Like show, like trailers: that's the approach that HBO is taking with getting everyone excited about House of the Dragon's return for season two. Fiery feuds are this show's baseline — this franchise's as well, since Game of Thrones was also full of them — so the Targaryen-focused series has scored not one but two new sneak peeks at what's to come. HBO is calling them "duelling trailers", in fact, in a first for the US network. There's also a trailer for the duelling trailers — because this pair of promos is all about getting audiences to choose a side. Given that the green and black councils are doing battle, one for King Aegon II (Tom Glynn-Carney, Rogue Heroes) and the other for Queen Rhaenyra (Emma D'Arcy, Mothering Sunday), the pair of House of the Dragon trailers also split their allegiances. Accordingly, viewers get a glimpse of the tale that's set to unravel from each camp's perspective. Just like winter, which is when House of the Dragon season two will hit Down Under — HBO also announced a Monday, June 17, 2024 premiere date with its new sneak peeks — the Targaryen civil war known as the Dance of the Dragons is coming, then. In the initial teaser for this season, Rhaenys Targaryen (Eve Best, Nurse Jackie) told her niece Rhaenyra that "there is no war so hateful to the gods as a war between kin — and no war so bloody as a war between dragons". Because this is the Game of Thrones realm, expect the events that unfurl in House of the Dragon to make good on that observation. Also returning in season two as the fight for the Iron Throne continues: Olivia Cooke (Slow Horses) as Alicent Hightower, Matt Smith (Morbius) as Prince Daemon Targaryen, Rhys Ifans (The King's Man) as Ser Otto Hightower and Steve Toussaint (It's a Sin) as Lord Corlys Velaryon, plus Fabien Frankel (The Serpent), Ewan Mitchell (Saltburn) and Sonoya Mizuno (Shortcomings). HBO is also adding new faces to the mix, with Clinton Liberty (This Is Christmas) as Addam of Hull, Jamie Kenna (Gran Turismo: Based on a True Story) as Ser Alfred Broome, Kieran Bew (Warrior) as Hugh, Tom Bennett (Black Ops) as Ulf, Tom Taylor (Love at First Sight) as Lord Cregan Stark and Vincent Regan (One Piece) as Ser Rickard Thorne. They join Abubakar Salim (Napoleon) as Alyn of Hull, Gayle Rankin (Perry Mason) as Alys Rivers, Freddie Fox (The Great) as Ser Gwayne Hightower and Simon Russell Beale (Thor: Love and Thunder) as Ser Simon Strong among the season two newcomers. When it premieres in June, House of the Dragon's second season will arrive two years after the first debuted in 2022. Game of Thrones was always going to spark spinoff shows. Indeed, when HBO started thinking about doing a prequel six years ago, before the huge fantasy hit had even finished its run, it was hardly surprising. And, when the US network kept adding ideas to its list — including a Jon Snow-focused series with Kit Harington (Eternals) reprising his famous role, novella series Tales of Dunk and Egg and an animated GoT show, to name just a few prequels and spinoffs that've been considered, but may or may not actually come to fruition — absolutely no one was astonished. So far, just House of the Dragon has hit screens; however, A Knight of the Seven Kingdoms: The Hedge Knight, the Dunk and Egg adaptation, is now due in 2025. WithHouse of the Dragon, Game of Thrones' first spinoff jumps back into House Targaryen's history. When it initially roared into streaming queues, it became an instant success. Accordingly, as it delivered more complicated GoT realm relationships, flowing long blonde hair, dragons, stabbings and fights for power — and plenty to fuel a drinking game, as we created — it was quickly renewed for season two. The series kicked off 172 years before the birth of Daenerys and her whole dragon-flying, nephew-dating, power-seeking story, and gave HBO its largest American audience for any new original series in its history when it debuted. If you're thinking that House of the Dragon is basically a case of new show, same squabbles, as it was easy to foresee it would be, you're right. It's pretty much Game of Thrones with different faces bearing now well-known surnames — and more dragons. If you haven't yet caught up with the show so far, it dives into the battle for the Iron Throne before the one we all watched between 2011–19. Paddy Considine (The Third Day) started the series King Viserys — and it's exactly who should be his heir that sparked all the Succession-style fuss. The words "succession" and "successor" (and "heir" as well) got bandied around constantly, naturally. Also, Australian actors Milly Alcock and Ryan Corr were among the stars. This latest adaptation of George RR Martin's popular fantasy books — based on Fire & Blood, specifically — is bound to continue on for more than just two seasons, but that's all that's confirmed for the moment. Check out the duelling trailers (and the trailer for the duelling trailers) for House of the Dragon season two below: House of the Dragon streams Down Under via Foxtel and Binge in Australia, and SoHo, Sky Go and Neon in New Zealand, with season two arriving on Monday, June 17, 2024. Read our full review of season one. Images: HBO.
Anything blessed by Steve Jobs' touch turned to gold, so it's no surprise his biography is expected to be a major sell-out. It also helps that Walter Isaacson, who has documented the lives of Albert Einstein and Walter Benjamin, is the author. Jobs allowed Isaacson a no-holds approach to his life and everyone who knew him, resulting in a revealing deconstruction of how the young hippie with a disregard to rules and washing himself became a billionaire who changed the way we listened to music, communicated and used computers. The interview Isaacson did with 60 Minutes in the US over the weekend is a great option if you don't want to read the book but are still interested in Jobs' life and what he was like to write about - the story behind the story, so to speak. In the interview, Isaacson describes Jobs as "petulant" and "brittle." He could be an extremely mean person to anyone that crossed his path and didn't have the same demand for perfection as he did, be it a waitress who served him or someone who worked tirelessly at Apple. Isaason also notes that Jobs is probably the only person in the world with his kind of wealth who lived in a unremarkable house, without a long, winding driveway or threatening security fences. However, he refused to put a number plate on his Mercedes sports coupe. The biography is available in Australia now. Part One Part Two https://youtube.com/watch?v=LjUYfQ6CUu0
Prepare to exclaim "yeah, science!" like Jesse Pinkman — and to see a whole lot more of Aaron Paul's Breaking Bad character. The acclaimed series is making a comeback, cooking up a movie that'll serve as a sequel to the show's finale. In the spotlight: Walter White's former student and protege, who might just be in a spot of trouble. While this follow-up will span a single two-hour package, rather than span multiple episodes, it is still coming to a small screen near you. As revealed by The Hollywood Reporter, it's heading to Netflix before screening in the US on AMC, the network behind the original show. Just when it'll hit the platform hasn't been announced. First revealed last year, the film has a working title of Greenbriar, and begin shooting back in November. Plot details are scarce; however it'll reportedly focus on Pinkman and chart a kidnapped man's escape. It hasn't been confirmed if the former and the latter are one and the same, but it doesn't seem like much of a stretch to put them together. As Better Call Saul diehards are well aware, Breaking Bad has never completely gone away since the OG show wrapped up in 2013; however fans eager to look forward in the show's chronology, not backwards at the early life of Bob Odenkirk's shady lawyer Saul Goodman, have something to add to their must-watch list. There's no word yet on who else will feature in the film — and although Bryan Cranston confirmed the news of the movie, but whether he's in it or what it's about is still the subject of rumour. Via The Hollywood Reporter.
New Farm Deli and breakfast go together like eggs and hollandaise, like salmon and avocado or bacon and more bacon. Visit this early morning institution in the heart of Merthyr Village for weekend brekky and you're guaranteed to encounter a bustling, buzzy crowd seated both inside and out, watch orders fly out the kitchen and onto the tables of hungry patrons or hear the non-stop whir of the coffee machine as it grinds Di Bella beans and steams the milk for the caffeine cravers. Churning out endless cups of coffee and plates of every bacon and egg combination imaginable is a breeze for these guys, which they do seven days a week. With a menu a mile long you won't struggle for choice – in fact the sheer number of options available makes ordering a serious affair! If you too can't decide between the Fresco (smoked salmon, avocado and grilled tomato on toast) and the Merenda (pan fried mushrooms, Roma tomatoes and bacon on toast) but have the usual unwavering hankering for haloumi, you can simply make your own combination. A plate of poached eggs, grilled Roma tomato, haloumi, avocado and mushrooms with Turkish bread prove New Farm Deli are flexible and put the customer first. Not only can you choose from an endless list of breakfast options or make your own here, there are also made-to-order or cabinet-ready sandwiches and rolls as well as tarts, quiches, salads, burgers, generous bowls of pasta and an array of mouth-watering sweet treats that taunt you from behind the glass. Think hearty, homemade Italian-Mediterranean. Plus the Deli adjacent means you can pick up your specialty produce at the same time. Once you've drained the last drop of Di Bella or polished off your eggs browse the cheese and small goods counter or pick up various sized jars, cans and bottles of imported goods. New Farm Deli might not be winning any awards for food innovation or breaking new ground but boy do they know how to serve up comfort food, just the way you like it.
Strolling through stunning lights as far as the eye can see, moseying beneath a canopy of glowing multi-coloured trees, wandering between ribbons of flashing beams, enjoying the most-luminous two-kilometre stroll through nature that you can imagine: you'll be able to do all of this again when Lightscape returns to Brisbane in 2024. If you went to the 2023 version, this second Lightscape stint in the Queensland capital will also take place as part of Brisbane Festival 2024. For two years in a row, one dazzling event hosts another, then, with this year's iteration running from Thursday, August 29 and staying around for a few weeks post-fest until Saturday, October 12. Once more, the after-dark light festival is taking over the Brisbane City Botanic Gardens, beaming away from 5.45pm each night. Prepare to see the garden illuminated by immersive and large-scale installations scattered along the lengthy route, including sparkling trees, lit-up walkways and bursts of colour that look like fireworks. A big highlight: large-scale works like giant flowers and glowing tunnels, both of which will make you feel like you're being bathed in radiance. But don't go thinking that you'll just be repeating what you saw last year, because 2024's Lightscape in Brisbane has a few new additions courtesy of works by Queensland First Nations artists Paul Bong (aka Bindur Bullin) and Michelle Yeatman. The whole experience has also been reimagined, in fact. Also, pop-up food and drink stalls will be scattered throughout the walk. Lightscape first hit Australia in 2022 after initially taking over gardens across the United Kingdom and the United States. Developed by Royal Botanic Gardens, Kew in the UK, it's understandably proven a huge success — and more than two-million people wandered along its glowing trails in a single season overseas. "I am delighted to welcome a new version of last year's festival favourite, Lightscape, to once again delight and dazzle visitors to Brisbane's beautiful inner-city oasis," said Brisbane Festival Artistic Director Louise Bezzina. "This year's Brisbane Festival program encourages us to embrace frivolity and I cannot imagine a more fitting place to do so than among technicolour trees, fields of luminous blooms and ethereal soundtracks." [caption id="attachment_960564" align="alignnone" width="1920"] © Photography by Jake Davis[/caption] Lightscape will light up the Brisbane City Botanic Gardens from Thursday, August 29–Saturday, October 12, 2024. For more information or to buy tickets, head to the Lightscape website.
In response to a growing cluster of COVID-19 cases in Brisbane's west and the Ipswich area, as linked to an employee at the Brisbane Youth Detention Centre in Wacol, the Queensland Government has implemented changes to current gathering caps in parts of the Sunshine State. For residents in some areas in Queensland's southeast corner, limits have tightened for both groups inside the home and meetups outside of the house — with the new rules coming into effect immediately. Announced today, Saturday, August 22, by Premier Annastacia Palaszczuk, the restrictions apply to folks living in the Brisbane, Ipswich, Logan City, Scenic Rim, Somerset, Lockyer Valley, Moreton Bay and Redlands local government areas. In these regions, you can now only have ten visitors over to your home, while outdoor gatherings — in parks, for example — have also been capped at ten people. Yes, that means that house parties and mass hangouts both indoors and outside are off the cards again, and your weekend plans might now change. Revealing the new limits, Premier Palaszczuk advised that the government is "concerned about the now total of seven cases linked to the youth detention cluster. We're concerned about this cluster because people have been out and about in the community". https://twitter.com/AnnastaciaMP/status/1296944872914472960 For gatherings at home, you can have a maximum of ten people in your house — which spans people who don't normally live with you and residents. Visitors can come from different households, too. For gatherings in public, the maximum number of people that can be in one group is ten. That cap includes you, plus any other members of your household. As explained by Queensland Health Minister Steven Miles in today's press conference, the new public caps also apply to venues — but only those without COVIDSafe plans in place. "That is a limit of ten people at any venue without a COVIDSafe plan in those regions... Of course, community sport, pubs, clubs, cafes and restaurants have COVIDSafe plans, so they can continue to have gatherings greater than those numbers. But it is important that they strictly apply the plans particularly social distancing and the collection of contacts and contact details across this weekend". Also, hospitals in affected areas have been asked to restrict visitors, and all emergency departments, aged care facilities and disability accommodation facilities will use Personal Protective Equipment including face masks and gloves to treat all patients and residents. Across the rest of Queensland — so, everywhere outside of the Brisbane, Ipswich, Logan City, Scenic Rim, Somerset, Lockyer Valley, Moreton Bay and Redlands local government areas — new gathering caps have also been introduced. Residents in these areas will only be permitted to have 30 visitors over to their homes, and to gather in groups of 30 in public areas. The widespread changes come as Queensland announced nine new COVID-19 cases today, including six linked to the Brisbane Youth Detention Centre. As always, even with increased restrictions on gatherings, the usual advice applies. Queenslanders should maintain social distancing and hygiene measures, stay home where possible, and get tested at the first sign of even the most minor of coronavirus symptoms. For more information about southeast Queensland's new COVID-19 gathering restrictions — which have already come into effect, and apply in the Brisbane, Ipswich, Logan, the Scenic Rim, Lockyer Valley and Moreton Bay and Redlands local government areas — visit Queensland Health's latest COVID-19 update. For more information about the status of COVID-19 in Queensland, head to the QLD COVID-19 hub and the Queensland Health website.
Australia is teeming with ace things to do every single week, which won't be news to Concrete Playground readers. It's also filled with stellar and stunning places to head, which won't be a revelation either. Still, every year, the Australian Interior Design Awards names and celebrates the best of the best when it comes to indoor spaces to hang out, live and work in. And, 2022's dazzling crop of winners have just been announced. Back in April, AIDA unveiled its 2022 shortlist, which was filled with impressive spaces in hospitality, residential, workplace, retail and public settings. Whittling down those contenders to a list of winners must've been a tough gig, but it's one that the judges clearly relished. Their picks are spectacular, naturally. [caption id="attachment_858619" align="alignnone" width="1920"] Troy Sivian's house. Image: Anson Smart.[/caption] Nabbing the Premier Award for Australian Interior Design: Clare Cousins Architects for Stable and Cart House in North Melbourne, which the jury said was "sublime in every way". Located within a 1920s brick warehouse, the home also took out the Residential Design category, and was singled out for the way it "beautifully balances the retention of an existing building with very bold and practical new insertions". If that's not enough home inspo for you, the 2022 Residential Decoration Award went to Flack Studio for Troye Sivan's house, also in Melbourne. Yes, you'll want to live there. Indeed, making sure that the tri-level abode, which has big London vibes and was originally a 19th-century hardball court, reflects its famous occupant was a big reason why it scored a gong. The home boasts a "strong sense of the client's character through a beautiful curation of art, furniture, lighting and objects in a way that doesn't feel forced or contrived," the jury said. [caption id="attachment_858637" align="alignnone" width="1920"] Arkhé. Image: Timothy Kaye[/caption] Announced at a dinner the Hyatt Regency Sydney on Friday, June 17, AIDA's 2022 winners also include Studio Edwards for Finesse Shoe Store — still in Melbourne, this time in Collingwood — which took out the Retail Design field. As well as displaying and selling rare and limited-edition kicks, the sneaker store is clearly quite the covetable space itself. Up in Sydney, YSG Studio nabbed the Interior Design Impact gong for Edition Roasters in Haymarket, while Adelaide's Arkhé claimed the Hospitality Design Award for Studio Gram. [caption id="attachment_828028" align="alignnone" width="1920"] View of Eucalyptusdom showing commissioned work Pyriscence: After Fireby Anna May Kirk. Image: Zan Wimberley.[/caption] Back in Melbourne, the Monash Robotics Lab scored the Public Design prize, with Studio Bright doing the honours. Meanwhile, Sydney's Powerhouse Museum took out the Installation Design category for exhibition Eucalyptusdom, a win for SJB in collaboration with Richard Leplastrier and Vania Contreras. In that same field, one of the most luminous new additions to the Australian art scene also picked up a commendation: digital-only, multi-sensory art gallery The Lume, with Decibel Architecture behind its stunning design. [caption id="attachment_858618" align="alignnone" width="1920"] The Lume.[/caption] For the full Australian Interior Design Awards 2022 winners list, head to the AIDA website. Top image: The Lume, Decibel Architecture.
After announcing that they would expand to Western Australia this year, the Falls Music & Arts Festival have this morning announced the dates for their four-city schedule and one kickass headliner: Childish Gambino. Yep, musical (and acting and writing) wunderkind Donald Glover will return to Australia to play all four shows over the New Years period. It's his first visit back since playing Listen Out Festival last year. As always, Falls will be heading to Lorne in Victoria for four nights, and Marion Bay in Tassie and Byron Bay on the NSW coast for three nights over New Year's Eve. They'll also be setting up shop in Fremantle for the first time with Falls Downtown, a two-day city festival slated to take place over the weekend of January 7-8. The main stage will be set up in Freo's town square, while an old-world ballroom and a stone-walled church will house the smaller ones. They'll also be taking over the abandoned Myer building, turning it into a creepy crib for art installations, "unexpected performance areas", markets and "bunkered basement danceterias". There'll even be a small number of glamping tents on the roof. It sounds similar to some of Melbourne Music Week's activations of abandoned spaces, and it sounds insane. This new iteration of the festival and the announcement of Childish Gambino as headliner is another win for Falls, who sell out their Lorne event basically every year. Since its inception in Lorne back in 1993, the festival has grown to span three cities, which include the original site on the Great Ocean Road, Marion Bay in Tassie and, since 2013, Byron Bay. But here's the dates. The full festival lineup will be announced on Tuesday, August 23. Start planning. Lorne, Victoria: December 28-31 Marion Bay, Tasmania: December 29-31 Byron Bay, NSW: December 31 - January 2 Fremantle, WA: January 7-8 For more announcements from Falls Festival, visit their website.
You can never be bored on Boundary Street. That's just a fact of Brisbane-based life. Pick any three spots, make an agenda and you've got a fun morning out — including browsing for secondhand clothes, settling in for breakfast at an iconic eatery and boosting your reading list. SWOP Clothing Exchange has the first part taken care of, but if you're heading by on a day other than Friday, don't forget to make an appointment. Then grab brekkie at the Gunshop Cafe, aka West End's favourite spot, before spending a healthy amount of time rifling through the shelves — and asking the staff for recommendations — at Avid Reader.
Career-wise, the past decade has been kind to Australian filmmaker Warwick Thornton. It all started back in 2009, when he won the Cannes Film Festival's Camera d'Or — the award for best first feature — for the fantastic Samson and Delilah. Since then, he has explored ghost stories in The Dark Side, and opened the Sydney Film Festival with We Don't Need a Map, a documentary exploring the prominence of the Southern Cross in Australian culture. In 2017, he also directed one of the best, most blistering Australian westerns ever made, Sweet Country. And, more recently, he co-helmed the second six-part season of TV series Mystery Road — which premiered at this year's Berlin Film Festival before hitting screens Down Under. All that hustle and bustle has had an impact, however, as his next project explores. In The Beach, Thornton documents his own quest to step back from his busy life by living alone on an isolated stretch of sand by the shoreline — at Jilirr, on the Dampier Peninsula on the northwest coast of Western Australia. Thornton directs the exquisite-looking documentary, with his son — Robbie Hood and Finke: There and Back filmmaker Dylan River — shooting the entire series. As well as helming, Thornton obviously stars in the six-part series, too. And it's understandably a highly personal affair; "The Beach is one of the most important projects of my life. It's about my life. It is my life," the acclaimed director explains. Accordingly, when the documentary hits NITV, SBS and SBS On Demand on Friday, May 29 — airing on NITV and SBS simultaneously in one big block, and dropping on the broadcaster's streaming platform at the same time — it'll chronicle Thornton's efforts as he lives alone, endeavouring to follow in the footsteps of his ancestors, the Kaytetye people. Solely relying upon the land, he spends his days in scenic surroundings while hunting and gathering for food, with the docuseries observing unobtrusively as he attempts to transform his existence, connect to Country, and nourish both his body and spirit. As the just-released trailer shows, it makes for quite the striking viewing. And, given the current state of the world, immensely timely viewing too. Check out the trailer below: https://www.youtube.com/watch?v=qaMIcuVH83M All six episodes of The Beach will air on NITV and SBS on Friday, May 29, with the docuseries available to stream via SBS On Demand from the same time.
Does a cocktail, meal or cup of coffee taste better when it's served up in stunning surroundings? It shouldn't, but interior design is still a pivotal part of the hospitality experience. So recognises the Australian Interior Design Awards, which also highlights spectacular decor in shops, workplaces, homes and public settings — and the annual gongs have just revealed 2024's shortlisted venues. Now in its 21st year, AIDA has found more than a few bars, restaurants, cafes, houses, offices, retailers and the like that it considers supremely stylish. This year's shortlist includes 222 projects from around the country (plus a few overseas that spring from local talent), which is a record for the awards. Not all of them are hospo joints, of course; however, the next time that you're keen to hang out in chic digs while you get sipping and eating, you'll have more than a few choices. And, the same goes for whenever the urge to browse and buy strikes, too. [caption id="attachment_949107" align="alignnone" width="1920"] The Wolf Dining and Bar, Brock Beazley[/caption] Hospitality design contenders include Capella, Longshore, Bar Besuto and Hanasuki in Sydney; Reine and La Rue, The Ritz-Carlton, The Lyall, Antara 128, Enoteca Boccaccio and Purple Pit in Melbourne; and The Wolf Dining and Bar and the revamped Gerard's in Brisbane. South Australia's Pinco Deli, Fugazzi Basement and Evergreen Cafe also made the cut, as did Ember Bath House, Lawson Flats, Canteen Pizza and Yiamas in Western Australia. In the retail design category, Dissh Bondi, Sydney's LeTAO and Gelato Messina Newtown are up against Melbourne's Pidapipó Laboratorio and G McBean Family Butcher, to name just a few places on the shortlist. And, the public design field includes UQ Brisbane City, Art Gallery of New South Wales' library and members lounge, and stage three of Geelong Arts Centre. [caption id="attachment_929402" align="alignnone" width="1920"] Capella Sydney, Timothy Kaye[/caption] The rundown goes on in all fields, which means that — as proves the case every year — there's no shortage of strikingly designed new, revamped and refurbished places demanding your attention around around the country. This year's winners will be announced in-person at a dinner the Sofitel Wentworth in Sydney on Friday, June 14. [caption id="attachment_922655" align="alignnone" width="1920"] Antara 128, Haydn Cattach[/caption] [caption id="attachment_905603" align="alignnone" width="1920"] Longshore, Jason Loucas[/caption] [caption id="attachment_927271" align="alignnone" width="1920"] Enoteca Boccaccio, Peter Clarke[/caption] [caption id="attachment_928198" align="alignnone" width="1920"] LeTAO[/caption] [caption id="attachment_949111" align="alignnone" width="1920"] Gelato Messina Newtown, Jack Fenby[/caption] For the full Australian Interior Design Awards 2024 shortlist, head to the AIDA website. Top image: Como Restaurant by Cieran Murphy.
The festive season might be one of the happiest times of year for many, but there's no denying it can come with an all too heady financial hangover in the new year. And that's a shame because summer's most unmissable events do waggle a price tag. That's why we've teamed up with American Express, which offers a solution for Amex Credit Card card members to split a big cost into manageable sections. That's the idea behind Plan It® Instalments, a feature that allows you to split payments into instalments with no interest to be paid over 3, 6 or 12 months — T&Cs apply. But how can you use Plan It Instalments to live your best life? All over Australia's east coast, there are headline events you can secure a ticket to right now. [caption id="attachment_978661" align="aligncenter" width="1920"] Sydney Gay and Lesbian Mardi Gras Parade on March 2, 2023[/caption] Sydney The Harbour City rarely has a shortage of things to do. Many summer events take place in the prettiest (and busiest) parts of town, which only increase ticket prices. For a more relaxed but oh-so-luxurious alternative that's just as close to the water, a Sydney must-see is the Westpac OpenAir Cinema. With a program of indie films and blockbusters alike and food supplied by three on-site eateries from top Sydney chefs against a backdrop of the Sydney skyline and harbour, this isn't your average cinema experience. The pricing is worth it and easily broken down with Plan It Instalments. Finally, one of Sydney's biggest events returns in February to round out the season: Sydney Gay and Lesbian Mardi Gras Festival. This citywide celebration runs from Friday, February 14 to Sunday, March 2 and has a whole host of offerings. Sure, some events, like the main parade, are free — but many of Mardi Gras' most fun experiences are ticketed. Be it drag brunches, boat parties, concerts and more; you can secure a spot for yourself and any fellow partygoers today. [caption id="attachment_913351" align="aligncenter" width="1920"] Daniel Boud[/caption] Melbourne Down south in Melbourne, the offering is as stacked as ever in the heat of summer. Don't let the adverse weather stop you from having a good time. Melbourne is kicking off 2025 with a culture-heavy events program and Plan It Instalments will prevent the headline items from denting your savings when you need them. A truly fabulous event is at the top of the cards, TINA: The Tina Turner Story. The musical tells the story of an icon beloved by Australians and is so much more than just a biography. It's a toe-tapping dive into the life of the queen of rock 'n' roll and includes 20 of her most popular songs. Book using Plan It Instalments and get some seats before the show leaves Melbourne for good on Sunday, March 2. If you fancy heading further afield, up in Falls Creek is Feastival. Sure, this alpine town is generally a winter destination, but this three-day festival at the tail end of February will bring a new level of festivity outside of peak season. What's on the cards? Feasting (duh), comedy shows, paint and sips, pilates, heritage walks and a massive weekend of music featuring The Cat Empire, Budjerah, Azure Ryder and more. Make it a great getaway that goes steady via Plan It Instalments. Brisbane Up north in the River City, summer is the season of concerts. The regular summer offerings go on in force, but some of the hottest tickets in town are courtesy of artists stopping by on global tours. Then, on Tuesday, February 25, comes the long-awaited return of The Goo Goo Dolls to Australian shores. On their first visit in 20 years, they'll be joined by Thirsty Merc as they blow the roof off of the Brisbane Convention and Exhibition Centre with banging ballads like 'Iris', 'Slide', 'Just the Way You Are' and more. Finally, an icon among icons, Kylie Minogue, is playing two shows at the Brisbane Entertainment Centre as a part of the Tension Tour on Wednesday, February 26 and Thursday, February 27. Plan It Instalments is available for American Express Credit Card Holders for plans over $100. For more information, visit the website. Plan It Instalments Terms and Conditions: You can create an Instalment Plan as long as your account is in good standing. We may withdraw this offer, prevent you from creating any new Instalment Plans or cancel any of your existing Instalment Plan(s) at any time if your Card Account is overdue, or if you do not comply with your Card Conditions. The minimum Plan amount is AUD$100. We may also limit the amount that can be transferred to an Instalment Plan. You will be charged a Monthly Plan Fee for each Instalment Plan created. This fee will be charged each month your Instalment Plan is active and will be disclosed to you at the time of creating your Instalment Plan. Each Instalment Plan will begin from the date it is successfully created, as communicated to you in your Online Account. Payment of your first Monthly Instalment will be due in your next payment cycle. You may request to cancel your Instalment Plan(s) at any time through your Online Account or the Amex App. Any billed Monthly Plan Fees will remain payable, but no further Monthly Plan Fees will be billed after cancellation is effective. As cancellation can take 24-48 hours to process ("Processing Time"), you may be charged a further monthly plan fee after requesting cancellation if the Processing Time occurs on your payment date. View the full Plan It Instalments Terms and Conditions here. American Express Consumer Credit Cards are offered, issued and administered by American Express Australia Limited ABN 92 108 952 085, Australian Credit License No. 291313.
Air guitar enthusiasts will be treated to a garment that makes it even easier to live out their rock star fantasies. Old Navy have collaborated with ThinkGeek to create a shirt that not only features an image of a guitar, but also sounds like one when a button is pressed on the guitar neck and the hand is moved in a strumming motion. Sound is projected through a small guitar amp which can clip to your belt, with adjustable volume depending on how hard you're shredding. But make sure you detach all electronic parts before you throw this bad boy in the wash. Importantly, the design of the shirt also features flames to let everybody know that you're the real deal. See how far you can get into a Jimi Hendrix song on one of these. Wear this under a button-up to work, and only unleash it when you're ready to rock. [via PSFK]
One moment, you're watching Diego Luna sit down two rows in front of you in a cinema that seats 1600 people. The next, you're spotting Maggie Gyllenhaal and Patrick Stewart on the street. That's life at the Berlinale, or Berlin International Film Festival, which took place from February 9 to 19 — and it matches all of that star power with a massive, jam-packed program of movies. In its 67th year, Berlinale had everything in its 400-title-plus program, and we mean everything. Want big, mainstream efforts such as T2 Transpotting and Logan? Indie Aussie flicks like Emo the Musical and Monsieur Mayonnaise? A sci-fi retrospective and the world premiere of the 3D version of that other T2 — that is, Terminator 2, not the Aussie tea company or Trainspotting sequel? Geoffrey Rush getting an award? Charlie Hunnam traipsing around the jungle? Two movies filled with famous faces arguing over a meal? A flick about utopian world without men? A 1993-set Spanish coming-of-age effort that makes an impact? Another great entry in Romania's new wave? Yes, the festival delivered on all of the above and then some. Yes, you already know that the list goes on. Of course, not everyone can be there to experience films galore, below freezing temperatures, mulled wine aplenty and a newfound pretzel addiction. Don't worry, that's where we come in. We went, we watched, and we're excited about all of the movies that'll hopefully make their way to Australia at festivals or in general release. In fact, we can't wait to watch these ten again. CALL ME BY YOUR NAME If this film sounds more than a little familiar, that's because we were already mighty excited about it when it screened at Sundance. Oh boy, did Luca Guadagnino's (A Bigger Splash) latest and best feature to date more than deliver. Let us put it this way: when you're watching a 17-year-old become infatuated with his father's handsome research assistant, played by Armie Hammer, you're feeling every single emotion he's feeling. And, you're falling head over heels for everything about this masterpiece as well. Call Me By Your Name is the kind of effort that couldn't be more seductive, from the sumptuous sights of its scenic Italian setting to the summertime heat — and sizzling sentiments to match — that radiate from the screen. Keep an eye on Timothée Chalamet, too, who plays the teenager in question. If this movie is any guide, he should become one of cinema's next big things. A FANTASTIC WOMAN A Fantastic Woman? Yes, this sensitive drama and Berlinale best screenplay winner places one front and centre. A fantastic film? You bet. After using a compassionate gaze to explore the world of an older lady trying to find happiness in Gloria, Chilean filmmaker Sebastián Lelio turns his attention to Marina (Daniela Vega), a waitress and singer whose life is thrown into disarray when tragedy strikes. The family of her much older lover are horrified, judging her transgender status rather than daring to let her into their lives — or let her mourn. The movie doesn't make the same mistake, in an effort that proves empathetic and engaging from start to finish, complete with an exceptional lead performance and one perfect song cue. THE OTHER SIDE OF HOPE No one makes films like Finnish filmmaker Aki Kaurismäki. Sure, that's true of many directors, however the balance of deadpan humour and heartfelt drama he cultivates time and again isn't an easy one, even if he makes it seem otherwise. In this year's Berlinale Best Director winner The Other Side of Hope, Kaurismäki tackles the subject of refugees in Europe as Syrian Khaled (Sherwan Haji) finds himself in Helsinki, applies to stay and is forced to pursue other options when he's hardly given a hearty welcome. The tale of an unhappy salesman turned unlikely restaurant owner intersects with Khaled's plight, and so does absurdity, but in the filmmaker's warm but insightful way. THE PARTY It all seems so simple: gather a group of excellent actors together, stick them in a few rooms, give their characters plenty to argue about and watch what happens. At its most basic, that's what The Party does over 71 entertaining, black-and-white-shot minutes — of course, it does more than that as well. The scenario sees Kristin Scott Thomas' Janet securing a plum political appointment, with her friends and family — played by Timothy Spall, Patricia Clarkson, Emily Mortimer, Cillian Murphy and more — all gathering around to celebrate. As something other than joy starts seeping through their get-together, writer/director Sally Potter crafts a lively and hilarious comedy filled with sparkling dialogue and intent on unpacking the political climate in Britain. ON BODY AND SOUL When On Body and Soul took home Berlinale's top award, the Golden Bear for Best Film, the Hungarian feature caught everyone by surprise. That's the beauty of film festivals, though — little turns out as expected, including a contemplative, surreal romantic drama set in a Budapest slaughterhouse. Writer/director Ildikó Enyedi takes her time to spin a tale of austere lives and vivid dreams, letting the emotion build at a slow and steady pace, as well as glimmers of humour. While it won't be for everyone, two things other than its accolade and its filmmaker make it stand out: just how it brings its absurd yet ultimately still relatable story to a close, and its corresponding performances. CASTING JONBENET Good news and bad news, everyone keen to watch the second full-length effort from Australian filmmaker Kitty Green. On the one hand, it's headed to Netflix in April. On the other, the film really does provide an astonishing viewing experience if you ever get the chance to see it in a cinema. As the name gives away, murdered six-year-old beauty pageant queen JonBenet Ramsay sits at the centre of this documentary — however, a regular true crime offering, this most certainly isn't. Instead, in an approach that results in disarmingly revealing insights about how we filter the events of the world through our own experiences, Green asks the people of Ramsay's home town of Boulder, Colorado to audition for a film about her case, then captures their responses. SPOOR Even if you don't know it, you're already familiar with the work of Polish filmmaking great Agnieszka Holland. Over the past decade or so, she has helmed episodes of everything from The Wire to The Killing to House of Cards — and while we can say that the flavour of all three can be glimpsed in her latest feature, Berlinale Silver Bear winner Spoor, don't go expecting something as straightforward or obvious as that may sound. A series of deaths, an investigation in an insular community and the political fallout provide the storyline for this moody and sometimes amusing feature that flits between mystery, thriller, black comedy and even fairy tale elements. Another Agnieszka also deserves acclaim, this time lead actress Agnieszka Mandat who puts in a more than memorable performance. I AM NOT YOUR NEGRO In I Am Not Your Negro, Samuel L. Jackson lends his voice to the words of American essayist James Baldwin. He does an outstanding job at capturing the tone and passion required, but it's the text itself, rather than the star uttering it, that's truly remarkable. Stepping through the state of race relations in the U.S. by focusing on the lives and deaths of civil rights leaders Medgar Evers, Malcolm X and Martin Luther King, Jr., every syllable spoken couldn't be more perceptive — or, even though they were written decades ago, still relevant today. It's little wonder that the film was nominated for best documentary at this year's Oscars, with director Raoul Peck matching the verbal content with an illuminating compilation of footage from the '50s and '60s. ON THE BEACH AT NIGHT ALONE Last year, South Korean director Hong Sang-soo's two most recent films (Right Now, Wrong Then and Yourself and Yours) played at various Australian film festivals. Yes, he's prolific. Expect his latest, On the Beach at Night Alone, to pop up this year — and, amazingly, he has two other features due out in 2017. That might mean that he returns to the same themes of love, identity and fulfilment again and again, and plays with the same kinds of structural devices, but every one of his efforts has their delights. Here, one of them is the fact that he riffs on his own rumoured real-life circumstances, relaying a narrative about the fallout of an affair between an actress and a director. Another is the leading lady herself, Kim Min-hee, who both sits at the centre of his own scandal and puts in a revelatory, Berlinale best actress-winning turn. GOD'S OWN COUNTRY The words "Yorkshire-set Brokeback Mountain" have been bandied about with frequency regarding God's Own Country; however, thankfully they're accurate in the very best way. Set on a struggling farm, it's a film of sprawling landscapes and surging urges — with both weathering hardships but proving rich and resonant. Forced to take care of everything due to his father's ailing health, to say that scowling, constantly booze-soaked Johnny (Josh O'Connor) is frustrated is an understatement, but, slowly and tentatively, the arrival of handsome Romanian farm-hand Gheorghe (Alec Secareanu) helps brighten his unhappy days. First-time writer/director Francis Lee takes a raw, realistic approach to everything from the animals scenes to the feature's underlying emotions, with heart-swelling results.
For the past five years, Josh Niland has been showcasing his seafood prowess to Sydneysiders, with the acclaimed chef first opening restaurant Saint Peter in 2016, then launching fishmonger Fish Butchery in 2018. Last year, he shared his recipes in The Whole Fish Cookbook, letting seafood fiends everywhere follow in his footsteps at home. And now that ocean-focused text has just picked up the prestigious James Beard Book of the Year Award. On Wednesday, May 27 in the US, Niland nabbed the coveted prize — which is considered the top culinary book award in America and worldwide. Handed out by the culinary-focused non-profit James Beard Foundation each year, the James Beard Awards recognise food-centric media across a number of categories, including chefs and restaurants, books, journalism and broadcast media. They also bestow prizes in fields such as restaurant design, leadership, humanitarian work and lifetime achievement. In receiving the Book of the Year Award, Niland became the first Australian to ever take out the prize. And, he scored a second honour as well, with The Whole Fish Cookbook also winning in the Restaurant and Professional field. Niland's debut cookbook, The Whole Fish Cookbook champions his culinary philosophy, with an ethical and sustainable approach to seafood paramount to his cooking. The book's recipes include cod liver pate on toast, fish cassoulet, roast fish bone marrow, and the chef's 'perfect' version of fish and chips. [caption id="attachment_771910" align="aligncenter" width="1920"] Rob Palmer[/caption] The Whole Fish Cookbook has been picking up praise and accolades since it was first published last September, with the James Beard Book of the Year Award joining a long list of gongs. It also received the Food Book Award at the 2019 André Simon Awards, was named illustrated book of the year at the 2020 Australian Book Industry Awards, earned photographer Rob Palmer the National Portrait Gallery's National Photographic Portrait Prize 2020 for one of his photos of Niland, and has been longlisted for the Australian Booksellers Association Booksellers' Choice Awards 2020. To peruse the full list of 2020 James Beard Award winners, visit the awards' website. For more information about The Whole Fish Cookbook, head to publisher Hardie Grant's website. Top images: Rob Palmer.
Hong Kong is almost close enough (an eight-hour plane trip) to justify a long weekend away. Doing it cheap isn't easy, and what would particularly be the point? As one of the world's most expensive cities, especially for hotels, it's all about bling. Eating out can be more affordable than the top end of Australian restaurants, with obviously superior Cantonese dining options, but drinking in the hipper bars will set you back $10 a beer. If you want cheap, go to Thailand. If you want style, go to Hong Kong. The main socialising districts are Hong Kong Island, traditionally where it's all happening, and Kowloon across the harbour, its less glamorous cousin, although that's changing. Italian and French dining is in vogue at the moment, with Caprice and Pierre the top-dollar and high-rise favourites. Further down the cheap food chain are the Canto picks. The Chairman and Fook Lam Moon offer traditional Chinese cooking with a modern flair, rejecting the MSG of the local diners. The owner of The Chairman, Danny Yip, owns three Chairman restaurants in Canberra and prides himself on an organic approach to crab and dumpling feasts. Spring Moon is an upmarket 1920s-style teahouse bang in the middle of a five-star hotel, with ornate surroundings. If you want more exclusive surroundings, Yard Bird does take bookings and is the hot new place to be seen by local celebrities. Drinking is synonymous with views of the harbour, with most bars perched on top of swish hotels. Among the most popular are Hutong, which is a faux traditional restaurant with an indoor mezzanine bar above the private dining rooms and red lanterns overlooking the skyscapers of Hong Kong Island. For outdoor boozing, head to Eyebar (level 30, 63 Nathan Rd, Tsim Sha Tsui, Kowloon) for a vertigo-inducing vista, Ozone, apparently the highest bar in the world, or Sugar in the East hotel. More down-to-earth reveling can be found at the Kee Club, a members-only den with private rooms decorated like libraries and it hosts open club nights on the weekend. It's near Lan Kwai Fong, the main drinking area for visiting drunkards, which is open to the early hours and home to all-night clubs. It's not particularly cheap, but Hong Kong does offer expensive memories.
The dockless bike sharing phenomenon hasn't exactly proved a roaring success here in Australia, with rogue bikes clogging up footpaths, or winding up broken and abandoned in dangerous locations, and oBike withdrawing from Melbourne entirely. And still, yet another company is keen to give the concept a whirl locally — this time, featuring electric scooters. Aussie start-up Scootie has announced it'll launch a trial program of its ride share service in November this year, giving locals in Melbourne, Brisbane, Sydney and Perth the chance to be the first to road-test its fleet of electric scooters. Punters keen to get involved are invited to sign up now to Scootie's mailing list. Riffing on the scooter systems that have been going gang-busters over in the USA, the local company is still nailing down its technology, with plans to launch the pilot program in St Kilda, before rolling out across CBD areas. At this stage, riders will simply locate a scooter, scan and pay via the Scootie smartphone app, before jetting off on their two-wheeled adventure. According to Scootie spokesman Troy Taylor, details about specific scooter deposit zones and charging stations are yet to be confirmed, though there will be a bond taken to help deter people from damaging or abandoning the scooters. Trip costs are also in the process of being finalised, with Taylor suggesting they'll start at around 20-40 cents per minute. So, for example, a 40-minute journey would cost between $8 and $16. Scootie's trial program is slated to launch in November and run for several weeks. You can sign up to be a part of it here.
Hong Kong's T'ang Court restaurant has earned itself an impressive reputation, becoming a must-eat mainstay in the city's culinary scene, and also boasting three Michelin stars for seven consecutive years since 2016. For Australians keen to give its Cantonese menu a try, there's now another option — and it's easier than hopping on an international flight. Adding to T'ang Court's outposts overseas, The Langham hotel chain has opened an Aussie venue in its luxe new Gold Coast site. The Langham Gold Coast hotel itself launched back in June, after first revealing that it was in the works in May — and T'ang Court making the jump to southeast Queensland was announced then as well. But the restaurant was always set to launch later, in spring. It clearly took that opening date seriously, welcoming in patrons from Thursday, September 1. The fine-dining chain's name comes from the Tang Dynasty, with the restaurant taking a luxe approach to both its surroundings and its culinary spread. The decor pairs bold pops of colour with neutrals, including bespoke abstract art pieces by Australian Chinese artist Lindi Li. As for the food range, it spans perennial favourites and seasonal delicacies, including across both a la carte dishes and three set menus. A big drawcard at T'ang Court's first Australian location: a three-part tribute to Cantonese duck, which features duck pancakes with hoi sin sauce, duck buns with lychee and raspberry sauce (and caviar), and sliced duck breast and leg paired with with plum sauce. Or, the menu also includes sauteed pearl meat with ginger, shallots and Asian greens, plus spicy black tiger prawns with roasted garlic. "Our first Australian T'ang Court restaurant marks a significant leap forward for the local dining landscape. Authentic, traditional Cantonese fine dining is comparatively rare in Australia, so we're thrilled to bring this unique experience to life for locals and travellers, from other states and even internationally," said Howard Lam, Director of Chinese Cuisine for Langham Hospitality Group. "Diners at T'ang Court on the Gold Coast will be able to indulge in the same golden age Cantonese flavours that have earned T'ang Court at The Langham Hong Kong three Michelin stars and seen its many other award-winning sister restaurants across the world become highly-sought-after dining destinations." Located indoors on level three at The Langham, and seating 80, T'ang Court is serving lunch from 12–3pm and dinner from 5.30–11pm five days a week — operating from Wednesday–Sunday. If you're a keen to book in a visit from out of town, then stay the night afterwards, The Langham also boasts 339 rooms and suites, direct beachfront access, a pool bar you can swim up to while still staring at that ocean view, a number of other eateries and a wellness centre. Find T'ang Court at The Langham Gold Coast on level three, 38 Old Burleigh Road, Surfers Paradise — serving lunch from 12–3pm and dinner from 5.30–11pm from Wednesday–Sunday.
Diversity has always been at the heart of Brisbane's MELT Festival, which has celebrated all things LGBTQIA+ since 2015. The same concept sits at the core of Spencer Tunick's work as well. The acclaimed New York-based artist has spent his career staging mass photographs filled with both naked participants and an array of different bodies — and the results, including going to the Whitsundays with almost 100 Aussies in 2019 and briefly turning Bondi into a nude beach in 2022, are always stunning. Tunick initially turned his lens Australia's way in 2001 in Melbourne, when 4500 naked volunteers posed for a pic near Federation Square as part of the 2001 Fringe Festival. Since then, he's also photographed around 5000 nude people in front of the Sydney Opera House during the 2010 Mardi Gras, and returned to Victoria in 2018 shoot over 800 Melburnians in the rooftop carpark of a Prahran Woolworths. Next stop, and before spring 2023 is out: the Queensland capital during this year's Brisbane Powerhouse-run MELT. Brisbanites,or anyone who's keen to disrobe for a new piece of art will want to be in the River City on Saturday, November 18. The destination: numerous spots along the Brisbane River. And the work that's being created? It's fittingly called TIDE and will involve a series of photographic installations. "I love Australia and Australian people. Being able to create works in a new city in the context of an event celebrating LGBTQIA+ arts and culture is a real honour," said Tunick, announcing TIDE. "TIDE will hopefully speak to diverse groups of people, and everyone navigating their way through the difficult challenges of our current world. It is a privilege to be making art that centres around the LGBTQIA+ community with all its beauty and vibrance." Elsewhere, Tunick has photographed the public painted red and gold outside Munich's Bavarian State Opera, covered in veils in the Nevada desert and covered in blue in Hull in the UK. The list goes on, with more than 100 temporary installations on his resume since 1992. Exactly where in Brisbane he'll be training his camera hasn't been announced, but the Brisbane River's landscape will provide the backdrop. If you're keen to take part, Tunick is looking for volunteers. He hopes to have a diverse mix of bodies in the shoot — again, that's both MELT's and his own focus — with participants each getting a print of the photograph and, we're sure, a big boost of body confidence. Regarding the location, specific details of where the photographer's shoots take place are only given to folks who'll be in front of the lens — and, if you're not usually located in Brisbane, you will need to travel at your expense. The number of participants needed hasn't been announced as yet either, but interested parties are advised that there are only limited places — and that successful applicants will be informed via email approximately two weeks prior to the shoot. Also among the highlights on the 2023 MELT lineup from Saturday, November 11–Sunday, November 26: UK-born theatre show Overflow, which is set in nightclub toilets, and hails from British playwright and prominent trans voice Travis Alabanza; live tunes from Kah-Lo, Djanaba, Aluna and KUČKA; Rhys Nicholson on a book tour for Dish; and Paul Yore's BECOME WHAT YOU ARE, The Huxleys' Places of Worship and Multitudes by Tin Nguyen & Edward among the fest's art exhibitions. TIDE will be shot on Saturday, November 18 along the Brisbane River. Head to the installation's website to register to take part. Melt Festival 2023 runs from Saturday, November 11–Sunday, November 26 at Brisbane Powerhouse. For more information or to buy tickets, head to the fest's website now. Images: Spencer Tunick / Drew Lambert.
It's been home to David Lynch's eerie filmscapes, Yayoi Kusama's infinity and obliteration rooms, Gary Carsley's projected jacarandas and Patricia Piccinini's forest of flowers that aren't quite flowers. Soon, it'll welcome a riverbed, a snowman and a suspended installation that visitors can climb through, too. Yes, Brisbane's Gallery of Modern Art loves an immersive installation — and it has more in store for 2020. Fancy wandering through a labyrinth of red and black wool? That's on next year's agenda. As part of its just-announced 2020 lineup, GOMA revealed it'll host Chiharu Shiota: The Soul Trembles, a showcase focusing on the Berlin-based Japanese artist and her work over the past quarter-century. In an Australian exclusive, the exhibition comes to Brisbane after recently premiering in Tokyo — and while it won't sit 53 storeys up or come with panoramic views of the city, like it did in Japan, Shiota's string-heavy installations are certain to garner more than a little attention. Fashioned from millions of strands, they resemble weaved, maze-like webs and take up entire rooms. The Soul Trembles is the largest-ever solo exhibition by the artist — and although GOMA hasn't revealed just how much of the Tokyo lineup is coming to Brisbane, art lovers can expect an array of sprawling installations, sculptures and video footage of Shiota's performances, as well as photographs and drawings. Highlighting her fascination with intangible concepts, such as memory, anxiety, dreams and silence, the ticketed display will run from June 27–October 5, 2020. [caption id="attachment_750700" align="aligncenter" width="1920"] Chiharu Shiota. b.1972, Kishiwada, Osaka Prefecture, Japan. Uncertain Journey (2016/2019). Courtesy: Blain | Southern, London/Berlin/New York. Installation view: Shiota Chiharu: The Soul Trembles, Mori. Art Museum, Tokyo, 2019. Image courtesy: Mori Art Museum, Tokyo. Photograph: Sunhi Mang.[/caption] After the already-announced Water, which launches this December, The Soul Trembles is the second huge exhibition set to deck GOMA's walls next year — but, as always, there's more to come. In tandem with the Shiota showcase, the gallery will also pay tribute to pioneering Queensland artist Gordon Bennett, hosting the first large-scale display of his work since 2007. And, just a stone's throw away, sibling venue Queensland Art Gallery has two big exhibitions slated for 2020. First, it'll feature a four-month showcase of Mavis Ngallametta's work, highlighting large-scale paintings by the Putch clan Elder. Then, spanning from late 2020 to early 2021, QAG will exhibit an almost five-month survey of documentary photography by acclaimed Queensland-born, Sydney-based photographer William Yang. QAGOMA 2020 PROGRAM: Water at GOMA — December 7, 2019–April 26, 2020. Mavis Ngallametta: Show Me the Way to Go Home at QAG — March 21–August 2, 2020. Chiharu Shiota: The Soul Trembles at GOMA — June 27–October 5, 2020. Unfinished Business: The Art of Gordon Bennett at GOMA — June 27–October 5, 2020. William Yang at QAG — September 19, 2020—February 7, 2021. Chiharu Shiota: The Soul Trembles displays at Brisbane's Gallery of Modern Art, Stanley Place, South Brisbane from June 27–October 5, 2020. For further details — or to find out more about the gallery's full 2020 slate — visit its website. Top image: Chiharu Shiota b.1972, Kishiwada, Osaka Prefecture, Japan. In Silence (2002/2019). Production support: Alcantara S.p.A. Installation view: Shiota Chiharu: The Soul Trembles, Mori Art Museum, Tokyo, 2019. Courtesy: Kenji Taki Gallery, Nagoya/Tokyo. Image courtesy: Mori Art Museum, Tokyo. Photograph: Sunhi Mang.
First, Black Mirror's Twitter account broke a four-year silence back in April. Next, Charlie Brooker's dystopian sci-fi hit dropped a sneak peek at its next batch of technological nightmares — aka the first trailer for the show's long-awaited sixth season — and confirmed that the show would return sometime in June. Now, the Netflix series has unveiled more details about what's in store, including which new technological nightmares it'll be spinning. It might be a streaming smash, but that doesn't mean that satirising streaming is off the agenda. Indeed, one of season six's five episodes, Joan Is Awful, will focus on an average woman who discovers that a global streaming platform has adapted her life into a prestige TV drama. Playing her on-screen? Salma Hayek Pinault (Magic Mike's Last Dance). This instalment will be packed with familiar faces, too, including Annie Murphy (Kevin Can F**k Himself), Michael Cera (Life & Beth), Himesh Patel (Station Eleven), Rob Delaney (The Power) and Ben Barnes (Guillermo del Toro's Cabinet of Curiosities). Also on its way: Netflix seeing the darker side of nature documentaries — which, like biographical dramas, it's mighty fond of making itself. In upcoming Black Mirror instalment Loch Henry, a sleepy Scottish town welcomes in a young couple, who are keen to follow in David Attenborough's footsteps. Then they learn of a shocking local story, in an episode with Samuel Blenkin (The Witcher: Blood Origin), Myha'la Herrold (Bodies Bodies Bodies), Daniel Portman (Game of Thrones), John Hannah (The Last of Us) and Monica Dolan (Empire of Light) in its cast. Viewers looking forward to Aaron Paul's (Westworld) return to Black Mirror after first being involved in 2017 will been keen on Beyond the Sea, where it's an alternative 1969, two men are on a high-tech mission and dealing with a tragedy's big consequences, and Josh Hartnett (Operation Fortune: Ruse de Guerre), Kate Mara (Call Jane), Auden Thornton (This Is Us) and Rory Culkin (Swarm) co-star. In Mazey Day, the paparazzi hounds a troubled starlet who is coping with the aftermath of a hit-and-run, with Zazie Beetz (Atlanta), Clara Rugaard (I Am Mother) and Danny Ramirez (Stars at Noon) featuring. And in Demon 79, it's 1979 and a sales assistant in Northern England is informed that she has to commit terrible acts or a disaster will occur — with Anjana Vasan (Killing Eve), Paapa Essiedu (Men), Katherine Rose Morley (The Syndicate) and David Shields (Benediction) starring. Brooker has penned all five new chapters, co-writing Demon 79 with Bisha K Ali (Ms Marvel). This season is being teased as "the most unpredictable, unclassifiable and unexpected season yet", which is saying something given everything that Black Mirror has thrown at the screen in past seasons (and in choose-your-own-adventure-style movie Black Mirror: Bandersnatch). And yes, Brooker does have quite the challenge this time around: making something that manages to be even more dispiriting than reality over the past few years. That's increasingly been one of the show's dilemmas — and noting that something IRL feels just like Black Mirror has become one of the cliches of our times — but this'll be the mind-bending effort's first round of episodes following the pandemic. Check out the first trailer and latest teaser for Black Mirror's sixth season below: Black Mirror season six will stream via Netflix some time in June. We'll update you when an exact release date is announced. Images: Nick Wall/Daniel Escale, Netflix.
What is it about treehouses that fire up even the most uninspired of imaginations? The promise of adventure, escape or retreat? Nobody ever really grows out of wanting a treehouse. The team at American based O2 Sustainabilty certainly haven't. They have dedicated their lives to designing and building some of the world's most innovative, beautiful and liveable treehouses — turning childhood dreams into adult spaces for work, rest and play. Based on geodesic design principles, these treehouses are both aesthetically pleasing and structurally sound, not to mention environmentally sensitive. Not only does the design of each treehouse take into account the growth and health of the 'host' tree, but they also insist on using only sustainable materials. And 5 percent of O2's profits from commercial builds are donated to local community and environmental groups. As part of their dedication to sustainable design, the 02 team have also built a series of luxury treehouse in eco-minded resorts around the world. So even if having your treehouse is out of the realm of possibility at the moment, you may want to think staying in one on your next holiday.
Chic, sleek and stylish alert: Australia's most stunning places to drink, eat, grab a coffee and spend a night away from home have just been named for 2023. Each year, the Eat Drink Design Awards shower some love — aka its annual hospitality design accolades — on Australia's most stunning bars, eateries and hotels. On this year's list are a heap of Sydney venues, plus spots in Melbourne and Adelaide as well. If soaking in gorgeous surroundings while you sip, snack and slumber is your ideal way of heading out of the house, then consider the awards' yearly picks a must-visit guide. At these spots — all of which were completed between July 1, 2022–June 30, 2023 — chefs, signature dishes, creative cocktails, stellar coffee and comfortable beds aren't the only attractions. [caption id="attachment_929397" align="alignnone" width="1920"] Beau and Dough, Romello Pereira[/caption] For restaurants, cafes and hotels, Sydney emerged victorious. In fact, the Harbour City is so stacked with beautiful and innovative places for a meal that two shared the restaurant category: Beau and Dough in Surry Hills and Kiln at Ace Hotel Sydney. The first was praised for "designing for two separate yet interconnected venues", while the second earned compliments because its "design plugs into current conversations about sustainability, collaboration and community". In the cafe field, S'wich Bondi in Bondi Beach got the nod. "This little gem is a brave circuit breaker; it's not your average pitstop cafe-sandwich bar. A beautifully crafted bespoke space that aesthetically delivers in spades, it manages to weave together urban chic and Bondi's laid-back, fashionable culture," said the 2023 Eat Drink Design Awards jury, which consisted of Good Food journalist Emma Breheny, Akin Atelier director Kevin Ho, Hassell associate Di Ritter, The Bentley Restaurant Group chef and owner Brent Savage, and Artichoke acting editor Amy Woodroffe. [caption id="attachment_929398" align="alignnone" width="1920"] S'wich Bondi, Claudia Smith[/caption] Over in the hotel category, Capella Sydney was singled out. "The jury members were all impressed by this example of adaptive reuse. What used to be a government building has been painstakingly restored such that the original property, once inaccessible to most people, has been given new life and opened up to the public," the statement about this pick noted. For the best bar design, lock in drinks in the South Australian capital, with Adelaide's Dolly in Unley winning the gong. This is a "tactile wine bar" and "boasts a distinctive and timeless ambiance", said the jury, which also called out the fact that "the project's creative vision revolved around transforming the existing space into an experiential haven for locals". Victorian venues took out the retail deign and identity design fields, with the former going to LeTAO in Melbourne and the latter to Kōri Ice Cream in Hawthorn. [caption id="attachment_929400" align="alignnone" width="1920"] Kōri Ice Cream, Architects EAT, Saville Coble[/caption] For the 2023 Hall of Fame Award, Sydney French restaurant Bistro Moncur in Woolhara, as designed by Tzannes, received recognition. As it does every year, this year's Eat Drink Design Awards also named commendations in various categories. Among the venues also getting some praise: Babylon Brisbane, the now-shuttered Butler in South Brisbane, Glory Days Bondi, Convoy in Moonee Ponds, Sydney's Hotel Morris and Bar Morris, Fitzroy's Pidapipó Laboratorio and Glenside's Kin Seafood. [caption id="attachment_929401" align="alignnone" width="1920"] Bistro Moncur[/caption] "There was a diverse aesthetic in this year's winners expressing a lot of individuality, suggesting clients have allowed their design teams to lean into strong concepts and narratives. Plenty of examples of ambitious interiors offer complete sensory experiences, drama and bespoke craftsmanship," said the jury. "The very high level of design execution and attention to detail deserves extra praise this year, given the social and economic climate these works have occurred within. The judges applauded those designs that took risks and tried something innovative; yet at the same time, they praised designs that spoke softly and will likely retain relevance for decades in an industry with a proclivity for impermanence." [caption id="attachment_929402" align="alignnone" width="1920"] Capella Sydney, Timothy Kaye[/caption] [caption id="attachment_924664" align="alignnone" width="1920"] Kiln, Anson Smart[/caption] [caption id="attachment_929403" align="alignnone" width="1920"] Dolly, Jonathan VDK[/caption] 2024 EAT DRINK DESIGN AWARDS WINNERS: Best Restaurant Design: Beau and Dough by Smart Design Studio (Surry Hills, NSW) and Kiln, Ace Hotel Sydney by Fiona Lynch Interior Design (Sydney, NSW) Best Cafe Design: S'wich Bondi by Studio Shand (Bondi Beach, NSW) Best Bar Design: Dolly by Genesin Studio (Unley, SA) Best Hotel Design: Capella Sydney by Bar Studio (Sydney, NSW) Best Retail Design: LeTAO by K Holland Architectural Interiors (Melbourne, VIC) Best Identity Design: Kōri Ice Cream by Principle Design (Hawthorn, VIC) For the full list of winners and commendations, head to the Eat Drink Design website. Top image: Kiln, Anson Smart.
As both The Dry and Force of Nature: The Dry 2 demonstrated, Jane Harper's mysteries feel right at home on-screen. After the Australian author's first two Aaron Falk books made the leap to cinemas starring Eric Bana (Memoir of a Snail), and proved hits, of course more adaptations of her work were set to follow. The Survivors is next — first announced between The Dry and Force of Nature reaching picture palaces, heading to Netflix as a six-part limited series, and now officially joining your streaming queue at the beginning of June. The Survivors isn't linked to either Falk tale, so he isn't part of the narrative. Instead, the Tasmanian-set story follows families still coping with the loss caused by a massive storm in their seaside town 15 years earlier. Filmed in Tassie, too, it follows the aftermath of two people drowning and a girl going missing in Evelyn Bay, as the just-dropped trailer teases — and as viewers can watch in full from Friday, June 6, 2025. Tragedy isn't just in this coastal town's past, however. An incident like that is never forgotten. So, when a young woman's body is found on the beach, old wounds are unsurprisingly reopened. The series is pitched as both a murder-mystery and a family drama, and the sneak peek features elements of both. Cast-wise, The Lord of the Rings: The Rings of Power's Charlie Vickers and Bridgerton season four's Yerin Ha play couple Kieran Elliott and Mia Chang, who return to their hometown. Also featuring: Damien Garvey (Nugget Is Dead?: A Christmas Story), Catherine McClements (Apple Cider Vinegar), Martin Sacks (Darby and Joan) and Robyn Malcolm (After the Party), plus Jessica De Gouw (The Union), Thom Green (Exposure), George Mason (Black Snow) and Shannon Berry (Fake). Filmmaker Tony Ayres is behind The Survivors' streaming adaptation, adding to fellow TV series Nowhere Boys, Glitch, Stateless, Clickbait and Fires on his resume — and Cherie Nowlan (The Irrational) both directs and executive produces, Ben C Lucas (Nautilus) also does the former and Harper the latter. The Survivors joins Netflix's slowly growing slate of Australian shows, which it has been growing since Tidelands became the first local production three years after the streaming service officially launched Down Under. Among the others: Heartbreak High, Wellmania, Boy Swallows Universe, Territory and Apple Cider Vinegar. Check out the trailer for The Survivors below: The Survivors streams via Netflix from Friday, June 6.
As a generation, we've watched the internet emerge from its fledgling beginnings to its modern state, where nearly a third of Earth's population is logged on. In mere decades, the internet has gone from nonexistent to a necessity. We are a population obsessed. And then came Facebook. The ever-expanding social network debuted in 2004, turning us all into Facebook-stalkers and using up any free time we had left. It's hard to remember the internet before Facebook, let alone any of the computer technology of yesteryear. Squirrel Monkey's video tutorial, which imagines Facebook if it had been designed in the 1990s, will bring you right back to the horrendous colour graphics and primitive Windows versions of the technology's start. The video, a humourous how-to, takes a new user through the nuances of "the Facebook". The concept of Facebook, set against the simplistic '90s graphics, suddenly seems very ridiculous. And perhaps that is just the point. The subsequent videos, which imagine Twitter in the '80s and Draw Something as an old PC game, similarly put social media into perspective, reminding us not to take our status updates and tweets all too seriously. https://youtube.com/watch?v=xrYRH3PYYT0 [via Flavorwire]
When the Victorian Government last year announced a huge new citywide arts festival was set to launch in winter 2020, they didn't expect it to fall in the middle of a global pandemic. As that is what happened, though, the new annual festival — merging Melbourne International Arts Festival and arts all-nighter White Night — will not go ahead this year, with the inaugural festival now set to take over Melbourne in 2021. Called Rising, it'll kick off on the May 26 full moon and run until June 6, 2021, encouraging the audience to "celebrate the night with a surge of art, music and ceremony in the heart of the city". Pulling the strings are co-Artistic Directors Gideon Obarzanek and Hannah Fox, who are both practising artists and former Artistic Associates of Melbourne Festival. Fox was also the Creative Director at Tasmania's winter festival Dark Mofo, while Obarzanek founded dance company Chunky Move and was a resident artist at the Sydney Theatre Company. [caption id="attachment_770990" align="alignnone" width="1920"] Chinatown at night courtesy of the City of Melbourne[/caption] As this year's festival cannot go ahead, Fox and Obarzanek have instead announced a $2 million fund for local artists to create shows, exhibitions and events for 2021's program. And the duo are encouraging ideas that are as boundary-pushing as possible. "Rather than prescribing specific outcomes, we are seeking ideas that are ambitious, unusual and that could only happen in a festival context," explained Obarzanek in a statement. "Whether these respond to the times or reach beyond them, we invite ideas that are radical and critical; ideas that are absurd and bombastic; ideas that are contemplative and philosophical; and ideas that are celebratory and unifying." Victorian artists have until Monday, June 8 to submit their idea and bid for a piece of the $2 million pie, via a 300-word or two-minute video proposal. While details about this year's festival — and next year's program — are fairly under wraps for now, The Age reported leaks suggesting the 2020 lineup would've included transforming Chinatown "into a 'sensory wonderland' of lighting, video art and music, open late into the night" and a 400-metre light installation on the Yarra River. Rising is set to support Victoria's tourism and hospitality industries in the quieter months and, no doubt, provide a Melbourne equivalent to Sydney's popular Vivid festival, Rising will take place in Melbourne from May 26–June 6 2021. Top image: 'A Purple Poem for Miami' by Judy Chicago.
Change has been sweeping through Eagle Street across much of 2022, with the floods affecting riverside venues, Eagle Street Pier closing to make way for a new precinct and new seafood restaurant Tillerman opening its doors. Something else to add to the list: a sizeable renovation at Riverland, the CBD stretch's bar and beer garden with a shimmering view. Open since 2017, Riverland sits behind 167 Eagle Street and boasts a hefty river frontage — and it's getting bigger. Australian Venue Co (AVC), the hospitality giant that runs the spot, has announced a $3.5-million revamp. In the works: adding to the outdoor drinking and dining area, courtesy of a new 800-square-metre deck extension with top-notch waterfront views. [caption id="attachment_648037" align="alignnone" width="1920"] Anwyn Howarth[/caption] You'll need to wait till 2023 to make the most of it — and as well as giving you and your mates more room to knock back drinks, have a bite and just hang out, it'll help boost the venue's space for events and parties. In also welcome news, Riverland will remain trading while it's getting its makeover. So, if your spring and summer plans including hitting up the bar, they don't need to change. AVC has been refreshing Brisbane favourites all over town of late, thanks to considerable renovations at a heap of its local watering holes — as seen as spots such as Cleveland Sands Hotel, Salisbury Hotel, the Crown Hotel in Lutwyche and Bribie Island Hotel. The Wickham in Fortitude Valley is also making over its ground-floor bar, beer garden and second floor to the tune of $1.5 million, and is set to relaunch before 2022 is out. [caption id="attachment_648045" align="alignnone" width="1920"] Anwyn Howarth[/caption] Find Riverland at 167 Eagle Street, Brisbane — it'll remain open during the renovations, operating from 11am–11pm Sunday–Thursday and 11am–3am Friday–Saturday.
Maybe you lived through the 90s rave scene. Perhaps you spent every weekend enjoying club life in the 00s. Or, you might just wish you were old enough to have ticked both boxes. Ministry of Sound was around to see both, and now it's revisiting the experience — bringing back its massive Testament parties for another year, this time touring them around Australia over two weekends. If cutting loose like you've travelled back in time is your ideal way to mark absolutely anything, then you'll want to make a date with Testament when it hits up six Australian cities. For two nights each in Sydney, Melbourne, Brisbane and Perth, plus one-day-only stops in Adelaide and the Gold Coast, the event will have you making shapes to 90s and 00s bangers. [caption id="attachment_799510" align="alignnone" width="1920"] Ben Jones[/caption] More than 90 DJs will be hitting the decks between Friday, August 4–Sunday, August 13 across the tour. It's a choose-your-own-adventure type of affair, so fans of old-school tunes can hit up the session dedicated to 90s house, rave, trance and garage tracks, and lovers of 00s electro and breaks get their own shindig. Leading the bill at the 90s parties are Barbara Tucker, Inner City, Phil Hartnoll and Tall Paul, while The Bloody Beetroots, Digitalism, Freq Nasty and Stanton Warriors are their 00s counterparts. The roster of local DJs varies per show and per city, too, including everyone from Alan Thompson, Jason Digby, Barking Boy, Mark Dynamix and Jen E on the 90s bill, plus Groove Terminator, Goodwill, Kid Kenobi, Bang Gang Deejays and Andee Van Damage on the 00s lineup. MINISTRY OF SOUND: TESTAMENT 2023 DATES: Saturday, August 5 — 90s session at Overseas Passenger Terminal, Sydney Sunday, August 6 — 00s session at Overseas Passenger Terminal, Sydney Saturday, August 12 — 00s session at The Timber Yard, Melbourne Sunday, August 13 — 90s session at The Timber Yard, Melbourne Friday, August 4 — 00s session at Warner Laneway, Brisbane Saturday, August 12 — 90s session at Warner Laneway, Brisbane Saturday, August 5 — 00s session at Metro City, Perth Sunday, August 6 — 90s session at Metro City, Perth Friday, August 4 — 00s session at Unibar Adelaide, Adelaide Sunday, August 13 — 00s session at Miami Marketta, Gold Coast MINISTRY OF SOUND: TESTAMENT 2023 LINEUP: Barbara Tucker Inner City Phil Hartnoll [Orbital] Tall Paul The Bloody Beetroots Digitalism FreQ Nasty Stanton Warriors + 85 local DJs around the country Ministry of Sound: Testament 2023 will tour Australia in August. For further details, and to buy tickets — with pre-sale registrations until midnight on Monday, May 29, pre-sales from 8am on Tuesday, May 30 and general sales from 8am on Wednesday, May 31 — head to the event's website.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=W0UbkJD2KDY FRENCH EXIT "My plan was to die before the money ran out, but I kept and keep not dying — and here I am." When asked about her strategy as she faces financial ruin, that's Manhattan socialite Frances Price's (Michelle Pfeiffer, Maleficent: Mistress of Evil) frank response. Her fortune has dwindled, the banks are about to repossess everything she owns and she doesn't know what her now-precarious future holds; however, she's most annoyed about having to answer her financial advisor's exasperated questions. Conveying Frances' reply with little else but spikiness otherwise, Pfeiffer turns this early French Exit scene into a deadpan masterclass. The character's candour, irritation and sharp edges are all personality traits, rather than specific reactions to her current predicament, and Pfeiffer makes it clear that she'd still be spitting out acerbic retorts with the same poker face if Frances had been queried about absolutely anything else. She frequently does just that afterwards, in fact, and she's a caustic delight in this wry exploration of a familiar topic: weathering life's many disappointments. Widowed for a decade, and happy to keep cultivating an eccentric reputation as the years go on, Frances hasn't dedicated even a second to tangibly preparing for her present lack of funds. That said, she soon has another plan. Surreptitiously selling off her belongings as her accountant advises — and viciously haggling over commission rates in the process — she rustles up what cash she can and absconds to Paris, where a friend's empty apartment awaits rent-free. There, she reverts to her old approach. Once her remaining money has been frittered away on wine, coffee, and oversized tips to anyone and everyone, she doesn't see the point of going on. But her dysfunctionally codependent relationship with her twentysomething son Malcolm (Lucas Hedges, Waves), his on-and-off romance with his secret fiancée Susan (Imogen Poots, Black Christmas), and a new friendship with the lonely and besotted Madame Reynard (Valerie Mahaffey, Dead to Me) all add unexpected chaos to Frances' scheme, as does a cruise ship fortune teller (Danielle Macdonald, Unbelievable) and a runaway cat who just might be her reincarnated husband. Read our full review. https://www.youtube.com/watch?v=OP2MlPwflX4 SAINT MAUD If humanity ever managed to cure or circumvent death — or even just stop being despairingly afraid of our own mortality — the horror genre would immediately feel the difference. Lives are frequently in peril in films that are meant to spook and frighten. Fears of dying underscore everything from serial killer thrillers and body horror flicks to stories of zombies, ghosts and vampires, too. Indeed, if a scary movie isn't pondering the fact that our days are inescapably finite, it's often contemplating our easily damaged and destroyed anatomy. Or, it's recognising that our species' darkest urges can bring about brutal and fatal repercussions, or noting that the desperation to avoid our expiration dates can even spark our demise. Accordingly, Saint Maud's obsession with death isn't a rarity in an ever-growing genre that routinely serves it up, muses on it and makes audiences do the same whether they always realise it or not. In an immensely crowded realm, this striking, instantly unsettling feature debut by British writer/director Rose Glass definitely stands out, though. Bumps, jumps, shocks and scares come in all manner of shapes and sizes, as do worries and anxieties about the end that awaits us all. In Saint Maud, they're a matter of faith. The eponymous in-home nurse (Dracula and His Dark Materials' Morfydd Clark) has it. She has enough to share, actually, which she's keen to do daily. Maud is devoted to three things: Christianity, helping those in her care physically and saving them spiritually. Alas, her latest cancer-stricken patient doesn't hold the same convictions, or appreciate them. Amanda (Jennifer Ehle, Vox Lux) isn't fond of Maud's fixation on her salvation or her strict judgements about her lifestyle. She knows her time is waning, her body is failing and that she needs Maud's help, but the celebrated ex-dancer and choreographer does not want to go gently or faithfully in that good night. Instead, she'd much prefer the solace that sex and alcohol brings over her palliative care nurse's intensely devout zeal. Read our full review. https://www.youtube.com/watch?v=794vlC_wKJQ WHITE RIOT In 2020, as the world faced a crisis unlike any other in living memory, Gal Gadot led a bunch of fellow celebrities in an Instagram sing-along to John Lennon's 'Imagine'. The aim: to inspire a planet full of people grappling with suddenly living under lockdown. As no one could avoid (especially when we all had so little else to do and spent so much time glued to the news), the result was actually awkward and cringe-inducing. Perhaps punk rockers should've been trying to lift our spirits instead. Or, they could've used their talents and instruments to draw attention to a plethora of worthy causes — as Rock Against Racism did in the mid-to-late 70s. When right-wing views began to spread across Britain, a group of music lovers including Red Saunders, Roger Huddle, Jo Wreford and Pete Bruno decided to take action, waging a campaign to battle prejudice and discrimination. They didn't just choose to fight back via their favourite art form as an excuse to host gigs, though. From Eric Clapton to Rod Stewart, many of the country's music megastars of the era had all offered support to extremist views, and publicly. So, corralling a lineup of bands to help counter anti-immigration rhetoric became RAR's number one task, with the aim of bringing music fans together and discouraging them from adopting racist attitudes. Combining contemporary interviews, archival chats, a lively soundtrack, and a wealth of footage and photographs of its efforts in action nearly half a century ago, documentary White Riot chronicles RAR from its formation through to its 100,000-attendee 1978 national carnival — where The Clash, Tom Robinson Band, X-Ray Spex and Steel Pulse all played. Despite the movement's name, everything from reggae and soul to jazz and funk was also welcome. Britain's music lovers responded in a big way, travelling across the country to attend its gatherings and show their support for RAR's inclusive anti-hate message. Fluidly directed by first-time feature helmer Rubika Shah, White Riot steps through the grim reality of life in Britain at the time, to provide context to RAR's emphatic response. The film shows the abhorrent viewpoints uttered by politicians and their proponents, and the way in which Nazi imagery was worked into the far-right National Front party. Dense with detail, it also demonstrates how standing up to fascism was an almost-revolutionary act. If the footage had allowed it, Shah and co-writer Ed Gibbs could've made an entire docuseries about RAR and would've kept viewers glued to every second. In just 80 minutes, however, White Riot delivers a vital history lesson on a crucial piece of activism — as well as a reminder that inflammatory rhetoric always demands a response. https://www.youtube.com/watch?v=eQaIf-Erj94 CRISIS Crisis examines America's opioid epidemic by piecing together three individual, occasionally overlapping tales. It also hits cinemas two decades to the month that the film it strongly resembles took home four Oscars. At the turn of the 21st century, Steven Soderbergh's Traffic focused on illegal narcotics rather than prescription pills, but the similarities between it and this pensive thriller from Arbitrage director Nicholas Jarecki are both striking and inescapable. Here, undercover DEA agent Jake Kelly (Armie Hammer, Rebecca) has been working to bring down a fentanyl smuggling operation. His sister Emmie (Lily-Rose Depp, The King) is an addict, so yes, it's personal. Also struggling is architect Claire Reimann (Evangeline Lilly, Avengers: Endgame), who has been hooked on oxycodone since an accident, attends support meetings but finds herself tested when her teenage son goes missing. Then there's Dr Tyrone Brower (Gary Oldman, Mank), a university professor who funds his research by testing new products for pharmaceutical companies. After his colleagues let his lab's trial of a new, supposedly non-addictive painkiller run a few days longer than asked, they discover that it can be fatal in mice — which company employee Dr Bill Simons (Luke Evans, Angel of Mine) is eager to keep quiet. Michelle Rodriguez (She Dies Tomorrow) also plays Jake's boss, Greg Kinnear (Misbehaviour) gives Tyrone a hard time as his disapproving college dean and Kid Cudi (Bill & Ted Face the Music) pops up an FDA employee on the latter's side — with Crisis lacking in neither stars nor good intentions. Writer/director Jarecki can't shake the familiar feeling that lingers throughout the film, though. Viewers have seen everything peddled here before, and with far more surprises and subtlety. If you've paid any attention to news headlines over the past few decades, you'll already know how insidious opioid use has become, and how ruthless and destructive the industry behind it is, too. Still, as well as evoking a been-there, seen-that sensation, Crisis often hits its emotional marks. A movie can connect easy-to-spot dots, hit obvious points vehemently and repetitively, and follow a predictable narrative — or narratives, in this case — and still offer up stirring moments and engaging performances. No one will be mentioning Crisis in another 20 years if another crime-thriller attempts to follow in Traffic's footsteps, but as 2021's take on the topic, it's watchable albeit unshakeably generic. https://www.youtube.com/watch?v=4hfUomtqljs THE GRIZZLIES When newly graduated teacher Russ Shepherd (Ben Schnetzer, Saint Judy) is sent to Kugluktuk, in the frosty Nunavut in Canada's north, he has two self-serving aims. By working in a remote area as part of a program that rewards anyone willing to take such postings, he's able to to pay back his school tuition fees. He's also hoping to use his time to secure a permanent spot at a prestigious private school down south. But Russ is still unsettled when he realises how few of his students are eager to engage in his lessons. Principal Janace (Tantoo Cardinal, Stumptown) doesn't enforce attendance, in fact, knowing that the school's pupils have chores to complete at home, families to provide for and traditional ways to uphold. She doesn't like to push the teens out of their comfort zones either, with the town's youth suicide rate the highest in North America, and dealing with intergenerational trauma also part of life in the community. Already a lacrosse devotee, Russ decides to try to start a school club to get his students motivated — a task he's instantly told will fail. But while the popular Zach (Paul Nutarariaq, Iqaluit) is initially apprehensive, as is hunter Adam (feature first-timer Ricky Marty-Pahtaykan) and the reserved Kyle (Booboo Stewart, Let Him Go), their involvement in the sport has an impact. Directed by feature debutant Miranda de Pencier, and scripted by Moira Walley-Beckett (Anne with an E) and Graham Yost (Justified), The Grizzlies draws upon the the true story of the team that gives the film its name. While steeped in reality, it also leans heavily upon the inspirational sports underdog playbook — but this rousing movie is never weighed down by its tropes or predictability. Strong, complicated performances from Nutarariaq, Marty-Pahtaykanv, Stewart and Emerald MacDonald, who plays the school's most conscientious student, all help immensely. Their characters wade through familiar beats, but they're never one-note. Indeed, The Grizzlies doesn't shy away from complexity on multiple levels, including in depicting the lack of hope blighting Kugluktuk's teenagers, as well as the path their lacrosse journey takes. And, while the role of Russ could've played into white saviour cliches, the film stresses his naiveté, his mistakes and the fact that he has as much to learn, if not more, from his students and the broader community. Icily scenic cinematography that roves over the area's arresting but harsh terrain, and a sensitive yet never mawkish approach also add texture to feature that earns its heart, spirit and warmth. https://www.youtube.com/watch?v=c85aXHth_uQ&feature=youtu.be UNSOUND In Unsound, Finn (feature first-timer Yiana Pandelis) and Noah (Reece Noi, When They See Us) meet by chance. When the latter wanders into the club for Sydneysiders with hearing impairments that the former runs in the city's northern beaches, a connection springs, although both enter the relationship with other things on their mind. Attendance at the neighbourhood centre has been waning, and the locals complain about Finn's weekly dance parties. Tucking his long hair up under a cap while he stands behind the DJ decks by night and helps children learn Auslan by day, Finn is also slowly taking steps to cement his identity as a transgender man. As for the British-accented Noah, he's just arrived in Australia after touring the UK with his pop singer mentor Moniqua (Christine Anu), and his mother Angela (Paula Duncan, Neighbours) has hardly given him a warm welcome. So, Unsound follows Finn and Noah's romance, but that's just one of the things the film is interested in. While both lead characters receive ample screen time, Finn's experiences as a person who is deaf and with his transition are frequently thrust to the fore. That's a welcome move — not because Noah's efforts to step out of his absent father's shadow, take his career seriously and cope with his often-dismissive mum don't deserve attention, but because inclusive movies about trans men and people who are hearing impaired are rarely this thoughtful (and rarely exist at all, really). Directed by TV veteran Ian Watson (Heartbreak High, Home and Away) and penned by Ally Burnham (Nice Package), Unsound might bring both 52 Tuesdays and Sound of Metal to mind, which are excellent movies to even remotely resemble; however, this small feature with big ambitions and a heartfelt impact is always its own film. Absent touristy Sydney shots that constantly remind you where it's set, and favouring a low-key, lived-in aesthetic instead, it dedicates its running time to plunging into Finn's life and portraying it authentically, a task that it doesn't lose sight of even for a minute. The texture and detail in Burnham's script, especially in fleshing out the movie's characters, isn't just admirable but essential. It's little wonder, then, that Pandelis always makes Finn feel as if he could walk off the screen — although the performer also deserves ample credit. Noi also more than does his part justice, in a well-cast film all-round (see also: scene-stealer Olivia Beasley as one of Finn's colleagues, and a grounded turn from The Boy From Oz star Todd McKenney as Finn's father). And, the use of sound to convey the joy that Finn and his friends feel at their Saturday night dance parties is one of the picture's many astutely calibrated touches. Unsound opened in Sydney and Brisbane cinemas on March 18, after screening in Melbourne from February 11. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; and March 4. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah and Girls Can't Surf.
When word arrived that a new version of Scott Pilgrim was on its way, it felt as inevitable as the person of your dreams having a complicated romantic past. That nothing ever truly dies in pop culture is old news. So is the fact that nothing fades into memory, especially when respawning can capitalise upon a fanbase. Turning Scott Pilgrim into a TV show is the latest example on an ever-growing list of leaps from the big screen to the small; however, sight unseen, making a Scott Pilgrim anime series felt more fitting than most similar jumps. Thanks to manga-style aesthetic that filled Bryan Lee O'Malley's graphic novels, the video game-esque plot about battling seven evil exes and the cartoon vibe that Edgar Wright brought so engagingly to his 2010 big-screen live-action adaptation, imagining how O'Malley and co-writer/co-producer BenDavid Grabinski (Are You Afraid of the Dark?) — plus Wright (Last Night in Soho) again as an executive producer — could bring that to an eight-part animation was instantly easy. Called Scott Pilgrim Takes Off rather than Scott Pilgrim vs the World, the Netflix series that streams from Friday, November 17 begins as a straightforward Scott Pilgrim anime, introducing the same tale that's been spread across pages and cinemas — and played through via a video game, too — right down to repeated shots and dialogue. Meet Scott Pilgrim again, then. The Michael Cera (Barbie)-voiced twentysomething bassist is once more fated to fall in love with literal dream girl Ramona Flowers (Mary Elizabeth Winstead, Ahsoka), who first appears to him as he slumbers, then fight the seven folks who dated her before him. When sparks fly, he also has his own amorous mess to deal with, including that he's dating high-schooler Knives Chau (Ellen Wong, Best Sellers) and remains heartbroken over being dumped by now-superstar singer Envy Adams (Brie Larson, The Marvels). Scott Pilgrim Takes Off's debut episode still has its namesake living with Wallace Wells (Kieran Culkin, Succession) in a one-room Toronto flat, and regularly having the ins and outs of his life recounted by his roommate to his sister Stacey (Anna Kendrick, Alice, Darling). Scott is reliably one third of Sex Bob-Omb! alongside his friend Stephen Stills (Mark Webber, SMILF) and ex Kim Pine (Alison Pill, Hello Tomorrow!), with Stephen's housemate Young Neil (Johnny Simmons, Girlboss) always watching on. And, when he first talks to Ramona IRL, it's at a party thrown by the acerbic Julie Powers (Aubrey Plaza, Operation Fortune: Ruse de Guerre). Then, the band plays a gig that Scott invites Ramona to, and the first of her evil former paramours interrupts Sex Bob-Omb!'s set to throw down — with Matthew Patel (Satya Bhabha, Sense8) still hung up on the girl he dated for a week and a half in seventh grade. Beating Matthew will mean needing to vanquish the rest of Ramona's past loves next: movie star Lucas Lee (Chris Evans, Pain Hustlers), vegan fellow bassist Todd Ingram (Brandon Routh, The Flash), Ramona's college roommate Roxy Richter (Mae Whitman, Good Girls), twins Kyle and Ken Katayanagi (Julian Cihi, Only Murders in the Building), and record-label head Gideon Graves (Jason Schwartzman, The Hunger Games: The Ballad of Songbirds & Snakes). Accordingly, just like Kim shouting "we are Sex Bob-Omb!" at the beginning of a set, Scott Pilgrim Takes Off starts with comfortable familiarity. But at the end of the initial instalment, after every detail looks like the graphic novels and film given the anime treatment to the point of feeling uncanny, in drops the first twist. There's reimaginings, and then there's this playful take that adores the comics and movie, pays homage to them, riffs on and even openly references them, but charmingly shirks the idea of being a remake. So, what if that narrative didn't follow the path that viewers have seen before? What if there's a reason that this series' moniker mentions Scott not being around? What if that's just the kick-off point for a brand-new, gorgeously dreamy, wildly inventive and infectiously heartfelt Scott Pilgrim remix? This is still a story spun from a slacker fantasy while bubbling with sincerity and intensity about navigating love and life when you're working out who you are, but every new turn in Scott Pilgrim Takes Off deepens its tale, emotions and delights. It still dwells in a world where Scott orders a delivery from the rollerskating Ramona on a boxy computer (she slings Netflix DVDs, aptly), yet it feels even more divorced from time. Although still abounds with pop culture nods and throwback vibes as well — albeit without zero sounds from The Legend of Zelda, but with added lines of dialogue straight out of 90s tunes — this isn't the exact same Scott Pilgrim. Prepare to get meta, and also for an angle that Wright's Scott Pilgrim vs the World didn't have, putting the focus on Ramona not as the object of eight people's affections but as Scott Pilgrim Takes Off's protagonist. As she endeavours to work out what's going on, she's the audience's guide in a whodunnit (because alongside slotting into the film-to-TV trend like Monarch: Legacy of Monsters, this series embraces its mystery angle as A Murder at the End of the World has also been doing of late, plus plenty of other shows before it). As Ramona's other exes still need confronting, it's her rather than someone she's casually seeing that's wading and soul-searching through her history. If O'Malley, Grabinski and Wright had chosen to call their Netflix effort Ramona Flowers vs the World, it would've fit; that said, not only Ramona but the full slate of characters beyond Scott all benefit from the big shift. Accordingly, while the ex-by-ex structure stays — plus the fight scenes bursting with on-screen onomatopoeia — each episode builds upon Ramona, Wallace, Knives, Kim, Young Neil, Stephen, Julie, Stacey and Envy, as well as Matthew, Lucas, Todd, Roxy, the Katayanagi and Gideon. If re-enlisting the movie's massive supporting cast seemed like a mammoth achievement, expanding their characters' place in the story must've been a prime way to entice everyone back. What makes Ramona's exes tick, hopes and neuroses alike, cannily and cathartically helps shapes the show's sleuthing. More than that, unresolved emotions and struggles colour every battle. Bouncing ingeniously through an array of film genres in a video store-set fray is a particularly memorable and meaningful move. As brought to the screen with Science Saru's now-expectedly beguiling animation (see also: the big screen's Night Is Short, Walk On Girl, Lu Over the Wall, Ride Your Wave and Inu-Oh, all from filmmaker Masaaki Yuasa), different instalments also take their tone and approach from different sources. A Lucas-centric chapter that turns Liam Lynch's 2002 track 'United States of Whatever' into its anthem is a treat, for instance, and another episode is a self-referential marvel. Where Scott Pilgrim vs the World looked outward to dive into its characters, using its gaming and pop-culture nods as shorthand to explain who they are, Scott Pilgrim Takes Off peers inwards to get its mood, themes, intricacies and slant. Like Scott with Ramona, this series is something to tumble head over heels for, and one of the best examples yet of pressing play again on a beloved treasure. Check out the full trailer for Scott Pilgrim Takes Off below: Scott Pilgrim Takes Off streams via Netflix on Friday, November 17.
HBO's Cordyceps infection isn't going anywhere soon — not for the seven more weeks that The Last of Us' first video game-to-TV season has left to air, and not for a further season after that either. In excellent news for fans of the PlayStation title, the Pedro Pascal (The Unbearable Weight of Massive Talent)- and Bella Ramsey (Catherine Called Birdy)-starring show it has inspired, and both, the US network behind it has officially announced that its first massive hit of 2023 will return for a second season. This development is hardly surprising, but still obviously hugely welcome. When it comes to mashing buttons, the 2013 game also inspired a 2014 expansion pack and 2020 sequel. Also, even just two episodes in so far, HBO's version has been attracting viewers faster than any sudden movement attracts zombies. When the series' debut episode aired on Sunday, January 15 in the US and Monday, January 16 Down Under — where it screens and streams via Foxtel and Binge in Australia, and on Neon in New Zealand — it became HBO's second largest debut ever. The first? A little show called House of the Dragon in 2022. In America alone, The Last of Us' movie-length first instalment has notched up more than 22 million viewers, while its second episode earned 5.7 million viewers just on one night — more than a million than that premiere chapter, and giving HBO its largest-ever growth from week one to week two of any series it has ever made. In other words, even after leaping to television with a huge gaming fanbase behind it, The Last of Us' popularity is spreading. Given how impressive the HBO series' first season is — how thoughtful, character-based, well-cast, and committed to exploring not just what's happening in its contagion-ravaged dystopian world but why life is worth fighting for — that too is unsurprising. For newcomers to the franchise on consoles and as a TV series, it's set 20 years after modern civilisation as we know it has been toppled by a parasitic fungal infection that turns the afflicted into shuffling hordes. Pascal plays Joel, who gets saddled with smuggling 14-year-old Ellie (his Game of Thrones co-star Ramsey) out of a strict quarantine zone to help possibly save humanity's last remnants. There wouldn't be a game, let alone a television version, if that was an easy task, of course — and if the pair didn't need to weather quite the brutal journey. As a television series, The Last of Us hails from co-creator, executive producer, writer and director Craig Mazin, who already brought a hellscape to HBO (and to everyone's must-watch list) thanks to the haunting and horrifying Chernobyl. He teams up here with Neil Druckmann from Naughty Dog, who also penned and directed The Last of Us games. Alongside Pascal and Ramsey, the series also boasts Gabriel Luna (Terminator: Dark Fate) as Joel's younger brother and former soldier Tommy, Merle Dandridge (The Flight Attendant) as resistance leader Marlene and Aussie actor Anna Torv (Mindhunter) as smuggler Tess. And, Nico Parker (The Third Day) plays Joel's 14-year old daughter Sarah, Murray Bartlett (The White Lotus) and Nick Offerman (The Resort) feature as isolated survivalists Frank and Bill, Storm Reid (Euphoria) pops up as Boston orphan Riley, Jeffrey Pierce (Castle Rock) plays quarantine-zone rebel Perry and Yellowjackets' Melanie Lynskey also guest stars. HBO hasn't announced when season two will arrive, but cross your fingers that it drops early in 2024. Check out the full trailer for The Last of Us below: The Last of Us screens and streams via Foxtel and Binge in Australia, and on Neon in New Zealand. Read our review of the first season. Images: Liane Hentscher/HBO.
Call it cinema, the movies, the pictures, the big screen, the silver screen, a glorious excuse to sit in a darkened room without your phone for at least 90 minutes: whichever you prefer, the experience it refers to is usually the same. You hit up your favourite/most convenient theatre, get comfortable in your chosen chair, maybe munch on popcorn or a choc top, and stare at the giant rectangle in front of you as the magic happens. Sometimes the shape that glistens with films is bigger than normal, but there's always just one of them — until now. Meet ScreenX, Australia's first-ever surround-screen viewing experience, which'll use three screens within one movie theatre. Meet the new trend that is multi-projection, too, which is debuting Down Under thanks to Event Cinemas. In the chain's ScreenX's auditoriums, there'll be a trio of screens: one right there at the front where it usually is, plus one over the left wall and another across the right wall. Three walls, three screens, a 270-degree field of view: that's the maths. ScreenX will premiere on the Gold Coast, launching at Event Cinemas Robina on Thursday, August 17; however, that's just the beginning of the rollout. Event Cinemas plans to take the concept nationwide, including hitting Sydney by the time that 2023 is out. The exact details of which other sites will be scoring the ScreenX experience, and when, haven't yet been revealed — but only peering forwards is about to become outdated. If your first question is "how big will this three-screen setup get as it envelops everything that I can see, including my peripheral vision?", the answer is up to 67.7 metres in width. The surround-screen format will be paired with surround sound, of course, to truly immerse two of your senses. And while you watch, you'll be in recliners to get as comfortable as possible. If your burning query is "which films can I see?" — aka which flicks will make you feel like you've walked right into them — the response there is: big blockbusters and epic spectacles. Among the upcoming slate of releases, Dune: Part Two, The Marvels and Aquaman and the Lost Kingdom are all getting the ScreenX treatment at Robina. The cinema is also looking backwards, too — not literally, just into past hits — with Top Gun: Maverick, Avatar: The Way of Water, Mission: Impossible — Dead Reckoning Part One and Guardians of the Galaxy Vol. 3. (Cross your fingers that Barbie and Oppenheimer also get the nod down the line.) "At Event Cinemas, we are dedicated to bringing the best range of cinema experiences to Australian audiences. ScreenX is popular globally and we can't wait for our local audiences to experience it. Our next stop will be Sydney," said Luke Mackey, Director of Entertainment Australia for EVT (which owns Event Cinemas), announcing ScreenX. "We are thrilled to strengthen our partnership with Event Cinemas by premiering Australia's first ScreenX experience," added Don Savant, ScreenX's Chief Business Officer. "Our talented team of ScreenX visual effects artists work closely with the Hollywood studios and top talent to truly differentiate movie going. ScreenX provides an unparalleled experience in a completely unique format to watch the biggest blockbuster films." If there are three giant screens showing each movie in every ScreenX auditorium, patrons will have no excuse not to put their own tiny screen — aka their phone — away while the film plays. Event Cinemas' new ScreenX experience launches at Event Cinemas Robina on Thursday, August 17, with a national rollout to follow — including in Sydney later in 2023. Head to the chain's website for further details.
Timothée Chalamet has played a teenager falling in love over summer (Call Me By Your Name), King Henry V (The King), Paul Atreides (Dune and Dune: Part Two, Willy Wonka (Wonka), a cannibal (Bones and All), a love interest for Saoirse Ronan (Lady Bird and Little Women), a young man struggling with addiction (Beautiful Boy), the Vice President's son (Homeland) and more, but there's a look of fierce enthusiasm that comes over him when he's talking about a project that he spent more than half a decade working on, stars in and also produced: A Complete Unknown. Portraying Bob Dylan on-screen isn't a simple task. In fact, when I'm Not There attempted the feat in 2007, it enlisted six actors, including Australians Heath Ledger and Cate Blanchett (The New Boy), to share job. As evident from his hypnotic performance in A Complete Unknown — and his singing and guitar-playing, learned for the feature — Chalamet not only embraced but aced the challenge. For A Complete Unknown, he steps into Dylan's shoes from back when the movie's title proved true, then stays in them until four years later when that phrase definitely no longer applied. In 1961 at the age of 19, Dylan met his idol Woody Guthrie (Scoot McNairy, Speak No Evil), visiting him in hospital as a fan from Minnesota. Come 1965, after songs such as 'Blowin' in the Wind', 'The Times They Are a-Changin' and 'Subterranean Homesick Blues' had struck a chord, whether he'd go electric at the Newport Folk Festival was the source of huge controversy. Dylan did, as history will always remember. Chalamet, working with director James Mangold (Indiana Jones and the Dial of Destiny), brings that specific slice of the icon's life to the screen in a film that keeps garnering him award nominations. He's the young Dylan, arriving to chase his music dream with little more than the guitar that's rarely out of his hands. He's also the thrust-to-fame-swiftly Dylan, after mentorship from Pete Seeger (Edward Norton, Asteroid City), while cultivating a complicated relationship with the already-renowned Joan Baez (Monica Barbaro, Fubar), and as he's trying to maintain a relationship with artist and activist Sylvie Russo (Elle Fanning, The Great), who is based on the real-life Suze Rotolo. And, Chalamet wouldn't mind being Dylan again in the future, if the "incredible opportunity" came up. "The amazing thing about Bob Dylan is every chapter is interesting. This is almost the most fertile because it's the beginning," Chalamet advises. This is the period of his life where the least is almost available, especially in the early 60s, but you can make a movie out of almost any period of Bob's life." How does it feel to lead a Bob Dylan biopic and to have the man himself tweet about it? "I didn't know if he was ever going to say anything because, true to the reclusive artist that Bob is, I don't know if he'll ever see the movie, truthfully," Chalamet says. "But seeing that post was hugely affirming. When you're a young artist, I don't care how successful you are, to get a pat on the back from a legend — especially a legend of few words like Bob Dylan — it was a dream come true, literally. I mean, it was beyond my wildest dreams. It was an enormous pat on the back and affirmation, and a moment for me in my life and career to go 'okay, I'm doing the right thing'." Passion radiates from Chalamet, clearly. It does the same from Mangold, who returns to the music-biopic genre after 2005's Johnny Cash-focused Walk the Line — Cash is also part of this flick, with Boyd Holbrook (The Bikeriders) in the part — plus from Fanning and Barbaro, too. "Think about it: between the ages of 19 and 24, he wrote 15 or 20 of the most-important songs of the century," the filmmaker behind A Complete Unknown, who co-wrote the script with Jay Cocks (Silence), adapting Elijah Wald's 2015 book Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties, notes of Dylan to Concrete Playground. "That's pretty remarkable when you think about what probably we were all doing between 19 and 24 years of age." Fanning was a massive Dylan devotee going in; "I was huge Bob Dylan nut, and I had a poster of him on my wall and I was a fanatic, so I felt like I kind of manifested this part in in many ways," she shares about playing Russo, a take on Rotolo with the name changed at Dylan's request. For Barbaro with portraying Baez, she speaks about her gig, the IRL great that she's acting as and performing with Chalamet — after learning to sing and play guitar herself — with equally deep feeling. "It's an absolute career highlight for me," she tells us. As it works its way from Guthrie's hospital bedside to Newport, exploring who Dylan was at the time through his music and impact, the commitment from its many key forces echoes from A Complete Unknown as memorably as its wealth of tunes. Chalamet, Mangold, Fanning and Barbaro also spoke with us about how important it is that the movie isn't trying to paint one definitive portrait of its subject, the film's exploration of an artist evolving, speaking with Baez, Cash and Dylan's connection, parallels for the cast with reality and more. On How Mangold Knew That Chalamet Was the Right Actor to Bring This Period of Dylan's Life to the Screen James: "Well, 'know' is the strange word. I had an instinct that he'd be good. We don't know anything. I mean, we just try. And Timmy's phenomenally talented. Can sing. And I think has some of the mercurial, playful aspects of Bob in him, in his own personality. I thought he could find parallels. The act of playing a role like this isn't really the act of doing an impression or mimicry — it's really, to me at least as I feel it, it's about finding the harmonies between your own personality and the person you're playing, and finding a way to meet somewhere in the middle where you're still bringing your authentic acting self. You're not just doing an impression in which the performance is judged by how well you do Bob's mannerisms only, but how well you can fold that into who you are and come out with something authentic, and real, and soulful that exists in the space between. He's one of the best young actors of our time. And he's also a wonderful guy. And it seemed so logical, it seemed actually a no-brainer, to be honest. It seemed like a really exciting proposition. I cannot say I knew he would hit it so far out of the park that he would find such a great chord. We often present ourselves, as directors, we often try to get you guys to write about us like we knew everything in advance and we had a vision, and the vision comes to life — and we love it when you write about us that way. But in reality that isn't the way it is. We have a hunch. We have a hope. We have a prayer. And sometimes we're right and we keep it in the movie. Sometimes we're wrong and, if we can, we get it out of the movie. But the reality is that I had a hunch Timmy would be great. But I also demanded a lot of him. He had to learn over 40 songs and play them live, and be still in character acting, meaning it's not just 'can you learn the song and sing?' — it's 'can you learn the guitar, sing this song and do it like Bob Dylan in a scene while there's romantic tension or some other kind of dramatic energy going on?'. You're talking about a lot of chewing gum and riding bicycles and juggling at the same time. And Timmy's a pretty remarkable talent himself. And you're also talking about a young man in Timmy who has met with fame from an early age like Bob. So there are whole other levels where — and stardom and all that it brings — so that there were so many levels that he could bring insight and talent to this job." On How Crucial It Was to Chalamet That This is a Film About a Moment in Time and an Artist Evolving Timothée: "That's exactly it. This is a movie firmly about an artist evolving, as you so wonderfully put it. This is an interpretation. This is not a definitive act, and I think James Mangold, our director, always had a very solid eye on that. This is a man who's alive and well, who knows the history of how this went down. And a lot of the footage, not particularly from 1961–63, but definitely from 64 onwards, is available online and it's wonderful. It was very helpful to me in my interpretation of the character and of this period, but ultimately this is an interpretation. That's why Elle Fanning's character is a Sylvie Russo, as opposed to Suze Rotolo. This is more of a fable. And nonetheless, it's also, of course, a Bob Dylan biopic." On How the Film's Exploration of Artistic Evolution Resonates with Fanning Given That She's Been Acting Since She Was a Toddler Elle: "Yeah, technically two, because I would play my sister at a younger age in things, in flashback scenes — they would just call me in. But I think that's one of my favourite things, honestly, about this film and watching it as a whole. This slice of Dylan's life was so much about making artistic choices and not being pigeon-holed into one thing. So it's actually been a really nice reminder to me to follow my instincts. I always have followed my instincts pretty much. And when I haven't, it's like 'oh god, it's always best to do that'. And I love surprising people and picking parts that are going to surprise people, and surprise myself and challenge me. That's just what I want. I don't want to ever be put into a box of a certain genre or certain film. I mean, people will try to do that to everyone, because it's more palatable for people when you understand where they're coming from. That's what Dylan has done — he's never allowed anyone to do that to him. So it's been inspiring, and the movie is really about that, to be honest. So I loved watching the film for the first time, and seeing that journey was great. Because obviously I wasn't in every single scene, so it's fun to watch the scenes I wasn't in. But I try to push myself." On How Portraying an IRL Figure, and an Icon, Changed How Barbaro Approached Her Part Monica: "It was very big shoes to fill. She's an exceptional musician and I had no music training, so my main call to action was to learn to play guitar, and learn to sing, and get my proficiency up to a level where you would believe that I'd been doing that for years and years. And then also, the benefit is, as much as her voice is absolutely impossible to replicate, she had these iconic qualities that people referred to a lot. When they talk about her, they mentioned her tight vibrato and the key that she sings these songs in. And so just trying to expand my range and trying to sound like her — the finger-picking, that was a particular style that she played with. And just diving into those specifics to try to get that recognisability there was a huge part of the process." On Mangold Revisiting Johnny Cash On-Screen After Walk the Line — and Finding Someone New to Play Him James: "I really didn't give it much thought in terms of my own oeuvre, although I was aware that it was the second time this real-life character was appearing in my film. It just seemed a necessity, the more research I did. It wasn't really very featured at all in Elijah Wald's book, but the more research I did — and I also had the knowledge from making Walk the Line that Johnny Cash and Bob had been pen pals during this period — but the more research I did, and knowing that Cash was on stage in the wings when Bob went electric, was there and even lent his guitar, his acoustic guitar to Bob when he went back out on stage to sing his last song 'Baby Blue', the last acoustic song, at Newport 65, I thought 'well, what am I going to do with Johnny?'. And I asked Dylan's manager, Jeff Rosen, if they still had the letters that Johnny Cash had written to Bob. And they did. And he sent me scans of all these letters, which were magnificent — a kind of beautiful, romantic example of an artist a few years ahead of Bob, writing him fan letters and bolstering a sense of confidence in the young man about his writing and his ability from someone Dylan admired. And so this correspondence suddenly became central to me, because as I was trying to assemble — as much as I was trying to tell Dylan's story, he is a bit inscrutable, and I felt like you could learn more by also telling the story of those that surrounded Dylan, and the way his genius affected each of them differently. And what was so necessary about bringing Johnny into the story was that he's the devil on that shoulder. If you have Pete and Lomax and Joan Baez all on this shoulder saying 'stick with the team; don't cross over to that dangerous, suspicious popular music', you had Johnny Cash on the other shoulder who was saying 'track mud on someone's carpet'. Which was literally one of Johnny's lines in his letters to Bob. And that he made it his business to encourage Dylan to stay bold and to stay on the leading edge, was so wonderful to me. And then Cash also ironically had a band, and somehow got special dispensation to bring his band on the stage at Newport without anyone having a meltdown — which indicates or, I think, reveals, how Bob was a symbol. The reason they didn't want Bob to go electric was not because they hated all music with an electric guitar or a drum, but because he had become the centre pillar, holding up the tent of classical folk music. And if Bob turned, that meant the tent would fall." On Chalamet's Run of Playing Young Men Discovering the Reality of What Fame and Power Means as Paul Atreides and Bob Dylan — and Parallels with His Own Experience Timothée: "I think what's most fascinating about the world of Dune, and of this period of Bob Dylan that we explore in this film from 1961–65, is both were born of the open-mindedness of culture in America in the 1960s. Dune was written in this middle 60s period, it was written on the West Coast, but in a similar time in American history where people were groundbreaking with their creativity and open mindedness. And as far as relating to these roles, it's really not that fascinating to try to dissect or even to talk about, because the ways or parallels are apparent or not apparent, and I have no interesting perspective for anyone beyond the ways they're apparent to you or to me. And the ways they're not apparent are also apparent, because I'm not a space prophet and I'm not a lyrical prophet." On What Fanning Was Excited About, Coming to A Complete Unknown as a Huge Dylan Fan Since She Was a Teenager Elle: "Well, I was excited about multiple things. Jim and I were supposed to, he was supposed to direct me in a film many years ago, and so to be able to — that didn't work, but then he remembered me from that time and so asked me to come on for this. And I'd done a movie with Timmy before, so we were friends. I was huge Bob Dylan nut, and I had a poster of him on my wall and I was a fanatic, so I felt like I kind of manifested this part in in many ways. And obviously, the film was like five, well, more than five, years in the making. We were supposed to film it five years ago and then COVID and the strikes happened. So we had a lot of time to think about it. There were points where we thought it might fall apart — is everyone's schedules going to work? — so I was very happy that the schedules worked out that I was able to stay on and do it. [caption id="attachment_987697" align="alignnone" width="1920"] Kate Green/Getty Images for The Walt Disney Company Limited[/caption] And then, the thing is Sylvie, even though her name is different, she really she is Suze Rotolo. So she's not actually a fictionalised character, it's just that her name is changed because Bob Dylan himself, he talked to Jim a lot about the script and he's read the script — I haven't met him or talked to him — but he wanted her name changed. That was the one thing that he wanted, because he felt like she, and this is touched on in the movie a lot, that she was a private person. She never wanted to be a public figure. And Suze has now passed. So there was something, there was a weight to that, that I subconsciously always felt every day. Because I don't know if Bob will ever see this movie, but still if he does one day, I hope that I captured that essence of their first love, because obviously it was a very sacred and precious thing to him. And Suze wrote a novel, a memoir called A Freewheelin' Time, so I read that and had so much information about their relationship. And honestly, scenes from that book are verbatim in our story. So in a lot of ways, her story is very true to the trajectory of their relationship. Dates are changed, she wasn't in Newport in 65, but the fights that they had and the things that they shared together is very true to what the relationship was. Obviously Suze was, I guess, a muse, but I guess more inspired him many times over. There's so many songs he's written about her. And he really wasn't in the political scene, he wasn't into politics until he met Suze, because she was a real political activist at that time in the 60s, in the West Village and the youth movement and civil rights movement, she introduced that to Bob. I knew how special of a figure she was to him, so I wanted to honour that and make it true to first loves around the world that we have. Inevitably they don't work out, but keep 'em in your heart." On What Barbaro Drew From Speaking with Baez — and What It Meant to Her Monica: "I did have the chance to speak with her. I was nervous about reaching out, but I was so absorbed and obsessed with her and her life, and every corner of what I could find in any interview, memoir, documentary, and even within the songs and the way she sang them, that we were starting to film and I started having dreams about her. And I kept dreaming that we were hanging out and we always had a really good time. And so I think my subconscious was telling me that 'it's okay to reach out' — like 'you do understand her, I think, well enough to know that she'll have a conversation with you'. And I felt like it was a very Joan thing to do, to be bold enough to reach out so. So I did, and we spoke on the phone, and hearing the sound of her voice on the phone with me is one of the most-beautiful experiences I think I've ever had. It was emotional. It was everything to me, and she mentioned at one point that she was hoping I would reach out — and that just felt incredibly validating in my decision. And also I felt it made me feel like I really had understood something about her, and that I was on the right path. And the next day I performed 'Don't Think Twice' live, which was my first song live in front of a live audience on a big stage with guitar, with singing — difficult guitar song, too, that I had taken a year to learn with no prior experience. And so I was all bundled up and nervous for that, and then as we were doing takes of it, I just felt something release, and I felt like she had sort of — whether she knew it or not — sort of sent me on my way, and I was able to fully embrace the research I had done, but try to blossom into this character in the movie, and create as her and try things as her. I felt like somehow, even though she didn't give me permission, I felt somehow like I suddenly had it, had that permission to try things as Joan." A Complete Unknown releases in cinemas Down Under on Thursday, January 23, 2025. Images: courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.
No, it's not a crazy quilt stitched by a mad granny. These are bird's eye views of Holland's tulip fields, blooming into life just in time for the annual Tulip Time festival. Throughout winter, tulip bulbs lie dormant in the freezing ground. When the first few blooms poke their coloured heads through the earth for a breath of sunshine, everyone knows that spring has very much sprung. The festival runs from May 7-14 and celebrates Dutch heritage, culture and hundreds of varieties of the tulip. Over one billion tulips are exported internationally from Holland every year, so you can see what the fuss is all about. Plus these rainbow flower formations are pretty damn gorgeous to boot. [Via Lost At E-Minor]
A man, his family and a firearm: all three sit at the heart of The Seed of the Sacred Fig. A girl and a gun might've been late, great French filmmaker Jean-Luc Godard's perfect formula for a movie, but Iranian writer/director Mohammad Rasoulof now adapts that setup around his own cinematic passion: fighting back against the Iranian regime. IRL, over the course of more than two decades, he's faced the wrath of his homeland's censorship, seen his work banned, been prohibited from making movies and from leaving the country, and endured multiple prison sentences. When Rasoulof's eighth and latest masterful and moving feature debuted at the 2024 Cannes Film Festival, he was in attendance after fleeing Iran, where a new eight-year jail term had just been handed down. The first shoots of the idea for The Seed of the Sacred Fig came to the filmmaker while the now-exiled talent was incarcerated. Imprisoned during the 2022–23 Women, Life, Freedom protests that sprang from the death in custody of Mahsa Amini, he saw the movement from inside Evin Prison in Tehran. Upon his release, it became part of his new big-screen narrative, with the picture even incorporating real on-the-ground footage. Also guiding The Seed of the Sacred Fig is a question that Rasoulof has long contemplated from his dealings with the regime — and that flowed through in his prior film, 2020 Berlin International Film Festival Golden Bear-winner There Is No Evil — also: "how do people who work with the system function internally?". As the protests about the loss of a woman arrested for allegedly wearing her hijab improperly also were, Rasoulof's Best International Feature Oscar-nominee is a snapshot of generational clashes and change, too. The man: Iman (Missagh Zareh, Homeless), who has just been promoted to investigating judge in the Revolutionary Court. The family: his wife Najmeh (Soheila Golestani, Two Dogs), college-aged daughter Rezvan (debutant Mahsa Rostami) and younger offspring Sana (Setareh Maleki, Cafe). The gun: Imam's service piece, freshly bestowed upon him for his new role. When the weapon goes missing, he starts pointing fingers, already paranoid about the public fallout from his job and now suspecting those closest to him — the youngest of which are only just learning what he does for a living. Adding to the powder-keg situation: the nationwide political uprising, which has Imam signing death sentences, comes to his home courtesy of Rezvan's friend Sadaf (Niousha Akhshi, The Lion Skin) and puts the family matriarch at odds with his horrified daughters. At Cannes — where Rasoulof's 2013 film Manuscripts Don't Burn won the FIPRESCI Prize and his 2017 feature A Man of Integrity emerged victorious in the Un Certain Regard section — The Seed of the Sacred Fig collected five different accolades from its berth in the main competition, a Special Jury Prize among them. Other film festival audience awards have also come its way, including in Sydney, plus nominations at the Golden Globes and BAFTAs. To get the movie to viewers, though, and to make it to begin with, involved shooting in secret with Rasoulof largely unable to be on set. Then came the 28-day journey out of Iran to Germany, the country that The Seed of the Sacred Fig represents at the 2025 Academy Awards. What does the global response to the film — the festival slots, popping up at Locarno, Melbourne, New Zealand, Telluride, Toronto, New York, Busan, London, Adelaide and Brisbane events as well, and many others; the nominations and prizes, right through to the Oscars — mean to Rasoulof given what he went through to bring the movie to fruition and ensure that audiences could see it? "I'm very happy that a film that half of which had not yet been shot exactly one year ago, while we were shooting, is being seen by worldwide audiences and doing so well," he tells Concrete Playground. "And I think it's not just me. I think everyone involved in its making is very happy, because what brought us together really was fighting for artistic freedom — and all we dreamt of was managing to complete the shoot without being arrested." How does Rasoulof navigate the scrutiny, oppression and attempted censorship that comes his way each time that he makes a film? How did The Seed of the Sacred Fig evolve from seeing how Iranian women were protesting to following a family of three women and an investigating judge impacted by the uprising? What does the reality of directing a movie in secret entail — and what impact does it have on the finished product, given how much energy is expended just to avoid the authorities' attention? Digging into a powerful picture that's designed to inspire questions with the man behind it, we also asked Rasoulof about all of the above. On Navigating the Scrutiny, Oppression and Attempted Censorship That Rasoulof Faces Whenever He Makes a Film "Well, I think the biggest difference, if I think about one year ago and now, is hope. Of course, I did have hope one year ago, but the hope I have now is much greater. It was really like a small crack through which the lights came in that I could see in the distance. And it's grown, and this gives me greater energy to continue working and to continue living. And I don't think it's just me. I think again, all my cast and crew feel exactly the same way or similarly." On How The Seed of the Sacred Fig Evolved From Seeing How Iranian Women Were Protesting to Following a Family of Three Women and an Investigating Judge Impacted by the Uprising "For many years, I was very curious about the people who work in the regime, in the different parts of the regime that I had dealings with — the security operators, the censorship operators, the judiciary. And I was really concerned with trying to understand, on the one hand, how they think, but also while they interrogated me, I'd be wondering 'how do we differ? Why are they unable to understand me and why am I unable to understand them?'. And so this curiosity stayed for me, and I was always hoping I could find an opportunity to explore it in a film. In 2022, I was arrested a few months before the Woman, Life, Freedom movement began. And after the movement began — at its height, in fact — I had a chance encounter with a senior prison official, who told me how he'd come to hate himself and even thought about taking his life because of his job and his collaboration with the regime, and how fiercely he got criticised and pressurised all the time by his children because of his job. And at that point I thought it would be really interesting to tell a story about a family where such a big divide had arisen, but which would also, at the same time, allow me to pursue that question that had stayed with me for all these years about how do people who work with the system function internally." On the Parallels Between the Film Being Made Clandestinely and the Secrets Being Kept Among the Family in the Movie "The limitations move along with you from the moment you start writing the script. They always accompany you when, of course, you're working in a repressive regime. And so you've got to find new ways ahead to make your film, but that also leads to a very strong awareness of the choices you're making — because if you make the wrong choice, you might not be able to continue. So we go to sets on the basis of decisions we've made early on to suit in a very precise way. And yet, during the shoot, there will always be unpredicted variables, things, problems, unexpected scenarios whereby you've got to make a different choice to what you were expecting in the moment. So you can plan as much as you want, but it's only when it comes to executing the work that you realise 'if I can't shoot, if I can't do that as planned, how can I proceed?'. And limitations really force you to find new paths forward." On Directing a Feature When You're Not Able to Be On Set "I started shooting and making films and 35mms during the analogue periods, when you didn't know what you'd see, really — what you were filming until later when it was developed in in a lab. And so you had a general impression and general image, but you didn't have a precise image or impression. And then later on, the video assist was introduced, where you could sort of control the set and watch the monitor at the same time — which became very fascinating for me and for lots of other filmmakers, because we were able to focus on the monitor. And in a way, [that's how] we made this film — we had a monitor that I had access to online while directing remotely. And then I had a secure sound connection to the set, mediated by a number of assistants. Of course, it was very slow. There were interruptions. There were moments when the connection was lost, and so I'd lose the control of the set for various minutes and then we had to reestablish it — so it was very laborious and difficult. But what mattered the most was that I was able to maintain, the priority was for me to maintain my concentration, but also to make do with the slowness and the inevitable delays. Wherever possible, of course, I would come as close as possible to set or actually appeared a few times, and that was much more fun and much better." On the Approach to Casting — and to Building an On-Screen Family — When You're Making a Movie in Secret "It's always difficult to compose a family in any film, because the members of the family have to look similar in a convincing way to the audience. So of course, if you're making a film underground, it becomes much more difficult to compose a believable family, because you're choosing from a much smaller pool of actors. But we spent a lot of time on this with my close collaborators, examining all the possibilities. And once we selected the father and the younger daughter, we then managed to find the mother and the older daughter. But yes, it was very difficult. It was extremely time-consuming. But I think in the end we were very successful." On How Having to Work in Secret, and the Energy That Goes Into It, Impacts a Finished Film "Well, when you're working with this kind of pressure, you always do have this feeling that you may manage to escape the system, and to ignore it and to defy it, but it doesn't mean you're escaping limitations. You're simply working with a different set of limitations. What is paramount to me is that the audience, when it watches the film, should not feel that the film was made with this sort of limitation. Of course, there are lots of aspects that I would have liked to play more with under different circumstances, but let's say the priority is really for the audience to feel that they're watching something that wasn't shot under this kind of duress." The Seed of the Sacred Fig opened in Australian cinemas on Thursday, February 27, 2025.
Brisbane's newest all-day eatery comes with some serious interstate credibility, with Sydney favourite Devon opening its doors at Mount Gravatt. Setting up shop at Garden City shopping centre, the cafe's new digs mark its first venture into Queensland — and first outside of Sydney, too, where its three locations have built up a devoted following. Visitors to Devon's 80-seater Brissie spot will soon find out why. While views of the shopping centre's water feature, a bleached timber and concrete fit-out, and communal tables and banquette seating all await in the city's south, it's Devon's menu that keeps attracting devotees much further down south. The cafe hasn't brought its multiple types of katsu with it; however, it is slinging plenty of other signature dishes that have proven a hit in Sydney. Among the highlights: the Croissant St Denis, an omelette with blue swimmer crab and salmon, bisque beurre blanc, caviar and finely chopped herbs, all served in a fresh croissant; plus Breakfast with the Sakumas, which features miso-marinated king salmon, an eel croquette, a 63-degree egg, kewpie mayo and furikake. Other daytime standouts include brioche French toast with mango and frosted corn flakes, a 'yakuza' burger with either a chargrilled beef patty or fried chicken, and baked eggs with yellow lentil dhal, broccolini, cauliflower, kale, curry leaves and grated haloumi. After a two-hour aperitivo selection each afternoon — think marinated olives, whipped roe and calamari with green nahm jim — the dinner range features the likes of crispy pork hocks with steamed bao, slow-roasted lamb neck on the bone, and squid ink angel hair pasta with mussels, crab and mentaiko cream sauce. Executive chef Zacharay Tan is also keen to incorporate Queensland seafood and produce, and to offer up Queensland-exclusive dishes, such as the grilled Hervey Bay scallops with kombu butter, potatoes and caviar. Drinks-wise, as well as getting caffeinated from Devon's house-blend coffee, customers can sip matcha lattes, iced teas, bubble teas with cheese foam, freshly squeezed juices and milkshakes. Or, with the venue slinging alcohol all day, to peruse the beer, wine and cocktail list. And as for dessert, the cafe's soft serve has quite the reputation, including for its sweet-and-savoury combo with hot chips. Find Devon Cafe at Westfield Garden City, 2049 Logan Road, Upper Mt Gravatt. Its's open Monday–Tuesday 7am–4pm, Wednesday–Saturday 8am–10pm and Sunday 8am–4pm.
UPDATE, December 17, 2022: White Noise screens in Australian cinemas from Thursday, December 8, and streams via Netflix from Friday, December 30. We're all dying. We're all shopping. We're all prattling relentlessly about our days and routines, and about big ideas and tiny specifics as well. As we cycle through this list over and over, again and again, rinsing and repeating, we're also all clinging to whatever distracts us from our ever-looming demise, our mortality hovering like a black billowing cloud. In White Noise, all of the above is a constant. For the film's second of three chapters, a dark swarm in the sky is literal, too. Adapted from Don DeLillo's 1985 novel of the same name — a book thought unfilmable for the best part of four decades — by Marriage Story writer/director Noah Baumbach, this bold, playful survey of existential malaise via middle-class suburbia and academia overflows with life, death, consumerism and the cacophony of chaos echoing through our every living moment. Oh, and there's a glorious supermarket dance number as one helluva finale, because why not? "All plots move deathward" protagonist Jack Gladney (Adam Driver, House of Gucci) contends, one of his words of wisdom in the 'Hitler studies' course he's taught for 16 years at College-on-the-Hill. Yes, that early declaration signals the feature's biggest point of fascination — knowing that eternal rest awaits us all, that is — as does White Noise's car crash-filled very first frames. In the latter, Jack's colleague Murray Siskind (Don Cheadle, No Sudden Move) holds court, addressing students about the meaning of and catharsis found in on-screen accidents, plunging into their use of violence and catastrophe as entertainment, and showing clips. In the aforementioned mid-section of the movie, when White Noise turns into a disaster flick thanks to a tanker truck colliding with a train — because its driver was distracted, fittingly — you can bet that Murray's insights and concepts bubble up again. Before there's a tangible calamity blowing in, life is still mayhem, as Baumbach stresses in White Noise's opening third. The professors natter all at once, with Jack and Murray even joining forces for a rapturous session on Hitler and Elvis Presley's commonalities — Baz Luhrmann's Elvis, this isn't — that's one of the film's tour-de-force scenes. Chatter awaits at home, too, where Jack's fourth wife Babette (Greta Gerwig, 20th Century Women) sports important corkscrew hair and mothers a blended brood spanning his kids Heinrich (Sam Nivola, With/In) and Steffie (May Nivola, The Pursuit of Love), her daughter Denise (Raffey Cassidy, Vox Lux), and their shared boy Wilder (debutants Henry and Dean Moore). Recalling Steven Spielberg's fondness for small towns and family dynamics, White Noise is both cosy and intricate in its everyday details (and oh-so-80s). The fact that everyone is always spouting and blasting something, again all at once, speaks volumes; little here, be it good, bad, sudden or expected, can be escaped. Baumbach keeps close to his source material, so much so that DeLillo's voice lingers in the dialogue; however, the director is no stranger to perceptively unpacking intimate bonds himself. Indeed, each one of his features across more than a quarter-century so far — including breakout flick The Squid and the Whale, quarter-life-crisis gem Frances Ha, the similarly arrested development-centric While We're Young, coming-of-age caper Mistress America and the adult sibling-focused The Meyerowitz Stories (New and Selected) — has done just that. Only White Noise boasts "The Airborne Toxic Event", though, which tests its characters and relationships through apocalyptic horror, a frantic evacuation, and detouring ambitiously and hilariously into madcap National Lampoon's Vacation-esque territory. That ominous feathery plume makes the fear of death physical, as scary movies have for a century-plus. And, it makes it unavoidable, no matter how much the film's motley crew would rather divert their attention anywhere else. Also, it briefly turns it comical in a 'what else are you going to do but laugh?' manner. How does humanity, en masse and individually, trick ourselves into forgetting that our time alive is finite, fleeting, fickle and fragile — and that it could fade to black at any second? White Noise is that question in anxious filmic form with a satirical and savage bite. Accordingly, Murray waxes lyrical about grabbing groceries, and also about being someone who either kills or dies, while Jack and the teenage Denise start noticing the usually perky Babette's secret pill-popping. The Gladneys' patriarch and matriarch already proclaim how they couldn't live without each other as bedroom talk, but they're really ruminating on what it'll mean when they simply can't live. Buying and medicating your way away from that train of thought, and ignoring warnings and doctors, are all firmly in the movie's sardonically scathing sights. So is seeing how danger, terror and death inevitably bring people together — and, although set in the 80s, working with a novel penned in the 80s, the striking pandemic-era parallels sting (masks, conspiracy theories and all). In Baumbach's hands, White Noise is anything but unadaptable, but it is jam-packed. The themes, ideas, emotions, neuroses and tones flow as fast as all the talk — itself overflowing with big-thinking yet also screwball dialogue with a zippy rhythm — and then there's the always colour-saturated production design and costuming, the hypnotic choreography of bodies and vehicles, and the dream cast. Both Driver and Gerwig have already shown their sublime talents under Baumbach's guidance before, and both perfect the crucial-but-rare skill of conveying a world of character minutiae via their presence. Driver's size instantly makes him tower over the Gladneys' mania, just not as much as that black cloud, and soar over his college discussions. Gerwig, missed on-screen for six years while directing Lady Bird, Little Women and the upcoming (and Baumbach co-written) Barbie, is the face of soldiering on until you aren't or can't — equally warmly and heartbreakingly so. Impressive turns by Cassidy and Sam Nivola as the eldest two of the precocious children stand out, too, and Jodie Turner-Smith (After Yang), André 3000 (High Life) and Lars Eidinger (Irma Vep) also make an imprint in small appearances. Again, there's a lot to White Noise. Again, that's all by design, stems from the page, happily comes with built-in lurches and veers, and a hefty part of the point. (Life is a lot, death is a lot and confronting is a lot, after all.) As Danny Elfman's (Wednesday) score adapts nimbly to the many changes in mood, and cinematographer Lol Crawley (The Humans) helps make everything a spectacle, bearing life's transience keeps proving wildly careening, spiralling, amusing and entertaining. And when the closing credits roll, fancy footwork breaking out to LCD Soundsystem's 'New Body Rhumba' in an infectiously engaging display, a clear message has beamed in through the static: everything in life, like in supermarkets, has an expiration date, but knowing that fact means enjoying what you have while you have it. Top image: Wilson Webb/NETFLIX © 2022.
In case we didn't have enough endangered phenomena to worry about, what with the encroaching extinction of the Black Rhino, the disappearance of the Barrier Reef, and the centralisation of indie culture, the United Nations has thoughtfully added a new category to the list. UNESCO (United Nations Educational, Scientific and Cultural Organization) has this week released a fresh batch of the world's endangered 'intangible cultural traditions'. French-style horse back riding, Chinese shadow puppetry, and poetic dueling in Cyprus were amongst the newly endangered traditions added to the 250-strong list compiled last year. The new additions encompass rituals and art forms passed down orally from generation to generation, lacking any formal documentation system. Recipes and food preparation methods can also be found amongst the UNESCO's list of disappearing acts, including the Japanese ritual of transplanting rice, and the ceremonial Turkish meat dish, Keskek. Those recipe books brimming with scrawled post-it notes and hand-written recipes born of the mind of your Great Great Grandmother just got even more precious. These 'intangible' traditions provide the cultural glue for some of the world's smallest communities, encouraging unity in a world of increasing globalization and cultural dilution. Hopefully awareness generated by the UNESCO list will stop these traditions from pulling a Houdini any time soon.
"We were just saying, we love an Aussie." When you're My Old Ass writer/director Megan Park and Australia's own Margot Robbie has produced your latest film, it's easy to understand why. Gleaning why she greets Concrete Playground that way isn't hard, either. "We do," adds Maisy Stella, the movie's star. "Yeah, we really, really do," Park chimes back in. Robbie's production company LuckyChap Entertainment, which has I, Tonya, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) and Barbie to its name as well — and, among flicks that don't boast its co-founder on-screen, Promising Young Woman and Saltburn, too — is also onboard for Park's next release after this marvel of a coming-of-age tale. Viewers of My Old Ass have more from Park to look forward to, then. Right now, though, they already have a must-see to enjoy courtesy of her second feature as a filmmaker. Actually, that also applies to her debut. An actor herself, Park initially jumped behind the lens on 2021's excellent Jenna Ortega (Beetlejuice Beetlejuice)-led The Fallout, which plunged into the aftermath of a school tragedy. Now, the former The Secret Life of the American Teenager star has penned and helmed a picture set as its protagonist gets ready to leave her small-town home behind for college. [caption id="attachment_974458" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] For her second movie about teens making sense of their world, too, Park embraces a high-concept setup — and one that heads down a universal path that resonates with viewers of all ages. Have you ever wanted to get life advice from your future self? Or, conversely, to give your younger self some words of wisdom, whether about what not to worry about or who to avoid? Focusing on Nashville's Stella as the just-turned-18 Elliott — and featuring Parks and Recreation, The White Lotus and Agatha All Along favourite Aubrey Plaza as the older version — that's My Old Ass' storyline. If you're wondering how the two Elliotts come to meet, the film uses a mushroom trip to head into magical-realism territory. When they come face to face, Plaza's 39-year-old Elliott has a specific piece of advice for the girl that she once was: stay away from Chad (Wednesday's Percy Hynes White). We all know what happens when you tell someone not to do something, especially a carefree teenager, so of course Stella's Elliott doesn't heed that warning. This is a film, however, that understands the urge to want to send your former self in a certain direction, because it understands what it's like to live with the ups and downs that life takes us on just as firmly. It equally appreciates that it's those ebbs and flows — and joys and hurts as well, so our course for better and for worse — that make us who we are. [caption id="attachment_974462" align="alignnone" width="1920"] Marion Curtis / Starpix for Amazon MGM Studios[/caption] What would Stella do if the Sundance Film Festival-premiering movie's premise became an IRL possibility for her? It depends on which way the advice was flowing. Park is of the same opinion. They'd each be keen to talk to their younger selves, but not their older guises. "I've decided that I reject it. I really reject it. I've been asked this and every time I try to think of something, and I think the reason that I don't have anything is because I would not take the opportunity. I would take the opportunity to meet younger self. But the older, it just feels a little scary to me," Stella tells us. "It gets dicey. See, it goes dark quick. I mean, it really takes a turn," she continues. "Yeah, it's a it's a scary one," agrees Park. "I think I'm going to hard pass on it too, probably. I'd want to go back and meet my younger self." Thinking about these questions is unavoidable after watching My Old Ass, no matter whether you decide that you'd seize or shirk the chance that Elliott is given. Also part of the viewing experience: wishing that Plaza could pop up in your life either way. We also chatted with Park and Stella about where the idea for the film sprang from, what Park was interested in exploring with it, Stella's excitement about playing Elliott, how she approached the character, and working with both Plaza and Robbie. On What Inspired My Old Ass, and What Park Was Interested in Exploring Megan: "I think the themes that I really wanted to explore were grief and time passing, and nostalgia — and motherhood, truthfully, was a big one that I wanted. I was a new mum when I wrote this script, so it was those feelings that were really the entry point into this idea that's so universal, I think, of wanting to talk to your older or younger self. Or regrets. Regret is another big one. I think I'm such an emotionally driven writer that I'm not thinking about necessarily the structure of the story, and what's going to happen and what are people going to take from the movie — I'm just driven from that emotional place, at least I have been so far in the two movies I've written. It's all I really know how to do it. So those were the themes I wanted to explore. And then as I didn't know where it was going, as soon as Elliott came to me, and older Elliott, I just followed that lead and figured out the story as I went." On Stella's Initial Reaction to the Script, and What She Thought That She Could Bring to the Younger Elliott Maisy: "My first reaction to it was just beaming with excitement. It was funny, because I had been auditioning for so long and I really enjoy auditioning, and I really enjoy reading scripts and I read a lot of scripts at that time, and it was just my favourite thing I'd read in forever. And I was immediately met with anxiety. The second I started reading it, the thought of it being taken from me, I was like 'no!'. And it wasn't even mine at all. But the thought of not getting to be a part of this amazing project was so scary to me. So yeah, my initial reaction to it was deeply, deeply moved; really excited and inspired by it; and would have just been so grateful and lucky to have been a part of it. And it worked out for me. I'm very grateful and lucky." [caption id="attachment_974461" align="alignnone" width="1920"] Marion Curtis / Starpix for Amazon MGM Studios[/caption] On the Journey to Realising That Aubrey Plaza Was the Ideal Older Elliott Megan: "Truthfully, I'd written the role for somebody to be much older, like in their late 40s, early 50s. And we cast the film around Maisy, and so we were really stuck on who looks the most like her, who's in that age range and who's available to come to Canada to film the movie. And there just was never anybody that came up that was the right match for the tone of the movie, for energetically with Maisy, for the comedy. It wasn't until there was a list of names that somebody had suggested, and Aubrey was on there. It was like 'wait a second, I'm such a fan of hers' — and I knew Maisy was a fan of hers. She was not even 40 and doesn't look anything like Maisy really, but we were like 'wait a second', and for some reason the energy and the chemistry was just such a connection. And it just made the whole movie make sense in a whole new way for me. I'm close to age to Aubrey and I thought 'wow, I've actually never felt older than hanging out with all the 18 year olds'. And there was something so funny to me about this idea that she thinks she's so old and she's not even 40. And even the title became funnier when it was Aubrey." Maisy: "Yes!" Megan: "So then, luckily we sent it to her, and only her, and she read it and loved it and wanted to be a part of it. So once we got it to her, the stars really aligned quickly, but it was kind of me getting out of my own way and being like 'wait, instead of worrying about who looks the most like Maisy, who fits into the movie?'." Maisy: "Instead of worrying about who's blonde?" Megan: "Yeah, exactly." On Collaboration When You're Playing the Younger Version of a Character While Sharing Scenes with the Older Version Maisy: "It was quick. What happened, I was filming for like two weeks when Aubrey was officially attached. So my younger Elliott was already kind of established. On anything else, if this was any other situation, I would have been meeting Aubrey — and she kind of had to meet me because I was filming. So it was a quick thing, she came for like a week and we just went for it." [caption id="attachment_974460" align="alignnone" width="1920"] Marion Curtis / Starpix for Amazon MGM Studios[/caption] Megan: "She'd been watching dailies and studying Maisy a bit before." Maisy: "And then when we met, I felt Aubrey staring and filming me with her eyes, and getting the mannerisms and physicality. I think that was probably more what we focused on. And also just creating a friendship and a nice connection was probably the most important part, rather than mimicking each other. It felt more enjoyable." Megan: "I remember Aubrey asking me 'do you want me to mimic her? How deep do you want me to go with this?' And I was like 'I feel like that's not the most important part of it. I'd rather we just build the chemistry and the rapport'. And that was totally what I think was the main thing. We just spent the weekend together, talked through stuff." Maisy: "100 percent." Megan: "And it was just about building that chemistry — which, they're both genius actors, they can build chemistry so quickly. That's a skill that I think the best actors can do. And the two of them together were just able to connect so quickly." [caption id="attachment_974459" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] On Having Margot Robbie as a Producer, and How That Helped Shape the Film Megan: "As we were saying, we love an Aussie. Our other producer, Bronte Payne at LuckyChap, is also Australian. It happened really organically. I had a general meeting with the company, with Bronte, who had seen The Fallout — and she really loved the film, and she just wanted to sit and chat. And she was the one, honestly, who was like 'do you have any other ideas?'. And I was like 'I mean, there's this one thing I'm thinking about'. And she was like 'we'd love to hear more about that. We think that's a great idea'. Then she introduced me to the rest of people at the company, Tom [Ackerley, also one of LuckyChap's founders] and Margot and Josey [McNamara, another LuckyChap founder]. And they are just so — it's really hard to find good people in this industry who are really honest and smart and hardworking, and treat everybody, no matter if it's the star of the movie or the PA, they're just so consistent. And they're so grounded and down to earth, and there's a reason why they get so much repeat business with their directors. It's because it's genuine, and they're obviously very smart. So they were incredibly helpful, not only helping me build the script, but every step of the way — they've just been so invaluable and so easygoing. And just lovely, lovely human beings. I'm doing my next film with them, and I hope to work with them over and over again. They're incredible." On Balancing Playing a Carefree 18-Year-Old with Their Whole Life Ahead of Them with Elliott Getting to Take Stock of Her Existence Decades Before Anyone Usually Expects To Maisy: "Preparing-wise, I honestly read the script so many times. That was really my prep, just reading it. I didn't do too much, I didn't practice the deliveries." Megan: "We just talked through the scenes." Maisy: "We'd just talk it through. And on my own time, I had months before I went to film — but after I booked it, I enjoyed reading it so I would obsessively just read it and think about it a lot. I really lived with the concept and with the message. I thought about it a lot. I think was my preparation." [caption id="attachment_974457" align="alignnone" width="1920"] Alex J. Berliner/ABImages[/caption] Megan: "And you believed in it." Maisy: "And I believed in it and I meant it. I really meant it. Everything that Elliott says, I ended up meaning on the day. Even if I was learning from her and trying to mean it, I did end up meaning it." Megan: "Yeah." Maisy: "And with an indie, with the director like you [talks to Megan], where you really like things to feel like you press record and you're just like watching people exist, there's only so much you can do for prep to keep it feeling natural and real and sparky." My Old Ass opened in Australian cinemas on Thursday, September 26, 2024. My Old Ass images: Marni Grossman © Amazon Content Services LLC.
Hosting your own craft beer-tasting event is a great way to discover the breadth and variety of the good stuff in a fun and highly convivial situation. Plus, you'll appreciate your casual Friday tipple more than ever. If you're a fan of the James Squire craft beer range, chances are you enjoy talking the ears off of your buds about your favourite type and why you think they should try them. Alternatively, you may be a devotee of one or two beers in the range and are now ready to explore a little further, with a mate or two coming along to keep you company on your journey. Either way, we've got all your home-hosted beer tasting ingredients right here. Friends Don't look at us like that. Obviously you're going to invite buds, this is a beer tasting. Four or five would be a good number for a tasting, this ain't a keg party. Food You don’t have to serve up a Michelin-starred degustation menu, but snacks provide the dual purpose of keeping alcohol levels lower and cleansing the palate between tastings. Make sure you don't choose food that could overshadow the taste of the beer. Having water on hand is also a good idea. Beer You could say this is somewhat a crucial element. You could go full throttle and sample the full range of nine James Squire craft beers and two James Squire Orchard Crush ciders or maybe you'd prefer to taste just a handful. Depending on which approach you choose, you could consider buying some of the beers (One Fifty Lashes Pale Ale, Nine Tales Amber Ale and The Chancer Golden Ale) in 568mL Friendship Pint format rather than six packs of the standard 345mL bottles. To keep costs down, you could suggest that each guest/participant/contestant/buddy ol' pal supplies one of the beers. Glasses The aim of the night is to taste rather than scull, meaning proper beer tasting glasses would be ideal. However, if you don't have any of these to hand (and since you don't live in James Squire Brewbar, that’s hardly surprising) any glass will do. You'll earn bonus craft beer cred points for having the 'right glass' for each style of beer (have a look over JS's Guide to Glassware Etiquette), but it's not the end of the world if you don't. Pour about three fingers worth into each glass, allowing the aroma to fill the rest of the space. Remember, the night is about tasting the beer, not simply drinking it and gettin' crunk. Materials You’ll need to provide pencils or pens, along with paper or notecards. If you’re a particularly efficient and overly-excited host, you could create a print a simple tasting score sheet with spaces for notes on appearance, aroma, flavour, mouth feel, overall impression and final total score. Guidelines Each beer should be judged in the same way, as follows: - On pouring, immediately sniff the beer to detect initial aromas. Write these down in the 'Aroma' section of the score sheet – e.g., 'nutty malt' or 'citrusy hops'. - Note the beer's appearance, particularly its colour (golden, copper, etc.), clarity (cloudy, clear, etc.) and head characteristic. - Taste the beer by taking a sip and keeping it in the mouth for a few seconds before swallowing. Note both the immediate finish and aftertaste, the malts and hops and the balance. - Assess the mouth feel — this includes body, carbonation level and alcoholic warmth. - Write down your overall impression and give a final score for each beer. For more detailed judging information, head over here. Now there's nothing left to do except begin the tasting — and enjoy. Image credits: *vlad* via photopin cc, oskay via photopin cc, nahlinse via photopin cc, Fixed in Silver via photopin cc.
Staying in the Venzin Group family, Picnic's acai bowl is slightly more mild in terms of the intense acai berry flavour but equally as delectable. Blended with banana and assembled with even rows of honey toasted Byron Bay Macadamia Muesli, shredded coconut, cranberries, strawberry rounds and fresh banana. The always-beaming team will also customise it for you with Paleo granola if regular isn't your thing. Perfectly enjoyed on a hot day by the giant bay window.
Unique accommodations are available in abundance on Airbnb. So what makes Aussie Host Quentin Dempster's Table Cape home, which was recently named Australia's Best Unique Airbnb Stay, the most innovative of all? Affectionately named The Winged House, this extraordinary Tasmania property boasts a long list of features that has seen it recognised as one of Australia's best stays. It starts with its ability to stand out — literally — with architecture that sees it cantilevered over a cliff to deliver dramatic 180-degree views of the seascape that surrounds it. Designed by Australian artist Richard Goodwin (and engineered by Harry Partridge), Dempster's abode is a liveable art installation, inspired by the appearance of the wings of an aircraft stretching over a cliff. Guests who drive into the property have also noted its resemblance to a bird poised to take off. However, not content to simply serve breathtaking vistas of waves breaking on rocks to the east and Rocky Cape National Park to the west, changing cloud formations, eagles and even an occasional seal, Dempster's commitment to offering guests an unforgettable experience extends to every room of his house. The bathroom features a traditional Japanese soaking tub, the living room shelves are stocked with best-selling books, the gourmet kitchen is fully equipped and the pantry is packed with premium condiments — including extra virgin olive oil produced by Dempster himself. In addition to complimentary bottles of local wine on arrival, Dempster also offers a unique "call-in" service, where guests can dial-a-massage or dial-a-chef, connecting with the best local suppliers and service providers. Impressed with Dempster's understanding that "it's the hospitality that truly makes all the difference when it comes to helping guests feel like they are living in a place, not just travelling to it," we caught up with him to talk about his Airbnb hosting journey, as well as what he believes makes for a truly unique Airbnb stay. What made you decide to become an Airbnb Host? My wife and I use Airbnb when we travel. We've enjoyed it from a guest perspective so I joined up as a Host and things developed from there. We've attracted people from all over the world. What do you think Hosts can do to make an Airbnb listing outstanding? We provide a stocked larder, breakfast victuals, a complimentary bottle of Josef Chromy chardonnay or Tasmanian pinot noir as well as our own extra virgin olive oil. In addition to the dramatic views, we have found this warm welcome and generosity makes all the difference to the guest experience. What do you love about sharing your unique property? The sense of a special place and guests who love to share it with us. We chat happily with guests from all over the world and give advice on local things to do. What's something you wish you knew when you started hosting? The importance of taking the edge off guest stress about cancellations. During the early stages of the COVID pandemic we quickly adopted a lenient booking policy, one which gave a full refund to people who had to cancel because of lockdowns. Or offered them a credit voucher against a future stay so they were not out of pocket. What are some of the benefits of hosting? The income derived through hosting has allowed us to pay for a cleaner, manager, suppliers and tradies, which all helps to contribute to the local economy. We also pay Tassie land tax which returns some revenue to the Tasmanian taxpayer. So it's a win-win. Want to begin your own hosting journey with Airbnb? If you're feeling inspired, head to the website to find out how to get started. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Images: Bec Baxter
It has been twenty years since James Cameron, Leonardo DiCaprio and Kate Winslet recreated one of the deadliest ship disasters in modern history — you know the one. Titanic also launched a lifetime of folks standing at the bow of boats and exclaiming "I'm the king of the world", and made the world endure a Celine Dion song that, as the lyrics promised, would go on. As well as snag a huge bag of Oscars and big, big bucks at the box office, the film did something else: reignite public fascination with the 1912 sinking. If you've ever watched and wondered what it'd be like to see the real thing, then wonder no more. You'd just better have a cool $137,000 sitting in your bank account. Commencing in 2018, travel company Blue Marble Private will be taking nine fascinated seafarers down to the famous ship on an eight-day journey. Departing from the coast of Newfoundland in Canada, they'll dive four kilometres down into the North Atlantic Ocean in a titanium and carbon fibre submersible — accompanied by experts, of course — to cruise around the passenger liner's deck, glide over its grand staircase and wander through the vessel that went down on its maiden voyage, taking more than 1500 people with it. The hefty price tag is supposed to reflect the cost of a first class ticket on the RMS Titanic 105 years ago, although it's hardly surprising that plunging deep into both the ocean's depths and a historical wreck costs a massive stack of cash and then some. This isn't the first time tours have been offered — indeed, presumably using some of the loot his romantic drama pulled in, James Cameron has made the journey three times — but it's still estimated that only 140 people have seen the site in person since it was first discovered in 1984. Via: The Australian. Image: OceanGate.
Before Game of Thrones ended its eighth-season run, HBO spent years telling the world that the end of the hit show wouldn't actually be the end. Firstly, the American cable network announced that it was considering five different prequel ideas. It then green-lit one to pilot stage, scrapped it and later picked a contender to run with: the upcoming House of the Dragon. It also opted to give novella series Tales of Dunk and Egg the TV treatment, too, and to work on an animated GoT show. And, it's been reported that another three prequels are also under consideration. Throughout all of this, GoT fans have been told one thing over and over, even without it being explicitly said. Our days of watching fiery fights between famous Westerosi names — and games over who gets tot sit on the Iron Throne — are far from over, clearly, and won't be for quite some time. And, now that House of the Dragon is getting nearer, dropping teasers and setting release dates (releasing in winter Down Under, when else?), that's glaringly apparent. HBO has just unveiled a new sneak peek at its first GoT spinoff and, yes, all of the basics are covered, including men being unhappy about the idea of a woman on the throne. Focused on House Targaryen — and including flame-breathing scaly creatures, naturally — House of the Dragon promises to dive into the chaotic family's past. That's intertwined with the entire history of the Seven Kingdoms, though. And, as the new footage makes plain, the prequel knows that everyone watching are all well aware of how things turned out when Daenerys Targaryen claimed power (even if this series — which is based on a George RR Martin book, Fire & Blood, of course — is set a couple of hundred years earlier). Cast- and character-wise, House of the Dragon stars Emma D'Arcy (Misbehaviour) as Princess Rhaenyra Targaryen, the first-born child of King Viserys; Matt Smith (His House) as Prince Daemon Targaryen, the King's brother; Rhys Ifans (The King's Man) as Otto Hightower, the Hand of the King; Olivia Cooke (Slow Horses) as Alicent Hightower, Otto's daughter; and Steve Toussaint (It's a Sin) as Lord Corlys Velaryon, aka 'The Sea Snake', a nautical adventurer from a Valyrian bloodline as old as House Targaryen. These Westerosi folk all grace a tale that harks back to Aegon I Targaryen's conquest of the Seven Kingdoms — which is what started the hefty 738-page first volume in Fire & Blood's planned two-book series — and then works through the family's backstory from there. Aegon I created the Iron Throne, hence the returning favourite's prominence. Also, you don't have to be the Three-Eyed Raven to know that fighting, battles for supremacy and bloodshed are always a part of every GoT narrative. Popping up on camera as well: Paddy Considine (The Third Day) as King Viserys, Eve Best (Nurse Jackie) as Princess Rhaenys Velaryon and Sonoya Mizuno (Devs) as Mysaria, Prince Daemon's paramour. Behind the scenes, Miguel Sapochnik and Ryan Condal are acting as the series' showrunners. Sapochnik has a hefty GoT history, winning an Emmy and a Directors Guild Award for directing 'Battle of The Bastards', helming season eight's 'The Long Night', and doing the same on four other episodes. As for Condal, he co-created and oversaw recent sci-fi series Colony, and co-wrote the screenplay for the 2018 film Rampage. The latest trailer follows an initial sneak peek back in October last year. Given there's still a few months until House of the Dragon's ten-episode first season starts airing, expect more to follow. That dance with dragons will arrive on Monday, August 22 Down Under, if you don't already have it in your calendar. Foxtel and Binge in Australia and SoHo, Sky Go and Neon in New Zealand will be doing the honours, if you're wondering where to direct your eyeballs. Check out the latest teaser trailer for House of the Dragon below: House of the Dragon will start airing on Monday, August 22 Down Under via Foxtel and Binge, in Australia and SoHo, Sky Go and Neon in New Zealand. Images: Ollie Upton/HBO.
It's said we make 35,000 decisions a day. The weight of these choices varies greatly, but often it's the small decisions we make that can have the greatest impact, particularly on a global level. From bringing a reusable cup to the coffee shop to buying high-quality threads, there are plenty of small changes you can make to reduce your carbon footprint and still make an impact. Sustainability is not a buzzword; it's something that should be at the forefront of our day-to-day decision making. For Australian menswear brand M.J. Bale, moving towards a more sustainable future drove the decision to launch a new range of single-source garments from a low-impact farm in Tasmania. To celebrate the Kingston Collection, we've partnered up with M.J. Bale to give you five simple tips to help you make more sustainable choices in your daily routine. BUY LESS AND BUY QUALITY Although nabbing a fast-fashion bargain seems like a good idea at the time, after a couple of washes it will probably look a little worse for wear. Why? Because these trend-driven pieces aren't designed to last. Investing in higher-quality items means you'll have a closet that'll stand the test of time as well as reduce your impact on the environment; clothes manufacturing has a pretty dire impact on the environment, so the less often you buy, the better. M.J. Bale is just one Australian fashion house that favours timeless, well-made threads over seasonal trends — although it is always sartorially suave. "We don't believe in trends at M.J. Bale," says founder and CEO Matt Jensen. Furthermore, the new Kingston Collection range heroes sustainable wool. For Jensen, traceability was key to his decision to partner with Simon Cameron — a sixth-generation farmer of the environmentally low-impact Kingston Farm. "The wool in these Kingston suits comes from this exact farm," explains Jensen, "and this is the grower who produced it, and this is how well he treats his merino sheep, and this is how he takes care of the land." Head into your nearest M.J. Bale store and make the conscious effort to ditch the fleeting trend-based fashion cycle and create a timeless wardrobe with premium pieces that'll serve you for years to come. [caption id="attachment_710930" align="alignnone" width="1920"] Destination NSW.[/caption] WALK OR CYCLE TO WORK Getting to the office doesn't have to include a crowded commute or circling the block for hours trying to find a park. Boost your step count and hit the pavement or hop on your bike and cycle to the office. Not only will you get the blood pumping but walking and cycling also help to reduce your carbon footprint. Plus, you'll skip the congested city traffic making for a much calmer start to your day. If walking, set yourself up for success by starting small. Aim to get off a couple of bus stops earlier than usual or try walking home a couple of afternoons each week. Get creative and find ways to maximise this time by tuning into a good podcast, crafting a killer playlist or scheduling a phone call with one of your out-of-town mates. If you're cycling, you're likely to get home faster rather than sitting in the evening car crawl after work. BRING YOUR OWN CUP TO YOUR COFFEE RUN For the caffeine addicts among us, our day doesn't start until we have a coffee in hand. But our love for a cup of joe shouldn't cost the earth. As most notably brought to light by the War on Waste, it is estimated that Australians throw away 50,000 disposable cups every half hour. That's roughly 2.7 million a day, or one billion each year. In Sydney alone, we discard approximately 100 million annually. And that's mostly all into landfill. Nabbing yourself a re-usable coffee cup is a no-brainer in 2019. It's one simple change to your morning routine that can make huge strides towards reducing unnecessary waste. Plus, these sturdier cups make for a damn good drinking experience, with sealable lids and thermal insulation designed to keep beverages hot all the way to your desk. Taking things up a notch, Sydney has just launched Green Caffeine — the city's first free re-usable coffee cup sharing network. If a city can take this simple sustainable step on board, so can you. [caption id="attachment_698391" align="alignnone" width="1920"] Carriageworks by Jacqui Manning.[/caption] PREP YOUR LUNCHES WITH LOCAL FARMER'S PRODUCE No one really wants to spend their Sunday night slaving over the stove, but hear us out. Meal prepping is one of the best ways to save yourself some extra dosh each week and means you'll avoid splurging on pricey UberEats orders when you're too busy to grab lunch. Plus, by going to some local markets, you can turn your grocery shop into a delightful weekend jaunt. Who doesn't want to spend a morning patting pooches, grabbing a coffee (using your keep cup, of course) and soaking in some sunshine all while smashing out the weekly grocery shop? Farmers' markets have fresh, sustainable and often organic produce from nearby farms. Not only does eating local help support grass-roots farmers, but it also lowers the distance produce has to travel to arrive from paddock to plate, meaning fewer carbon emissions polluting the environment. Sydneysiders, head to Marrickville Organic Food Market every Sunday morning from 9am, Carriageworks Farmers Markets each Saturday from 8am or Erskineville Farmers Market every Saturday from 9am. GO DIGITAL AND SAY NO TO UNNECESSARY OFFICE PRINTING Let's face it, office printers are the pits. They're constantly jammed, out of ink or running low on paper. And don't get us started on scanning. Next time you mindlessly hit Command + P, think again. What are you about to print? How long will you use this hard-copy? Could you work from the digital version instead? Take a moment to question your decisionmaking and consider ways to reduce the number of runs you make to the printer. Sure, there are some cases where you can't escape printed documents, but making a start by not printing unnecessary emails or files will help limit that churn through huge quantities of ink and paper. Top image: M.J. Bale Kingston suits by Jamie Azzopardi.
Juniper has come a long way — from curing stomach pains and repelling snakes to burning sprigs to ward off the plague, and on to its most common use today in our beloved gin. To dig deep into the history of the botanical tipple, we spoke to master distiller Joanne Moore from Greenall's Gin (produced at England's oldest gin distillery — G&J Distillers) for advice on bluffing our way through junipers and genevers to get to the good stuff: gin. WHY DOES GIN HAVE AN EMOTIONAL REPUTATION? There are two sorts of people who drink gin: one, that after a touch grazing the lips, starts to bare their heart and soul and drags you into a D&M, and the latter, a shark-fresh-outta-water sort who can sink snooker balls like it ain't nobody's business. So what's the deal, Joanne? "I think this stems from the poor reputation of gin following the gin craze of the early 18th-century when there was no regulation around making it. The result was a lot of 'gins' of dubious quality being drunk, which was immortalised by William Hogarth's infamous painting of Gin Lane. There's nothing in gin that would make you cry any more than if you drank the same quantity of another product with the same alcohol level." [caption id="attachment_663983" align="alignnone" width="1920"] Letícia Almeida.[/caption] THE TASTE OF A GOOD GIN First up, genevers. We know this to be the drink that begat gin; the older Dutch spirit cousin you might say. But what else should bluffers know about gin to charm all their mates? "London dry gins, such as Greenall's original, are traditionally distilled white spirits, made from three building blocks: grain spirit (in Greenall's case, English wheat), botanicals and water. The only botanical we have to use to be legally defined as a gin is juniper berries, and for london dry, this should be the predominant aroma. "A good gin should have recognisable juniper notes — after all, that's what legally defines a gin — so, it should be dry, not overtly sweet, balanced and have a good soft mouthfeel. It shouldn't be too harsh or burning to the taste. "Much like wine tasting, gin tasting uses the same basic principles. Aerate your glass and nose the aromas, as your sense of smell signals to your brain what you are going to taste. There's no need to hold the spirit in your mouth like you do with wine though, just sip and enjoy," says Joanne. [caption id="attachment_638855" align="alignnone" width="1620"] Brook James.[/caption] A PERFECT TIME AND PLACE Like rosé to spring, red to winter and white to summer, is there a best time to drink gin? "That's a difficult one to answer as it all depends on the individual, how they feel and what sort of day they have had — do they want a long drink like a refreshing G&T, a cocktail or a short drink? For me, that's the real beauty behind gin. It's so versatile that you can drink it responsibly in lots of places," says Joanne. AN OPTIMAL VESSEL Now we know when we should be drinking gin, but what about how we should be drinking it? Are there certain vessels that are better than others? "It could be argued that for the optimum drinking experience, you need a glass with a narrow neck to allow the concentration of aromas to be appreciated. Plus, glass as a material is better suited than say, plastic, as it doesn't contain any elements that could potentially react with your spirit and leach into your drink." [caption id="attachment_663977" align="alignnone" width="1920"] Letícia Almeida.[/caption] HOW TO MAKE THE PERFECT G&T A classic gin and tonic can be traced back to when colonial Britain spread its tentacles across the world and the English encountered a whole range of new tropical diseases, including malaria. To try to combat the disease, troops in India were given rations of the very bitter cinchona bark, which contains quinine, a treatment for malaria. And from there, these wily soldiers mixed their rations with sugar, soda water and gin to make it more palatable. Now, when mates come over to celebrate being malaria free — or really for any occasion — we tend to go for a splash mighty enough to fill half a glass. What's the best way to mix up a good ol' G&T? "Gin is best served chilled with a good quality mixer and appropriate garnish to bring out the key flavours. For mixing a classic G&T with Greenall's gin, we recommend using some good quality tonic such as Fever Tree, lots of ice and a wedge of lime to bring out the rounded juniper notes, warm earthy spice and mature citrus notes of our Greenall's Original gin recipe. "It's also important to mix the gin and tonic to avoid layering flavours. Mixing allows the two to marry together and complement each other." WHAT'S TRENDING? Throughout gin's long life many trends have come and gone. There have been gins made with ants and seaweed, gins bottled with flecks of gold and turkey-flavoured gin (yes, really). Luckily, the latest trend is a bit more palatable (or, if we may, palette-able). While gin may traditionally be clear, that's no longer the hard-and-fast rule. And gin's colour of the moment is pink. Was it inspired by Regina George's midweek mantra? The millennial colour of the moment? A certain animated feline detective? We don't know. But we do know that it certainly adds an extra shade to your G&T. And, in the case of Greenall's Wild Berry gin, it tastes good too. This variation of the pink libation is made with natural blackberry and raspberry flavouring. As you'd expect, it has berry notes (on the nose and tongue) but the combination with juniper botanicals gives the drink a warming spice and slightly peppery after tones. [caption id="attachment_663980" align="alignnone" width="1920"] Letícia Almeida.[/caption] AND FINALLY, SHAKEN, STIRRED OR THROWN? The martini is the quintessential gin cocktail, a blend of gin and vermouth mixed to the drinker's exact specifications. But when you order a martini should you ask for it shaken, stirred or thrown? Many people will tell you there is a definitive answer, but the only difference is that the ice breaks into smaller chips and waters down the martini when you shake the cocktail. Joanne say, "too much ice doesn't dilute gin, but it does keep it chilled, dulling the effect of the alcohol in the mouth and making for a more pleasant drink." So tosh to them; drink it how you like, we say. Grab a bottle of Greenall's, throw that dry martini, aerate until it breaks into tiny droplets, serve in a chilled glass and don't let anyone tell you you're doing it wrong. Header image: Brook James.
Experiencing the best of Byron's Bay serenity is made easy when you're tucked away in luxe accommodation at Australia's easternmost point. Designed as an uncompromising beachside escape, ESTE Wategos combines stellar design with nature-driven wellbeing, ensuring your trip to the easygoing surf community is every bit as tranquil as you imagined. Perched above Wategos Beach, virtually within the shadow of the iconic Byron Bay Lighthouse, a pair of architecturally designed three-story residences — known as North, South or Estate when combined — nest within a lush forest landscape, just a short journey from Byron's bustling centre. Stacked with top-notch amenities, private rooftop terraces, glass-bottom pools and a curated concierge service ready to cater to every guest's whim are only the beginning. Crafted by Shaun Lockyer Architects for Co-Owners Chris Bissiotis and Dr George Bilios, ESTE Wategos features more than enough space for 12 guests. Offering just a little more serenity than the backpacker dorms you'd find in town, it's hard to imagine a more suitable spot for hosting a chic family holiday, celebrating a special milestone or escaping with friends. "Both George and I have travelled extensively, and through our travels we became inspired to create a tranquil yet luxurious getaway in one of our favourite locations," says Co-Owner Chris Bissiotis. "With ESTE Wategos, we're excited to share a unique sanctuary unlike anything seen before in Byron Bay." With prices starting at $5000 per night, the interior is as meticulous as you'd expect. Fashioned by Fiona Dunin of FMD Architects, bespoke furnishings from Mark Tuckey and Jardan level up the experience. Meanwhile, hand-laid Italian travertine stone walls continue throughout the residence, blending indoor and outdoor spaces that culminate with stunning views over Wategos Beach. "The proximity to both the ocean and rainforest isn't just about aesthetics," says Bilios, explaining how the property revolves around the concept of prescribing nature. "It's about creating a space where guests can disconnect, recharge, and experience the well-being benefits of being immersed in nature." ESTE Wategos is now open for bookings at 11 Brownell Dr, Byron Bay. Head to the website for more information. Images: Courtney King.
Let's face it: finding the perfect plans for New Year's Eve is stressful. With all the parties, festivals, ticketed venues and firework displays on offer in our cities, sometimes it feels like new year planning — which you're expected to start now, mind you — is more trouble than its worth. But if you're looking to ring in 2019 by getting away from it all, we've got you covered with some top-notch alternatives to your usual New Year's happenings. Here's our top picks for getting out-of-town this year — which we're bringing to you early so you can get a head-start on booking, too. TASTE ALL THAT TASMANIA HAS TO OFFER Each year, revellers make their way down to Tassie for Falls Festival at Marion Bay. But, if you want to avoid the chaos of navigating stages and finding your tent in the dark, we have a festival of another kind that's worth the trip. Food lovers can indulge in the best of Tasmania's culinary scene as The Taste of Tasmania food festival returns to Hobart's Princes Wharf from December 28 to January 3. Entry is free, but the range of masterclasses are ticketed and run by some of the best chefs in the region — think cheese making with Analiese Gregory (Franklin and ex-Sydney's Bar Brosé) and sausage making with Rodney Dunn (Tassie eatery The Agrarian Kitchen), plus a long-lunch hosted by Alice Chugg and Vladimir Panevin (local bar Ettie's). And that's just three of the 15 events on offer. Apart from the eats, there will also be 120 live bands and circus, cabaret and dance performances, along with a twilight cinema. For more information and to book masterclass tickets, head to the Taste of Tasmania website. This will require flights and accomodation, so you might need to book this ASAP. CLEAR YOUR MIND WITH A YOGA OR DETOX RETREAT If you're looking to enter the new year with a clear mind, there's still time to book into a full on retreat. Billabong Retreat offers an annual new year's yoga getaway, for either five or seven nights, spanning from December 26 to January 2. The eco resort is located 45 minutes northwest of Sydney and the program features twice-daily yoga, nighttime meditation, daily wellness workshops and tranquil treehouse accommodation. Plus, two New Year-specific ceremonies: a letting go ceremony on New Year's Eve and a setting intentions ceremony on New Year's Day. If you're looking to be closer to Queensland, another retreat option is the Gwinganna new year detox, which is a seven-night spa getaway just south of the Gold Coast, taking place from December 27 to January 3. It's no doubt pricey, but includes massages, facials, all organic meals, evening meditation sessions and a wellness consultation, along with a $100 therapy credit. [caption id="attachment_695264" align="alignnone" width="1920"] Ray and Lystra Bisschop[/caption] TAKE AN EPIC OVERNIGHT HIKE (WITHOUT BOOKING A THING) Australia is home to some of the most stunning national parks and coastlines in the world, with many of the best hiking tracks taking more than a day to complete. One of the best is the Six Foot Track in NSW's Blue Mountains, which spans a 45-kilometre distance from Katoomba's famous Explorers Tree to the stunning Jenolan Caves. This challenging hike is most comfortably done in three days and two nights. Luckily, the overnights are free and don't need to be booked ahead of time, thanks to the easily accessible campsites along the route at Coxs River and Black Range. Another booking-free option up in Queensland is the newly completed Brisbane Valley Rail Trail, which offers free overnight camping at several spots along its 161-kilometre trail, including outside Fernvale, Toogoolaawah, Harlin, Moore, Linville and Benarkin. There are plenty of coffee stops along the way too, so you don't need to plan (and lug around) all your meals. CAMP OUT AT ONE OF AUSTRALIA'S MOST STUNNING BEACHES Spending New Year's at the ocean is as Australian as it gets, and some of the country's best spots across Victoria, New South Wales and Queensland offer top-notch beachside camping that will truly take your breath away. If you really want to go all out this new year, our pick is Mesa Camp at Cape Range National Park in Western Australia. You'll have to spend a pretty penny on flights to Exmouth, but the site is set overlooking a secluded bay within the UNESCO Heritage-listed Ningaloo Coast and is perfect for canoeing, kayaking, snorkelling or swimming holidays. Booking ahead is a must, but prices are set at an incredibly reasonable $11 per adult per night. For more information and to book Mesa, head over here — but it's best to book in advance, as there are only 23 campsites available and they'll likely book out fast. If you're looking for even more options, check out our list of the top beach camping sites around Australia. [caption id="attachment_660068" align="alignnone" width="1920"] Berry Springs[/caption] FINALLY TAKE THAT TRIP TO DARWIN If a trip to Darwin has been on your list for a while now, heading up north over New Year is an ideal time to see the Northern Territory capital in full swing. Explore the George Brown Botanic Gardens, go for a swim at Berry Springs or be the ultimate tourist and cuddle a crocodile at Crocosaurus Cove. For New Year's specific entertainment, The Darwin Waterfront hosts an annual New Year's Eve party with live music, entertainment, food stalls and the requisite fireworks at 9pm and midnight — all for free. Picnics, beach blankets, lawn chairs and booze-filled eskies (no glass, though) are all encouraged and there's plenty of space for the masses. The event continues into New Year's Day, when another free live concert will take place. [caption id="attachment_693452" align="alignnone" width="1920"] Mark Pickthall[/caption] CHECK ULURU OFF YOUR BUCKET LIST Uluru is on the bucket list of most Australians, and what better time to finally take the trek to this sacred site than at the start of a new year. Once you've got flights to Alice Springs, you can easily organise your own trip. Of course, you'll want to cop an eyeful of Uluru and learn about its history and that of Arrernte country (as it's known to the traditional custodians of the land). Make sure you see the landscape lit-up by visiting Field of Light at night, stop in at the Kangaroo Sanctuary and go for a swim at Ormiston Gorge. We've got a few other ideas here. If you really can't be bothered, Intrepid Travel hosts a three-day, two nights Uluru adventure from December 30–January 1 — and for a relatively reasonable $695 per person. Your group will be honoured to have a Aboriginal and Torres Strait Islander guide, who will explain the spiritual significance of this ancient site while you hike to Kings Canyon, Kata Tjuta and Uluru. Transport, meals and tent accommodation is all included, so you can just focus on being in complete awe of your incredible surrounds.
Detroit chef Kyle Hanley has created a ten-course meal based entirely off Radiohead's classic 2000 album, Kid A. For one night only, a pop-up restaurant will host 36 guests to enjoy the menu, drink pairings and a full stream of the album . Hanley, who studied music before becoming a chef, told Huffington Post when he listens to music he hears "textures and colours" and explained that Radiohead are a very textural and "very visceral band”. "Most people put out CDs, and this is an actual album," he said. "One song flows into the next, and we kind of want to do the same thing with the courses." The menu includes pan seared scallops and Pfalz Riesling paired with opening track 'Everything In Its Right Place', black caprese and a glass of Alto Adige Kerner to accompany the title track 'Kid A' and mousse dou with blackberry pâte de fruit Niepoort LBV port to see out the album alongside 'Motion Picture Soundtrack'. See the full menu below. Everything in Its Right Place: Pan-seared diver scallop, yuzu fluid gel, fried cellophane noodle, lemongrass ponzu, chili oil. With Pfalz Riesling. Kid A: Black caprese. With Alto Adige Kerner. The National Anthem: Pan-seared lamb chops, crispy pig ear, blood orange reduction. With 100 percent Mourvedre. How to Disappear Completely: Oil-poached monkfish, white asparagus, white balsamic vinaigrette, daikon sprouts. With Leelanau Good Harbour Golden Ale. Treefingers: Tomato granita. With cilantro-infused gin, jalapeno syrup, fresh lime, sea salt, chilli oil. Optimistic: Maple sugar-seared duck breast, pink peppercorn gastrique, orange juniper pearls, shredded confit. With Anderson Valley Knez Pinot Noir. In Limbo: Shades of Bouillabaisse. With Cava VallDolina. Idioteque: Arugula salad, sous-vide egg, lardo croutons, manchego crisps, crispy pancetta, smoked sherry vinaigrette, Meyer lemon foam, caper dust. With Mezcal Chartruese sour, dash of Ango. Morning Bell: Meyer lemon sorbet. With gin and tonic. Motion Picture Soundtrack: Mousse dou with blackberry pate de fruit Niepoort LBV port. Via Huffington Post.
Gone are the days when travellers checked into hotels with the sole purpose of sleeping. It seems everyone wants a bit extra with their holiday, be it a gardening course, an onsite brewery or a window onto the underwater world. The latest addition to the globe's accommodation wonders is an immersive Stars Wars hotel, which will debut as part of Walt Disney World's new 360 vacation concept in Orlando. We're happy to report that the resort is taking the immersive bit very seriously. Upon check-in, guests become a citizen of the galaxy, which means that, every minute of every day of your stay, you're a part of whichever Star Wars story is happening around you. Chances are, you'll find yourself helping Luke Skywalker in his struggle against the Galactic Empire, being rescued by R2D2 or facing off Darth Vader. And it sounds like dress up will be included and required. For now, the hotel is in concept stage only. As you'd expect, the rooms will be themed and several spaces will likely be straight out of the movies. You'll have to be committed to the experience, as the "every minute of every day" comment may well include sleeping hours — the dark side never sleeps, after all. Image: Disney/Lucasfilm via Disney Parks Blog.
