new lineup of snacks to purchase. The airline says that it "has found that travellers would prefer to choose their own food and beverage in a buy onboard model on domestic flights, instead of receiving a predetermined snack." It also advises that the price of the snack has been taken out of the company's economy ticket prices, making them slightly cheaper. So, unless you stock up on food in the airport, you'll be forking out some cash while you're in the air — on cheese and crackers, muffins, chips, chocolate, lollies and two types of noodles. The drinks list includes soft drinks, hot chocolates, wine, beer, spirits and premixed gin and sodas, but you will still get complimentary tea, coffee and water. Virgin plans to expand its economy menu down the line, too, once the demand for flights gets back to near pre-pandemic levels. For those travelling in business class, the airline has dropped a bigger range of hot meals and salads, including smashed avocado on sourdough for breakfast, haloumi and quinoa salad for lunch, and lamb and rosemary pie for dinner, all of which is being served on crockery and glassware — and with proper cutlery as well. For more information about Virgin Australia's menu changes — which are in effect now — head to the airline's website.
Whether for a drink, a bite to eat, a stint at the casino or to spend the night, heading to Treasury Brisbane has always involved heading to two neighbouring George Street spots. Until now, that is — with the inner-city venue branching out to a third location perched over the Brisbane river. Called Will & Flow, the new bar marks Treasury's first off-site location, although it isn't far from the casino and adjacent hotel. From midday on Friday, November 20, Brisbanites can mosey down to the Queen's Wharf precinct, where the overwater watering hole sits between the QUT Gardens Point CityCat stop and the Goodwill Bridge. On the menu: coffees during the day, cocktails after work and bites to eat from morning till evening. You can start with a fruit bowl or ham and cheese croissant before 11am — and then snack on chipotle crab buns, roasted king prawns, oyster and mussel-filled platters, scallops with bechamel sauce, and four types of pizza. Yes, seafood is a big feature. For dessert, there's even a chocolate peanut butter pizza, which comes topped with strawberries and marshmallows. And, as for what you'll be sipping, the drinks lineup also includes smoothies, wines, spritzes, Queensland beers, and other boozy concoctions such as espresso martinis, lime and lemongrass margaritas, and a 'State of Origin negroni'. Obviously, you'll be consuming all of the above with scenic views over the river to South Bank. Will & Flow is available for events, too, which'll benefit from the same waterside vantage. Visitors can choose between both indoor and outdoor seating, and the latter is bound to be mighty popular. That said, in line with current social-distancing requirements, visitors won't have too much company to start with, with the bar catering to 130 patrons either seated or standing up cocktail-style. The overwater bar is the second to open in Brisbane's inner city in the past couple of years, following Mr Percival's over at Howard Smith Wharves — aka the last big new precinct to open its doors. Find Will & Flow in the Queen's Wharf precinct, between the QUT Gardens Point CityCat stop and the Goodwill Bridge — open Thursdays from 6.30am–9pm, Fridays and Saturdays from 6.30am–10pm, and Sundays from 6.30am–9pm.
Andy Warhol, Marilyn Monroe, The Mighty Boosh, Frida Kahlo: they're just some of the faces that've graced exhibitions around Australia in 2023. The next to join them is Amy Winehouse, in a showcase that's doing what documentary Amy also dedicated some of its frames to: stepping back a couple of decades to the beginning of the 'Back to Black' and 'Rehab' singer's career. When Winehouse was 19, photographer Charles Moriarty was requested by a friend to take some snaps of the then-unknown talent. They're the images that Amy, Before Frank will display. More than 30 will feature — and if you're wondering where the exhibition's name comes from, it references Winehouse's debut album Frank, with the photos covered hailing from before that record dropped. When Winehouse was in front of his lens, Irish photographer Moriarty didn't know what'd follow for the performer — the fame and success, nor her passing in 2011. The session clearly worked out well because Moriarty also shot the cover art for Frank, and became friends with the singer. "It's time for people to know the girl I knew; Amy before the fame, Amy before Frank" said Moriarty about his exhibition, which heads to Australia for a two-city tour this spring. To check out Amy, Before Frank, fans will need to head to Sydney's M2 Gallery from Wednesday, October 18–Sunday, October 22 or Melbourne's @14 Gallery from Wednesday, November 1–Sunday, November 5. That timing couldn't be more perfect, given that Frank — which includes the singles 'Stronger Than Me', 'Take the Box' and 'In My Bed' — released two decades ago in October. Moriarty is coming to Australia with the exhibition, chatting in both Sydney (on Saturday, October 21) and Melbourne (on Saturday, November 4) about his work and Winehouse. AMY, BEFORE FRANK AUSTRALIAN DATES: Wednesday, October 18–Sunday, October 22 — M2 Gallery, 4/450 Elizabeth Street, Surry Hills, Sydney Wednesday, November 1–Sunday, November 5 — @14 Gallery, 14 Langridge Street, Collingwood, Melbourne Amy, Before Frank will display in Sydney in October 2023 and Melbourne in November 2023 — head to the exhibition website for further details. Images: Charles Moriarty.
Maybe your house needs the kind of colour and flair that only art can bring. Perhaps you're keen on supporting artists. If the first applies, the second should as well. Whichever fits, one event has you covered without requiring you to bust your budget to enjoy art on your walls. Even better: Affordable Art Fair is doing the rounds of Australia's east coast again in 2025, popping up for a four-day run in Brisbane in autumn, Melbourne in winter and Sydney in spring. Everyone should be able to fill their home with art no matter their bank balance. That's the idea behind this event, and has been since 1999. Back in the 20th century, Affordable Art Fair initially popped up in London to share eye-catching pieces with the world at manageable prices, and then started spreading its art-for-all ethos around the world. It only came to Brisbane a quarter-century later — in 2024 — but Australia is no stranger to this event, thanks to Sydney and Melbourne stops before that. Clearly Aussies are fans, given that it's returning again in 2025. Brisbanites will be heading to Brisbane Showgrounds from Thursday, May 8–Sunday, May 11. In Melbourne, Affordable Art Fair will take over the Royal Exhibition Building across Thursday, August 28–Sunday, August 31 — and in Sydney, Carriageworks is playing host from Thursday, November 6–Sunday, November 9. On offer at each venue will be original artworks by the thousands, with prices starting from $100. If you do happen to be flush with cash, however, costs will max out at $10,000 per piece. Alongside London and its three Down Under host cities, Affordable Art Fair has brought its budget-friendly wares to Brussels, Hamburg, Stockholm, Amsterdam and Berlin in Europe; Singapore and Hong Kong in Asia; and New York and Austin in the US. Unsurprisingly, democratising art has been proving the hit as Affordable Art Fair notches up the years. Up to 2024 across its stops worldwide since 1999, the event had sold 568,000 artworks at a value of over AU$820 million. In Brisbane, around 50 independent Australian galleries will have pieces up for sale this year — some new to the lineup in 2025, some back from 2024. Buying art isn't the only drawcard, though, with talks, tours, workshops, live tunes, bites to eat, drinks and live artist demonstrations all also on the agenda. "Affordable Art Fair is a fun and accessible way to view and buy art, whether you're a seasoned collector or considering buying your first piece," advises Australian Fair Director Stephanie Kelly. "The Fair offers a welcoming and relaxed space where art buyers can learn more about each piece, talk to gallerists, watch artists in action, hear from experts and immerse themselves in an array of styles, genres and mediums. Visitors also have incredible access to gallerists and experts who love to help them with every aspect of choosing art, from their budget and preferred style to selecting a space to hang it and how to frame it." "Every piece at Affordable Art Fair Brisbane is from a living artist, every artwork on display lists a sale price, and every piece can be bought, wrapped and taken home on the same day." Affordable Art Fair 2025 Australian Dates Thursday, May 8–Sunday, May 11 — Brisbane Showgrounds, Brisbane Thursday, August 28–Sunday, August 31 — Royal Exhibition Building, Melbourne Thursday, November 6–Sunday, November 9 — Carriageworks, Sydney Affordable Art Fair Brisbane will return to Brisbane, Melbourne and Sydney throughout 2025 — head to the event's website for tickets and more details.
No one normally loves spending a weekend on the couch when there's a huge music festival happening, unless you can cure that FOMO by joining in from home. Coachella has been making attending the event without leaving home happen for years via its YouTube livestream, thankfully. And with the Indio, California fest upon us for 2024, it has unveiled its set times for its first weekend so that you know when to tune in. On the bill: Lana Del Rey, Tyler, The Creator, Doja Cat and the reunited No Doubt as headliners. Coachella's first 2024 run spans across Friday, April 12–Sunday, April 14 in the US, which is Saturday, April 13–Monday, April 15 Down Under. On Saturday in Australia and New Zealand, you'll be making a date with Del Ray. On Sunday, tune in for Tyler, The Creator and No Doubt. And on Monday, you'll be able to see Doja Cat. [caption id="attachment_936351" align="alignnone" width="1920"] Casey via Wikimedia Commons[/caption] Also among the highlights on Saturday in Australia and NZ: Justice, Peso Pluma, Lil Uzi Vert, Sabrina Carpenter, Deftones, Suki Waterhouse, Peggy Gou and Tinashe. The list goes on, of course. On Sunday Down Under, get excited about Blur, Ice Spice, Jon Batiste, Sublime, Dom Dolla, Vampire Weekend, Grimes, Orbital, Oneohtrix Point Never and RAYE, too — and more, obviously. And, come Monday for Aussies and New Zealanders, J Balvin, Lil Yachty, Kruangbin, Reneé Rapp, Flight Facilities and DJ Seinfeld are on the bill, plus a heap of others. View this post on Instagram A post shared by Coachella (@coachella) Spotted a dreaded set clash? This year, for the first time ever, you'll be able to livestream multiple stages at once. How many? Four in total. Each year, Coachella and YouTube join forces to beam the massive music fest around the world, which is no longer such a novelty in these pandemic-era times — but being able to fill your screen with a quartet of Coachella sets at the same time definitely is. YouTube's multiview concert experience will enjoy its debut in the music space, and globally, at Coachella. This year, the service will be capturing six different stages, as it did in 2023 for the first time ever — with Sonora on the list for the first weekend and Yuma on the second. [caption id="attachment_950216" align="alignnone" width="1920"] Clay Junell via Flickr.[/caption] That said, while you can feast your eyes on four stages simultaneously, you'll only be able to hear one, so you will still need to pick a favourite in any given timeslot. Coachella 2024 returns again from Friday, April 19–Sunday, April 21, which is Saturday, April 20–Monday, April 22 Down Under, if the first weekend's timings don't suit your schedule. Bookmark Coachella's YouTube channel ASAP — or hit it up below: Coachella 2024 runs from Friday, April 12–Sunday, April 14 and Friday, April 19–Sunday, April 21 — which is Saturday, April 13–Monday, April 15 and Saturday, April 20–Monday, April 22 Down Under — at the Empire Polo Club in Indio, California, and livestreams via YouTube across the same dates. Top image: petercruise via Flickr.
If you've ever raised an eyebrow at the idea of peanut butter and whiskey in the same sentence, you're not alone. But Skrewball — the Original Peanut Butter Whiskey — is full of cocktail-compatible surprises… and that's what makes it so damn good. Created in the US as a blend of American whiskey and natural peanut butter flavour, it's smooth, nutty and often the number one choice for bartenders who want to go a little wild. One of those bartenders is Sav Harrison, Skrewball's AU & NZ brand ambassador, who thinks too many people box it in before they've had a proper taste. "A lot of people get either caught up in the whiskey side or the peanut butter side and forget that we created a whole new category," Harrison says. "Don't just go for an old fashioned and manhattan. Skrewball is an opportunity to create something new altogether. Go nuts!" For Harrison, Skrewball cocktail creation starts with asking herself: what won't work? "Nothing is off the table with this bad boy," she says. "Recently I just discovered that Mumm Premium Sparkling Wine and Skrewball work when paired with raspberry and lemon." [caption id="attachment_1018328" align="aligncenter" width="1920"] Finley Jones[/caption] And when it comes to serving up your delicious concoction, she recommends a rocks glass or coupe. "Nothing beats a Skrewball on the rocks and the versatility of a rocks glass means you can make anything from a margarita to an old fashion. With the occasional jump to a coupe glass [because] it's fun, playful and can do anything." Here are three of Harrison's standout recipes, each designed to show off what peanut butter whiskey can actually do in the right hands. The Nutty Sparkler Think PB&J, but fizzy. The raspberry plays into Skrewball's nutty sweetness, while the lemon juice cuts through with a tart edge. The Mumm gives it a lift, making the whole thing lighter and more refreshing than you'd expect. What's in it: 45ml Skrewball Peanut Butter Whiskey 15ml Raspberry Liqueur (like Chambord, or a homemade raspberry syrup for less sweetness) 10ml Fresh Lemon Juice (to cut through the richness) Chilled Mumm Premium Sparkling Wine Garnish: Fresh raspberries and a lemon twist Ba Ba Bramble The classic 1980's bramble combines gin, lemon juice and simple syrup. To give it a remix, swap the gin for Skrewball's natural sweetness, add in blackberries for a fruity twist and Chartreuse for a herbal note and extra kick. What's in it: 1½ parts Skrewball Peanut Butter Whiskey ½ parts Green Chartreuse ½ parts Lemon Juice 5 parts Blackberries Mint & Blackberries for Garnish Skrewball Old Fashioned If you're still suspicious of flavoured spirits, this is an easy entry ramp. The rye whiskey keeps things grounded, while the Skrewball adds a hit of smooth sweetness that'll keep you coming back for more. What's in it: 1½ parts Skrewball Peanut Butter Whiskey ¾ parts Rye Whiskey 4 dashes Angostura Bitters The bottom line? Creating a Skrewball Peanut Butter Whiskey cocktail can be as fun as you want it to be. "Every time I decide to play around with cocktails and Skrewball, I find out there's so much to Skrewball almost anything works," Harrison says. Find Skrewball Peanut Butter Whiskey at Dan Murphy's, BWS and Liquorland and start Skrewing around with cocktails at home. Explore more Skrewball Peanut Butter Whiskey recipes on the website. Skrewball is classified as a flavoured liqueur in Australia. Please enjoy responsibly.
Wine lovers visiting New Zealand's biggest city are truly spoilt for choice. A cluster of award-winning and family-owned vineyards sit less than an hour's drive from the CBD, making it the perfect destination for your next short break. Dotted among the hillsides and bays of northern Auckland, Matakana has a warm climate that produces elegant reds — there are 28 varieties planted in the region, which makes it one of the most diverse wine growing areas in New Zealand. Here you'll find the only vineyard in the country to specialise solely in Italian grapes, French-inspired drops and an elaborate 'if you build it, they will come' sculpture park. Flights to Auckland from Sydney, Melbourne and Brisbane are super short — around three-and-a-half hours on average — and Air New Zealand flies direct from all three cities and offers great everyday fares. SCULPTUREUM A Nike-wearing alligator, inspirational quotes from Steve Jobs, an exotic bird aviary and an 80-seat restaurant — Sculptureum isn't your average vineyard. After 12 years of design and development, Auckland-based lawyers Anthony and Sandra Grant opened the doors to their elaborate 'if you build it, they will come' space. The 25-acre site is located less than five minutes' drive from the Matakana village en route to Omaha (north of Auckland). After strolling through art-filled gardens, seeing a massive chandelier created by American glass artist Dale Chihuly and spotting large rabbits in a grassy arena named Rabbiton, it'll finally be time to sit down for a wine. On a sun-soaked hill beyond the gardens is the vineyard that produces Sculptureum's award-winning wines. Current varietals available include chardonnay, Bordeaux blend, syrah and rosé. They're best enjoyed by the glass with a meal at on-site restaurant Rothko — though you can always grab a bottle for later, too. BRICK BAY WINERY Brick Bay is another spot that incorporates boutique wines, a sculpture trail and a top-notch restaurant. Nestled amidst a patchwork of native bush and farmland, the winery is a magical setting for a short break out of the city. For a little over 32 years, the brand has made a name for itself crafting sustainable wines, notably the classic pinot gris and berry-driven rosé. If you want to see what all the fuss is about, tastings are held any time at on-site restaurant The Glasshouse for $8. Designed by respected architect Noel Lane, the building is exactly as the name suggests — a light-filled glass box, which sits over a lily-filled pond. For an additional fee, you'll also be given the opportunity to stroll around the sculpture trail and see work by some of New Zealand's top contemporary sculptors, including Paul Dibble, Terry Stringer and Judy Darraugh. The full trail takes around an hour to complete. HERON'S FLIGHT Heron's Flight is the only vineyard in New Zealand to specialise solely in Italian grapes. The winery was established 31 years ago by David Hoskins, whose work as a chemist, philosopher and winemaker makes him quite the renaissance man. Heron's Flight has been consistently committed to sustainable winemaking and can be found in the wine lists of top restaurants up and down New Zealand. Heron's Flight works with two grape varieties: sangiovese, which translates to 'the blood of Jupiter', and dolcetto, a variety which is often both dry and full-bodied. Tastings are available seven days a week, excluding public holidays. MATAKANA ESTATE Matakana Estate has been around since the boutique wine region first sprung to light more than 30 years ago. Under the care of Australian winemaker Richard Robson, the estate produces stylish, full-bodied chardonnay, syrah and pinot gris. With expansive views over the vineyard — the largest in the region — the tasting room is one of the most popular to visit for an afternoon of sniffing and swirling. That said, it's recommended to call ahead if you're looking to try a specific varietal. If you haven't sorted transportation for your return journey, the estate boasts a luxury lodge, which stands proudly on a ridge overlooking the Matakana valley and hills. It has room for up to eight merry guests. RUNNER DUCK ESTATE Runner Duck Estate is a boutique vineyard nestled in the Matakana valley, specialising in small quantities of French-inspired syrah, Bordeaux blends, pinot gris, sangiovese and rosé. After leaving behind a successful business in Mumbai and purchasing the estate, it was the objective of owners Clyde and Farida to produce a small amount of iconic red wine that would impress the world's most discerning wine drinkers. Staying true to their word, the pair will not produce wine under the label unless the year been outstanding. The estate's cellar door can be found at celebrated vineyard restaurant, Plume, which offers tastings of any five wines for $7 per person. Alternatively, tastings are free with any bottled purchased. Book your flights to Auckland with Air New Zealand and start planning your next long weekend away. Plus, Vinomofo has released a case of wine featuring six delicious wines representing the diverse and unique sub-regions of Waiheke, Kumeu and Matakana. Every case has a one in 50 chance of winning return flights to Auckland (from Sydney, Melbourne and Brisbane). T&Cs apply.
So you've experienced another winter, and it's safe to say we're all ready to shed our layers and head outdoors for some quality time in the sun. Instead of sticking to your favourite beach or local park in the warmer days ahead, why not venture a little further afield and explore NSW's countryside? Spanning ocean and desert, NSW boasts an abundance of local food, live music and breath-taking nature to take in. From the lush Hunter Valley vineyards to the dusty flats of Broken Hill, there are festivals and events for every taste. And it's all happening in spring, the season that isn't as hot or busy as summer. Do you need any more convincing? Without some planning, however, your next three months are going to look a little dull. To help you out, we've pulled off our winter mittens for good, and teamed up with Destination NSW to put together a handy list of road trip-worthy events to attend with your entourage, just in time for the sun to reveal its glorious face.
"Eventually, I've come to realise that there are bad guys," says Julia Louis-Dreyfus (You Hurt My Feelings) as Valentina Allegra de Fontaine in the just-dropped teaser trailer for Thunderbolts*. "And there are worse guys," she continues, "and nothing else". So goes the setup for one of the Marvel Cinematic Universe's next big-screen releases — and it plays with a familiar template. Banding together a disparate group of characters is MCU 101. Teaming up antiheroes to take on worse folks as mandated by the government is also how Suicide Squad and The Suicide Squad from DC have played out. The Thunderbolts* version hits cinemas in May 2025 Down Under, also starring Florence Pugh (Dune: Part Two), David Harbour (Gran Turismo: Based on a True Story), Sebastian Stan (Dumb Money), Wyatt Russell (Night Swim), Olga Kurylenko (Paradox Effect) and Hannah John-Kamen (Breaking Point) in their Marvel returns. Pugh is back as Yelena Belova after Black Widow and Hawkeye, while Harbour again plays Red Guardian, Stan returns as Bucky Barnes and his The Falcon and the Winter Soldier co-star Russell is back as John Walker. Kurylenko played Taskmaster in Black Widow, too, while John-Kamen's Ghost was part of Ant-Man and the Wasp. This is a flick with a bit of homework, then, if you're keen to know the ins and outs of every character before they get thrust together in Thunderbolts*'s storyline, becoming a band of misfits and going on missions. The film marks the 36th in the MCU, and will follow fellow 2025 release Captain America: Brave New World into picture palaces. Behind the lens on Thunderbolts*: director Jake Schreier, who has helmed episodes of Beef, Minx, the Russell-starring Lodge 49 and more, plus films Paper Towns and Robot & Frank. Marvel has had a light year on the silver screen in 2024, with just Deadpool & Wolverine releasing. That definitely won't be the case in 2025, however, with not only Captain America: Brave New World and Thunderbolts* slated to drop, but also The Fantastic Four: First Steps. Check out the first teaser trailer for Thunderbolts* below: Thunderbolts* releases in cinemas Down Under on Thursday, May 1, 2025. Images: courtesy of Marvel Studios. © 2024 MARVEL.
Brisbane will never get tired of finding things to do near, around, in or on its very own river, including hitting up overwater bars and hiring picnic boats. If there's one thing that the Sunshine State capital particularly loves when it comes to the Old Brown Snake, however, it's party vessels cruising down the waterway while pairing views, tunes and drinks. Now floating out of the City Botanic Gardens River Hub each weekend, Oasis is the latest — and your new excuse to temporarily say goodbye to dry land. Oasis follows in The Island, Seadeck and Yot Club's slipstream. For this stint of ditching the shore for a watery jaunt, Brisbanites can hop onboard a $10-million steel-hull catamaran. And the soundtrack? It comes via DJ-backed gatherings by both day and night. This vessel isn't small, stretching to 35 metres in length and accommodating 500 people across three levels. And, it's sticking around permanently, rather than cruising in and out seasonally. Oasis was also custom-designed for Brisbane's windy waterway, with Alex Zabotto-Bentley — who also did the honours for Seadeck and Sydney's Glass Island — taking care of the hues, fixtures and fittings. The aim: to immerse partygoers in a Sicily and Capri vibe. Thanks to The White Lotus' second season, nodding to Italian islands is quite the vibe right now. Taking to the water for weekly Saturday and Sunday festivities — and the occasional Friday-night special event — Oasis lets its passengers rove its trio of floors, each of which is decked out in its own way and provides a different experiences. They all come with their own bar, sound system, standing areas, and seating including VIP tables — but, the lower floor goes with copper, dark tones and a pressed tin ceiling, and the middle deck with greenery and wood aplenty. Up on top, pink and white stripes are a feature, alongside tropical plants. The boat's lineup of DJs and artists rotates weekly, and Oasis also serves up sips and bites to eat. And, if you want to book the whole place out for your own soirée, that's available Monday–Friday.
Are you due for a ladies' day out? Consider this your sign to rally the girls and lock in a Saturday spent sipping spritzes. While Brisbane is host to several venues that would fulfil the ladies' day brief, The Star Brisbane is a one-stop shop for cocktails, good food and entertainment that rolls long into the evening. Here are the Brisbane venues to add to your ladies' day out list. [caption id="attachment_1021004" align="alignleft" width="1920"] Cucina Regina[/caption] Cucina Regina Cucina Regina is The Star Brisbane's Italian dining destination. From delicious woodfired pizzas to buratta, oysters and share plates, booking a table at Cucina Regina is the ultimate way to kick off the ladies' lunch. If you have a larger group (or just want a long lunch vibe), consider the banchetto (shared banquet). It's $89 per person and means you can focus on your catch-up as the delicious Italian dishes are brought out all afternoon. Sky Deck Situated 100 metres above the city, The Star Brisbane's Sky Deck is the place to watch the sun set and cheers to your mates. Equal parts glamour and good times, grab a crafted cocktail from Cicada Blu post-dinner and soak in the view. If you're looking for a casual dining option, Babblers at The Star Brisbane also has a range of small plates to pair with your apéritifs. You can order any three for $36 (the chef recommends one bread, one dip and one meat for the full tasting experience). During September, you can enjoy the skyline view with a charcuterie platter and two Chandon spritzes for just $49, making it the perfect girls' night out destination. Babblers is walk-in only so make sure you get in early to secure the sunset selfie spot. LiveWire The best ladies' nights are the ones that continue well past the allotted time. If you're hankering for a dance floor or some evening entertainment, make your way to LiveWire. From free concerts (yes, free) to drag bingo and music trivia, LiveWire is located inside The Star Brisbane, meaning you won't need to trek to the Valley for a bit of dancing. See what gigs are available each month here. [caption id="attachment_1021008" align="alignleft" width="1920"] Aloria[/caption] Aloria Also located on the Sky Deck, Aloria is the rooftop restaurant that'll impress your friends. Aloria hosts a curated set menu for just $70 per person. You and your girls can choose from one entrée, one main and sides for the table to share. It's an elevated long lunch that deserves a place on your ladies' day list. There's also a sip and snack menu from 3-5pm, Wednesday to Sunday, if you prefer a lighter catch-up with views you'll remember. Whether you're looking for a new local venue to try or you're planning a girls' weekend away, The Star Brisbane is the city's one-stop playground. Want to discover more venues at The Star Brisbane? Check out the website here. Over 18's only. Drink responsibly. BET WITH YOUR HEAD, NOT OVER IT. Lead image: The Star Brisbane
Lorde, that dynamo 17-year-old with the Grammys and the dance moves and the best friend named David Bowie, has been hit by illness after a gargantuan string of performances including Coachella, forcing her to postpone her Australian tour dates. Set to hit our shores in just a couple of days, Lorde was set to perform at eight shows across the country including Melbourne, Adelaide, Perth, Sydney, Newcastle and Brisbane. The Pure Heroine issued a statement via press release today: "It breaks my heart to have to postpone these shows as the band and I absolutely love playing to Australian crowds, and it was not a decision we made lightly," she said. "I know I need to focus on getting better in order to perform at my best. We'll be with you as soon as we can, Aussies." After a heartbreaking cancellation earlier in the year, this will (hopefully) eventually be Lorde's first Australian stadium tour since playing smaller club venues and the Laneway circuit. And while we were sure to get the full royal treatment from her 2013 breakthrough album Pure Heroine, this 2014 tour was said to have some surprises in store. It's been announced there will be a huge light show component, but we're keeping our fingers crossed for a cameo from Ziggy Stardust. Management have yet to release further information or rescheduled tour dates as yet, or whether refunds will be issued. Stay tuned for more details, for now give your neighbours a little singalong concert. Here's where the postponed tour dates currently sit: Thu 24 Apr — Festival Hall, Melbourne (All Ages) POSTPONED Sat 26 Apr — Festival Hall, Melbourne POSTPONED Sun 27 Apr — EC Theatre, Adelaide (All Ages) POSTPONED Tue 29 Apr — Challenge Stadium, Perth (All Ages) POSTPONED Fri 2 May — Hordern Pavilion, Sydney (All Ages) POSTPONED Sat 3 May — Hordern Pavilion, Sydney (All Ages) POSTPONED Sun 4 May — Entertainment Centre, Newcastle (All Ages) POSTPONED Tue 6 May — Riverstage, Brisbane (All Ages) POSTPONED
UPDATE: May 31, 2020: A Hidden Life is available to stream via Google Play, YouTube and iTunes. As a renowned lover of rolling hills, scenic greenery, constantly roving camerawork and breathy voiceover that borders on whispering, Terrence Malick recreates the Second World War with splendour. Such an approach proved moving and powerful in 1998's The Thin Red Line, where the writer/director intertwined war's pain, suffering and senselessness with many a glimpse of nature's wonders — and while the filmmaker sticks with his usual tactics in A Hidden Life, this couldn't be a more different movie. That comment fits Malick's tenth feature in many ways, actually. All his familiar aesthetic trademarks remain in place, because there's no teaching this veteran new tricks. And yet, his highly polarising style has never felt more purposeful. Nearly half a century into his career, Malick asks the same question about life that he has since 1973's Badlands, pondering how anyone finds beauty, love and grace amid continual chaos — and yet it has never been as urgent, poignant and touching as it is here. Telling of an Austrian farmer conscripted to fight for the Third Reich, A Hidden Life's true tale is a perfect match for Malick — and for the query that's driven everything from his Palme d'Or-winner The Tree of Life to the SXSW-set Song to Song. Living quietly in the mountain village of St. Radegund in 1939, Franz Jägerstätter (August Diehl) and his wife Fani (Valerie Pachner) are happy toiling in the fields, doting on their three daughters and being part of a close-knit community. But, although their bliss remains unchanged when the war first breaks out, history dictates that it can't stay that way. While he stomachs being forced to attend military training, albeit barely, Franz won't pledge allegiance to Hitler. All Austrian soldiers are required to make that oath, so his rejection earns the attention of Nazi higher-ups. His neighbours pressure him to conform, treating him and his family as outcasts for daring to defy the status quo. Still, even when called to active service, then arrested and sent to a Berlin prison, Franz won't waver. Malick doesn't skirt around Franz's motivations, not that an excuse for resisting any brutal fascist regime should ever be required. As contemplated in long letters to Fani that are based on real texts — as well as in chats with his local mayor (Jürgen Prochnow), plus with priests and bishops (including Tobias Moretti and Michael Nyqvist) — the conscientious objector can't reconcile Hitler's ideology with his own Catholic faith. To everyone except his family, that makes him a traitor. While it shouldn't come as a surprise, it's still perturbing to see so many push for his blind adherence to such an abhorrent cause. Equally unnerving: the fury with which his village turns on Fani and their children. And, though falling into a completely different category, Franz's actions are also unsettling in their own way, because the ultimate cost of his refusal isn't just incarceration but execution. That grave truth lingers over A Hidden Life, even in the film's most idyllic moments. Spending ample time at the Jägerstätters' picturesque property, revelling in its calm surroundings, and communing with its human and animal inhabitants, Malick's feature frequently proves peaceful, harmonious and sumptuous — which only makes Franz's plight all the more devastating. Viewers should expect as much from the director, given his reliance upon his trusty stylistic flourishes. While this is a rare war movie that eschews the brutality of the battlefield, just as its protagonist does, Malick laps up every aspect of Franz's rural existence, and of his loving relationship with Fani, all to emphasise exactly what the farmer is putting at stake. It would be so easy for the beleaguered Austrian to say what he's asked, serve as he's required and return home to those he adores. Doing so would save his life, and he has such obvious reasons to acquiesce. But Franz isn't willing to put himself before his beliefs, and Fani would never make him do so. Accordingly, although its conflict remains spiritual, philosophical and existential rather than physical, A Hidden Life is as weighty as any blood-soaked account of combat — and as affecting. Thanks to its endlessly roaming, circling frames, as lensed by The Tree of Life alum Jörg Widmer, Malick's film immerses viewers in both the best and worst of Franz's experiences. Always restless in a visual sense, it's just as jittery and absorbing emotionally, which any movie about a man sticking to his principles while facing death should be. Indeed, it's difficult to see how any other approach could do such a tale justice. Amongst a cast that also includes Matthias Schoenaerts (Kursk), Franz Rogowski (Transit) and the late, great Bruno Ganz, Diehl and Pachner clearly relish Malick's freewheeling ways, with their soulful performances helping boil this story down to its lyrical, poetic core. Told with ruminative eyes and a probing heart, this isn't just an account of courage and conviction, but of truly knowing the price of everything that's worthwhile in this life. https://www.youtube.com/watch?v=qJXmdY4lVR0
If you needed more evidence that teenagers are becoming even smarter at a younger age, look no further. A new trend has emerged in Midwest America, where teenagers are reportedly soaking candy in alcohol in order to get drunk. Long gone are the days when young hooligans would wait outside the bottle shop and desperately beg the first bloke with facial hair to buy them a case of Bacardi Breezers. Instead, candy is being soaked in spirits before being consumed in a seemingly harmless practice. These teenagers were even able to pick the cutest and most innocent candy as their method of intoxication: the gummy bear. Darcy Jensen from Prairie View Prevention Services works in South Dakota to stop underage drinking. She notes that whilst the problem has not yet become widespread, she has already sent out warnings to schools across the state about the dangerous new practice. "Maybe someone has offered the candy and they didn't even know. So telling the kids ahead of time this could be something to be aware of is important," she said. Darcy raises a valid point. Teenagers might think twice about accepting a drink from a stranger, but a gummy bear? Never. She notes that this new trend will provide parents with a good opportunity to talk to their children about the hazards of underage drinking, and describes the gummy bears as "a good conversation starter." Maybe confectionery giants should start selling candy in brown paper bags from now on. [via Keloland]
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from April's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW APOLLO 10 1/2: A SPACE AGE CHILDHOOD In 1969, the year that Apollo 10 1/2: A Space Age Childhood is set, writer/director Richard Linklater was nine years old and living in Houston, Texas. This lovely animated film happens to follow a boy around the same age in the same city — and trust the filmmaker behind Boyhood, Dazed and Confused, and the glorious trio that is Before Sunrise, Before Sunset and Before Midnight to make viewers who weren't there then (who weren't even alive and have never been to America, too) to feel as nostalgic about the place and era as he clearly does. As narrated by his Bernie and The School of Rock star Jack Black, the film's entire middle section dances through memories of the time and city with infectious enthusiasm, but its biggest dose of affection radiates towards the technological promise of the 60s. The Mercury, Gemini and Apollo missions were rocketing into space and it patently felt like anything was possible, a sensation so marvellously captured in each second of Apollo 10 1/2. Jumping back into the rotoscoped animation that served Linklater so well in Waking Life and A Scanner Darkly, this loving ode to years and moods gone by also sports a delightful premise. As his older guise (Black) explains, young Stan (debutant Milo Coy) was an ordinary Houston kid with a NASA-employed dad (Bill Wise, Waves), doting mum (Lee Eddy, Cruel Summer) and five older siblings when he was approached by two men (Shazam!'s Zachary Levi and Everybody Wants Some!!'s Glen Powell) to help them with a problem. In the lead up to Apollo 11, it seems that NASA accidentally built the lunar module a couple of sizes too small, so they need a kid — Stan — to help them by going to the moon to test things out before Neil Armstrong, Buzz Aldrin and Michael Collins make their famous trip in a bigger version. That fantastical idea feels ripped from Linklater's childhood dreams, and it well might be; it also makes for a warm and charming entry point into a movie that's as much about life's ups and downs, the bonds of family and the wide-eyed optimism of youth as it is about heading to space. Apollo 10 1/2: A Space Age Childhood is available to stream via Netflix. SLOW HORSES One of several espionage-themed efforts worth a watch this month — see also: The Flight Attendant and All the Old Knives below — Slow Horses gives the genre a pivotal switch and entertaining shake up. It's still a tense thriller, kicking off with an airport incident (another theme for the month) and then following a kidnapping, but it's also about the kind of spies that don't usually populate the on-screen world of covert operatives. Stationed away from the main MI5 base at a rundown, clandestine office called Slough House, Jackson Lamb (Gary Oldman, The Hitman's Wife's Bodyguard) and his team are the agency's rejects. They haven't been fired for a multitude of reasons, however, including boasting ties to influential past employees, being great at their jobs but also a drunk and having impressive hacking skills yet proving impossible to get along with. Given the nickname that gives the show its moniker, usually they do little more than push paper, too, until they get caught up in a high-profile case. Oldman goes big and broad as Lamb, and he's also ceaselessly absorbing to watch, but Slow Horses isn't short on stars. In a six-episode first season adapted from Mick Herron's 2010 novel of the same name, Kristin Scott Thomas (Rebecca) plays MI5 Deputy Director-General Diana Taverner, Lamb's supremely competent head-office counterpart — although it's Jack Lowden (Fighting with My Family) and Olivia Cooke (Pixie) as young operatives River Cartwright and Sid Baker, and their efforts to chase down a lead they're not meant to, that anchors the series. Behind the scenes, executive producer and writer Will Smith (not that one) brings a sly and witty way with dialogue from his past work on The Thick of It and Veep, making Slow Horses both crackingly suspenseful and tartly amusing. The slinky theme tune by Mick Jagger also helps set the mood — and season two is already in development. The first season of Slow Horses is available to stream via Apple TV+. HEARTSTOPPER It only takes minutes for British newcomer Heartstopper to explain its title — showing rather than telling, as all great shows should. A year ten student at Truham Grammar School for Boys, Charlie Spring (first-timer Joe Locke) finds himself seated in his form class next to year 11 rugby player Nick Nelson (Kit Connor, Little Joe). Sparks fly on the former's part, swiftly and overwhelmingly, with the eight-part series' graphic-novel origins inspiring a flurry of fluttering animated hearts on-screen. But Charlie has a secret boyfriend, Ben (Sebastian Croft, Doom Patrol), who won't even acknowledge him in public. He also hardly thinks of himself as sporty, even after Nick asks him to join the school team. And, while a friendship quickly solidifies between the two, Charlie is initially unsure whether anything more can happen — and anxiety-riddled in general. As well as writing Heartstopper's source material — which initially started as a webcomic — Alice Oseman pens every episode of this perceptive teenage-focused gem. From the outset, it bubbles with heartwarming charm, while its coming-of-age story and central love story alike prove wholly relatable, aptly awkward but also wonderfully sweet and sensitive. In short, it's a series that plunges so convincingly and inclusively into its characters' experiences that it feels like its heart is constantly beating with affection for Charlie, Nick, and their fellow high-schoolers Tao (fellow debutant William Gao), Elle (Yasmin Finney), Isaac (Tobie Donovan), Tara (Corinna Brown, Daphne) and Darcy (Kizzy Edgell). First crushes, young love, the swirling swell of emotions that comes with both and also figuring out who you are: all of this dances through Heartstopper's frames. Also, when Oscar-winner Olivia Colman (The Lost Daughter) pops up, she's glorious as always. The first season of Heartstopper is available to stream via Netflix. Read our full review. KILLING IT Killing It starts with a pitch. It's the first of many because that's just life these days, the show posits. Adding another sitcom to his resume after The Office, Ghosted and his beloved Brooklyn Nine-Nine guest spots, Craig Robinson keeps his first name as a Miami bank security guard with big aspirations — if he can rustle up some startup funds. His vision: owning a saw palmetto farm and living the American dream, because he believed his dad back when he was told as a kid that hard work and perseverance always pay off in the USA. For $20,000, he plans to buy land in the Everglades, then sell the fruit to pharmaceutical companies, who'll use it in prostate medicines for the lucrative health market. But when his branch manager won't give him a loan, and his life spirals soon afterwards, he begins to realise how America really works for everyone who isn't ruthless, wealthy or both. Striving for a better life, styling yourself to meet society's expectations, getting brutally trampled down: that's Killing It, which hails from B99 co-creator Dan Goor and executive producer Luke Del Tredici. It's a perceptive and savvily funny series about aiming for a shiny future to escape the swampy present, but getting stuck slithering in a circle no matter what you try. And, it's also about literally killing snakes, a money-making scheme that Craig comes across via Uber driver Jillian (Claudia O'Doherty, Our Flag Means Death). She's a chatty Australian who swings hammers at pythons because it's a profitable business — and because there's a contest awarding $20,000 to whoever kills the most. If The Good Place was wholly set in Florida and followed down-on-their luck folks chasing glory by slaying pythons, and also made exceptional use of the well-paired Robinson and O'Doherty, this'd be the end result. The first season of Killing It is available to stream via Stan. Read our full review. MASTER Taking cues from Jordan Peele's Get Out and Donald Glover's Atlanta (see below), as well as from old-school horror classics such as Rosemary's Baby and The Shining, college-set horror-thriller Master isn't lacking in well-known influences. It also isn't afraid to let the imprint left by its obvious predecessors visibly ripple through its frames. But being overly ambitious in stitching together a story that so clearly owes a debt backwards is one of this film's few missteps — that and being so brimming with ideas that not everything gets its due. Excavating the institutionalised racism that festers in the American university system is a big task, though, and first-time feature writer/director Mariama Diallo doesn't hold back. There's a slow-burn eeriness to this intense Ivy League-steeped affair, but also a go-for-broke mentality behind its dissection of deeply engrained prejudice and weaponised identity politics. Regina Hall (Nine Perfect Strangers), Zoe Renee (Black Lightning) and Amber Gray (The Underground Railroad) play Gail Bishop, Jasmine Moore and Liv Beckman, respectively — three women of colour at a New England uni, Ancaster, with a long history. The school's past is almost exclusively tied to white administrators and students, of course, so much so that Gail is the first Black head of the college, or master. Her appointment comes as Jasmine arrives and gets allocated to a dorm once inhabited by the college's first-ever Black pupil, whose tale ended in tragedy, and as popular professor Liv tries to earn tenure. Diallo balances racial politics and the supernatural with skill; yes, the former, and the way that 'diversity' is paid lip-service to boost the university's prestige, is far more chilling than the otherworldly bumps and jumps, but both play a key part in making this a smart and haunting feature. Master is available to stream via Prime Video. ALL THE OLD KNIVES Starring Chris Pine (Wonder Woman 1984) and Thandiwe Newton (Westworld) as two spies wading through the fallout of a terrorist attack that changed their lives years earlier, All the Old Knives brings its espionage intrigue to the screen with a sense of timelessness. It's easy to imagine how stars from any other decade — perhaps pairings involving Kurt Russell and Jamie Lee Curtis in the 80s, Keanu Reeves and Sandra Bullock in the 90s, or Brad Pitt and Angelina Jolie in the 00s — could've stepped into the same film with little tinkering needed, and how it still would've turned out as slickly and engagingly. Pine and Newton play Henry Pelham and Celia Harrison, colleagues and lovers in 2012 when Turkish Alliance flight 127 is hijacked. In 2020, the case is reopened after new information comes to light, with Henry tasked with investigating — which means reuniting with Celia after she suddenly left her old existence behind. As directed by Borg vs McEnroe's Janus Metz Pedersen, much of All the Old Knives unfurls through conversation, with the filmmaker once again diving into a highly charged adversarial and emotional relationship. With Henry trying to extract information and Celia endeavouring to protect everything she's earned since the incident, it also unravels like a game between two well-matched players, even if the twists and turns penned by Olen Steinhauer — the creator of TV's Berlin Station, and also the author of the novel that All the Old Knives is based on — are rarely astonishing. Pine and Newton make the most of the material, however, in dialogue-driven parts that rely heavily upon their smouldering chemistry. Also influential in the handsomely shot thriller: the supporting cast that spans Laurence Fishburne (MacGruber) and Jonathan Pryce (Tales From the Loop) as fellow CIA operatives. All the Old Knives is available to stream via Prime Video. NEW SHOWS TO CHECK OUT WEEK BY WEEK THE GIRL FROM PLAINVILLE Whatever she's in, and whether she's the star of the show or a supporting player, Chloë Sevigny's face always tells a tale of its own. That's been true in everything from Kids and Boys Don't Cry through to Big Love and We Are Who We Are, and it remains that way in The Girl From Plainville — the new eight-part true-crime miniseries led by The Great's Elle Fanning that's based on the death of Massachusetts teenager Conrad Roy III in 2014. Here, Fanning plays Conrad's long-distance girlfriend Michelle Carter. It's due to the her actions that the situation has been known as "the texting suicide case" for almost a decade — garnering not just local but international attention, and earning a HBO documentary, I Love You, Now Die: The Commonwealth Vs Michelle Carter, back in 2019. Fanning is fantastic in what proves an eerie character study, but the looks that Sevigny, as Conrad's mother Lynn, shoots her way scream rather than simply speak volumes. Inspired by Jesse Barron's Esquire article of the same name, The Girl From Plainville tells a tough tale, starting with Conrad's (Colton Ryan, Dear Evan Hansen) suicide in his truck in a Kmart parking lot. It was his second attempt to take his own life, although he'd promised Lynn that he wouldn't do it again — and when his death was investigated, police discovered text messages sent to him by Michelle, including a plethora of words encouraging him to follow through. In 2015, she was indicted on charges of involuntary manslaughter for "wantonly and recklessly" assisting the suicide. In 2017, her trial took place. The outcome is now a matter a history, which the complicated, captivating and gripping The Girl From Plainville builds up to while also unpacking Michelle and Conrad's relationship. The Girl From Plainville is available to stream via Stan, with new episodes dropping weekly. Read our full review. OUTER RANGE Some shows commence with a dead girl wrapped in plastic. Others begin with a plane crash on a spooky island. With Outer Range, it all kicks off with a void. On the Abbott family ranch in Wyoming, in the western reach that gives the show its name, a chasm suddenly appears. A perfect circle swirling with otherworldly mist and resembling an oversized golf hole, it's just one of several troubles plaguing patriarch Royal (Josh Brolin, Dune), however. There is indeed a touch of Twin Peaks and Lost to Outer Range. A dash of Yellowstone, The Twilight Zone, The X-Files and whichever family-focused prime-time soap opera takes your fancy, too. As a result, while Royal is visibly disconcerted by the unexpected opening staring at him in an otherwise ordinary field in this intriguing, quickly entrancing and supremely well-acted eight-part series — a show that makes ideal use of Brolin especially — he has other worries. His rich, ostentatious and increasingly madcap neighbour Wayne Tillerson (Will Patton, Halloween Kills) suddenly wants a parcel of the Abbotts' turf, claiming mapping inaccuracies. One of Tillerson's mouthy and entitled sons, Trevor (Matt Lauria, CSI: Vegas), ends up in a bar spat with Royal's sons Rhett (Lewis Pullman, Them That Follow) and Perry (Tom Pelphrey, Mank). And there's also the matter of Perry's missing wife, who disappeared nine months back, leaving both her husband and their young daughter Amy (Olive Abercrombie, The Haunting of Hill House) searching since. Plus, into this sea of faith-testing chaos amid such serene and dreamlike scenery, a stranger arrives as well: "hippie chick" backpacker Autumn Rivers (Imogen Poots, The Father). She just wants to camp for a few days on the Abbotts' stunning and sprawling land, she says, but she's a key part in a show that's a ranch-dwelling western, an offbeat enigma, an eerie sci-fi, a detective quest and a thriller all at once. Outer Range is available to stream via Prime video, with new episodes dropping weekly. Read our full review. RETURNING FAVOURITES NOW DROPPING EAGERLY AWAITED NEW SEASONS ATLANTA Atlanta's third season arrives with two pieces of fantastic news, and one inevitable but not-so-welcome reality. Hitting screens four years after season two, it's one of two seasons that'll air this year — and it's as extraordinary as the Donald Glover-created and -starring (and often -written and -directed) show has ever been — but when season four drops later in 2022, that'll be the end of this deserved award-winner. The latter makes revelling in what Atlanta has for viewers now all the more special, although this series always earns that description anyway. Just as Jordan Peele has done on the big screen with Get Out and Us after building upon his excellent sketch comedy series Key & Peele, Glover lays bare what it's like to be Black in America today with brutally smart and honest precision, and also makes it blisteringly apparent that both horror and so-wild-and-terrifying-that-you-can-only-laugh comedy remains the default. Actually, in the season-three episodes that focus on Glover's Earnest 'Earn' Marks, his cousin and rapper Alfred 'Paper Boi' Miles (Brian Tyree Henry, Godzilla vs Kong), their Nigerian American pal Darius (Lakeith Stanfield, Judas and the Black Messiah) and Earn's ex Vanessa (Zazie Beetz, The Harder They Fall), the lived experience of being a Black American anywhere is thrust into the spotlight. Paper Boi is on tour in Europe, which results in an on-the-road onslaught of antics that repeatedly put the quartet at the mercy of white bullshit — racist traditions, money-hungry rich folks looking to cash in on someone else's culture, scheming hangers-on, brands using Black artists for politically correct PR stunts and culinary gentrification all included. And then there's the standalone stories, all of which'd make excellent movies. Proving astute, incisive, sometimes-absurd, always-stellar and relentlessly surprising, here Atlanta examines the welfare system and in its inequalities, reparations for slavery, and the emotional and physical labour outsourced to Black workers. The third season of Atlanta is available to stream via SBS On Demand, with new episodes dropping weekly. BETTER CALL SAUL Saul Goodman's name has always been ironic. As played so devastatingly well by the one and only Bob Odenkirk, the slick lawyer sells the "s'all good, man" vibe with well-oiled charm, but little is ever truly good — for his clients, as his Breaking Bad experiences with Walter White and Jesse Pinkman demonstrated, or for the ever-enterprising law-skirting attorney himself. That truth has always sat at the heart of Better Call Saul's magnificent tragedy, too, and has made the prequel series one of the best shows of this century. Viewers know the fate that awaits, and yet we desperately yearn for the opposite to magically happen. But when the first part of the series' final season begins — with seven episodes arriving weekly since mid-April, then the final six dropping from mid-July — we're pushed well past the point of hoping. Professionally, the earnest, striving, well-meaning Jimmy McGill is gone, ditching his real name and his quest for a legitimate career, and instead embracing his slide into shadiness. Only three episodes in, Better Call Saul's new season has explored the fallout from this concerted life change — and from all that's brought Jimmy to this point. It hammers home what's to come as well, given it opens on Saul Goodman's Breaking Bad-era home being seized by the feds; however, the show still has much to cover in the lawyer's past. With his significant other Kim Wexler (the simply phenomenal Rhea Seehorn, Veep), he's seeking revenge on their former boss Howard Hamlin (Patrick Fabian, Black Monday). Meanwhile, his ties to the Salamanca family and their drug empire — to the psychotic Lalo (Tony Dalton, Hawkeye) and ambitious-but-trapped Nacho (Michael Mando, Spider-Man: Homecoming), and to ex-cop Mike Ehrmantraut (Jonathan Banks, The Comey Rule) and Los Pollos Hermanos owner Gus Fring (Giancarlo Esposito, The Boys) — are drawing attention. Tense, intelligent, heartbreaking and just exceptional: that's the result so far, as it always has been with this astounding series. The sixth season of Better Call Saul is available to stream via Stan, with new episodes dropping weekly. RUSSIAN DOLL Getting philosophical about existence can mean bobbing between two extremes. At one end, life means everything, so we need to make the absolute most of it. At the other, nothing at all matters. When genre-bending and mind-melting time-loop comedy-drama Russian Doll first hit Netflix in 2019, it served up a party full of mysteries — a repeating shindig overflowing with chaos and questions, to be precise — but it also delivered a few absolute truths, too. Fact one: it's possible to posit that life means everything and nothing at once, all by watching Natasha Lyonne relive the same day (and same 36th-birthday celebrations) over and over. Fact two: a show led by the Orange Is the New Black, Irresistible and The United States vs Billie Holiday star, and co-created by the actor with Parks and Recreation's Amy Poehler, plus Bachelorette and Sleeping with Other People filmmaker Leslye Headland, was always going be a must-see. Here's a third fact as well: after cementing itself as one of the best TV shows of 2019, and one of the smartest, savviest and funniest in the process, Russian Doll's long-awaited second season is equally wonderful. In glorious news for sweet birthday babies, it's also smarter and weirder across its seven episodes, this time following Lyonne's self-destructive video-game designer Nadia and mild-mannered fellow NYC-dweller Alan Zaveri (Charlie Barnett, You) as they tackle another trippy problem. After being caught in a Groundhog Day-style situation last season, now death isn't their problem. Instead, time is. It was an issue before, given the duo couldn't move with it, only back through the same events — but here, via the New York subway's No 6 train, Nadia and Alan speed into the past to explore cause and effect, inherited struggles and intergenerational trauma. Season two of Russian Doll is available to stream via Netflix. Read our full review. THE FLIGHT ATTENDANT When The Flight Attendant hit shelves in 2018, it must've been sold in the most of obvious of places: airport bookstores. Based on the TV show adapted from its Chris Bohjalian-penned pages, it's easy to see why that would've been the easiest move any publisher has ever made; with its country-hopping murder-mystery thrills, spills and kills, it's a quintessential airport novel. The focus: Cassie Bowden, the titular airline worker and New York City-based party fiend, who is rarely far from a bar no matter which part of the world she happens to find herself in on any given day. But then she wakes up in a Bangkok hotel room next to a dead body, upending her already chaotic life — as Kaley Cuoco conveyed to perfection in the first season, and thankfully flew far, far away from The Big Bang Theory in the process. In The Flight Attendant's second season, Cassie's life has calmed down in some ways and gotten more tumultuous in others. Now based on Los Angeles, she's a year sober, all nested in a homely bungalow, and also in her longest relationship ever with the handsome Marco (Santiago Cabrera, Ema). She's working for the CIA as well, spying on people of interest during her jaunts abroad. And, when one moonlighting gig in Berlin ends in an explosion — and a mysterious woman seemingly passing herself off as Cassie's doppelgänger — the high-stakes bedlam sets in fast. Although it has been dropping its first four episodes in pairs, The Flight Attendant has always been compulsively bingeable, bringing page-turning cliffhangers to the screen with twisty and polished aplomb. Season two isn't as taut as its predecessor so far, but it still soars to entertaining heights thanks to its blend of humour, darkness and espionage intrigue, as well as Cuoco's career-best work and Girls' Zosia Mamet standing out in support. The second season of The Flight Attendant is available to stream via Binge, with new episodes dropping weekly. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October, November and December 2021, and January, February and March 2022 — and our top new TV shows of 2021, best new television series from last year that you might've missed, top 2021 straight-to-streaming films and specials and must-stream 2022 shows so far as well. Top image: Coco Olakunle/FX.
Been swooning over Ryan Gosling's crooning? Taken a fancy to Emma Stone's fine footsteps? Felt like La La Land's bittersweet, Los Angeles-set antics were shining just for you? Damien Chazelle's big screen musical has been winning over audiences, critics and awards bodies alike, including taking home seven Golden Globes and being tipped to fare quite well at the Oscars — and once it's done with dominating the movie world, it might just be making its way to the stage. Feels fitting, really. So far, the concept is just that; however it's one that Lionsgate Motion Picture Group, the company behind the hit flick, is looking into. Speaking to investors, co-president Erik Feig said that "if we want to do a stage show, we can do a stage show." Lionsgate has certainly been forging ahead with taking its other films to non-cinema realms; a live Step Up stage show is playing in Dubai, while The Hunger Games has spawned a popular touring exhibition, which is currently on display in Sydney. If La La Land does make the leap from the screen to the stage — with live tunes and routines, obviously, but surely without its high-profile movie stars — the musical will be in considerable company. The list of films turned theatre productions just keeps growing, with Amélie, Moulin Rouge!, The Bodyguard, Groundhog Day, Matilda, Singin' in the Rain, Heathers and Carrie all also receiving the singing, dancing theatre treatment in recent years. Via The Hollywood Reporter.
Touring to Australia for the first time in more than five years for your first Aussie festival headlining slot since 2011 is one way to celebrate 35 years as a band. The group: Tool. The fest: Good Things. First, Good Things confirmed that it would be back in 2025, and also announced its dates. Then came the next key detail: where the festival is heading this year. Finally, it's now lineup time, starting with Maynard James Keenan and company, and also including Weezer and Garbage among the event's big names. [caption id="attachment_1016515" align="alignnone" width="1920"] Scott Moran[/caption] Get ready to hear 'Sober', 'Forty Six & 2', 'Buddy Holly', 'Island in the Sun', 'Vow' and 'Only Happy When It Rains' like it's the 90s and early-00s again — all on the festival's three annual stops in Melbourne, Sydney and Brisbane. The rest of the bill includes All Time Low, Machine Head and The All-American Rejects, as well as Knocked Loose, Lorna Shore, Refused, New Found Glory and Make Them Suffer. And, you can catch Dayseeker, James Reyne, Kublai Khan TX, Cobra Starship, Goldfinger, Tonight Alive and more. In the Victorian capital, Flemington Racecourse is again playing host to Good Things. In the Sunshine State, Brisbane Showgrounds is doing the honours again, too. Sydneysiders are hitting up Sydney Showground in 2025 instead of Centennial Park, in a move made to increase capacity, shelter, transport options and accessibility. As it has in past years, the fest is playing all three cities across one huge weekend. So, mark Friday, December 5 in your diaries for Melbourne, then Saturday, December 6 in the Harbour City and Sunday, December 7 in Brisbane. Good Things 2025 Dates and Venues Friday, December 5 — Flemington Racecourse, Melbourne Saturday, December 6 — Sydney Showground, Sydney Sunday, December 7 — Brisbane Showgrounds, Brisbane Good Things 2025 Lineup Tool Weezer Garbage All Time Low Machine Head The All-American Rejects Knocked Loose Lorna Shore Refused New Found Glory Make Them Suffer Dayseeker James Reyne Kublai Khan TX Cobra Starship Goldfinger Tonight Alive Bad Nerves Civic Dead Poet Society Fever 333 Gwar High Vis Inertia Palaye Royale Scene Queen South Arcade Wargasm Windwaker Yours Truly Good Things plays Melbourne, Sydney and Brisbane in December 2025, with pre-sale tickets from 10am AEST on Tuesday, August 19 and general sales from 10am AEST on Thursday, August 21 — head to the festival website for more information. Good Things images: Kane Hibberd.
"Why can't you enjoy life?": when that line arrives in Hard Truths, it's not only a haunting moment within the latest film from British writer/director Mike Leigh, but the same from any movie in the past few years. First, the perennially depressed, angry and disillusioned — and also agoraphobic, paranoid, confrontational and hypochondriac — Pansy (Marianne Jean-Baptiste, Surface) utters it, giving voice to the accusations that she felt were directed her way by her late mother. Pansy's sister Chantelle (Michele Austin, Boat Story) then repeats it back, but as her own question, asking someone so clearly always in pain why such hurt, unhappiness and fury is her default status. "It was the combination of a lot of improvisations and preparation. It just came out of the blue," Jean-Baptiste tells Concrete Playground about that piece of dialogue. "It was obviously months of rehearsing and developing the characters that led up to it." She continues: "it just summed up the frustration that Chantelle has with her sister Pansy, but also I think something releases for Pansy when she actually answers truthfully." Leigh sees it as "part of the investigation of the relationship", he advises. "The moment, like all the moments — and all the action and all the dialogue and everything else — came out of the whole exploratory process of making the film by finding out what the film is on the journey of making it." As all projects by the iconic filmmaker are — across an on-screen resume that started with 1971's Bleak Moments; saw Jean-Baptiste nominated for a Best Supporting Actress Oscar for Leigh's Secrets & Lies in 1996; and also covers Life Is Sweet, Naked, Career Girls, Vera Drake, Happy-Go-Lucky, Another Year, Mr Turner, Peterloo and more — the London-set Hard Truths was built from the ground up with his collaborators. His famed method of working involves casting first, constructing characters one on one with his actors sans script, tasking them with improvising the dialogue and, along the way, finding the storyline while only telling the members of his ensemble what they each need to know to play their parts. Here, the result is a two-time BAFTA nominee, including for Best Actress for its lead, who won the same category at the British Independent Film Awards. Alongside standing out as a portrait of the daily lives of a Black British family, a rarity in cinemas, Hard Truths is also a stunning study of a character who holds onto her agony, fears, rage and exasperation so tightly inside, and unleashes it so frequently at anyone and everyone in her vicinity. Pansy's contented salon-owner sister — a single mother with two daughters, one training to be a lawyer (Sophia Brown, Dead Shot) and the other in cosmetics (Ani Nelson, One Day) — isn't the only target of her distress. Hard Truths' protagnist's husband Curtley (David Webber, My Lady Jane) and adult son Moses (Tuwaine Barrett, Back to Black) are as visibly weary from attempting to cope as Pansy clearly is. Jean-Baptiste describes the character as "somebody who is in a lot of pain, but doesn't quite know where it's coming from. There's a lot of fear as well. It's 'attack before I'm attacked'. She's petrified of life and it manifests itself in a very aggressive way". If her performance hardly feels like one — not that she's Pansy IRL for a second — that's again a result of Leigh's process. "Michele Austin and I, obviously we've worked together before with Mike, but we would get into a room and Mike would talk to us about the girls. And so we had to build their parallel history," she explains, offering one example of how such fully realised characters came about. "Their parents, their grandparents, where they lived in London, what schools they went to, the bus route to their schools. How did they get there? Did they walk? Did they have to go past the park? And then we go and find that in London. So located it, so there's a visual memory of what that would have looked like, and that continues and continues until we get to a point — we do birthdays, parties, holidays, all that information. So imagine when you're in an improvisation a month and a half later, you've got all this stuff, all this wonderful history, all these experiences, that you can pull on at any given point within the improvs. So that's how that works." And yes, across a resume that also spans The Cell, City of Ember, the RoboCop remake, In Fabric, seven seasons of Without a Trace, Broadchurch, Blindspot, Homecoming and much more, Jean-Baptiste advises that she's benefited from Leigh's approach even when he's not her director. What appeals to Leigh, one of cinema's great excavators of life's complexities — struggles, joys and everything in-between — about investigating humanity through his work, and collaborating with his cast to create characters that feel like they could've walked off the street and into his movies? And what has driven him to do so for more than half a century? "It comes naturally to me. As a little kid, I was drawing caricatures of the grown-ups," he notes. "I don't make movies about movies. I love watching movies, but that's separate from the films that I make. I am not interested in received notions of plot and structure or anything else. For me, film — and indeed theatre, when I do stage plays, including in Australia — it's about a way to look at real life. People say to me 'where do your ideas come from?'. Well, I've only got to walk down the street and there are ten, 12, 20, 50, 100 films, because it's people, and that's really what it's about for me, basically." With Leigh and Jean-Baptiste reuniting for Hard Truths not only after Secrets & Lies and collaborating for the stage, but after Jean-Baptiste composed the score for Leigh's Career Girls, too, we also chatted with the pair about their working relationship, Leigh's starting point with each project, getting into and out of character, and the challenges and freedoms of his process, among other topics. What continues to inspire them and what they make of their respective careers: we spoke with the two about that as well. On Building Pansy as a Character Over Months and Months Marianne: "Mike asks you to come to the first session, where he works with you one on one, and to have a list of people from real life, real-life people that you know. And you start talking about all of these people and a list is formed, and the list gets smaller and smaller and smaller. So it's important to ground the characters in reality. And from that point, it's a stepping off point, because the character changes. For example, if you have three people, you've taken characteristics from those three people and you've merged them, what you would then do is start from scratch and build a new character — from their first memory to the age they're going to play when you actually see them in the film. In that process, you start to, with Mike always — he takes the position of god, he makes the decisions that none of us can make for ourselves — so with Mike, there's a collaboration whereby he asks lots of questions and you start filling in answers to who this person is. And then things that you wouldn't be able to decide, he makes those decisions. And in doing so, the disappointments, the heartbreaks and things like that, start to build in that person's life. So on a simplistic level, you could say that she is a combination of all of the bad experiences she's had — some real, some imaginary." Mike: "It's a difficult question to answer, really. Because obviously at one level, such people resonate for me — just as for everybody else, no doubt, including you — with experiences that you've had. What we do on my films, and this film is absolutely no exception, is I collaborate with each actor to give birth to a character. And drawing on various things, including some people that Marianne Jean-Baptiste actually knows, we evolved the basis of the character, which then grew." Marianne: "My experience in life. Observation. Being fascinated by human beings. That's the sort of thing that I generally draw on. And just knowing that — it's like being a kid again, almost — knowing that I'm absolutely free to imagine and create. One of my first jobs out of drama school, actually, was doing a Mike Leigh play — and it's exactly the same process, but it was early enough in my career to influence the way that I approached my work and almost approach life in that sort of people-watching way, and just being fascinated. So I think that just being in a safe environment where that was okay to make stuff up, and to pull stuff from my imagination is acceptable. I think you're just in-character in this process. We warm up into character and we snap out of it quite quickly. But as I said, it really is the culmination of months and months of working. We rehearsed for three and a half months — and that's a short rehearsal process for Mike. So if you can imagine, that's months of building layers and layers and layers. So there's every disappointment she's had. There's everything that she hoped for but didn't achieve. There's every slight or perceived slight that she's had. There's that idea that nobody listens to her, nobody values her, nobody likes her. So that's going on for three and a half bloody months. So by the time you get to those sort of scenes, it's like it's all there — it's all there already." On Reteaming Not Only After Secrets & Lies, But After Stage Collaborations and Jean-Baptiste Composing the Score for Leigh's Career Girls Mike: "We did work together 30 years, 31 years ago, in a stage play. And then of course, she was famously in Secrets & Lies, in which, incidentally, in both of those projects she paired with Michele Austin, who plays her sister in this film. It's a long time since Secrets and Lies, and I wanted to work with her — and she with me — for a long time. Often it's the case that you want to work with an actor and they're actually very busy doing other things. Finally we said 'well, let's go for it. Let's do it'. We were going to make the film sooner, but the pandemic put paid to that." Marianne: "I think he's very bold. He's a bold storyteller. He loves people and he loves actors. And I think, as an actor you have more agency working with him than you do with most other types of work. It's truly collaborative — and collaborative all round with production design, with hair and makeup. Everybody works together and everybody's on the same page about the way that they're going to approach the work. I think we've got a very similar sense of humour, so that really helps as well." On Leigh's Starting Point with His Actors on Each Film Mike: "I work individually, separately and privately with each actor. And part of the deal with these films is that the actors take part, agree to take part, and the deal is you'll never know anything about the rest of it, except what your character knows. So they're all working, as it were, in isolation from each other. And I sit down at some length, with quite a lot of sessions, with each actor, and we talk about real people and gradually we talk into existence the basis of the character. So that's the starting point. Then it's about putting them together and exploring relationships, and building up the world and doing any research that needs to be done — into activities or work or whatever it is. To arrive at something that is completely organic and three-dimensional, and is also thus the basis of a film, which then, during the shooting period, we construct as we go along scene by scene, sequence by sequence, location by location, arriving at the end." On Ensuring That Leigh's Cast Can Step Out of Their Characters, Especially Someone as Complicated as Pansy, When Each Scene and Day Ends Marianne: "It's hard to shake in that you still keep, it's still there in your head working. Mike's very, very strict about coming out of character. So there's a whole protocol on-set about warming up into character and warming down. But with Pansy, because of the intrusive thoughts that the character had, obviously you have to create that thought process for yourself in order to play it. So it took a while for me to shut her up." Mike: "As soon as we start to get the characters on the go, I'm very strict, right from the beginning. But actors should warm up and get into character, be absolutely in-character when they're in-character, but as soon as we stop — which is to say not at the end of the day, but each improvisation or whatever it is — to come out of character. So the actor is then able to be objective about what happened in the improvisation or about the character. I'm also very strict that the actor, when talking about the character, refers to the character as 'him' or 'her, not 'I' — which a lot of actors, as you know, do, they talk about 'I' and there's a crossing of wires. So that's really a discipline. And that's what you're talking about, to be sure the actor can be totally in it when in it, but totally comfortable and not screwed up when not in it." On the Challenges and Freedoms of Leigh's Approach Marianne: "It's exhilarating, terrifying and freeing — all those wonderful things. There's nothing else like it, being able to work in this way. There were times when you feel like crying, because you're like 'what on earth am I doing? What is this?'. And then you see it, you see the result and you go 'oh my god'. Because obviously, because everybody's working individually on their characters, you don't know what's happening. The first time I saw the film, I was able to see what happened in the beauty salon, and what Curtley did at work and where Moses went, and what the nieces were like. So it's like, for us, it's like discovering the film for the first time. It's wonderful is all I can say." Mike: "It's totally a combination of the two. It's certainly challenging. Here's the thing: if they say 'okay, here's five or six million pounds and you've got to deliver a film', that is quite a lot of responsibility on your shoulders, of course. It's challenging, but it's highly stimulating. And the freedom of there being no preconceptions or interference or prescriptions from the streamers or the producers or anybody — the backers or the whoever — it's very liberating. Frightening, yes, but then the creative process is dangerous in any context. But liberating. It's wonderful. If I were to ever — many times over the years, the opportunity has come to make a film with certain provisos. 'You have to have a Hollywood star in it.' 'We have to be able to monitor it.' 'You can't have final cut.' All that stuff. Well, I'll just walk away. It just doesn't happen, basically. Which then liberates the freedom to do what artists should do." On How Leigh Works with His Cast to Ensure That Whether or Not the Audience Has Lived a Character's Life, They Feel Recognisable Mike: "You can't underestimate the contribution of the actor. The actor's intelligence, sensitivity, perception, talent. I only work with character actors, which is to say people that don't just play themselves in a narcissistic way, but actually are up for and want to detect, depict and portray real people out on the street. And so my job is to facilitate and to contribute in terms of the narrative ideas — but in the end, what you're asking about relies primarily on her ability to to act, create, empathise, project, distill and investigate all those aspects of the character. There are actors who are, on the whole, good actors, but are not very intelligent. There are actors who are fine actors that have no sense of humour. There are actors who, as I've already said, are not character actors. Marianne Jean-Baptiste, like all the actors in this film, has all of those qualities, not least a sense of character and a sense of humour, and therefore has the ability to get inside different sorts of people and really, really bring it to life." On How Cognisant That Jean-Baptiste and Leigh Were About Hard Truths Standing Out as a Portrait of the Daily Lives of a Black British Family Marianne: "No, we were not aware of it while we were making it. We were aware that there's a predominantly all-black cast, but you obviously don't know what the story is. So you know it's going to be something to do with family and stuff, but yeah, it's a bonus that it's something that people can be proud of and say 'yeah, great, so refreshing'." Mike: "That was a deliberate decision. It wasn't, in no way, a difficult decision, because I just approached the characters and the world and the issues and the emotions and the relationships in this film just as I have every other film I've made, including the period films — which is to say these are people and we're looking at them as people in a real way. However, I was very definitely consciously aware that we were not going to deal in all those cliche tropes that films about Black people on the whole deal with, because that's not what it's about as far as I'm concerned. For me, I would say — and you're no doubt familiar with other films of mine — across all of my films, it's a collection of different aspects of society, but all looking at people as individual, real people. And this film is, if you like, the mere continuation of that ongoing investigation." On Reflecting the Reality of Life by Making a Film That's Both Deeply Moving and Has a Sense of Humour Mike: "It's not a balancing act at all. Life is comic and tragic. Whatever you do, whether you like it or not — how many times have you not laughed at a funeral? Life just comes out of the soil, ready-made comic and tragic. So for me, I don't sit around thinking 'oh, maybe there should be a comic moment' or 'maybe this should be a tragic moment'. That looks after itself, and it certainly looks after itself in this film. It's a barrel of laughs, hopefully, for a good section, a good chunk of the film. And then — and we've had quite a number of public screenings of the film, and you could absolutely chart precisely where the laughter dies away, and it's obvious why that is. It's not a question of balance. It's a question of the truth of what you're depicting and what you're investigating, what you're sharing with the audience and what the audience experiences." On What Inspires Jean-Baptiste and Leigh About a New Project Marianne: "At this point in my life, I'm looking for challenges. I'm looking for something that I can transform myself — something that's going to be fun. For me, that's it. Are they good people? Will it be fun? Will it be challenging in a good way, you know?" Mike: "To me, it's always exciting. It's partly, to be honest, because I don't know what we're going to do and therefore there are all sorts of possibilities. And my head is buzzing with all sorts of possibilities and ideas — 'maybe we'll get him', 'maybe we'll get her to the party'. Then, of course, it's the anticipation and the enjoyment of actually working with people, and making it and making the thing happen. And shooting and working with the actors, all that's just, to me, a joy. Here's the thing that's important: the way I make films is the same way but is parallel to people writing novels, painting pictures, making music, making sculpture, writing poetry, et cetera — which is to say that the artist embarks on a journey of investigation, and discovers what the piece is on the journey of making it. They interact with the material. How many novelists have you heard say 'well, I didn't know what was going to happen, and then somehow the character told me what needed to happen next'? That's really what I do. The privilege I feel I have that painters and novelists, et cetera, don't have, is that I'm not stuck in a room by myself. It's a collaborative, socially pleasurable activity." [caption id="attachment_782569" align="alignnone" width="1920"] In Fabric[/caption] On What Jean-Baptiste and Leigh Each Make of Their Careers So Far Marianne: "I think it's interesting. I think I've had quite an interesting career. I've forgotten some stuff that I've done — it's gotten to that stage where people go 'oh that film' and I go 'oh yeah'. Yes, I think it's been a bit of an interesting one, mine, that's taken me to a few different places. I've been able to be quite selective in the last say five or ten years, which is good." [caption id="attachment_722535" align="alignnone" width="1920"] Peterloo[/caption] Mike: "Well, on the whole, if I was to sum it all up, I think I've been very lucky, actually, really. There've been breaks at times, which made it possible to do the crazy thing I do, which is to say to backers or theatre managers: 'I have no idea what we're going to do. I will not discuss casting. And please don't interfere with it while we're doing it at any stage'. And one could be forgiven for imagining that on that basis, I might never have done anything. So I've been lucky in that sense, and I guess the honest answer to your question is that, really — that I've found it remarkable that I've kind of got away with it." Hard Truths opened in Australian cinemas on Thursday, March 6, 2025 and New Zealand cinemas on Thursday, March 13, 2025.
