Japanese-Australian artist Hiromi Tango has created a new fluorescent art installation that aims to bring joy and comfort to Brisbanites. Brainbow Magic is a continuation of Tango's art practice, in which she explores the therapeutic potential of light, colour and contour. The artist believes these elements can contribute to an improved mental wellbeing, can ease anxiety, and help us feel connected — things we'd all like to experience in 2020. The world-premiere art installation is created in partnership with West Village and Metro Arts. The outdoor artwork has a sister installation in the gardens of West Village, called Rainbow Circles (Healing Circles): luminescent arches in rainbow colours. You can see Brainbow Magic every day during the Festival from 10am. Image: Hiromi Tango
In the age of streaming, DVD commentary tracks are no longer as much a part of the home-viewing process. If you're keen to hear insider details about the making of Sydney-shot 1999 sci-fi great The Matrix and 2025's Melbourne-made horror hit Together, however, SXSW Sydney has you covered. 2025's event has unveiled more details of its Screen Festival program for this year, with the return of its Screen Commentary sessions among the highlights. Costume designer Kym Barrett, who has also worked on everything from Baz Luhrmann's Romeo + Juliet, The Nice Guys, The Shallows, Aquaman and Us to Charlie's Angels, Shang-Chi and the Legend of the Ten Rings and Three Thousand Years of Longing — and on The Matrix Reloaded and The Matrix Revolutions, plus the Wachowskis' Speed Racer, Cloud Atlas and Jupiter Ascending — will talk through her efforts on The Matrix as the film plays. For Together, writer/director Michael Shanks will dig into his debut feature, which also opened 2025's Sydney Film Festival. SXSW Sydney has also announced Screen conference sessions as part of its roster of seminars, workshops and more, with Whitney Fuller, the Development Executive of Jordan Peele's Monkeypaw Productions, one of the big names. Fittingly, Fuller will be part of the festival's Women in Genre panel. Also, producer Liz Watts (The Royal Hotel) and filmmaker Tony Ayres (The Survivors) are teaming up for the What Is an Australian Story? session, while Fantastic Festival Director Lisa Dreyer, Rachel Watt from Watt Social, Yellow Veil Pictures' Joe Yanick and Oscilloscope's Alexandra Fredericks are set to get chatting as well. The panel lineup also spans Jill Kingston from Pacific Shadow Pictures, Enzo Tedeschi and Helen Tuck from Deadhouse Films, and Lake Martin Films' Kate Separovich unpacking all things indie horror from a filmmaking perspective, as well as Invention Studios' Carmen Knox and actor Remy Hii (Arcane) on deciding whether to make the leap to LA. SXSW Sydney's latest screen-centric additions join Paul Feig (Another Simple Favour) hitting the Harbour City as the Screen Festival keynote speaker and its first recipient of the new SXSW Sydney Screen Pioneer Award — and also a 14-hour Freaks and Geeks marathon, plus sessions of Bridesmaids and The Heat, to go along with his time at the fest. There's more to come; however, as similarly announced earlier, viewers will also be able to catch By Design, $POSITIONS, Dead Lover, Zodiac Killer Project, The Last Sacrifice and Bokshi. Among that group, body-swap effort By Design features Juliette Lewis (The Thicket), Mamoudou Athie (Kinds of Kindness) and Robin Tunney (Dear Edward); horror-comedy Dead Lover is a SXSW Austin award-winner; Charlie Shackleton (The Afterlight) digs into a famed serial killer; and everything from comedy to folk horror features. [caption id="attachment_967878" align="alignnone" width="1920"] Jaimi Joy[/caption] [caption id="attachment_923287" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] [caption id="attachment_923317" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] SXSW Sydney 2025, including the SXSW Sydney Screen Festival, runs from Monday, October 13–Sunday, October 19 at various Sydney venues. Head to the SXSW Sydney website for further details and tickets. The Matrix image: Ronald Siemoneit/Sygma/Sygma via Getty Images. Together image: Ben King, Neon.
Tonight, tonight, there's only Steven Spielberg's lavish and dynamic version of West Side Story tonight — not to detract from or forget the 1961 movie of the same name. Six decades ago, an all-singing, all-dancing, New York City-set, gang war-focused spin on Romeo and Juliet leapt from stage to screen, becoming one of cinema's all-time classic musicals; however, remaking that hit is a task that Spielberg dazzlingly proves up to. It's his first sashay into the genre, despite making his initial amateur feature just three years after the original West Side Story debuted. It's also his first film since 2018's obnoxiously awful Ready Player One, which doubled as a how-to guide to crafting one of the worst, flimsiest and most bloated pieces of soulless pop-culture worship possible. But with this swooning, socially aware story of star-crossed lovers, Spielberg pirouettes back from his atrocious last flick by embracing something he clearly adores, and being unafraid to give it rhythmic swirls and thematic twirls. Shakespeare's own tale of tempestuous romance still looms large over West Side Story, as it always has — in fair NYC and its rubble-strewn titular neighbourhood where it lays its 1950s-era scene. The Jets and the Sharks aren't quite two households both alike in dignity, though. Led by the swaggering and dogged Riff (Mike Faist, a Tony-nominee for the Broadway production of Dear Evan Hansen), the Jets are young, scrappy, angry and full of resentment for anyone they fear is encroaching on their terrain (anyone who isn't white especially). Meanwhile, with boxer Bernardo (David Alvarez, a Tony-winner for Billy Elliot) at the helm, the Sharks have tried to establish new lives outside of their native Puerto Rico through study, jobs and their own businesses. Both gangs refuse to coexist peacefully in the only part of New York where either feels at home — even with the threat of gentrification looming large in every torn-down building, signs for shiny new amenities such as Lincoln Centre popping up around the place and, when either local cops Officer Krupke (Brian d'Arcy James, Hawkeye) or Lieutenant Schrank (Corey Stoll, The Many Saints of Newark) interrupt their feuding, after they're overtly warned as well. But it's a night at a dance, and the love-at-first-sight connection that blooms between Riff's best friend Tony (Ansel Elgort, The Goldfinch) and Bernardo's younger sister María (feature debutant Rachel Zegler), that sparks a showdown. This rumble will decide westside supremacy once and for all, the two sides agree. The OG West Side Story was many things: gifted with a glorious cast, including Rita Moreno in her Academy Award-winning role as Bernardo's girlfriend Anita, plus future Twin Peaks co-stars Russ Tamblyn and Richard Beymer as Riff and Tony; unashamedly showy, like it had just snapped its fingers and flung itself off the stage; and punchy with its editing, embracing the move from the boards to the frame. It still often resembled a filmed musical rather than a film more than it should've, however. Spielberg's reimagining, which boasts a script by his Munich and Lincoln scribe Tony Kushner, tweaks plenty while also always remaining West Side Story — and, via his regular cinematographer Janusz Kaminski (The Post) and a whirl of leaping and plunging camerawork, it looks as exuberant as the vibrant choreography that the New York City Ballet's Justin Peck splashes across the screen, nodding to Jerome Robbins' work for the original movie lovingly but never slavishly. From the famous first whistle that's always opened the tale, West Side Story feels like it's dancing through the narrative instead of merely telling it. The savvy realisation that gang struts and brawls suit balletic movements — a notion from when the idea first hit the stage — pairs marvellously with the peppier visuals, too. Spielberg's fluid and kinetic stylistic approach springs from the same source as many of his other touches, with the director aiming not just to finally make a musical, bring the playfulness of his action scenes to the genre, or to give a work he loves his own stamp, but to ground the story in notions that are pressingly relevant today. Viewers here see more of the west side, get a bigger sense of the place, tap into its energy, and glean a more grounded view of the poverty, racism, factionalism and violence that's always sat at West Side Story's core. Switching some of the film's Leonard Bernstein-composed, Stephen Sondheim-penned songs between characters and locations makes this a more thoughtful and textured movie as well. See: the on-the-street version of earworm 'America' led by Hamilton veteran Ariana DeBose as the new Anita, and transforming 'Somewhere' into a community-focused ballad sung by the returning Moreno as a new figure. Both are magnificent. Still, as delightful as almost everything about Spielberg's film is — its inspired changes and passionate tribute to the first feature alike — it has an Ansel Elgort problem. He's a bland island in a sea of spectacle, and the lack of chemistry between him and the radiant Zegler would be a killer if examining the place, time and struggles that give rise to Tony and María's love didn't take precedence over the romance itself. Make it a 1950s NYC R+J, but about why its tragedy unfolds: that's another of Spielberg and Kushner's clever choices. And, while it takes a lifetime of unfortunate moves to strand the Jets and Sharks in their bloody turf war, thankfully one bad casting decision can't taint everything that glimmers about their latest big-screen outing. Indeed, enough praise can't be slung Faist, Zegler, Alvarez or DeBose's way, in what deserves to be a movie star-making effort for all four. Faist's turn as Riff is sinewy, smooth and vulnerable all at once — the film is electric every time he's on-screen — and Zegler's woozy and hopeful performance as a woman in the throes of first love is equally revelatory. Bringing EGOT-recipient and all-round entertainment icon Moreno back is touching, as well as exactly the right kind of nostalgic; looking both backwards and forwards is another of this sublime achievement of a feature's many successes, after all.
D4vd has officially been removed from the touring lineup of Spilt Milk, in the midst of official investigations into a dead body discovered in a Tesla registered in the artist's name. His 2025 touring schedule has been up in the air ever since the investigation began, but after quietly being scrubbed on the weekend, the organisers have confirmed their decision today as reported on Rolling Stone. The body was discovered in the Tesla trunk after police were called to a tow yard in Hollywood to investigate reports of a foul smell coming from the car. It took a week for medical examiners to identify the victim as 15-year-old Celeste Rivas, who had been missing for over a year. Burke was on tour when Rivas' body was discovered, and he continued to play shows. "Last week we removed d4vd from our website and marketing out of respect for the unfolding story," a statement reads. "We can now confirm d4vd will not perform at Spilt Milk and we are working on a replacement booking which we'll announce as soon as it's finalised." View this post on Instagram A post shared by Spilt Milk (@spiltmilk_au) Tickets for d4vd's headline shows while in the country have also been quietly scrapped. Rolling Stone AU/NZ has contacted promoters for comment. According to a previously released statement, Burke has been "cooperating" with authorities during the investigation. He has not been named as a suspect or a person of interest, nor has he been accused of any crimes. While authorities haven't identified a suspect or person of interest yet, several details about the investigation have come out. For instance, the impounded Tesla was towed from the affluent Bird Streets neighbourhood in the Hollywood Hills, with neighbors telling Rolling Stone that it had been spotted in various places. It was eventually towed from a spot on Bluebird Avenue, where sources said it had been sitting for at least three weeks. After Rivas was identified, law enforcement searched a house around the block from where the car was towed. Police left with several items, including a computer. The home's owner later confirmed to Rolling Stone that the residence had been rented to Burke's manager, Josh Marshall, last year, starting in February 2024. Spilt Milk will take place in Ballarat, Perth, Canberra and the Gold Coast between Saturday, December 6 and Sunday, December 14. For more information on the lineup, visit the website.
UPDATE, September 24, 2020: True History of the Kelly Gang is available to stream via Stan. Parched bushland. Roaring flames. Irate Australians rebelling against the status quo. It's a tragic coincidence rather than a case of making a purposeful statement, but True History of the Kelly Gang's bold, blazing imagery is timelier than director Justin Kurzel could've ever dreamed. It fits, though. It fits perfectly. Adapting Peter Carey's Booker Prize-winning novel via a sharp script by Kurzel's Snowtown screenwriter Shaun Grant, this a work of agitation. Made for a world where 'such is life' tattoos commit Ned Kelly's purported last words to slabs of Aussie flesh, this gritty, galvanising film sets fire to Australia's national identity and stares at the ashes of the country's troubled history — all by re-interrogating a man inescapably engrained in our iconography over the past century and a half. Australia came of age in thrall to Kelly, with the notorious bushranger's Robin Hood-esque story known by everyone. Accordingly, True History of the Kelly Gang needn't wonder what type of nation evolves as a result, because that's the Australia that we already live in. But what has the country mythologised about Kelly, and why — and what does that say about us today? They're questions that Kurzel, Grant and a first-rate cast led by soaring British talent George MacKay (1917) all ponder. Carey's literary work doesn't just excavate the past but toys and tinkers with it, mixing reality and fiction to mirror the present — a task that this wild and daring feature eagerly continues. "Nothing you are about to see is true," True History of the Kelly Gang announces at the outset. Reflecting the film's irreverent, impudent vibe, that's not strictly accurate. But the opening statement sets a playful mood and smashes any expectations of historical accuracy — because, here, anything can happen. So it is that Kurzel begins by peering through a letterbox-style slit in corrugated iron, as pre-teen Ned (excellent newcomer Orlando Schwerdt) watches his mother Ellen (Essie Davis) pay off local Sergeant O'Neil (Charlie Hunnam) by getting intimate. As lensed by cinematographer Ari Wegner (In Fabric, Lady Macbeth), shots recalling Kelly's famous armour keep recurring, peeking through gaps and offering rich and potent visual symbolism. In his boyhood, Ned adores yet also fears his Irish settler mum, who'll do anything for her family — including putting her husband Red (Ben Corbett) in his place. The Kelly patriarch is considered a disappointment by his wife, with Ned dubbed the man of the house instead. Indeed, Ellen has plans for her eldest son. When, through an act of heroism, Ned receives the chance to attend boarding school, his mother refuses. Rather, she gives him to bushranger Harry Power (Russell Crowe) as an apprentice. Learning he's been sold into a life of crime severely shapes Ned's perspective, understandably. Returning home a decade later following a stint in jail, Ned (now played by MacKay) makes a living through bare-knuckle boxing. He fights to entertain the law — such as the suspiciously friendly Constable Fitzpatrick (Nicholas Hoult) — and the upper classes, in a winking inversion of his future path. But his now-grown younger brother Dan (Earl Cave, son of Nick) has taken to horse-rustling, and soon crime is a family business. As their father previously did, they wreak havoc in the bush adorned in dresses, breaking both the law and societal conventions. Immortalised in the first feature-length movie ever made back in 1906, in a Mick Jagger-starring 1970 flick and with Heath Ledger donning the bandit's helmet in 2003, the nuts and bolts of Kelly's story have already been given the cinematic treatment — the Jerilderie letter, the Glenrowan siege and his 1880 hanging among them. While the same minutiae remains here, it's reshaped, reinterpreted and recontextualised, with Kurzel's uncompromising 2015 reworking of Macbeth the best reference point. Think equally ferocious and poetic imagery, an intensity bordering on operatic, a score that's both sparse and jittery, and an all-round punk-ish attitude. Framed through letters penned by Kelly, retelling an oft-told tale isn't True History of the Kelly Gang's main motivation, but rather re-evaluating the legend that's sprung up around him. In stripping bare the bushranger's story, Australia's colonial history and the nation we've become in the shadow of each, two other filmic frames of reference spring to mind: 2018's Sweet Country and 2019's The Nightingale. Ignoring the misstep that was Assassin's Creed, Kurzel's adds True History of the Kelly Gang to a resume already marked by Snowtown and Macbeth — and what an audacious and propulsive trio they make. All three also boast spectacular casts, with MacKay brawny, angry, anarchic and simply brilliant to watch here. Although he's well-supported by the formidable Davis, sly Hoult and raucous Crowe, he's nothing short of electrifying in this brutal yet utterly bewitching picture. The verve and spark in his performance is the same blistering energy that Kurzel burns into every frame of the film — a visually, emotionally, thematically searing movie that strides across the screen like an outlaw, aptly. https://www.youtube.com/watch?v=RE7YVZA5YVc
Almost three decades ago, before he had the world saying "thank you, thank you very much" to Elvis, before he explored the birth of American hiphop in Netflix's The Get Down, and before gave The Great Gatsby a spin and made Moulin Rouge! spectacular (spectacular), too, Baz Luhrmann achieved two not-too-insignificant things with his film version of Romeo + Juliet. Not only did the Australian director's vibrant take on the classic tragedy completely change the way everyone thinks about Shakespeare adaptations — it also delivered one of the killer soundtracks of the 90s, and one that many a movie has tried and failed to top since. The track list speaks for itself, really, featuring everything Garbage's '#1 Crush' to The Cardigans' 'Lovefool' to Radiohead's 'Talk Show Host'. Everclear, Butthole Surfers, Des'ree and Quindon Tarver's 'Everybody's Free (To Feel Good)' also pop up, with Luhrmann turning the greatest love story ever told into the greatest soundtrack ever sold. If you were around and of a certain age back in 1996, you definitely owned a copy. You probably still do. Even if you weren't loving it before the turn of the century, you should now as well. It's no wonder, then, that not just the picture but the tunes keep being celebrated as Romeo + Juliet nears its 30th anniversary in 2026. In London for more than a decade, concert screenings of the movie with a live choir and band have been wowing audiences and selling out. More than half-a-million filmgoers have attended. Now, Baz Luhrmann's Romeo + Juliet: A Cinematic Experience is finally coming to Australia. Young hearts run free to The Astor Theatre in Melbourne, which is playing host to the Australian debut of this live experience from Tuesday, September 23–Sunday, September 28, 2025. New sessions have already been added due to demand, and there's no word yet if the shows will make their way to other Australian cities. "Audiences really feel like they're stepping into Verona as we don the theatre for a multisensory experience," said Dominic Davies, CEO of the UK's Backyard Cinema, which created the experience. "After sellout performances in London, we are thrilled that Sony Music Australia is bringing this production Down Under for the first time." "The Astor Theatre is such an iconic Melbourne venue and will provide a majestic backdrop for the immersive performance — it will be an experience like no other," added Sony Music Australia and New Zealand Chair and CEO Vanessa Picken. "The show has done incredibly well in London for a long time. We're really looking forward to adding a local slant with a well-known narrator to be announced soon." Baz Luhrmann's Romeo + Juliet: A Cinematic Experience runs at The Astor Theatre, 1 Chapel Street, St Kilda, from Tuesday, September 23–Sunday, September 28, 2025 — head to Ticketek for more details and tickets. Images: Andrew Ogilvy Photography.
When someone spots a giant spider, they take notice, even when it's simply a tall metal piece of art. Seeing one of Louise Bourgeois' towering arachnids is indeed a stunning experience; however, so is watching people clock her lofty works. Her Maman sculptures demand attention. They're the type of public art that audiences just want to sit around, soak in and commune with. They're photo favourites, too, of course — and one is coming to Australia. This will be the first time that Maman has displayed Down Under, with the world-famous work heading to Sydney as part of Sydney International Art Series returns for 2023–24. As previously announced, Bourgeois is one of three hero talents scoring a blockbuster exhibition during event, alongside Wassily Kandinsky and Tacita Dean. And, the nine-metre-high, ten-metre-wide sculpture that she's best known for will be catching Aussie art lovers in its web. [caption id="attachment_914565" align="alignnone" width="1920"] Louise Bourgeois' Maman, located outside the National Gallery of Canada. Radagast via Wikimedia Commons.[/caption] That said, there won't be any physical strings of silk — but Maman is that entrancing. The sculpture hails back to 1999, and boasts its name because it's a tribute to Bourgeois' mother. The artist described her mum as "deliberate, clever, patient, soothing... and [as] useful as a spider". If you're keen to see Maman on home soil, it'll sit on the forecourt of the Art Gallery of New South Wales' South Building from Saturday, November 25, 2023–Sunday, April 28, 2024 during Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day?'s run. And if it sounds familiar, that's because you might've seen permanent installations of the bronze, steel and marble work outside the Mori Art Museum in Tokyo — or at the Tate Modern in the UK, National Gallery of Canada in Ottawa, Guggenheim Museum Bilbao in Spain, Crystal Bridges Museum of American Art in Bentonville in Arkansas or the Qatar National Convention Center in Doha. [caption id="attachment_914560" align="alignnone" width="1920"] Louise Bourgeois 'Clouds and Caverns' 1982–89, metal, wood, 274.3 x 553.7 x 182.9 cm, Collection The Easton Foundation, New York, courtesy Kunstmuseum Den Haag © The Easton Foundation, photo: Christopher Burke.[/caption] "We are proud that the subject of our first major solo exhibition in our new SANAA-designed North Building, almost one year since opening, is the great Louise Bourgeois. We are honoured to introduce this deeply influential artist to new generations, and to have the opportunity to share the strange beauty and emotional power of her art with Sydney,' said Art Gallery of New South Wales director Michael Brand. "The scale of this exhibition, which is one of the most extensive ever dedicated to an international woman artist in Australia, demonstrates our commitment to revealing the depth and complexity of the artistic careers we explore and our commitment to celebrating the work of women artists in our collection and exhibitions." "We are proud to bring Maman, the largest spider sculpture ever made by Bourgeois, to Sydney for the very first time, and to be showcasing the extraordinary breadth of the artist's practice, which includes fabric sculpture, works on paper, bronzes, works from her series of Cells, mechanised sculpture, and more." [caption id="attachment_914563" align="alignnone" width="1920"] Louise Bourgeois 'Twosome' 1991, steel, paint, electric light, 190.5 x 193 x 1244.6 cm, Collection The Easton Foundation, New York © The Easton Foundation, photo: Elad Sarig.[/caption] A collaboration with The Easton Foundation in New York, Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day? will showcase more than 150 works. It's the largest survey of Bourgeois' work ever displayed in Australia — and, as Brand mentioned, one of the most comprehensive ever devoted to a female artist in the country. The Bourgeois exhibition will display 13 years after the Paris-born artist passed away in New York in 2010, and after she stamped her imprint upon the art of the 20th century. Visitors to will see her Personage sculptures from the 1940s, textile works of the 1990s and 2000s, and plenty in-between, with the showcase playing up the duelling themes and ideas in her work by taking over AGNSW's major exhibition gallery and 'the Tank'. Other highlights include The Destruction of the Father, which is among the pieces that've never been displayed in Australia before; Crouching Spider, and one of the biggest works ever to grace the Tank; Clouds and Caverns, which is rarely seen in general; and the mirrored piece Has the Day Invaded the Night, or Has the Night Invaded the Day?, which shares the exhibition's moniker. [caption id="attachment_889027" align="alignnone" width="1920"] Louise Bourgeois, The destruction of the father 1974-2017, archival polyurethane, resin, wood, fabric and red light, 237.8 x 362.3 x 248.6 cm. Glenstone Museum, Potomac, Maryland. Photo: Ron Amstutz. © The Easton Foundation.[/caption] Louise Bourgeois: Has the Day Invaded the Night, or Has the Night Invaded the Day? runs from Saturday, November 25, 2023–Sunday, April 28, 2024 at the Art Gallery of New South Wales, Art Gallery Road, The Domain, Sydney, with tickets on sale from Wednesday, September 6. Sydney International Art Series runs from November 2023 — head to the AGNSW and MCA websites for further details. Top image: Louise Bourgeois 'Maman' 1999, installed during the exhibition 'Louise Bourgeois: To Unravel a Torment', Museu de Arte Contemporânea de Serralves, Porto, 3 December 2020 – 20 June 2021 © The Easton Foundation, photo: Filipe Braga.
For many families in the hospitality industry, children often inherit the beloved restaurants where they spent their formative years. It's not often that you find a hospitality veteran launching a restaurant specifically with his parents in mind. Brookvale's Bazaar and Bar and Sketch Manly founder, Kabir Arora, wanted to give his parents a "real place to land" once they emigrated to Australia from India. "Mum had years of catering experience back in India and deserved a kitchen where she could show off properly," says Kabir. "Dad, BJ, is a numbers guy, so he slid straight into the accounting seat. Sketch became our family project before it ever became a restaurant." If you're not familiar with the curry and craft beer house, Sketch Manly, you've been missing out. The restaurant started with Indian tapas nights that the locals packed out. Throughout COVID, Sketch Manly stayed open every day and nine years into their venture, the restaurant still hasn't closed its doors once. "That's how committed we are to being part of this neighbourhood," says Kabir. "Sketch is what it is because Manly made it that way." Kabir describes Sketch Manly as Indian home-cooking meets a cosy Melbourne bar (despite being in Sydney). "Vibey street energy, hip tunes, and a space built with genuine care for food and drinks," Kabir tells Concrete Playground. Sketch Manly's curries are all Kabir's mum's, Sukh's recipes. "It's simple food done right. Our butter chicken and mushroom korma anchor the menu, and the rest rotates seasonally. No gimmicks. Just home cooking executed properly." Said butter chicken is the "unofficial mascot of Sketch", and Kabir prides himself on their version going back to basics. "Too many Sydney spots have turned butter chicken into dessert, so we went in the opposite direction: tomato, butter, cream, a few spices, and restraint." Kabir's partner, Ivy, has also helped Manly to fall in love with the restaurant's newest dessert: the Chai-misu, an Indian twist on the ever-popular tiramisu. Alongside its food offerings, Sketch Manly is also known for pairing its homemade curries with crispy craft beers. "Spices and a crisp, cold beer are natural mates," says Kabir. "A clean lager cools things down beautifully, but a juicy pale or hazy IPA can actually lift the flavours and make the whole meal pop." Ultimately, the family ethos that began Sketch Manly is what Kabir hopes customers feel after dining in. Similar to eating at your cousin's or mum's place, he says, the family hopes diners leave full, content, happy and planning their next visit. "It's the neighbourhood curry spot where everyone feels welcome," says Kabir. "First-timers, regulars, families, tradies — whoever walks in gets treated like part of the crew. We cook the same way every day, with the same care." So, what's next for the Northern Beaches restaurant? Kabir is setting his sights on more dinner collaborations, hibachi nights, and even an expansion. "And we're finally launching Sketch Goods — small-batch chutneys, sauces, pickles, and other Indian pantry staples we've been quietly perfecting," says Kabir. The idea for Sketch Goods is simple: bring Sketch Manly's beloved flavours into other cafes, delis, pubs, and home kitchens. What began as a family project has turned into a nearly decade-long love affair with the Northern Beaches suburb, and as the Pittwater Road gem expands, it seems Sketch Manly's food and flavours could soon be enjoyed by more than just the locals. Images: Supplied
Since 1888, a pub has sat on Sandgate Road at Nundah, pouring brews for Brisbane's northsiders. The River City currently knows that watering hole as The Royal, but it was initially called Royal Hotel. Get used to that other moniker, beer lovers. Come July, it's making a comeback. And, when the venue reclaims its original name, it'll also show off a $1.1-million refurbishment. The Royal is owned by Australian Venue Co, as part of the hospitality company's sizeable range of pubs, bars and eateries around Brisbane, Queensland and Australia. And, as AVC has been doing to spots all over town — The Wickham, the Cleveland Sands, Salisbury Hotel, the Crown Hotel in Lutwyche, Bribie Island Hotel and Capalaba's Koala Tavern, to name a few — The Royal is getting a makeover. In a venue designed by the same architect as Crown Hotel, patrons can look forward to a new first-floor entertainment space, where live bands will take to the stage and comedians will stand behind the mic. It'll fit in 200 people, and also be available for private events. The Royal's bistro and terrace is also scoring a revamp, complete with greenery aplenty, marble-look tables, checkerboard floors and wooden accents, giving the pub a 120-seater — and family-friendly — dining space. A new menu will tempt tastebuds, too, covering pub classics and seasonal dishes, with the exact culinary range still to be revealed. And, the front bar and al fresco area are also receiving a new lease on life. Expect TV screens showing sports t0 80 folks, as part of a renovation overseen by architect Mel Porter Design. "As an historic Nundah institution, we are focussed on staying true to the pub's unique heritage throughout the renovations. We have worked closely with the architects to ensure that, like with Crown Hotel, we are creating a modern pub that residents and families are proud to call their local," said Australian Venue Co's Chief Operating Officer Craig Ellison, announcing the renovations. "The Royal Hotel is a very exciting project, creating more entertainment and social space for people to enjoy throughout the year." "This renovation is part of a huge program of investments into pubs in Brisbane and throughout Queensland and we can't wait for it to be fully revealed later this year," continued Ellison. The Royal remains open during its revamp; however, different sections will be closed at different time to undertake work. Starting on Wednesday, April 26, the bistro has shut its doors, but will reopen in mid-May. Next comes the sports bar, which'll be back up and running in mid-June. The gaming room follows for a week, also in mid-June, after which the upstairs entertainment room will welcome its new look. Find The Royal at 1259 Sandgate Road, Nundah, with the pub remaining open during renovations, but different sections closing in stages. The venue will relaunch as Royal Hotel in mid-July — we'll update you with an exact opening date when it is announced. Top image: Kgbo via Wikimedia Commons.
When Marc Grey and Steve Maiden launched their first venue in Fortitude Valley's California Lane, they leaned into Grey's fondness for comic books, theming 22-seater 1st Edition around caped crusaders in its decor and menu. Less than two years later, they've added a second venue to the same stretch of pavement off McLachlan Street, and have also gone all in on a concept. Indeed, Viva La Cali couldn't be in the more perfect location. California Lane was always going to welcome a California-inspired joint at some point, and Viva La Cali is that place. It sees Grey (Destino Sanctuary Cove) and chef Maiden (Baja Fortitude Valley) team up with fellow hospitality figure Morgan Webster to celebrate the cuisine and vibe of southern California — and, reflecting the region, to mix dishes from Central and South America into the menu as well. At this bar and restaurant, diners can chase an endless summer to match Brisbane's usually sunny climate. The palm tree-heavy artwork by Steen Jones, which wraps around one side of the venue including under the bar, heartily champions that mood. So does the setup in the 80-square-metre space, thanks to an openair and undercover abode that caters to 50 folks seated — including at a sizeable communal high table — or 70 cocktail-style. The menu unsurprisingly heroes tacos while also getting creative. A banh mi-inspired taco made with pulled chicken, pickled veg and chicken pate tops the must-try list, alongside pork jowl with fermented cabbage, apple wild rice and smoked yoghurt; fish ceviche with cucumber, pickled jalapeño and pomegranate; and beef carnitas with pineapple habanero salsa. Diners can also pick snacks such as Peruvian empanadas, beef tartar with egg yolk and Viva La Cali's take on popcorn chicken with chimichurri. Short ribs, wagyu smoked in-house with cherry and apple wood (then paired with cactus salsa), and spiced eggplant with cacao mole are highlights among the bigger dishes, while the dessert options include picarones, aka crispy fried Peruvian doughnuts. To wash all of the above down, margaritas are Viva La Cali's signature sip from a tequila-centric drinks list. Whether you go with the classic sip whipped up with house-made orange bitters, a version with coffee lime agave or a Tommy's, you'll be picking from a range featuring tipples that require a comprehensive gastro process to come to fruition — a source of pride for the venue's team. Among the standouts: the Watermelon Margy Hiiiii, made with house-made watermelon cordial and a natural watermelon rind sour strap; the Bugs Bunny Margarita, which uses house-made sour carrot juice; and chilli mango coconut slushies. Operating Wednesday–Sunday, Viva La Cali will also do $79 two-hour bottomless margarita and bottomless taco sessions on Sundays, and host California Lane laneway parties with live music, and local chef and kitchen takeovers.
Film fans, your spider-senses should be tingling: there's a new batch of Spider-Man-adjacent characters swinging onto the big screen. Get ready to meet Dakota Johnson (Cha Cha Real Smooth) as Madame Web, aka clairvoyant paramedic Cassandra Webb. Get ready, too, for Sydney Sweeney (Reality) as Julia Carpenter, who has a stint as Spider-Woman in her story in the comic books. Johnson and Sweeney lead Madame Web, the fourth film in Sony's Spider-Man Universe. That's the name for the studio's franchise of flicks that have been spun off from its Spider-Man movies — so from Spider-Man: Homecoming, Spider-Man: Far From Home and Spider-Man: No Way Home — but aren't part of the the Marvel Cinematic Universe. Hitting cinemas on Wednesday, February 14, 2024, it slings in alongside Venom, Venom: Let There Be Carnage and Morbius, plus the delayed Kraven the Hunter when it arrives later the same year, to spread another web of superhero-related pictures. Given its name, there's no chance of thinking that Madame Web would be subtle about its Spidey links. The just-dropped first trailer for the film makes that plain not just in multiple Spider-Woman sightings, but in an explanatory line from Johnson designed to drop some backstory: "he was in the Amazon with my mum when she was researching spiders right before she died". In the first SSU movie with a female lead, the man that Webb is talking about is Ezekiel Sims (Tahar Rahim, Extrapolations), a character who also hails from the page. He factors into a narrative that has Webb almost drowning, then discovering that she can see the future, with not just Sims but Carpenter linked to her fortunes. Also, would this be a Spider-Man-related movie, or a comic book movie in general, if a complicated past didn't also play a part? Also featuring on-screen in Madame Web: Celeste O'Connor (Ghostbusters: Afterlife), Isabela Merced (Rosaline), Mike Epps (I'm a Virgo), Emma Roberts (American Horror Story) and Adam Scott (Party Down). Veteran TV helmer SJ Clarkson (Succession, Vinyl, Jessica Jones) directs, and also co-wrote the script with producer Claire Parker (Life on Mars). Check out the trailer for Madame Web below: Madame Web opens in cinemas Down Under on Wednesday, February 14, 2024.
Show me someone who says they don't like road trips and I'll show you a liar (or someone you should be blocking ASAP). Road trips are the backbone of travelling around our giant island nation, and exploration is in our DNA — but what do you do when you yearn to take off into the great beyond but all your mates are busy? Well, why not take your dog? Chances are you have one (especially if you clicked on this story) — about half of Australian households do. So who needs friends when you can take your best furry mate down one of the most mesmerising road trips Australia has to offer? That's right. Pack your bags, grab your car 'cause we're ditching Perth and heading south along the great southern coast of WA, all the way to Esperance, with plenty of dog-friendly pit stops along the way. Don't have a car? Check out SIXT, which offers pet-friendly car rentals from Perth Airport, Perth City, Fremantle and Kewdale. Now, on with the show. PAW-FECT PERTH Hey, what's the rush? Before we scoot off, why not check out some of the best stuff to do with your pooch in the great capital — plus it gives you plenty to do at the end of your trip if you want to do this itinerary in reverse. Check out some of the West's best dog cafes in the form of Slate Cafe in Bennett Springs and The Dog's Breakfast Cafe in Swan Valley — the former features a fully enclosed dog playground with a large, grassed area, while the latter is home to an agility park and dog playground, as well as a doggie pool and spa. Kind of jealous. If you're looking to stretch your legs, the Swan River Foreshore Loop and the Sir James Mitchell Park to Charles Peterson Park walks are scenic, accessible, and most importantly, dog-friendly. DOG-FRIENDLY WINERIES IN MARGARET RIVER First stop: Margaret River, one of the best wine regions in the country. Take this golden opportunity to pretend to be a wine connoisseur with the peace of mind that comes with knowing your dog — who knows you actually don't know a thing about wine — can't talk to rat you out. Sip on fancy wines at dog-friendly wineries like Woody Nook Wines, Xanadu Wines, Passel Estate, Cape Mentelle, and Stonefish Wines. Just watch your little pal doesn't knock over a wine glass or two. If wineries aren't your thing, Drift Cafe, White Elephant Cafe, and The Hairy Marron are all lovely options for you and your pal to enjoy a nice coffee break together. Or if breweries are more your scene, you're in luck, with Margeret River being home to a bunch of dog-friendly options, including Cheeky Monkey Brewing Co, Margaret River Brewhouse, Beerfarm and Bootleg Brewery. If you feel like crashing for the night, check out RAC Busselton Holiday Park, a pet-friendly powered campsite nestled on the doorsteps of Busselton and Dunsborough — not too far from Margaret River. DOG-FRIENDLY CAFES IN ALBANY Need a pick-me-up? Stop by Albany's dog-friendly cafes, where you can indulge in a much-needed caffeine hit while your bestie scoffs down its third puppuccino (relax Rex). Dylans on the Terrace and Hybla Tavern are the paces to be when it comes to dog-friendly cafes and pubs, with both offering outdoor seating so you can both enjoy the fresh air. Albany also has plenty to offer in its many stunning beaches dotted along Frenchman Bay. Or if you'd fancy some lush green over sandy gold, head to Whalers Cove, which offers a nice five-kilometre loop bushwalk in the form of the Uredale Point Heritage Trail. [caption id="attachment_912573" align="alignnone" width="1920"] Albany Wind Farm. Image: Harry Cunningham (Unsplash)[/caption] CATCHING THE WIND AT ALBANY WIND FARM Next up, Albany Wind Farm, where you can witness wind turbines that make you feel as insignificant as raisin cookies at a potluck (no one's touching those). Enjoy the coastal breeze and panoramic views, while your little pal probably wonders why you dragged them to this windy wonderland. On a serious note, the wind farm offers some lovely walking tracks, including one leading up the coast and another to the lookout. Keep in mind that while the area is dog-friendly, off-leash is prohibited. [caption id="attachment_913228" align="alignnone" width="1920"] World of Travoluton 360, Flickr[/caption] CHECK OUT NATURE'S POOCH: ALBANY'S FAMED DOG ROCK That's right, it's a rock that looks like a dog — and on this road trip, you'd be a fool to miss it. There's nothing artificial about this rocky canine, the formation is completely natural. And besides being a testament to the endless wonder of mother nature, it's also the perfect spot to snap a cute pic of your lil pal in front of their giant rocky cousin — if that doesn't get you Insta engagement, nothing will. Once you're ready to hit the hay, you'll be spoilt for choice in Albany, as there's a cornucopia of pet-friendly accommodation options available. [caption id="attachment_784595" align="alignnone" width="1920"] Great Ocean Drive. Image: supplied[/caption] THE GREAT OCEAN DRIVE As you continue towards Esperance, take the scenic Great Ocean Drive. Brace yourself for stunning coastal views, turquoise waters meeting pristine white sands, and a reminder that nature's beauty is clearly showing off. The 40-kilometre loop of picturesque winding roads includes plenty of perfect spots to stop and take in the natural splendour of WA — a sight to behold for any species. [caption id="attachment_897522" align="alignnone" width="1920"] Weilim Zheng[/caption] EXPERIENCE ESPERANCE You've made it, now you both deserve to chill out — and what a perfect spot to do so. Running along Esperance's beaches must feel like winning the lottery to dogs — sandy, wet, and vast. Check out Eleven Mile Beach, Salmon Beach, Blue Haven, Fourth Beach, and Ten Mile Lagoon for endless sandy adventures for your favourite mutt. Saving the best for last, check out Lucky Bay to catch one of the only places in the world where kangaroos sunbathe on the beach (yes, you heard me) — so you might wanna bring a leash for this one. And once you're ready to rest those tired legs, head to RAC Esperance Holiday Park, where dogs are always welcome. Looking for a pet-friendly rental to take you and your best furry mate on the road trip of a lifetime (or looking for a bigger car to fit your furry mate)? Check out SIXT, which welcomes customers to bring their family and furmily along for the ride, so no one gets left behind. Auto club members including NRMA, RACV, RACQ, RAA, RACT, RAC and AANT will receive 15% off SIXT's daily rates. Click here to book now
UPDATE Thursday, June 29: Ocean Alley have now been announced as the replacement for Lewis Capaldi. Find the full 2023 Splendour in the Grass lineup and set times at the festival website. Splendour in the Grass is just weeks away from its 2023 festival, and two new artists have just been added to the lineup, with one more major announcement still set to come. Danny Brown and Thelma Plum have both joined the bill as replacements for Slowthai and Rainbow Kitten Surprise. Plus, Splendour has confirmed that a replacement for Lewis Capaldi is coming, after the Scottish singer-songwriter advised that he would be taking a break from touring to focus on his health. Eccentric US rapper Danny Brown will join the lineup as an Australian exclusive, playing his first Australian show in over five years. He'll head up the Mix Up Stage on the Friday night, bringing his catalogue of experimental rap hits including his highly acclaimed recent collaborative project SCARING THE HOES with Jpegmafia (who you can catch at this year's Listen Out). Thelma Plum also joins the lineup of musicians that'll will arrive at North Byron Parklands from Friday, July 21–Sunday, July 23, alongside the likes of Lizzo, Flume, Mumford & Sons and the Yeah Yeah Yeahs — the latter of which were slated to headline 2022's Splendour in the Grass lineup, but cancelled in the leadup. Plum was a highlight of the festival back in 2019, and was also scheduled to play at the 2020 edition before it was cancelled due to the pandemic. https://www.youtube.com/watch?v=8YgxQlS2054 Along with the new acts, the annual winter event has also just unveiled its set times and maps, so you can start planning your weekend and prepare for set clashes if you've nabbed tickets. The schedule reveals an hour-long gap on the Amphitheatre stage between Ruel and J Balvin where festivalgoers can expect Capaldi's replacement to pop up. Just last week, Splendour added a heap of new talent to the weekend, including powerhouse Russian punk group Pussy Riot and a heap of names for its Forum, Science Tent, Comedy Club and Forum Live Podcasts programs. These additions included a talk with Pussy Riot's Nadya Tolokonnikova, everyone's favourite ex-AFL player-turned-sports newsreader Tony Armstrong, The Betoota Advocate, Dr Karl, Brooke Boney, and comedians such as Deadloch star Nina Oyama and Michael Hing. [caption id="attachment_907565" align="alignnone" width="1920"] Stephen Booth[/caption] SPLENDOUR IN THE GRASS 2023 MUSIC LINEUP: Danny Brown (Australian exclusive) Thelma Plum Ocean Alley Joining Lizzo Flume (Australian exclusive: ten years of Flume) Mumford & Sons (Australian exclusive) Yeah Yeah Yeahs Hilltop Hoods J Balvin Sam Fender Idles Little Simz Tove Lo 100 Gecs (Australian exclusive) Arlo Parks Ball Park Music Iann Dior King Gizzard & The Lizard Wizard 070 Shake Pussy Riot Pnau Ruel Loyle Carner Benee Marlon Williams Hooligan Hefs Peach PRC Palace Dune Rats Tkay Maidza Noah Cyrus Skegss Sudan Archives Cub Sport Meg Mac X Club. Claire Rosinkranz Jack River The Smith Street Band Lastlings Jeremy Zucker Young Franco Sly Withers MAY-A The Vanns Telenova Vallis Alps Jamesjamesjames Kaycyy RVG Teenage Dads Balming Tiger Automatic Harvey Sutherland Gali Del Water Gap Royel Otis Shag Rock Big Wett Mia Wray Memphis LK Gold Fang Milku Sumner Forest Claudette Full Flower Moon Band William Crighton Hellcat Speedracer Triple J Unearthed Winners Mix Up DJs: Tseba Crybaby Latifa Tee Foura Caucasianopportunities Luen Mowgli DJ Macaroni Crescendoll Splendour in the Grass will take over North Byron Bay Parklands from Friday, July 21–Sunday, July 23, 2023 — head to the festival website for further details and tickets.
Next time you have a great idea while making a cup of coffee, it could spark a hit comedy flick. That's what happened to Jackie van Beek, New Zealand comedian and one half of the writing/directing/acting duo behind The Breaker Upperers. "I was literally just wandering aimlessly around my kitchen, and I was just thinking about all those conversations that we've all had with friends about that horrible moment when you realise that you have to break up with your partner, and that feeling of dread," she explains. "And I just thought, "gosh, how much money would somebody pay to not have to do that themselves?". And I thought it'd be quite a lot of money, and I know a lot of people that would pay to get out of that responsibility." To answer the obvious question, van Beek never considered setting up a business to end other people's relationships for cash. Instead, she called fellow NZ comedian and actress Madeline Sami, and they started working on what would become 2018's best comedy. That was back in 2013. The script took years to perfect between other jobs, and the film shot across 22 days in 2017, with a cast that included Boy's James Rolleston and Rosehaven's Celia Pacquola. This year, The Breaker Upperers premiered its tale of best friends Jen (van Beek) and Mel (Sami), their love-busting business, their various life woes and their Celine Dion karaoke singalong at SXSW, and then opened the Sydney Film Festival. "It has been a whirlwind few months," Sami observes. "I didn't really have any expectations on how it would do. You spend so long editing the film, making it, and then you're just kind of relieved to have finished it. Then it comes out, and then all of these other people see it and take it into their hearts, and it's just overwhelmingly lovely." Indeed, while The Breaker Upperers is all about helping others when love has faded, there's plenty of love blossoming for this smart, funny film, with audiences both overseas, in New Zealand and in Australia reacting warmly. With the movie now releasing around Australia, we sat down with van Beek and Sami to chat about real-life break-ups, smashing rom-com conventions and working collaboratively in a Kiwi comedy scene that also includes the film's executive producer, Taika Waititi. https://www.youtube.com/watch?v=-phMlkRiWIg ON CREATING ROLES FOR THEMSELVES THAT DIDN'T EXIST OTHERWISE Sami: "We wanted to write characters that were fucked up women in their thirties, and that didn't have to settle down. That was the big, big point for us. Otherwise it's so unrealistic and so much pressure for women, and I hate that." van Beek: "And so exclusive. We've of course got so many friends that are single, in their early forties and are not going to have a baby now. What about happy endings for those guys? So it was very important that — we love rom-coms, but it was very important for us that we buck the convention and that we didn't end with a double church wedding with two women and two men tying the knot and talking about children." Sami: "We definitely thought about it in drafts and played with the idea, and it just never sat right. And we were just like, this is really a story about being okay with who they are, and accepting that and not having to bow to society's expectations — and the movies' expectations — of what your life should be like. It's really the movies. The movies tell us that we need to have all this shit together, especially for women. I think the pressure on women in movies — just the damsel in distress thing, it goes right back to Snow White. Or in all the Disney stuff. There's a princess who's stuck in a tower or she's in a coma, which is fucking dark, and she needs to be saved. And that same thing is in rom-coms today — a woman who's…" van Beek: "All befuddled." Sami: "And needs to be saved. And it's like, no we don't. We're cool. Just chill." van Beek: "We can figure out our own mess. It doesn't have to involve a man." Sami: "And also, a happy ending doesn't have to be what we've always been told what a happy ending is. It doesn't always have to be that conventional, settle down thing. It can just be 'well you're just not as dark and fucked up as you were at the beginning of the movie'." ON DECIDING TO NOT ONLY WRITE AND STAR IN THE BREAKER UPPERERS, BUT TO DIRECT IT, TOO van Beek: "It was always on the table." Sami: "We were scared." van Beek: "Were we scared? I wasn't scared." Sami: "There was a fear that it would take the fun away from the acting, which is what the whole reason we wanted to do it. It wasn't like scared to do it — it was just whether we were going to give ourselves too much of a workload." van Beek: "Yeah that's right. We knew that if we got too stressed, and we're on screen doing improvised comedy, it's just not going to be fun for us or the audience — so the stakes were quite high in making that decision." Sami: "And then we just like, we can't think of anyone who could fulfil this vision for us that we are planning in our own heads, so why don't we just do it? Take the gamble, and make sure we surround ourselves with really talented, experienced people so that we're supported. And that's what we did." van Beek: "People who are confident at improvisation, so we could all get there. And Taika was helpful." Sami: "Taika, we've worked with a lot — and he would've been a wonderful director for this film. But we knew that we were never going to get Taika because he was on Thor and was committed to that for years. But he shares our sensibility, we've worked with him — he directed the first series of a TV show that I'd made in New Zealand called Super City, and we had a lovely time when we worked together in that way. And he'd definitely get it. But he wasn't available, so we were the ones." van Beek: "But we got Jemaine Clement, who is an old friend of ours as well, he came up for three or four days of pre-production when we wanted to stand up and start exploring the characters ourselves. He'd come into the rehearsal room, and we'd do rewrites with him, and so it was all really..." Sami: "Collaborative." van Beek: "Supportive." Sami: "We've got so much amazing talent around us in New Zealand. There's so many amazing comedians coming up, and writers, that it was just really important for us to be energised by them. So we'd just keep them around us all the time, just everyone 'come in, add a joke in here if you want, yeah that's a good idea.' Just keep it fresh for ourselves, especially because we'd been writing for four-five years, so at a lot of points in that time, when you're right in it — especially towards the end, towards pre-production — you can't see. You're really close to it." ON SEEING NEW ZEALAND COMEDY FINALLY GET RECOGNITION OVERSEAS van Beek: "With Taika's films, and Flight of the Conchords and Rhys Darby having done so well internationally — we were over at SXSW with our film, and people were saying after the screening 'that's New Zealand' humour. They were identifying it. 'We love New Zealand humour! We love you guys.' It was quite exciting that people identify it, and many thanks to Taika who brought that New Zealand comedy voice into the mainstream with Thor." Sami: "When there's a bunch of people, and when there's support — the New Zealand Film Commission have really made an effort to get in behind New Zealand comedy over the last ten years probably. And because we've had success internationally, then there's more support back home. And it's kind of like with the Danish thrillers. All of a sudden the world loves Danish thrillers, and it's just the people making them are making them really well. I guess coming out of New Zealand right now, we've got a lot of great comedy, and it's just a time where it's just being recognised for what it is." van Beek: "Long may it last." Sami: "It's exciting. It's really just, I think, the world getting to know that New Zealand comedy a bit — and it started with Flight of the Conchords. There's an awkwardness to the comedy we make. So yeah, who knows how long that will last. But it's exciting that we don't have to explain our accent any more. People can start to tell the difference a little bit [between Australian and New Zealand accents]. We'll see Americanss try to do a Kiwi accent rather than just going 'oh, I can do a Kiwi accent — g'day mate'." van Beek: "Now they do Flight of the Conchords." Sami: "Yeah, 'Brett'. Or they do, 'oh hi, I'm Korg,' [from Thor: Ragnarok] or stuff like that. They're showing that they know the difference." van Beek: "By mocking us in a different way." Sami: "I loved being mocked." ON FINDING INSPIRATION FOR THE FILM'S MANY BREAK-UP SCENES Sami: "I've never been two-timed by someone, and then found out that... aah, I think I have." van Beek: "You have?" Sami: "Maybe I have." van Beek: "There's always going to be a bit of crossover." Sami: "There's just a bit of subconscious stuff — for me, the break up scenarios, everything you see in the film, nothing is specific to anything but everything is influenced by stories we've heard or things we've experienced. But there's no one like, 'yeah, I had this terrible breakup and this is exactly how the story went'." van Beek: "Or 'yeah, my boyfriend pretended to be in a coma and then died.' That all came from our imagination, but it was more like — definitely I've been through phases in my life when I've been a bit more like Jen, and just been in denial. I've been heartbroken and not wanting to grow up." Sami: "We did have a lot more scenarios and they got a lot more extreme. Obviously some were cut for time, and we didn't shoot all of them — a lot of them we just weren't going to be able to. To shoot someone falling off a speedboat in the middle of Auckland of harbour and taking an underwater scuba to an island and then sailing off, that would've been the whole budget of our film probably, just for that one day." van Beek: "We spent a bit of time writing it though." Sami: "It was a lot of fun writing and thinking out the ways people might choose to break up with each other." The Breaker Upperers is now screening in Australian cinemas.
While wallet-friendly price points and a penchant for the flat-pack can often see IKEA's designs pitched as short-term furniture, the Swedish retailer is keen to shake off those perceptions. And how better to do so than by teaming up with an acclaimed design company for a clever new collection? The latest move in IKEA's push towards longevity is a statement range called Ypperlig, created in collaboration with Danish designers HAY. Launching this October, it's a collection of basics crafted for contemporary styling, drawing on HAY's flair for functionality and aesthetics. According to Rolf Hay, one half of the husband-and-wife duo behind the design company, the project proved an all-round win. "It's fair to say that HAY and IKEA are two very different companies," he acknowledged. "But when we started talking to IKEA it became very clear that we shared many perspectives on design." Unlike some of IKEA's more ubiquitous designs, this is a range of furniture and accessories you won't want to get rid of in a hurry — each piece clever, yet understated, sleek and undeniably Danish. Expect nifty products like a slimline LED lamp complete with in-built touch dimmer, hand-painted stoneware vases, a contemporary take on the classic Scandinavian plank table and a spring mattress sofa bed that's actually comfy enough to sleep on. HAY has even redesigned the iconic blue Ikea shopping bag, working in a range of new colours and weave patterns. The best part about this HAY x IKEA collaboration is that you can purchase a HAY piece for IKEA prices. While a HAY chair retails for around $200–400, one from their IKEA collaboration will set you back less than $100. The HAY x IKEA Ypperlig collection will go on sale this month. To browse the collection, visit ikea.com.
Come with us on now, on a journey through time and space, to the world of Behind The Boosh. You may not hear those words spoken aloud when you walk into the exhibition celebrating British comedy troupe The Mighty Boosh, but fans will think them. When you're peering at behind-the-scenes peeks into Julian Barratt and Noel Fielding's hilarious and surreal creation, as snapped by fellow group member Dave Brown, that's the very first thing that should come to mind. A part of all things Boosh since the troupe was first formed in the 90s, Brown played Bollo the Gorilla, Naan bread, Black Frost and Australian zookeeper Joey Moose. He's also taken care of tour posters, DVDs, set graphics and merchandise; compiled and designed The Mighty Book of Boosh; and had a hand in Boosh music and choreography. And, he's been snapping away with his camera — the results of which are gracing this photography showcase. There aren't enough elbow patches in the world for this exhibition, or shoes filled with Baileys. Whether or nor you can find either — or the black hair dye and strong hairspray needed to get Vince Noir-style locks, green Old Gregg-esque body paint or 60s-era suits that look like they've been taken straight from Howard Moon's wardrobe — heading to Sydney's M2 Gallery and Melbourne's North Gallery this August means getting a glimpse into the minds behind The Mighty Boosh's stage shows and radio series, and obviously the three-season TV gem also called The Mighty Boosh. Brown's two decades of images traverse a history that saw The Boosh become a live smash at the Edinburgh and Melbourne Comedy Festivals, then a 00s cult hit on the small screen. These days, Fielding might co-present The Great British Bake Off and do team captain duties on Never Mind the Buzzcocks, while Barratt has been playing a part in The Great, but they'll always been known for The Boosh. "These images are like children to me, badly behaved children with no manners but also beautifully funny, insanely dressed up children that are two dimensional and don't move," explained Brown of his Behind The Boosh photos. "I love these pics, incredible memories of a special time with my Boosh band of brothers and sharing them with our beautiful Aussie Boosh fans is long overdue." "The love The Mighty Boosh still has to this day is comparable to legendary acts such as Monty Python and continues to draw in people of all ages. It was such a bonus to have a great photographer who was part of the show; Dave never missed anything! I almost find it difficult to look at them because it takes me back immediately to that time, and because Dave was always taking photos, the snaps are genuine; they're not posed," said Fielding. "Dave is a lens with legs! Ever since I have known him, he's had a camera strapped to his face. I have a terrible memory which is why Dave is my saviour, if we are our memories then without Dave Brown I simply would not exist," added Barratt. Brown is also in Australia with the exhibition, which runs from Wednesday, August 2–Sunday, August 6 in Sydney and Wednesday, August 16–Sunday, August 20 in Melbourne. In both cities, on the Saturdays in each, he's doing an artist talk to chat through his work — and being part of a troupe, plus their various onstage and on-screen shows, where anything could happen. In Sydney as well, Brown will hit the decks at Redfern Surf Club's Surfapolooza festival on Saturday, August 5. BEHIND THE BOOSH AUSTRALIAN DATES: Wednesday, August 2–Sunday, August 6 — M2 Gallery, 4/450 Elizabeth Street, Surry Hills, Sydney Wednesday, August 16–Sunday, August 20 — North Gallery, Level 1/55-57 Gertrude Street, Fitzroy, Melbourne Behind the Boosh displays in Sydney and Melbourne in August 2023 — head to the exhibition website for further details. Images: Dave Brown.
Start making staycation plans: if you're keen for a night or several away from home in five-star surroundings, Brisbane's Amora Hotel will have you covered from December. The site previously known as the Novotel is currently undergoing a huge revamp, with $30 million being spent on the Creek Street spot's refurbishment. Guests are still staying at the hotel at present, but the new-look venue will officially launch as summer hits. On offer: 296 rooms located over 14 floors, plus an outdoor rooftop pool with a deck that sounds perfect for Brisbane's usually sultry weather. When you're hanging out indoors, you'll be surrounded by the work of interior designer Cottee Parker. Think: greenery, natural light and tones, and a tradition-meets-contemporary approach. The Amora Group purchased Amora Brisbane in 2020, adding it to a suite of properties that spans six hotels in Australia and Thailand. As a result, the made-over Brissie venue is going with a vacation vibe even though it's located smack-bang in the middle of the River City's CBD. "The pandemic brought about a shift in the mindsets of travellers, and their motivations are very different now. They seek unique and meaningful experiences that bring value to their vacations. It is not enough to just position a property as 'five-star luxury'," said Amora Hotels and Resorts Group Executive Director Earp Siriphatrawan. "We're very excited to soon unveil the complete Amora Brisbane and cater to both locals and travellers alike with a more sophisticated experience," added Amora Hotels and Resorts Group Director Commercial and Business Development Narej Farik. Amora Brisbane also boasts skyline views, a lobby bar and restaurant, a fitness studio and sauna, and spaces for events. Food-wise, the hotel's new culinary highlights are set to launch in January complete with a new menu and new fitout. Elsewhere in Australia, the family-owned hotel brand operates Amora Hotel Riverwalk Melbourne — which has been on its books for 25 years — plus Amora Hotel Jamison Sydney. View this post on Instagram A post shared by Amora Hotel Brisbane (@amorabrisbane) Amora Hotel Brisbane's revamp will launch at 200 Creek Street, Brisbane City in December 2023 — head to the hotel's website for reservations and further information.
This year, Melbourne and Australia got its first not-for-profit bar Shebeen on Manchester Lane. With every drink sold going towards developing projects in its country of origin, it is changing the way we think about charity and sipping a tipple. We have Simon Griffiths to thank for this. Concrete Playground got hold of Simon to talk about his philanthropic work, Shebeen, toilet paper and his cat. What drove you to philanthropic work? I started working in the corporate world but quickly realised that I wanted to use my skills to solve social problems, not just business problems. After a lot of research I found that the number one problem faced by development aid organisations was a lack of funding, so I decided to create a new channel for funding, moving away from the donation market, and instead creating an avenue for consumer dollars to create social impact. After you came up with the concept for Shebeen with Zanna McComish, what was it that made you think, this really might work? The basic concept was actually 100 percent Zanna's, but it has snowballed into something much larger and more sustainable over the years. When Zanna first mentioned the idea to me, I was so excited that I knew a lot of people would dig it as well ... we just had to figure out how to make the business model work. How was it getting partners and suppliers on board? The really tricky part was raising the capital to get the venue open. We ended up raising social capital, i.e. without any financial return, from 20-25 different investors, then pieced together product partnerships with Brown-Forman, Schweppes and Silver Chef to fill the remaining cash shortage. We did everything on a tiny budget, so had to garner pro bono support from anyone and everyone, including Foolscap Studio (interior architecture), Swear Words (graphic design), Run Forrest (PR and communications), McCorkells Construction (building), Alpha 60 (uniforms), Tin & Ed (murals and uniform graphics), and so on. It has been a long but amazing ride! What is one of the projects you are most excited about contributing to in the developing world? I really get off on KickStart, who we work with in Ethiopia. Around 80 percent of the poor in Sub-Saharan Africa are small-scale farmers who depend on unreliable rain to grow crops. KickStart figured out that irrigation would allow many of them to move from subsistence farming to commercial agriculture, so they developed the MoneyMaker pump to allow farmers to draw water from rivers, ponds and wells to irrigate large areas of land year-round. Basically their pumps create a substantial and sustainable increase in household income — and they're really great at measuring their impact. We know that every $1 we give them turns into $12 of profits and wages for one of their farmers. That's a pretty exciting return-on-investment — or return-on-drinking-an-Ethiopian-beer. For you, how does Shebeen's support to the developing world differ from other charitable organisations? Basically we give consumers an opportunity to put their purchasing power to work. Now that we're open we're 100 percent self sustaining — we're already profitable and will start donating funds in the next four months or so. We'll only seek to raise additional capital to open new venues. What do you want people to take away from Shebeen? We want them to start thinking a little differently about what it means to be a consumer, and where their money ends up. After five years in the making. What does it feel like to walk into the bar and see it as a reality? It's still quite surreal to see people in there! But we've been so busy it's also been difficult to stop and celebrate. I'm taking my first weekend off for the year this weekend — it's going to be great! Where do you see Shebeen in five years? In five years we're hoping to have venues in five or more locations and will hopefully be looking at our own retail range of products as well. What is your favourite drink on the menu? I've really gotten into our cocktails. I really like the Ginger Kaffir Limeade, which is made with Kaffir Lime infused Finlandia vodka, and our warhead-sour lemon frozen margaritas, which we're making with El Jimador tequila. We're just about to start experimenting with cocktails on tap, too. What gets you out of bed in the morning? Usually my alarm, or my cat biting my foot. Occasionally it's a hangover. What's next for Simon Griffiths? Getting Shebeen doing a great takeaway lunchtime trade, opening the second Shebeen venue, and selling more toilet paper — I also run whogivesacrap.org. Images by Clever Deer.
In order to help you celebrate all things vinyl, CD, band shirt and street press, here are some of the places you'll want to check out on National Record Store Day on April 20. These are just our suggestions — for the official list of participating stores (who will stock the Record Store Day releases) head along to the website. 1. Record Exchange Brisbane's Record Exchange, tucked up on Adelaide Street in Brisbane's city centre, is a hidden gem among music enthusiasts. Its walls are bursting with all of the musty vinyl, oversized (and psyche- fluorescent) posters, obscure clothing and vintage collectibles you could possibly want in a store; it currently stands as the largest record store in the southern hemisphere, for its collection rather than floor space. You can easily spend a day flicking through LPs, CDs, DVDs (or even VHS), purveying the instruments on sale, weighing up the choice of Beatles or KISS bobbleheads. The Record Exchange is best tackled with an open yet decisive mind, unlimited time and perhaps a like-minded friend who can tell you if those embellished, knee-high Doc Martens really do go with that tartan ballet skirt. 2. Rocking Horse Records Just around the corner from the Record Exchange is where you’ll find Rocking Horse Records. It’s the oldest independently owned store of its kind in Queensland and has proven itself as a dear treasure to its regular customers when it was saved from closure last year. They stock CDs from international to indie, selected vinyl and T-shirts, and an impressive collection of music books and magazines and posters. Rocking Horse is also a stockist of Brisbane’s best music street press magazines, and inside its walls plastered with tour posters, you can’t help but be kept up to date on all things music in Brisbane. 3. Tym’s Guitars A guitar haven first and a record store second, Tym Guitars in Fortitude Valley holds its own amongst the bigger names in records sales if only for the passion behind their products. They are a unique instrument shop who specialise in vintage and pre-loved guitars and repairs, recording equipment, tour gear, and a collection of music, merch and memorabilia that boasts quality over quantity. To further prove their dedication to the cause, Tym Guitars are hosting a party for Record Store Day, with bands, new vinyl, giveaways and a sausage sizzle. 4. Jet Black Cat Brisbane’s cultural mecca, West End, has many options when it comes to record collecting, however Jet Black Cat are in a league of their own. They are dedicated to maintaining their 'indie' status; not at all in an ironic, inaccessible way, but rather their left-of-field, novel approaches to products and how they sell them is remarkable and longstanding. If they don’t have it, they’ll get it for you, however you won’t leave unsurprised or, as is the affliction of the music obsessed, empty handed. Be sure to cross this Black Cat’s path come Record Store Day. 5. Egg Records Walk into Egg Records in West End, and you’re sure to find a treat. Alongside pre-loved and new vinyl, CDs, DVDs and merch shirts, you’ll find quirky collectibles (dancing James Brown action figure, anyone?). Conveniently and competitively located across from Jet Black Cat, you’ll get the true West End treatment of golden tunes and the friendly, knowledgeable staff to help you find the treasure you thought you’d never track down. Egg Records is often quoted as having the supreme of selections, with its regulars swearing by its secrets.
We've all had days that can only be salvaged by hurling an axe at a wooden target — and, from Saturday, August 11, Brisbanites can enjoy this very specific form of stress relief. Already offering both casual and competitive axe throwing on the Gold Coast, Lumber Punks is bringing its distinctive sporting antics to West End. Yes, moseying on down to Montague Road from Thursday to Monday, picking up actual bladed weapons and then chucking them across the room is about to become a very real thing. "It's kind of like darts, but with big axes," explains co-owner Tyson McMillan, who started Lumber Punks with Sam Hay. The idea came to the pair after a stint of throwing axes in the backyard, which is where the sport has traditionally been practised. Commercial outfits started popping up around the world about a decade ago, but this is just Australia's second joint — with Maniax operating in Sydney and Melbourne. Patrons can simply gather the gang and start throwing across a 90-minute session, or take part in the axe throwing league. The game is comprised of five rounds, each with five throws, with everyone flinging their axes towards a pattern of concentric circles. Get inside the outer blue ring and you'll score one point. Make it into the middle red ring and you'll nab three. A bullseye — aka inside the black ring — is worth five points, although you can earn a whopping seven if you hit an adjacent green circle on your fifth throw. For those worried about safety, Lumber Punks advises that their activities are "as safe as we can make it", with everyone using self-contained lanes to minimise the risk of wayward axes. Only the thrower is allowed into the lane, those watching and waiting have to stand behind a barrier, and everyone gets a tutorial before they are allowed to take part. You will have to sign an online waiver before you can get to chucking, however, and you definitely won't be able to drink alcohol. While Lumber Punks is all about blowing off steam in a fun and unusual way, it really is best for everyone that throwing axes and booze don't mix. Find Lumber Punks at 2/427 Montague Road, West End from Saturday, August 11.
A drive to the airport in a rideshare is one of life's mundane experiences, whether or not you're en route to a wedding, and also regardless of if you're meant to be collecting your partner and their dry-cleaned suit along the way. In Fake, this routine journey on an average Melbourne day is a masterclass in tension, a portrait of an unravelling and an unwanted realisation unfurling with no escape. With journalist Birdie Bell (Asher Keddie, The Lost Flowers of Alice Hart) sitting in the backseat as much that she's trusted melts down, it's a stunning episode of television, arriving five instalments into this eight-part Australian thriller that brings its page-to-screen and reality-to-fiction tale to Paramount+ in full from Thursday, July 4. Viewers spend the preceding four episodes of Fake waiting for a moment like this. For those who haven't read Stephanie Wood's memoir of the same name, charting her time dating a former architect-turned-grazier who pairs his grand romantic gestures with erratic behaviour, there's still no doubt that it's coming. It has to, and not just because series creator Anya Beyersdorf (The Twelve) and her co-scribes Jessica Tuckwell (Year Of) and Hyun Lee (Born to Spy) have Birdie's beau Joe Burt (David Wenham, Elvis) note in voiceover that she was onto him from the get-go. While Fake is a love- and lies-fuelled saga, it's also about how someone gets taken in not by the kind of tales that Joe spins but by the emotions that they prey upon, even when their intuition tingles at the outset — and how deceptions like this, from someone manipulating others and someone fooling themselves alike, always shatter. The words "Joe, 51, grazier" on a dating app introduce the ex-property big shot to Birdie; however, everything that he utters on their first date almost halts their romance there. When the pair meet at a sleek bar, he has a business acquaintance (Yuchen Wang, White Fever) in tow and talks only of himself, grandstanding with the recognisable arrogance of someone who refuses to believe (or simply hasn't stopped once to consider) that they aren't the most-interesting person in the room. She cuts and leaves quickly, despite his insistence to the waitstaff that they'll share more wine. Then she ignores his persistent follow-ups afterwards, until she doesn't. Stylistically, Beyersdorf, her co-writers, and also directors Jennifer Leacey (Prosper), Emma Freeman (The Newsreader) and Taylor Ferguson (Fires) adopt two approaches to bringing both Joe's flurry of messages and Birdie's inner questioning to audiences. The contents of texts and emails are written across the screen, overlaid upon the scene's ordinary background — train windows feature heavily — and also spoken aloud, as worries about being almost 50, single and heartbroken from a failed IVF experience are similarly given voice through repeated snippets of conversation. Sometimes, Birdie's own words haunt her. Sometimes, Joe's do. Sometimes, the judgement of her sniping mother Margeaux (Heather Mitchell, Ricky Stanicky) echoes. Combined, the impact is inescapable: when his indefatigable pursuit joins her lifetime of doubts, especially that she's being too fussy and will always be alone, relenting to his overtures and investing in his narrative is the inevitable outcome. Fake relays its story within this psychological space — a place where it's clear to everyone, including to Birdie, that little is right — to explore how a person who investigates for a living succumbs to fantasy over fact. Joe gleefully spins dreams, beginning with his quiet farm life, then escalating into bigger and bolder promises. He also ticks the basics, such as showing interest, sticking around, declaring his love and making Birdie feel like romance hasn't passed her by. But Joe equally has a tale for everything that always seems tall. He misses as many dates as he makes, his excuses mushrooming as well. His ex-wife receives ample blame, frequently with the smack of convenience. He's cagey about specifics, too, and vague and defensive when questioned. When Leacey, Freeman and Ferguson, plus cinematographer Sky Davies (House of Gods), devote Fake's frames to staring Birdie's way, they push Keddie's excellent performance to the fore — and it is exceptional. She's the lead in a yell-at-the-TV type of show, where viewers can't help but say aloud that Birdie is making the wrong choice again and again, and grounding those ill-fated decisions in relatable emotions isn't a simple task. The more that Fake peers, the more that it also turns the sight of its protagonist hoping yet fraying into a mirror. One of Birdie's potential articles at work is about homelessness, a situation that's never as far away as most would like to think — and one of Fake's throughlines is that being Birdie with Joe isn't beyond anyone's realm of possibility. Wenham, no stranger to on-screen shadiness and slipperiness but with memories of SeaChange's Diver Dan still imprinted in Australia's pop-cultural memory, is equally first-rate. His remit isn't straightforward, either, selling the charm that still wins Birdie over in tandem with the sketchiness that's lurking beneath Joe's striving facade — and the character is almost ceaselessly striving — which is a gig on par with both Joshua Jackson (Fatal Attraction) and Edgar Ramirez's (Wolf Like Me) efforts in season one and two of medical-meets-romance scam series Dr Death. Indeed, Wenham does such an unshakeable job as Joe that by the time that Fake spends the aforementioned fifth episode in a car with Birdie, his presence doesn't stop cutting deep, nor showing the scars that it's carving, even just over the phone. It's hardly astonishing, then, that Fake is impossible to stop binge-watching once its first instalment puts its pieces in place: that warning-sign initial date, Birdie's loneliness trumping her niggling uncertainty, society's conditioning that to be a woman of a certain age without a partner and kids is to be a failure, the disappointment that we can all direct at ourselves if we haven't met our own expectations and, of course, the clash of Joe's dubiousness and his magnetism, for starters. It's also far from surprising that when the route to the airport beckons, and one of 2024's best episodes of TV with it, Fake's audience is right there in the Uber with Birdie, riding and feeling the same bumps. Check out the trailer for Fake below: Fake streams via Paramount+ from Thursday, July 4, 2024.
When Bridgerton initially premiered on Netflix at the end of 2020, becoming the platform's most-watched original show ever at the time, did it get you dreaming of stepping into its world? If so, you've been in luck ever since thanks to a flurry of events themed around the series, including unofficial balls, garden brunches and more. Your next opportunity arrives soon, and also requires venturing out of Australia's capital cities. Your destination: Bowral in the New South Wales Southern Highlands. Bridgerton season three is on its way, dropping four episodes in May 2024 and then four more in June this year — and to celebrate, Netflix is bringing the series into real life. This is the streaming service that set up public toilets based on Squid Game, Heartbreak High and Emily in Paris back in February, after all. In the past, it has also opened a Stranger Things rift on Bondi Beach, unleashed the Squid Game Red Light, Green Light doll by Sydney Harbour and a had pop-up Heartbreak High uniform shop slinging threads in Newtown, too. This time, it's giving a regional town a makeover. Head to Bowral between Tuesday, April 16–Tuesday, April 23 and you'll see what this patch of Australia looks like when it's harking back to the regency era. A number of spots around town will receive the Bridgerton treatment, with local businesses joining in on the fun. The idea is to make you feel like you're getting the full ton experience. If you want to dress up to fit the part, that's obviously up to you. While the bulk of the details are still vague, a few specifics have been revealed already, including the fact that there'll be a garden party at Milton Park to close out the week. To score tickets, you'll need to channel your inner Lady Whistledown — because noting what would be written about you in the series' gossip sheet in 25 words or less is how you'll enter to nab a spot at the shindig. Also, Bowral's Empire Cinemas will be hosting four free screenings of the first episode of Bridgerton's third season across Monday, April 22–Tuesday, April 23, letting you see it weeks before it makes its way to Netflix on Thursday, May 16. If you're going to treat yourself to a getaway this April, you can now make it a Bridgerton-loving getaway. And if you're a Bridgerton obsessive who lives in Bowral, prepare for plenty of company. Check out sneak peeks at Bridgerton season three below: The town of Bowral will get a Bridgerton-themed makeover from Tuesday, April 16–Tuesday, April 23. For more information, keep an eye on the event's website. Bridgerton season three will stream via Netflix in two parts, with four episodes on Thursday, May 16, 2024 and four on Thursday, June 13, 2024. Images: Liam Daniel/Netflix.
"For us, it's about trying to take risks," says director Amiel Courtin-Wilson. "Further the process, and see how far you can push things before they break." Certainly, the Melbourne-born filmmaker is not afraid of pushing the envelope. After beginning his career in documentary with films like Chasing Buddha and Bastardy, Courtin-Wilson's first fiction feature was 2012's Hail, a dark, critically divisive love story that blended naturalistic cinematography and dialogue with striking moments of visual experimentation. A similar methodology is at work in his follow-up, Ruin, which he co-directed with Hail producer Michael Cody. Inspired by Cody's time living and working in South-East Asia, the film is a romantic drama about the relationship between a runaway prostitute and a factory worker in Phnom Penh and the desperate lengths they must go to in order to survive. "On average I don't think we did a day shorter than 15 or 16 hours," says Courtin-Wilson of the gruelling, unconventional shoot, which was broken into two separate three-week blocks with a yearlong gap in between. "The last week we were shooting 20, 21 hour days." Now it seems that the hard work has paid off. Since its completion, Ruin has won numerous festival awards, including the Special Jury Prize at Venice, and had its Australian debut in competition at the Sydney Film Festival. In the lead-up to their local premiere, Courtin-Wilson and Cody took the time to talk with Concrete Playground about the experience of putting the film together. https://youtube.com/watch?v=5VEQ2Hvq_Cs No Script, no problem When asked about the project's origins, both directors grin. "We landed in Cambodia without a script, without any finance and without any sense of a story," remembers Courtin-Wilson. "Within about a month we had some finance, we had a cast, we had a crew from Australia, and we had a 15-page outline. So in many ways it was just an experiment in sheer momentum." The Australian crew came together under the banner of Courtin-Wilson's film collective, Flood Projects. Many of them worked for free, even paying for their own plane tickets to Cambodia. "If someone's prepared to do that, they're obviously there for the right reason," says Cody, "and that's very humbling. It means that the process is genuinely very collaborative; everyone's invested in it, and we're super grateful to them for being there." Courtin-Wilson agrees. "I think what happens when you give over to that process without the usual hierarchies, when someone can literally have four or five roles, is that everyone is so invested and so excited," he says. "Someone can be down the street for lunch and find some amazing potential cast member, or find an amazing cafe for a scene … it was the most exhilarating filmmaking experience I've ever had." A road movie with no road map Part of Ruin's naturalistic feel comes from the filmmakers being willing to draw from their environment. "Structurally, working with a road movie paradigm meant that you could expand or contract the film according to who you met along the way," says Courtin-Wilson. "It's episodic in nature … we'd meet an amazing fisherman in a province halfway through shooting and then we'd sit down and write a scene for him, and integrate that into the story. "The idea that filmmaking has to be a one-way street in which you can't fundamentally reinvent the film in the edit..." Courtin-Wilson trails off, shaking his head. "If anything, we were trying to inject more chaos into the process, because that's where the discoveries lie." "I'm pretty sure [the cast] thought we were just mental cases for a lot of the time shooting the film," says Cody, laughing. The guidance of trauma "We had a really fundamental idea of what the theme of the film was, which came from Cody's initial idea of trauma, and how trauma sits in the body," says Courtin-Wilson. "This is a whole country that's been traumatised," adds Cody. "One thing I'm really pleased with is the way the history of the place comes through, but in an oblique way. It's subtle, as it is in everyday life there. You can feel it everywhere, all around you, but it's not discussed. These people have to deal with the reality of that history, in their lives and their relationships. You know, like living down the road from the guy that executed your father, that sort of stuff." "In early screenings of the film we had in Cambodia," says Courtin-Wilson, "the greatest compliment [came from] showing it to a group of Cambodian artists, musicians and filmmakers, and for them to say 'this feels like Cambodia today'. If we even came close to capturing that, that's all I would ever want." Ruin is on at the Melbourne International Film Festival on Wednesday, August 13, and Saturday, August 17. For tickets, see the MIFF website.
Founded by twins Cam and Chris Grant back in early 2017, Unyoked's tiny houses have been in high demand since the outset. There are 13 cabins across NSW, Victoria and Queensland, including one designed by Matthew McConaughey. All properties have been placed in secret patches of wilderness, in the middle of nowhere, allowing you to escape all the hustle and bustle of the city. The off-the-grid experience brings you the convenience and comforts of four solid walls, alongside the adventure, spontaneity and closeness-to-nature of camping. Unyoked's ethos is to connect back with nature to help unplug, alleviate stress and anxiety. Each cabin is designed to make you feel like you're part of the surrounding landscape, too. Think timber, oversized windows, solar power, composting toilets and a blissful lack of wi-fi. At the same time, though, simple comforts are taken care of, so you get a cosy bed, kitchen appliances, firewood, coffee, milk, herbs and the like. [caption id="attachment_745749" align="alignnone" width="1920"] Luisa Brimble[/caption] Images: Unyoked and Luisa Brimble
A night out at at one of Brisbane's top restaurants doesn't have to start or end with dinner. An evening at Stanley, the Cantonese go-to at Howard Smith Wharves, will soon be able to expand beyond your meal without leaving the premises, in fact. While there's no change to the eatery's operations downstairs in its heritage-listed 1930s-era former water police building by the river, the restaurant's upstairs space is relaunching as a new lounge bar called Stan's. Accordingly, of the city's best places to eat is about to become one of its must-visit places for a drink as well. Stanley announced its new addition early in September 2024, and will open the doors at Stan's on Thursday, October 3. So, when you're not tucking into a feast of dishes on the ground level — including yum cha daily for lunch — you'll want to head up a floor for beverages over snacks in a newly transformed part of the site. At Stan's, the vibe and the decor take inspiration from Hong Kong — and the idea is to mix old-world touches with modern flourishes as well. Think: jewel-hued furnishings and decor, such as rich red seating and velvet curtains in emerald tones; dark and moody lighting; antique mirrored wall panels, including the back bar; timber aplenty as accents; hand-painted mural walls across the private lounge; and aged brass cocktail tables to sit at. This is also a place to make shapes or simply enjoy DJ-spun tunes, thanks to a vintage JBL sound system. The promise for the music choices: extensive and eclectic. The bar will have folks on the decks most evenings, and also host album listening sessions in the middle of the week. Turning the space into a late-night dance floor is encouraged. Naturally, cocktails feature prominently on the beverage list — and the approach here is classic-meets-new, too. Martinis and daiquiris are highlights, with the signature martini menu letting patrons pic their gins or vodkas, bitters and extracts to taste. If you're just after spirits and you have some cash to splash, a collection of vintage tipples from around the world, some dating from as far back as the 60s, is also a drawcard. You'll find the range of rare drops on display in a custom-built cabinet. Stanley Executive Chef Louis Tikaram isn't just focusing on the main restaurant downstairs when Stan's begins trading. He's whipped up a new range of Cantonese bites just for the upper floor, designed to match the beverages. Options span steamed lobster and truffle dumplings, rolled peking duck pancakes and painted tropical crayfish, ensuring the venue's luxe vibes come through in its food offering. "My aim was to design a menu to complement the vibrant energy of Stan's, with every dish crafted to elevate your experience — bringing refined Cantonese flavours to life in a way that feels modern, approachable, and perfect for sharing alongside great music and drinks," explains Tikaram. "We've reimagined a space that captures the charm of Hong Kong's past while delivering an unforgettable bar experience where people can come together to enjoy exceptional drinks, food, music and service. It's an elevated offering while keeping the fun front and centre. We can't wait to welcome everyone to Stan's," adds Stanley and Howard Smith Wharves owner Adam Flaskas. Now start imagining how Stan's will fit into the newly announced development plans for HSW, which — if approved — include a second hotel, a new music hall, and an overwater pool. Find Stan's on level two at Stanley, Howard Smith Wharves, 5 Boundary Street, Brisbane, from Thursday, October 3, 2024 — open Monday–Thursday 3pm–1am and Friday–Sunday 12pm–1am. Head to the venue's website for more details.
Warwick Thornton, Cate Blanchett, Deborah Mailman, Nick Cave and Warren Ellis: name a better Australian quintet. The director of Samson & Delilah and Sweet Country, the two-time Oscar-winner and recent Tár tour de force, the local screen mainstay, and the Bad Seeds bandmates and seasoned film composers all combine not for the ultimate Aussie dinner party, but for The New Boy. None are debuting in their jobs. All are exceptional. They're each made better, however, by the luminous and entrancing Aswan Reid. As well as playing the titular part, the 11-year-old first-time actor lives it among such a wealth of acclaimed and experienced talent — and he's such a find in such excellent company, while saying little in words but everything in every other way, that Thornton's third fictional feature owes him as much of a debt as its applauded and awarded household names. There's a spark to Reid from the moment that he's first spied grappling with outback law enforcement under blazing rays as Cave and Ellis' (This Much I Know to Be True) latest rousing score plays. His sun-bleached hair couldn't be more fitting, or symbolic, but it's the confident way in which he holds himself as New Boy, plus the determined look on his face, that sears. Wily and wiry, the feature's eponymous figure is toppled by a boomerang, then bagged up and transported to the remote Catholic orphanage doted on by Sister Eileen (Blanchett, Nightmare Alley) in the 1940s. The cop doing the escorting notes that the kid is a bolter, but the nun is just as fast in her kindness. She sees what Thornton wants his audience to see: a boy that beams with his presence and through his sense of self, even though he's been snatched up, taken from his Country and forced into a Christian institution against his will. Sister Eileen is as drawn to him as the movie, but — and not just due to the red wine she likes sipping and the subterfuge she's keeping up about the resident father's absence — she isn't as certain about what to do. The path that any new arrival at the monastery is supposed to follow is preordained: uniforms, a dorm bed, porridge, helping in the fields, obedience and church. New Boy barely subscribes, donning only shorts, sleeping on the floor and cutting in front in the food line, which Sister Eileen permits. The abbey's two other adults, the nurturing Sister Mum (Mailman, Total Control) and farmhand George (Wayne Blair, Seriously Red), are welcoming yet know the reality that's facing all of the boys in their care, particularly the First Nations kids. In the priest's name, Sister Eileen might write letters to the government urging them not to send her charges away when they're considered old enough to work — the endgame to the state, especially with the Second World War impacting labour — but Sister Mum and George are lived proof that acquiescing and assimilating is the only outcome that will be accepted. There's a spark to the new boy, too, and literally. He's meant to pray away his Indigenous spirituality in the name of dutiful conformity, and in favour of Christianity, but the faith and culture that's as old as Australia's Traditional Owners glows. He's curious, though, including about the ornate, life-sized wooden cross that's sent from France for safekeeping during the war. He wants to undo its nails, free Jesus from crucifixion and give it the property's snakes as gifts. As Thornton peppers in religious imagery, New Boy displays more in common with its carved figurine than Sister Eileen knows how to handle. This is a tale of survival and, while always its namesake's story first and foremost, it also sees two sides to it: the First Nations lad ripped away from all he knows, as well as the nun that's gone renegade within a system that sees her as lesser because she's a woman. Writing and directing — as he did with Samson & Delilah, but not Sweet Country — Kaytetye man Thornton takes inspiration from his own experience as a child sent to a missionary boarding school ran by Spanish monks. In the process, he makes a moving and needfully blunt statement about the clash that's too often been enforced upon the country's First Peoples since colonisation. Indeed, simmering with anger but also hope, The New Boy is a clear, unshakeable rebuttal of the perennially ridiculous idea that only one faith, culture or way of life can exist. And, crucially, it feels as personal as Thornton's work gets; he isn't in front of the lens as he was with the also-remarkable The Beach, where he charted his own escape away from the incessant hustle and bustle of modern life, but the sensation that emanates from the screen is overwhelmingly the same. Thornton works as his own cinematographer on The New Boy, another trademark touch — see also: anthology film The Darkside, documentary We Don't Need a Map, plus the episodic Mystery Road and Firebite — which allows him to load every inch of every immaculate frame with deep and blistering emotion. There's no such thing as a passive image anywhere in any film by any director, but Thornton's beautifully shot movies ensure that his viewers can't evade the landscape that's been forever changed by white settlement. Here, he roves over the plains outside of South Australia's Burra, where every structure for the feature was erected from scratch, and where shimmering yellow fields of wheat grow atop the ochre earth that's been inhabited by Indigenous Australians for thousands of years. He sees how the terrain has been reshaped, but never forgets who was there first. With his oh-so-perceptive eye, Thornton's visuals stunningly do what New Boy does: expresses everything with little speaking necessary. In her first on-screen role in a solely Australian film since 2013's The Turning, Blanchett talks, of course. Where much of the picture around her bubbles with loaded patience, and Reid's innate naturalism, The New Boy's biggest star is the storm amid the deceiving calm. Consumed by her struggles with her own faith while tasked with instilling it into her charges, and also now challenged by the new boy that defies her sense of logic, Sister Eileen rarely stops moving, fretting, surveying, asserting, preaching and confessing — and Blanchett is magnetic to behold. That said, it's a performance with a needed counterbalance. Without Reid's serenity, Blanchett might've come on too strong. Without Reid, too, the fact that the eponymous character's quest to endure is tinged with hard-won optimism amid its palpable fury mightn't have shone through. No matter what happens, or how rarely he's accepted for who he is, New Boy always persists.
Maybe Sammy is no stranger to winning an award. It was named in the top 50 bars in the world in 2019, 2020 and 2021 — and named the Best Bar in Australasia at The World's 50 Best Bars in all three years. Back in 2019, it was also named the Best International New Cocktail Bar at the 2019 Tales of the Cocktail Spirited Awards in New Orleans. The Spirited Awards recognises the best cocktail bars from around the world since 2007, and this year Maybe Sammy has one-upped itself taking out two honours at the 2022 ceremony. Firstly, the bar's staff have been crowned Best International Bar Team, while co-founder Martin Hudak has also been awarded Best International Brand Ambassador. Maybe Sammy beat out the Best International Bar Team shortlist which included Columbia's Alquimico, Greece's The Clumsies and Spain's Two Schmucks to be named the cream of the crop in the areas of experience, professionalism, hospitality and consistency of service. While the entire team was recognised, Hudak was singled out and named Best International Brand Ambassador for his work with the beloved local coffee liqueur brand Mr Black. Maybe Sammy was the only Australian bar to be recognised at the ceremony. Elsewhere in the world, London featured heavily in the international categories, with Tayer + Elementary taking out the Best International Cocktail Bar, Sexy Fish being named Best International Restaurant Bar and the confusingly named A Bar with Shapes for a Name winning Best New International Cocktail Bar. Plus, Katana Kitten out of New York was named Best US Cocktail Bar, New Orlean's Jewel of the South took out Best US Restaurant Bar and fresh Albuquerque face Happy Accidents won Best New US Cocktail Bar. [caption id="attachment_794856" align="alignnone" width="1920"] DS Oficina[/caption] You can find the list of winners for the Tales of the Cocktail 2022 Spirited Awards at the award ceremony's website.
The second biggest country music festival in the world — after Nashville, nonetheless — Tamworth attracts tens of thousands of boot scooters every January. It's a ten-day shindig that takes over the entire town with outdoor concerts, pub gigs, bands, singer-songwriters, buskers, whip crackers, sheep dogs and every other element of country living you can think of. Best of all, much of the program is free. So, if you're on a budget, park your tent at Riverside Park and go wandering from gig to gig, without spending a cent. Every night, Toyota Park hosts a massive free concert under the stars, including the Toyota Star Maker Grand Final and the Toyota Busking Championships. Alternatively, splurge on a major show, like the Golden Guitar Awards (where pretty much all the best country stars of the year play a song or two). Or, if you're more into country mixed with contemporary sounds, check out the Cake & Cordial Sessions, which feature indie singer-songwriters, or Late Nite Alt, where secret acts play until 1.30am. Last year's crop included Henry Wagons, Shane Nicholson, Harmony James and the Wilson Pickers.
It's time to get the word "Jellicle" stuck in your head again: to mark 40 years since it first hit the stage in Australia, Cats has locked in a new season Down Under. Back in July 1985, Aussie audiences initially experienced Andrew Lloyd Webber's acclaimed production, which turned a tale inspired by poems from T.S. Eliot's Old Possum's Book of Practical Cats into an award-winning theatre hit. The place: Sydney, aka where Cats is heading again from June 2025. Four decades ago, the show pranced and prowled through Theatre Royal Sydney — and the new season will scamper across the boards there again, too. There's no word yet on whether the show's 2025 Australian run will make stops in any other cities, so if you're keen for some new Cats memories, booking a seat in the Harbour City is your only current way of guaranteeing them. "Cats is a legendary show that I've admired for over 40 years. A sparkling fusion of music, dance and verse, it was revolutionary when it first opened and enticed new audiences into the world of musical theatre," said producer John Frost for Crossroads Live about the new Aussie performances. "I can't wait to bring the original production of Cats back to Australia where it all began, at Theatre Royal Sydney, to celebrate its 40th anniversary in Australia." If you're new to Cats, it spends its time with the Jellicle cat tribe on the night of the Jellicle Ball. That's the evening each year when their leader Old Deuteronomy picks who'll be reborn into a new Jellicle life by making the Jellicle choice. And yes, "Jellicle" is uttered frequently. Of late, audiences might be more familiar with Cats as a movie. In 2019, the musical made the leap from stage to screen with a star-studded cast including Idris Elba (Hijack), Taylor Swift (Amsterdam), Judi Dench (Belfast), Ian McKellen, (The Critic) James Corden, (Mammals) Jennifer Hudson (Respect), Jason Derulo (Lethal Weapon), Ray Winstone (Damsel) and Rebel Wilson (The Almond and the Seahorse) playing singing, scurrying street mousers. If you ever wanted to see Swift pouring cat nip on a crowd of cats from a suspended gold moon, or were keen to soothe your disappointment over the fact that Elba hasn't yet been James Bond by spotting him with whiskers, fur and a tail, this was your chance. For its efforts, the Tom Hooper (The Danish Girl)-directed film picked up six Golden Raspberry Awards, including Worst Picture. But while the movie clearly didn't hit the mark, you can see why this feline-fancying musical has been such a huge theatre hit when it makes its Aussie stage comeback. View this post on Instagram A post shared by Cats Australia (@catsthemusicalau) Cats will play Theatre Royal Sydney, 108 King Street, Sydney, from June 2025. Head to the musical's website to further details and to sign up for the ticket waitlist. Images: Alessandro Pinna.
Sometimes, we all need to get a little lost. We need to leave our comfort zones and go wandering through an otherworldly realm, too. We need to explore light-filled mazes, bound through inflatable spaces and check out an electronic hall of mirrors, and just completely forget about our day-to-day troubles while we're moseying around a multi-sensory installation. And, we need the chance to do so for a few years. If all of that sounds like your idea of heaven, it first became a reality in Brisbane at Brisbane Festival 2021, and hasn't left since. First called Imaginaria and now named Imaginator Brisbane, this is an immersive playground for kidults and children alike underneath the Goodwill Bridge, next to Queensland Maritime Museum at South Bank — and it currently has Wednesday, January 31, 2024 as its end date. If it sounds a little familiar — and not just from being in the River City for a while now — that's because you might've heard about Imaginaria's Melbourne runs. When it set up shop in the Victorian capital for six months at the end of 2020, it welcomed in a lazy 100,000-plus people. And yes, its Brisbane stint has been busy. The installation is made up of different structures each filled with lights, sounds and smells. First, you take your shoes off — and then you wander. Cue artificial intelligence projections, for starters, as well as LED waves set off by sensors. Fancy interacting with giant silk parachute canopies? That's also on the list, as are cosmic gardens and an anti-gravity sunset. Of course an installation like this has an electronic hall of mirrors — and there's also a digital wishing well to tell your biggest desires. There's ten rooms in total, eight of which are brand new for Brisbane — and it's an all-ages, choose-your-own-adventure kind of experience, so you can spend 15 minutes skipping through or take your time. Images: Annette Dew / William Hamilton-Coates. Updated Monday, December 18, 2023.
Goodbye golden arches, hello golden fries: that's McDonald's new makeover at its world-first fry-thru pop-up. And if you're wondering what a fry-thru is, that's the term that Macca's has coined to describe it's new fries-focused restaurant, which will make Tumbalong Park in Sydney's Darling Harbour its home for the duration of the 2023 FIFA Women's World Cup. This fries-adoring McDonald's outlet won't just be serving up hot and crispy slivers of potato heaven in medium servings. It'll definitely be doing that, of course, but the space that it's selling them from is just as noteworthy. Head to the FIFA Women's World Cup Fan Festival to get some chips and you'll be ordering them from an eatery that's shaped like a giant packet of fries. If you've ever needed to see what a five-metre-tall version of Macca's potato slices looked like — and then get some fries from it — this is your chance. It's the dream that no chips lover ever realised they had, and it's coming true from Thursday, July 20–Sunday, August 20. Here, the question isn't "would you like fries from that?", because you're definitely getting fries. Instead, it's "would you like fries from that?". The giant packet of chips is pairing its medium fries with a couple of Macca's sauces of the world condiments, with outback barbecue sauce and wasabi-flavoured mayonnaise on offer to tie in with the Women's World Cup's participating countries. Not getting in on the fan fest fun but just want to drop by the restaurant? The fry-thru is open to both football fans hitting up the Fan Festival and the general public. Outside stadiums hosting Women's World Cup matches in Sydney, Melbourne, Brisbane, Perth and Adelaide, Macca's is also setting up an interactive photobooth that'll gives you a personalised collectable card, plus Macca's swings. [caption id="attachment_907652" align="alignnone" width="1920"] Johannes Simon - FIFA/FIFA via Getty Images[/caption] Find the McDonald's fry-thru in Tumbalong Park, Darling Harbour, Sydney, as part of the FIFA Women's World Cup 2023 Fan Festival from Thursday, July 20–Sunday, August 20.
The DC Extended Universe is dead. With Aquaman and the Lost Kingdom, the comic book-to-screen franchise hardly swims out with a memorable farewell, hasn't washed up on a high and shouldn't have many tearful over its demise. More movies based on the company's superheroes are still on the way. They'll be badged the DC Universe instead, and start largely afresh; 2025's Superman: Legacy will be the first, with Pearl's David Corenswet as the eponymous figure, as directed by new DC Studios co-chairman and co-CEO James Gunn (The Suicide Squad). Aquaman and the Lost Kingdom ends up the 15-feature decade-long current regime about as expected, however: soggily, unable to make the most of its star, and stuck treading water between what it really wants to be and box-ticking saga formula. Led by Jason Momoa (Fast X) — not Adrian Grenier (Clickbait), as Entourage once put out into the world — the first Aquaman knew that it was goofy, playful fun. Its main man, plus filmmaker James Wan (Malignant), didn't splash around self-importance or sink into seriousness in giving DC Comics' aquatic hero his debut self-titled paddle across the silver screen (after Momoa played the same part in Batman v Superman: Dawn of Justice and Justice League). Rather, they made an underwater space opera that was as giddily irreverent as that sounded — and, while it ebbed and flowed between colouring by numbers and getting winningly silly, the latter usually won out. Alas, exuberance loses the same battle in Aquaman and the Lost Kingdom. In a film that sets sail upon a plodding plot and garish CGI, and can't make an octopus spy and Nicole Kidman (Faraway Downs) riding a robot shark entertaining, any sense of spirit is jettisoned overboard. Having spent its existence playing catch-up with the Marvel Cinematic Universe, the DCEU does exactly that for a final time here. It isn't subtle about it; see: calling Aquaman's imprisoned half-brother Orm (Patrick Wilson, Insidious: The Red Door) Loki and ripping off one of the most-famous throwaway MCU moments there is. As with 2023's fellow Ant-Man and the Wasp: Quantumania, there's also such a large debt owed to Star Wars that elements seem to be lifted wholesale from a galaxy far, far away (and from a competing company, although it was still terrible when Disney was plagiarising itself). Just try not to laugh at Jabba the Hutt as a sea creature, as voiced by Martin Short (Only Murders in the Building), introduced reclining in a familiar pose and, of course, surrounded by a school of amphibious ladies. Not intentionally by any means, it's Aquaman and the Lost Kingdom funniest moment. 2018's initial Aquaman used past intergalactic flicks as a diving-off point, too, including Jupiter Ascending, but with its own personality — no trace of which bobs up this time around. Wan helms again, switching to workman-like mode. While he's co-credited on the story with returning screenwriter David Leslie Johnson-McGoldrick (Orphan: First Kill), Momoa and Thomas Pa'a Sibbett (The Last Manhunt), there's little but being dragged out with the prevailing tide and tonal chaos on show. Worse: ideas from abandoned spinoff The Trench, which was first floated as a horror effort about a villainous Atlantean kingdom but later revealed to be a secret Black Manta (Yahya Abdul-Mateen II, Ambulance) movie, get clunkily flushed in. While this should be Saw, Insidious and The Conjuring alum Wan's wheelhouse, Aquaman and the Lost Kingdom feels like the narrative equivalent of pouring the dregs of whatever's in Arthur Curry's liquor cabinet into one tankard. Now king of Atlantis as well as a father to Arthur Jr — the water-controlling Mera has become his wife, too, but that doesn't mean that Amber Heard (The Stand) says more than 50 words — the half-human, half-Atlantean best-known as Aquaman has another tussle with pirate David Kane to face. Bumped up to chief baddie, Black Manta is aided by dark magic manifested in the black trident, as found by a marine biologist (Randall Park, Totally Killer) who's endeavouring to prove that Atlantis exists. Aquaman and the Lost Kingdom's evil threat is also climate change, as exacerbated by its nefarious enemy on his vengeance mission after the events of the first movie. With the human and undersea realms alike beginning to boil, only Aquaman teaming up with Orm will give the planet a chance to survive. Pairing Momoa and Wilson odd-couple comedy-style like they're Hobbs and Shaw would've been one of Aquaman and the Lost Kingdom's best moves if the material was up to it. Their escapade amid the foliage on a volcanic South Pacific island — where the film wants to be a tropical creature feature, and also a Journey to the Centre of the Earth- and Jumanji-esque jaunt — is certainly the most promising visually. But here as across the entire flick, relying upon Momoa's charm to do the heavy lifting appears to be the number-one approach. In some pictures with some stars, that can work. Rom-com Anyone But You manages it thanks to Sydney Sweeney (Reality) and Glen Powell (Top Gun: Maverick), for instance. In Aquaman, Momoa had a mischievous ball and was a delight to watch. What everyone involved in Aquaman and the Lost Kingdom hasn't factored in is that this version of Arthur has swapped underdog roguishness for the overblown kind. Momoa remains visibly enthusiastic as the wettest of the DCEU's world-saving cohort, but Aquaman's cockiness is laid on as thickly as a kelp forest. Although there's no doubting that the movie's star can handle the part, it's a less-engaging, more one-note turn than his last jump into this ocean, and sells him short. Momoa commits, though, with the kind of gusto that Aquaman and the Lost Kingdom lacks virtually everywhere else. What happens when a film that clearly wants to be as ridiculous as it can be, or as dark, clashes with staying within the genre's routine lane? This shipwreck, which ends the franchise it's in and the saga's busiest year — after Shazam! Fury of the Gods, The Flash and Blue Beetle — with one of its worst entries. At least it didn't have to worry about setting up sequels or connecting to other DCEU fare, aka a welcome lifeboat.
School's back — and so is the escalating battle between humans and folks with superpowers, no shortage of chaos and gore, and nothing being quite what it seems at Godolkin University. Also returning at the centre of all of the above, as seen in the just-dropped full trailer for Gen V season two: the blood-bending Marie Moreau (Jaz Sinclair, Please Baby Please), her size-changing roomate Emma Meyer (Lizze Broadway, Kinda Pregnant), gender-shifting Jordan Li (Never Have I Ever's London Thor and Shining Vale's Derek Luh), the persuasive Cate Dunlap (Maddie Phillips, Overcompensating), super-strong Sam Riordan (Asa Germann, Monsters) and superhero Polarity (Sean Patrick Thomas, High Potential). This college-set spinoff from The Boys — which takes the latter's caped-crusader satirising to the next generation — first debuted in 2023 and was quickly renewed for a second run. Season four of The Boys arrived in 2024, and now it's time for Gen V's comeback from Wednesday, September 17, 2025, ahead of the Vought Cinematic Universe's OG series wrapping up with its upcoming fifth and final season. What if dealing with possessing superpowers turned higher learning into absolute mayhem? That's one of the concepts at the heart of Gen V — although the impact of part of the population having extraordinary abilities has always been at the core of the entire franchise. As the VCU's characters cope with the fallout from Homelander's (Antony Starr, G20) actions in The Boys, what if the Godolkin gang could rival him in strength? That's where Gen V is heading, too, the new sneak peek teases. As also seen in an earlier teaser for season two, there's a new uni head, Cipher (Hamish Linklater, Nickel Boys), on the scene with a far-from-trustworthy vibe. Indeed, he wants his pupils to be more powerful than ever. Marie's stint at the Elmira Adult Rehabilitation Centre, her home since the events of season one — and for some of her friends, too — comes to an end as well; however, going back to class isn't the same as it once was, including in a "Make America Super Again" world. Then there's the discovery of a secret program dating back to God U's founding. For those who missed Gen V 's initial season, Godolkin University is the college for superheroes that's meant to help prepare the best of the best for caped-crusader life — until exploding classmates, creepy secret facilities and unnerving professors complicate matters, that is. Season one spent its time with Marie, who knows that attending God U is a pivotal opportunity. After a traumatic experience when her powers kicked in, this is her chance to completely change her life, as well as achieve her dream of becoming the first Black woman in The Seven. Then, nothing turns out as planned. Also, things on campus (and underneath it) get shady, fast. The pair of glimpses at season two so far also dive into how the show is addressing an off-screen tragedy, after season-one talent Chance Perdomo (After Everything), who portrayed the magnetic Andre Anderson, passed away in 2024. Familiar faces from across the franchise feature in the new footage as well, alongside Ethan Slater (Wicked) joining the cast as Thomas Godolkin. Check out the full trailer for Gen V season two below: Gen V streams via Prime Video, with season two releasing from Wednesday, September 17, 2025. Read our review of season one.
Brisbane has long been partial to a party boat. The Island did the honours from the 80s through until early last decade, and Seadeck has cruised the river over the past couple of years. Now Yot Club has started sailing into the city's waters, and it's making quite a big splash — as you'd expect from a huge yacht with two bars, a stage, a dance floor and a 400-person capacity. Throwing its next series of shindigs between February–May, the glamorous, custom-built vessel calls itself "the world's first super yacht entertainment venue". It's certainly something that southeast Queensland hasn't seen before, at the very least. Sprawling over two levels, it measures nearly 40-metres long and over 22-metres wide, and blends a licensed floating club and a luxe function space, including room for 200 people to enjoy a sit-down meal. With lounges across an open deck and undercover, a VIP room in the hull, both general and ticketed events set to welcome guests, and the promise of bands and DJs on its lineup, Yot Club wants to be the region's one-stop watery hangout. It serves up more than water, of course, thanks to a menu of classic and creative cocktails, plus brews chilled in the 45-keg-capacity cool room. Yot Club sets off from South Bank's Ferry Terminal One, with tickets starting from $39. Dates vary between Saturday, February 15 and Sunday, May 17, but you can head along for a cruisy Friday night, or enjoy a watery Saturday or Sunday afternoon session. Images: Yot Club. Updated March 10.
Stepping inside Cloudland is like stepping inside nowhere else in Brisbane. There's no forgetting the feeling of indulgence that comes with visiting the Fortitude Valley mainstay, a vibe that flavours both its look and its lineup of events. That sensation is still on the menu on Ann Street, as it has been for 15 years now; however, a big change has transformed the venue's ground floor, turning the space into new restaurant Cloudland Garden from mid-2024. Consider this a blend of the beloved and the fresh, then — a fitting approach for a site that takes its name from a piece of Brisbane history, aka the dance hall that stood in Bowen Hills from the 1940s through to 1982. Hospitality outfit Katarzyna Group, which is also behind Valley Hops Brewing upstairs plus fellow Valley spots Empire Hotel and Press Club, has kept much of the interior design and artwork in place. That said, new seating and tables now await, plus a remodelled kitchen. And, of course, the lower level has gone all in on operating as an eatery, serving up a Mediterranean-influenced menu that heroes cooking by fire. The aesthetic remains decadent, complete with bespoke hardwood tables that feature solid marble insets, booths, wrought iron appearing heavily (including in pods) and being able to see into where the culinary magic is happening. While hanging out in such luxe surroundings, patrons can expect a lively time mood-wise. Share-style eats may be the focus, but Cloudland Garden hasn't skimped on its cocktail game, with 15 options on offer across both boozy and non-alcoholic tipples. If you're the kind of diner who starts with a drink, you can choose between sips that champion seasonal ingredients, as the food spread does. Go with the Agave Heat Wave for tequila, mezcal lime, jalapeño, coconut water and tajin rim, for instance — or with the Mango Gin Basil Smash for a mix of gin, lemon, mango and basil. The wine list has also experienced a revamp, spanning sparkling, champagne, rosé including sparkling champagne varieties, white, skin contact, red and dessert picks. Valley Hops unsurprisingly supplies the bulk of the beers on tap, but there are bottled brews as well. With Head Chef Alec Kapitz and Executive Chef Andrew Musk leading the charge, patrons have a feast of dishes cooked on an Argentinian parrilla charcoal grill to choose from, such as the wagyu ribeye. Or, the Fremantle octopus gets the woodfired treatment, as paired with smoked labneh and chickpeas. Butterflied spatchcock with chermoula and sorrel pops up among the other highlights, as do seared wagyu beef skewers, kingfish tartare, pan-seared scallops and lion's mane mushroom. And for dessert: malted crème brûlée with orange and pistachio biscotti, Basque cheesecake, charred pineapple with spiced rum and granita — plus coconut ice cream — and a cheese plate.
For anyone born after 1978, it's impossible to imagine a world without Jamie Lee Curtis playing Laurie Strode, grappling with the ultimate movie boogeyman and being one of the OG final girls. Forty-four years ago, the then film first-timer slipped into the role and battle of a lifetime, taking on Michael Myers in John Carpenter's initial, iconic and now-highly influential October 31-set slasher Halloween. The picture, and the part, both launched and defined Curtis' career — and she's returned as the Haddonfield, Illinois babysitter-turned-survivor six more times since. Curtis' on-screen resume doesn't lack in other highlights, of course. Reteaming with Carpenter in The Fog, riding the scream queen wave in Prom Night, winning a BAFTA Award for 80s comedy Trading Places and scoring another nomination for A Fish Called Wanda: she'd managed all that before the 90s even hit. Since then, Curtis has tangoed into action-hero territory in True Lies, dispensed motherly advice in the My Girl movies, swapped bodies with Lindsay Lohan in Freaky Friday, joined Veronica Mars on the big screen, gotten her murder-mystery on in Knives Out and sported hot dog fingers in Everything Everywhere All At Once. Laurie Strode and Laurie Strode only, she definitely isn't. Still, Curtis and Laurie will always be synonymous. When you keep stepping into a character's shoes for four-plus decades — and when that character is one of the most famous there is in horror movie history, too — that's going to happen. Now, however, the unthinkable is also occurring. Curtis will always be Laurie, but she's also saying goodbye to the constant target of Michael Myers' slash-happy rampages. Yes, Halloween Ends has the perfect moniker for that turn of events. The 13th entry in the Halloween franchise, Halloween Ends is also the third in a trilogy that started in 2018, brought Curtis back to the fold after a 16-year gap and has clearly been working towards closure ever since. Indeed, in this iteration — as directed and co-written by David Gordon Green (Stronger, The Righteous Gemstones), and produced by Jason Blum — Laurie has weathered the pain of being Michael Myers' prey, and worn that survivor's PTSD as firmly as her silver hair. She's prepared to face him down again. She's tried and thought she's won, only for the mask-wearing murderer to re-emerge. She's lost friends and family to the monster, and seen how deeply Michael's mayhem has affected her home town. In other words, she's been as fascinating a horror-film final girl as any movie, franchise, actor or audience can hope for, and she's earned her farewell. With Halloween Ends releasing in cinemas Down Under on October 13, we chatted with Curtis about the series, her legendary character, and what it's meant to earn a part as a teenager and leave it half a lifetime later — plus being not just the final girl, but the final woman. ON THE HALLOWEEN FRANCHISE'S MASSIVE SUCCESS — AND HUMBLE BEGINNINGS "No one knew. If anyone knew, we'd be in Vegas today and we'd be betting money on something because we'd have some prescient idea of knowing about the future. No one knew anything about anything. We were young filmmakers. The oldest person was 30. We were a crew of about 15 people. It was made in 17 days, shot fast and furiously, and it turned into something quite magical. But that's the art of the movies. That's what happens once in a while. I did a movie this year called Everything Everywhere All At Once, which was the same thing. A group of people getting together, 38 days in an abandoned office building in Simi Valley, California — and what came out was this phenomenon, this beautiful movie. No, nobody had any idea." ON RETURNING TO LAURIE FOR THIS TRILOGY AFTER A 16-YEAR GAP "Honestly, the last thing I ever thought I'd do was another Halloween movie. And the phone rang, and it was Jake Gyllenhaal. I was in my house up in the mountains, and Jake said 'my friend David Gordon Green would like to talk to you about a Halloween movie'. And I said 'okay'. He called me, and what drew me back was that David had written a script about really what happens to somebody 40 years after that level of violence and trauma happens to them, and I felt it was very realistic. It was everything I'd hoped H20 could've been, and wasn't. For me it just was truth. It felt like it was truthful. It felt like it honoured victims. It gave a truth to really what happens. How many times do we see a disaster happen, all the news cameras, everybody's camping out on people's lawns — coverage, coverage, coverage, coverage — and then they go away? Then what remains are all these people whose lives have been ruined, and we never see a story about what happens to them ever. I felt like that was what David wrote — a story about what really happens to people who suffer that level of violence." ON EVOLVING FROM FINAL GIRL TO FINAL WOMAN "I represent something as Laurie Strode, the survivor of Michael Myers, for all these years. I take it very seriously. I commit to it. It's very important. She's, by the way, not only the final girl, not only the final mother, not only the final grandmother — ultimately, as you said, she's the final woman. This is a woman in full possession of her own life, and facing fear head on in that a way that I think people admire and respect, and people have certainly loved Laurie over the years for that fortitude. And I owe them. The gravity of the way I approach this work is due to them. If I was sitting here joking with you about how fun it was, and how I'm friends with the guy who's in the mask, and it's all light and easy, then what the fuck am I doing? Then why am I here? It has to be with this level of gravity and respect for Laurie Strode, who is a real person to many, many, many, many, many people. And I am Laurie Strode." ON MAKING A NEW HALLOWEEN TRILOGY WITH SOMETHING TO SAY "It wasn't a trilogy to begin with. We didn't start it out a trilogy. That I found out after the fact. But more importantly, I think also what this movie really explores is how we victim-shame, how we start to blame the actual victims of the crime because of the communal experience. The town is without resources to process their grief and who do they turn it against? Laurie Strode. Look at how we do this all day long. Look at how we use social media. Look at Twitter. Look at these portals of hatred and vile antagonism that we use in the spirit of free speech and all of the rest of it. It's terrible. The movie explores that in a very big way." ON FAREWELLING LAURIE — AND WHAT IT'D TAKE TO COME BACK "I think it'd be hard to come back now. I can't imagine a world where a filmmaker is going to come up with a scenario that explores Laurie Strode's journey and her conflict with Michael Myers in any better way than David Gordon Green has done with these three films. But I never say never, because there are great filmmakers today, and who knows? Maybe Guillermo del Toro will come up with a plan for it, or a filmmaker who's brand new will come up with some breathtaking story that can figure out a way to weave a version of Laurie's story. Who knows? But from my practical standpoint — I'm a very practical person — I can't imagine it. It's been a very emotional trip, this tour of talking and meeting fans, and really talking about the import of Laurie Strode on their lives. I have tried to receive it all, and it's a lot. It's just a lot. It's going to be hard. But I also am very joyful. I have a lot of creativity because of Laurie Strode. I now have all sorts of creative stuff I get to do. So it's not that I'm never going to get to act again — quite the opposite, I get to do that more now than I ever got to before. I get to produce things in a way I never did before. I get to direct things in a way I never did before, all because of this 2018 trilogy. So I'm sad to say goodbye to fans, for sure. But I'm happy for the opportunities that Laurie has given me, absolutely." Halloween Ends releases in Australian cinemas on October 13. Read our full review.
Wearing a pair of R.M. Williams says 'I'm ready for anything'. You could be going to the pub, walking into a work meeting or heading out to the farm to milk the cows. Sparkly footwear doesn't quite conjure up the same feelings of practicality. Well, until R.M. Williams released a special run of boots in gold metallic. For the past two years, the Aussie bootmaker has released a limited run of metallic gold boots to much fanfare — the shoes sold out quicker than most of us could transfer all our money into one bank account to pay for them. So we're sure more than a few people will be happy to hear that R.M.s will release a new limited edition metallic boot, this time in silver. This time it's the women's Millicent boot that has received the sparkly treatment. As with each R.M. boot, these have been crafted out of a single piece of leather and feature the same slim shape, elegant stitching and tapered heel cuban heel of the regular Millicent range. Each pair will be made to order, so expect a two-week delivery timeframe. R.M.s are arguably Australia's most iconic shoe. From a modest start in the Adelaide outback servicing the stockmen and women of the heartland, 85 years later, a diverse range of people still wear the boots — from farmers in the outback, to corporate businessmen, to the style set at fashion week. Australian designer Dion Lee has used R.M.s regularly in campaign shoots and runway shows, even creating his own for New York Fashion Week in 2014. Continuing to embrace contemporary styles and adapting to modern fashion without sacrificing their DNA has surely guaranteed the longevity of this historic label. This latest addition to the women's range is only available online. At $545 a pair, they're not exactly cheap — but if you're looking for an investment piece, a pair of R.M.s is the very definition of the phrase. If you ask nicely, maybe someone will chip in for them for Christmas. R.M. Williams' silver Millicent boots are available to order now at rmwilliams.com.au.
There's only one problem with the beach: it can make you dumb. Seaside days are the most tempting time to read trashy chick lit and airport novels, but what does that do to your brain? And what if you forget your book altogether and are forced to passively admire the glittering horizon while your companions enjoy tales of adventure and romance? Enter the beach pop-up library: a terrific notion from French architect and industrial designer Matali Crasset (whose website is really worth a visit for playtime). Currently popping up at La Romaniquette in Istres, France, the cute 'Bibliotheque de Plage' boasts more than 350 titles, so there's little chance you wouldn't find something that appeals. Adding a personal touch to the venture, the books on offer have been carefully selected and include many of Crasset's own favourites: for example, the classic architecture text The Poetics of Space, Gaston Bachelard's beautiful and influential meditation on how we experience interiors. The beach library creates its own special space to be experienced, composed of a simple steel frame with tarpaulin wings that form three shaded alcoves for peaceful reading. The idea for the project arose partly out of local government's focus on encouraging literacy. It would be great if charming libraries like this one were a common sight beside the food and drink kiosks that appear on beaches, ensuring you would never be stuck without a quality seaside read again. Via PSFK.
Sydney comes alive in summer — long lunches segue into golden-hour drinks, warm evenings spill into the streets and the city buzzes with new exhibitions and openair experiences. Whether you're browsing a waterside market or diving into a boundary-pushing gallery show, this season is built for discovery. Instead of dipping in for a single exhibition or market visit, treat each outing as the start of its own mini escape. In the spirit of making the most of every sunny moment, we've paired five must-see summer events with nearby neighbourhood gems that showcase the breadth of Sydney's food, culture and creativity. The Rocks Markets: Christmas Edition Why it's unmissable Set beneath the Sydney Harbour Bridge, The Rocks Markets: Christmas Edition brings together local makers showcasing their wares for three festive weekends of openair browsing. Add woodfired pizza, gozleme and crepes into the mix — along with furoshiki gift-wrapping workshops — and you've got one of summer's most charming holiday pit stops. Find out more here. Make a day of it Once you've filled your tote, wander a few steps to Hooked and Harvest, The Rocks' sunny new fish and chippery serving market-fresh fish, freshly shucked oysters and flavour-packed salads. If you're after something with a deeper sense of place, Midden by Mark Olive heroes native Australian ingredients via refined dishes like kutjera-braised beef cheek, blue gum-smoked miso eggplant and Olive's signature Bush Pavlova topped with a native fruit coulis and wattleseed cream, all from a breezy spot under the sails of the Sydney Opera House. [caption id="attachment_921470" align="alignnone" width="1920"] Steven Woodburn[/caption] Wind down nearby As the sun starts to slip, take the lift up to Martinez, Circular Quay's breezy rooftop bar with Mediterranean coastal vibes, panoramic views and a bright drinks list made for golden hour. Extend your stay Make a weekend of it at The Russell Boutique Hotel, the charming new stay in the heart of The Rocks (and set right above Sydney's oldest pub). With its warm, character-filled rooms — some of which have direct courtyard access — and unbeatable proximity to some of Sydney's most iconic spots, it's an ideal base for an urban summer escape. [caption id="attachment_918689" align="alignnone" width="1920"] Eugene Hyland[/caption] RELICS: A New World Rises Why it's unmissable This immersive new exhibition at the Australian Museum transforms discarded objects into intricate LEGO® civilisations, from a grandfather clock reverse-engineered into a time machine to a cryogenics facility inside a vintage freezer. Part art installation, part nostalgic playground, it's a summer experience for kids and adults alike — and a reminder that creativity and curiosity have no age limits. Find out more here. Make a day of it Kick things off with coffee and a pastry — or an inventive breakfast plate like avo and kale bagel with peanut chilli sauce, or soft scrambled eggs swimming in chicken broth and served with garlic-buttered baguette — in the charming sandstone-framed courtyard of A.P Bread & Wine in Darlinghurst. Post-exhibition, stroll down to Woolloomooloo for a late lunch at Akti, the breezy, coastal-Greek diner serving moussaka croquettes, lamb shoulder with chimichurri and summer-ready cocktails overlooking the Finger Wharf. Wind down nearby Round out your day at Monica, Paddington's new sun-drenched rooftop bar overlooking the bustle of Oxford Street. Head up to take in sweeping skyline views, playful cocktail — like a rhubarb and grapefruit paloma on tap — in hand as the city lights flicker on. Extend your stay Not ready to go home? You don't have to — Monica sits on the roof of the new 25hours Hotel Sydney The Olympia, a design-forward Paddington boutique set in a heritage-listed former cinema. Its prime location offers easy access to some of Sydney's most vibrant neighbourhoods, with hire bikes available if you're keen to explore more. [caption id="attachment_1045265" align="alignnone" width="1920"] Emmaline Zanelli, 'Magic Cave', 2024-2025, installation view, image courtesy the artist and Museum of Contemporary Art Australia © the artist, photograph by Hamish McIntosh[/caption] MCA double-header: Primavera 2025: Young Australian Artists and A Conversation with the Sun (Afterimage): Apichatpong Weerasethakul Why it's unmissable While we're never short of reasons to visit Australia's home of contemporary art, this summer, the MCA is giving us two more. Running until early March, Primavera 2025: Young Australian Artists continues the annual exhibition's nearly four-decade legacy of providing a platform to Australia's next generation of artistic and curatorial talent. This year's works invite visitors to consider what it means to continue making art in a digital and post-industrial world. Find out more here. Also on show: Palme d'Or-winning filmmaker Apichatpong Weerasethakul's new cinematic site-specific installation for the MCA. The large-scale work — on display in the MCA Macgregor Gallery until early February — features video diaries projected onto floating fabric, creating a dream-like experience inspired by pondering the sun while walking in nature. Find out more here. Make a day of it Take a leisurely stroll around Circular Quay and drop anchor at Flaminia, the refined yet laidback venue by acclaimed chef Giovanni Pilu (Pilu at Freshwater) plating up Italian coastal classics alongside sweeping harbour views. Feeling adventurous? Hop on the ferry from Circular Quay to Manly and arrive at Felons Seafood for towering seafood platters, salt and vinegar martinis and a tap pouring Australia's coldest beer. Take a seat in the spacious outdoor terrace to soak up the sun, or nab a seat by the window for uninterrupted views across Manly Cove and Sydney Harbour. [caption id="attachment_1011783" align="alignnone" width="1920"] Steven Woodburn[/caption] Wind down nearby Next door to its namesake restaurant, Felons Manly brings the award-winning Brisbane brewhouse's beers to an expansive, sun-washed space, with regular events and live music keeping things lively throughout the evening. Or, follow the boardwalk around the shoreline to settle in at The Espy Manly, an alfresco bar serving up spritzes and sunshine in equal measure. If the mood is less wind down and more turn up, venture to neighbouring Freshwater and settle in at Bombies, a late-night bar and live music lounge that brings 1970s beach house energy to the rooftop of the historic Harbord Hotel. Extend your stay If there's a better way to start your day than at the beach, we're yet to find it. And at Manly Pacific Hotel, you'll wake up mere steps from the sand. And whether you choose to start your day with espresso on your sunlit balcony overlooking Manly Beach or you're popping across the road for a pre-breakfast surf, your morning will feel like its own little holiday. The Makers and Shakers Christmas Gift Market Why it's unmissable If you're hunting for holiday gifts with personality, this market at Rozelle's White Bay Cruise Terminal ticks every box: you'll find over 140 stalls selling Australian-made homewares, slow-fashion pieces and artisan treats in a bright, harbour-framed warehouse setting. Add drop-in workshops, kids' zones and free parking, and you've got all the ingredients for some feel-good festive shopping. Find out more here. Make a day of it Start the day with a hearty Middle Eastern-inspired brunch at The Rusty Rabbit, a light-filled corner spot in leafy Concord. If it's views you're after, it's hard to beat The Fenwick. This restaurant and art gallery on the edge of the East Balmain waterfront, set in an 1880s former tugboat store, plates up Italian-inspired fare and postcard-perfect views of the Sydney Harbour Bridge. [caption id="attachment_706208" align="alignnone" width="1920"] The Old Clare Rooftop[/caption] Wind down nearby Swap the Inner West waterfront for its indie bar scene. Start with the Inner West Distillery Trail, where small-batch gin, whisky and new-world spirits are poured straight from the source in tasting rooms across Rozelle, Marrickville and surrounds. The Inner West is also home to some of Sydney's best breweries, and the Inner West Ale Trail links a string of top-tier taprooms within a few easy kilometres. From hazy IPAs in sunny beer gardens to crisp lagers and barrel-aged sours in cavernous converted warehouses, it's a relaxed way to dig a little deeper into one of Sydney's most creative neighbourhoods. Extend your stay Make it a full weekend escape at The Old Clare Hotel, which blends luxe contemporary comforts with the character of a historic Chippendale building. By day, bask by the rooftop pool and bar, soaking up the city skyline with a drink in hand; then, wander into the laneways of Chippendale's buzzy food and bar scene to make a night of it. Ready to feel the Sydney side of summer? Discover the full calendar of what's on across the city at sydney.com.
When Princess Mononoke marked its 25th anniversary in 2022, the Studio Ghibli gem returned to cinemas. Because Hayao Miyazaki's movies should never be far from a picture palace, one his most-stunning features is making another big-screen comeback three years later. There's no milestone to celebrate this time, just an exceptional flick from a beloved Japanese animation house just because — as well as the fact that Princess Mononoke is getting both the 4K and IMAX treatment. This is also the first time ever that the 1997 film is being released in IMAX. So, no matter how many times you've seen it before, you haven't seen it like this. The date for your diary: Thursday, August 21, 2025. Language-wise, two versions of the movie are playing in both Australia and New Zealand: the original Japanese version, which is the one that every Ghibli fan should be flocking to, and the English-dubbed version as well. If you're a newcomer to this delight by the one and only Miyazaki — a film that only ranks behind Spirited Away and Nausicaa of the Valley of the Wind among the director's greats — get ready for a picture that makes a clear ecological statement. The iconic filmmaker has never shied away from doing just that; however, Princess Mononoke might just send his most forceful message about humanity's impact upon the earth. As set in Japan's Muromachi period (from the 14th to 16th centuries), the involving fantasy takes place among humans, animals and gods, all of which have been living in harmony until the movie starts. From there, the film charts the paths of a young prince with a curse and a young woman raised by wolves, as well as the conflict between a modernising town and the forest it's destroying. Every Studio Ghibli film is worth seeing — the animation house hasn't ever made a bad one, even if a few sit below the rest — but Princess Mononoke is a stone-cold classic. The highest-grossing Japanese feature of 1997, it's also the picture that helped bring the company's wonderful flicks to western audiences. If you do catch the English-dubbed version, the voice cast includes Gillian Anderson (The Salt Path), Claire Danes (Full Circle), Billy Crudup (The Morning Show), Minnie Driver (The Assessment), Jada Pinkett Smith (The Equalizer) and Billy Bob Thorton (Landman). Check out the trailer for Princess Mononoke below: Princess Mononoke returns to Australian and New Zealand cinemas from Thursday, August 21, 2025. For more information, head to the Crunchyroll website.
Yoda? Cartoon characters? Pamela Anderson emerging in slo-mo from the surf, flicking her hair to the Baywatch theme? Such are the visions that come to mind when viewing the high-speed photographs of violently shaking dogs, shot by Carli Davidson for her new book, Shake. With plenty more flabby skin and saliva at their disposal, our furry friends put human jowlers utterly to shame. Davidson appears to be a bit of a badass known for her wildlife photography, and according to her bio, was "raised on a secret volcano island by cheetahs". (Her biopic is recommended viewing). She first began photographing animals while working at the Oregon Zoo. The shake project was inspired by her pet dog Norbert (a name which I choose to interpret as an Angry Beavers reference), whose drool Davidson is apparently obliged to scrub from the walls of her home with some frequency. In Shake, she shares 130 high-speed photos of 61 dogs from a range of pedigrees, including a Chinese Crested, that exquisite breed famed for its tendency to win the World's Ugliest Dog competition each year. Different textures of fur coat and jowl surface area contribute to the extremity of 'shake', floppy ears and eyelids flying in opposing directions with a majesty comparable to that of hawks swooping above the Far Northern tundra. One can only imagine the sheer volume of drool lopped onto Davidson's bystanding studio assistants, who by the end must have resembled the victims of some terrible slug fight. The resulting portraits truly inspire — buy them singly as prints, ideal for your stylish home or super tasteful office wall. If that's just not sufficient, order the book on Amazon to be reminded of just how cute and demented doggies really are. The video below, created in conjunction with Variable, is an instant mood-lifter, as all kinds of puppies rattle and roll to an appropriately sentimental soundtrack. Via Colossal.
Short Grain marks a return to Brisbane for chef Martin Boetz, whose Longrain restaurants helped shape modern Thai dining in Australia. Inside Fortitude Valley's heritage Stewart & Hemmant building, he's created a space that's relaxed but serious about flavour – a restaurant built around punch, balance and decades of experience. The room is warm and light-filled, with exposed brick, arched windows and banquette seating, but the real energy is on the plate. The menu shifts seasonally while staying anchored in Thai technique: bright, herb-laced salads, hot and sour seafood, rich curries and slow-cooked meats designed for sharing. Flavours are layered and unapologetic. Sweet, sour, salty and spicy work in concert rather than competing. The wine list, largely Australian with thoughtful international additions, is calibrated to handle spice and intensity rather than overpower it. Short Grain isn't trying to reinvent Thai food. It's refining it with confidence.
A twisty tale of high-stakes British espionage — one that spans secret identities, torrid affairs, country-hopping missions and a world-in-peril situation, too — Operation Mincemeat desperately wants its audience to know about its 007 ties. When it introduces a man by the name of Ian Fleming (Johnny Flynn, The Dig), it lets the moment linger. It drops more than a few mentions of his fondness for writing about spy intrigue as well. And, when he refers to his boss Admiral John Godfrey (Jason Isaacs, Streamline) as M, the film even has him explain why. Fleming is also the movie's narrator, literally spinning a cloak-and-dagger story from the get-go. Plus, seeing him tapping away at a typewriter is a common image. Every single touch forms part of the feature's warm, well-meaning nod to the Bond, James Bond author's early years; however, it's also a tad distracting and unnecessary. Fleming is immersed in the IRL covert mission that Operation Mincemeat explores, and removing him would've been inaccurate, but the details themselves are fascinating enough without getting viewers thinking about tuxedos and shaken-not-stirred martinis. Operation Mincemeat is a war film, set in the darkening days of 1943. It's also just as much a heist film. Whether you've only ever seen one Ocean's flick, have memorised every single word of Reservoir Dogs, or loved Baby Driver or Widows in recent years, if you've seen one caper movie you know the setup: gather a gang together, work out the nitty gritty of a bold but tricky plan, endeavour to put the scheme into action, then weather whatever comes (be it success, failure or a bit of both). Adapting Ben Macintyre's book, which also spawned a 2010 documentary, screenwriter Michelle Ashford (Masters of Sex) is well aware of this formula. With director John Madden (Miss Sloane) behind the lens, Operation Mincemeat doesn't shy away from all of the heist basics for a second. But as with all the gratuitous Bond nods, a cracking real-life tale remains a cracking real-life tale — the kind that no one, not even Fleming, could convincingly make up. The titular gambit came about as much of the Allies' efforts in World War II did: as an effort to do whatever was needed to defeat Hitler. Britain needed to make its way into occupied Europe, but everyone involved knew it — including the Germans — ensuring that any standard move would've been oh-so-easy for the Nazis to predict. Enter the operation that might've been codenamed 'Trojan Horse', except that that label would've been much too obvious. The plan: getting documents about the Allies' purported and wholly fictional scheme to invade Greece to their enemies, misdirecting them, so that the invasion of Sicily could proceed with little resistance. The crucial detail: drifting those papers into Spain, where they could be reasonably expected to end up in German hands, by placing them with a corpse dressed up to look like a British military officer. Making that ruse stick — ensuring that the Nazis didn't smell a plant, specifically — was never going to be a straightforward move. It's one thing to nail the logistics of transporting the cadaver and its faux materials to the right place, and another completely to find a body that works, forge all the necessary documentation and build up a backstory so believable that it'd stand up to enemy scrutiny. As a result, Godfrey isn't keen on the operation, which was reportedly conjured up by Fleming, but it still gets the go-ahead anyway. Tasked with both fleshing and carrying it out are Naval Intelligence officers Ewen Montagu (Colin Firth, Supernova) and Charles Cholmondeley (Matthew Macfadyen, Succession), who amass a team of helpers including Fleming, Montagu's trusty chief secretary Hester Leggett (Penelope Wilton, Downton Abbey: A New Era), plus MI5 clerk Jean Leslie (Kelly Macdonald, Line of Duty). No heist plot ever sounds as exciting as it is when boiled down to a big-picture overview, and that's true of Operation Mincemeat. It's thrilling on-screen, though, including when it dives into the tiniest of gripping specifics. Don't trust anyone who tells you they lack attention to detail and don't care otherwise; when the minutiae is this compelling, focusing on every decision made, each item required, and every possible setback and struggle flows swiftly and easily. Body decomposition rates and submarine routes prove both essential and captivating, but it's the quest to establish the fictitious Major William Martin's personal life that's even more engrossing. That's how the widowed Jean comes into the narrative, and how the best of the movie's subplots starts to unfurl, with Cholmondeley sporting a crush but the married Montagu striking up a rapport instead. Another narrative thread, this time about Godfrey's suspicions that Montagu's dilettante brother Ivor (Mark Gatiss, The Father) might be a Communist sympathiser, is far less critical. Operation Mincemeat is a saggier movie with it included — but rolling out a ripping true tale, then occasionally bogging it down needlessly, is this spy caper's approach from start to finish. Thankfully, courtesy of Ashford's witty scripting and Madden's snappy helming, the handsomely shot feature always remains solid enough to mostly float rather than drag. And it does look the polished period- and mood-appropriate picture, too — with help from cinematographer Sebastian Blenkov, who managed the same with 2016's Their Finest — and engagingly balances its dark hues and dripping tension with cosy "keep calm and carry on"-style determination. Still, it's easy to wonder if Operation Mincemeat would've come together as skilfully as it has — aside from its few soggier inclusions — with any other cast. Enlisting men who've played romantic leads in Jane Austen adaptations works out nicely, spanning Firth and Macfadyen (Pride & Prejudice's Mr Darcy on TV and in film, respectively) as well as Flynn (Emma's Mr Knightley); silent yearning is silent yearning, whether over matters of the heart or for one's country and its success in global conflict. Macdonald is also as delightful as ever, and handles the love-triangle subplot with the grace and emotion it calls for. Indeed, it too might've felt superfluous if it wasn't so sincere, and didn't offer a lower-stakes example of the deceptions people spin and cling to — and the fictions they happily escape into — to keep buoyant. In fact, if viewers needed any other proof that this definitely isn't a Bond movie and really didn't need to emphasise its links to 007 so forcefully, unpeeling Operation Mincemeat's layers makes it as clear as a gleaming Aston Martin's bulletproof glass.
Kawaii alert: Hello Kitty and her adorable entourage are opening a colourful cafe in the heart of Melbourne. Opening on Friday, May 9, the Hello Kitty and Friends Cafe will be the first of its kind in Australia, bringing Sanrio's most iconic characters to life through food, art and, naturally, super-cute design. Popping up at Melbourne Central, this immersive, multi-zone experience merges Japanese pop culture with a bold dose of Melbourne flair, and is no doubt set to become a must-visit spot for fans of Hello Kitty, Cinnamoroll, Kuromi and My Melody. The whole concept has been brought to life by a team of Australian creatives, including art director Eddie Zammit — who was behind the striking visual identity for Hello Kitty's recent Chadstone pop-up — and illustrator Travis Price. View this post on Instagram A post shared by Eddie Zammit (@eddiezammit) Inside, you'll find four themed spaces, each dripping in pastel tones and Sanrio references aplenty. At the centre of the action is Cinnamoroll World, an ode to the eponymous cinnamon roll-tailed puppy. You can also explore the Friends Garden, where bespoke illustrations of Sanrio characters share the spotlight with Melbourne Central's iconic Clock and Coop's Shot Tower. In a rush? Stop by the Hello Kitty Corner, ideal for a quick, but no less cute, refuel to break up the shopping with a takeaway coffee and pastry. On the menu, you'll find appropriately kawaii Japanese-inspired picks, like strawberry sandos, fresh rainbow poke bowls and character-themed bento boxes that feel more like collectibles than meals. And that fourth themed space? That'd be a gift shop, stocked with limited-edition merch you won't find anywhere else. Think: embroidered patches, tees, plushies, key rings and monthly drops, all designed by Aussie creatives to celebrate the mash-up of the Hello Kitty world and Melbourne's creative energy. "This one-of-a-kind experience is a true celebration of two icons — Hello Kitty and Friends, and the vibrant city of Melbourne," says Silvia Figini, Chief Operating Officer Sanrio (EMEA, India and Oceania) and Mr Men (Worldwide). "We're proud to have seamlessly blended Sanrio's beloved aesthetic with Melbourne's unique spirit and creativity." The Hello Kitty and Friends Cafe opens on Friday, May 9, at Melbourne Central. For more info, head to the Melbourne Central website.
Cast Kate Winslet and Idris Elba in a survivalist drama, and you'd expect tension, thrills and impressive performances to follow. Cast them in a romance, and you'd expect hearts to melt like snow. Unfortunately, if you throw the pair into a combination of the two, the results are as mixed as the blend of genres. The actors are great in The Mountain Between Us, of course, but there's no mistaking the feeling that they're stuck in a marginally classier Nicholas Sparks-style flick. While Charles Martin actually wrote the book that this survivalist romance is based on, all of Sparks' basic elements are present. The diversity that Elba's involvement represents isn't something the author behind The Notebook is known for, but characters meeting in unlikely circumstances, struggling through tough times, and finding love while overcoming obstacles are Sparks' bread and butter. With The Mountain Between Us sticking closely to that formula, you know where the movie is going from the moment you sit down in the cinema. As such, only one question remains: can Winslet and Elba make it all worth it? The duo play Alex, a photojournalist heading from an assignment to her own wedding, and Ben, a neurosurgeon due to usher a sick boy into his operating theatre the next day. When bad weather strands them in Idaho at the last minute, Alex introduces herself and her plan to Ben. They'll charter a plane, beat the oncoming storm and get to their Denver destination in no time — and that might've worked out just fine if their pilot (Beau Bridges) hadn't had a stroke over Utah's white-topped mountains, causing them to crash. Soon, they're in the icy middle of nowhere with no phone reception, little food and an unnamed dog as their only other company. Prior to shooting, The Mountain Between Us went through a number of casting changes, from Michael Fassbender and Charlie Hunnam to Margot Robbie and Rosamund Pike. Given the end product, you can't help but feel that they all dodged a bullet. That Winslet and Elba are the best things about the movie is evident from the outset. Screenwriters Chris Weitz and J. Mills Goodloe don't do nearly enough to make Alex and Ben seem like well-rounded characters, while director Hany Abu-Assad does little more than make them look attractive. Even so, the pair manage to bring some much-needed nuance to their paper-thin parts. Bland dialogue, routine backstories and cliched plot developments can't frost over their natural charms or rapport entirely. As much as the actors do with the material, however, they can't quite lift the film beyond standard sappy romance territory. That's primarily because the movie isn't trying to be anything different — although it's not eager to be seen as disposable fluff, either. Accordingly, Abu-Assad is saddled with a juggling act that he just can't manage to master, asked to both show the stressful, solemn side of his characters' plight, while offering up warmth and hope as his protagonists slowly discover their affection for each other. Ultimately, he doesn't come close to succeeding. Still, at least the scenery looks great, as shot by Australian cinematographer Mandy Walker of Lantana, Tracks and Hidden Figures fame. https://www.youtube.com/watch?v=3jyzGKXBOxA
It's that time of the year: you've set your out-of-office, made the couch your new home, and only plan to leave to head to the beach, eat festive food or party. That means it's prime movie viewing time, and Google and Amazon have just the film-oriented gift for the occasion, offering up 99 cent film rentals. Need to catch up on The Jungle Book, Lights Out or Louis Theroux: My Scientology Movie? Get your Christmas mix courtesy of Love Actually, Elf or Die Hard? Revisit John Wick before the sequel arrives in cinemas next year? Or enjoy Popstar: Never Stop Never Stopping seeing that it didn't end up making it to Australian theatres? Here's your chance. The good news: Google Play's deal is available in Australia and runs until January 23, 2017, with a limit of one film per user. The discount is applied at checkout, and once you finalise the transaction you have 30 days to watch your pick. The not so good news: Amazon might've launched Prime Video on our shores just last week, but their rental service hasn't made the jump. Of course, if you're interested in renting something from their library and you're handy with a VPN, you might know how to make that happen.
Chamomile gin, quinoa vodka and moonshine are among the spirits now available for tasting just outside of Melbourne in Healesville, following the opening of brand new distillery Alchemy. The business has taken over a century-old bakery, which you'll find hidden away up a laneway, off the main street. And not only is there a cellar door, there's a cocktail bar and accommodation too. At the centre of Alchemy's operations is a hybrid pot still with a 100-litre capacity. This mighty machine enables founders Evan Kipping and Jannick Zester to experiment with a variety of left-of-field flavours and ideas. While the aforementioned chamomile gin, quinoa vodka and moonshine are Alchemy's core products, there's also a bunch of small-batch spirits on the go at all times. "Sinking our teeth into making multiple spirits has allowed us to collaborate with local producers," says Zester. "We've been overwhelmed with support and are currently playing with local strawberries, cumquats and grapes from the Yarra Valley." You're invited to taste Alchemy's offerings and/or settle in for a signature cocktail, craft beer or local wine — either indoors, at the bar, or out in the sunny beer garden splashed with greenery. If you want or need to sleep over, there's a two-bedroom apartment overlooking the main street that'll sort you out. To get more deeply involved, join Alchemy's barrel-ageing program. The crew is giving 100 people the opportunity to own their own 20-litre barrel. You'll start by going through the whiskey-making process, including mashing, distillation and fermentation, then, throughout maturation, make return visits to sample your creation. Two years down the track, choose to release the whiskey, stick with it as it continues to age or pop it in a bottle and take it home. Alchemy Distillers is now open at 242 Maroondah Highway, Healesville. For more info or to book a room, visit alchemydistillers.com.
"You know you're like the tenth guy to try this, right? It never works out for the dipshit in the mask." So scolds TV reporter Gale Weathers (Courteney Cox, Shining Vale) in the latest trailer for Scream VI, saying what everyone that's ever watched this slasher franchise has long known. But, if bad past outcomes for fellow Ghostfaces were going to stop the next killer in the horror-film saga from getting stabby, there wouldn't even be a new flick to begin with. If you like scary movies, then you've likely watched a Scream film or five over the last quarter of a century. And, across that period — ever since the OG feature became a box-office smash in 1996, then delivered 1997's Scream 2, 2000's Scream 3, 2011's Scream 4 and 2022's Scream, plus TV spinoff Scream: The TV Series — you've seen the saga's mask-wearing killer Ghostface slash his way through the fictional Californian town of Woodsboro multiple times, as well as a college in Ohio and then Hollywood. This time, however, he's following in The Muppets' footsteps and making a date with Manhattan. In both the initial Scream VI teaser trailer from back in 2022 and the just-dropped full sneak peek, New York City has an unwanted guest — and the current person donning a Ghostface mask is more than a little obsessed with their task. Early in the clip, there's even a shrine to the franchise so far, taking a trip down memory lane through the saga's history. There's also another familiar face: Hayden Panettiere (Nashville), returning to the fold as Kirby Reed following Scream 4. She joins Cox as Weathers, the last Scream's Melissa Barrera (In the Heights) and Jenna Ortega (Wednesday) as sisters Sam and Tara Carpenter, and Jasmin Savoy Brown (Yellowjackets) as the siblings' film-obsessed pal Mindy among the existing franchise players making a comeback to get stalked by Ghostface once again. Or, make that Ghostfaces. In the two trailers so far, it's clearly Halloween, and costumes abound on a NYC subway. Among all that spooky attire: more than one black-clad person in a Ghostface mask, making Sam, Tara and Mindy more than a little distressed. Ghostface also whips out a gun in a convenience store, slinks around New York's streets and gets Gale on the phone. Does the latter signal an end to one of the series' original characters? Amid references to other horror movies, and to the franchise's own past, that's how those kinds of scenes usually play out. Whatever's in store for Gale, Kirby and company — and whether Kirby might be the killer this time around, because this series does love links when it comes to Ghostface's identity — will be revealed in early March, when Scream VI hits cinemas. Ready or Not's Matt Bettinelli-Olpin and Tyler Gillett return to direct, as they did with 2021's Scream. Also involved, featuring on-screen: She-Hulk: Attorney at Law and The Other Two's Josh Segarra, Servant and The Grand Budapest Hotel's Tony Revolori, and Australian Nine Perfect Strangers and Ready or Not star Samara Weaving, plus Dermot Mulroney (Umma) and Henry Czerny (another Ready or Not alum). Check out the full Scream VI trailer below: Scream VI releases in cinemas Down Under on March 9. Images: Philippe Bossé.
