Our city is constantly changing and evolving, with sky-high stands being erected, new high-frequency trains being built and even plans for billion-dollar precincts being thrown around. And amongst all these big infrastructure changes, small, carefully designed spaces popping up. In Bowen Hills alone, a European-style market — complete with a personal shopper service — and a permanent food truck park have arrived; while the Valley has scored a new resort-style hotel with an all-day bar and an acclaimed restaurant. These are the spaces that are really catching our attention, the ones that are quietly evolving the community — through innovation and sustainability — and are accessible to you. At Concrete Playground we encourage exploration and showcase innovation in our city every day, so we thought it fitting to reward those most talented whippersnappers pushing Brisbane to be a better, braver city. And so, these six new spaces were nominated for Best New Space in Concrete Playground's Best of 2018 Awards.
Tasmania's food scene is filled with incredible tasting experiences centred around local and seasonal ingredients. If you're the kind of traveller who seeks wild flavours that stray from the norm, the island offers a remarkable collection of makers specialising in unique creations made with the very best produce. No matter which corner of Tasmania you decide to explore, you'll find inventive producers carving out their culinary niche. We've partnered with Tourism Tasmania to highlight the region's most imaginative farmers, fishers and distillers, ranging from Australia's original truffle farmers to small-batch potato vodka pioneers. Let's dig in. [caption id="attachment_866630" align="alignnone" width="1920"] Samuel Shelley[/caption] DISCOVER EDIBLE UNDERGROUND MUSHROOMS It's not every day you stumble across a disused 19th century railway tunnel and find incredible gourmet cuisine inside — but that's precisely what visitors discover when they journey to Tunnel Hill Mushrooms in the charming community of Mount Rumney on Hobart's outskirts. With the perfect conditions inside the dark, dank tunnel for growing tasty mushies, this excellent operation specialises in winter strains of oyster mushrooms. Therein you'll find the white, grey and tan oyster varieties alongside shiitake. Head along for a tour of the tunnels to explore this underground farming practice — bookings are essential. [caption id="attachment_866631" align="alignnone" width="1920"] Moon Cheese Studio[/caption] TAKE A SALT SOMMELIER TOUR All good foodies worth their salt (bad pun intended) can appreciate the difference between cheapo table salt and the premium flakes you find in specialty stores. You can deepen your appreciation further with the Salt Sommelier Tour — an exploration into how Tasmania's nutrient-rich waters deliver a superior flavour and texture from one of Australia's finest salt producers, Tasmanian Sea Salt. Throughout this in-depth journey into the world of salt, you'll roam the saltworks to see how this celebrated maker combines age-old techniques alongside clean energy to harvest its pure product. Along the way, you'll be served locally produced small bites topped with a sprinkling of the good stuff. EXPLORE LAVENDER AND OLIVE PLANTATIONS Set on 52 stunning acres in the Huon Valley, Campo de Flori (pictured above) is a destination loaded with indulgent experiences. The property is renowned for its lavender, saffron and olive plantations, all of which you're welcome to explore up close with a guided tour from owners David Peck and Lisa Britzman. If you consider yourself an olive connoisseur you can test out the farm's goods via a tasting and learning experience that delves into each of the property's nine cultivars. You can also wander through rows of award-winning lavender on a walking tour which includes a sampling of Campo de Flori's farm-grown lavender tea and sparkling lavender lemonade. [caption id="attachment_867687" align="alignnone" width="1920"] Stu Gibson[/caption] LEARN THE SECRETS OF TASMANIAN ABALONE Tasmania's brisk southern waters make it home to some of the world's best abalone. The expert crew at Candy Abalone use traditional Japanese drying techniques to produce the luxurious product which you can learn about in detail on an insightful hour-long tour of its impressive facilities. First, you'll receive an overview of the drying and processing rooms before trekking down to the beach to see the oyster lease in action. Punctuated with views of Barilla Bay Oyster Farm and the Coal Valley, the tour concludes with a sampling of organic ginger beer and freshly shucked oysters. [caption id="attachment_866443" align="alignnone" width="1920"] Tourism Australia[/caption] HUNT FOR TRUFFLES Over the years, truffle farming has exploded beyond the borders of Italy and France to eventually arrive on Australian shores. As the first kid on the block, The Truffle Farm in the central northern town of Deloraine launched the national industry by digging gorgeous black truffles out of the dirt in 1999. From there, a booming local movement in produce was born. Join second-generation truffle farmer, Anna, and her chief truffle hunting hound, Doug, for a 75-minute experience that is paradise for truffle aficionados. A selection of tours and experiences will get you familiar with the trufferie, uncover black pearls hidden in the earth and, of course, you can feast on a farm-style lunch platter or gorgeous truffle pizza paired with local wine and beer. [caption id="attachment_866632" align="alignnone" width="1920"] Samuel Shelley[/caption] SAMPLE SMALL-BATCH POTATO VODKA Perched above Marion Bay, the Hellfire Bluff Distillery didn't start out producing vodka, but it sure has mastered it. With the first potato crop planted over 30 years ago, this place has long supplied Tasmanian supermarkets with a top-notch produce — yet rather than feeding the cows with cast-off spuds, an idea for a vodka distillery was conceived. True Tasmanian ingenuity! Today, the distillery has attracted international acclaim for its small-batch, paddock-to-bottle tipples (it was recently awarded Australia's Best Varietal Vodka at the World Vodka Awards in 2022), and also produces gin, coffee liqueur and limoncello — among other drops. With the distillery door open seven days a week, those cruising Tassie's Turrakuna/Tasman Peninsula with a yen for brilliant spirits can't miss a stop at the farm. SAVOUR WASABI CHEESE Ashgrove Cheese has made exceptional dairy products for over two decades. Set between Launceston and Devonport, the sprawling farm's free-roaming cows produce everything from cheddar and havarti to gloucester and feta. However, no visit is complete without a sample of Ashgrove's extra sharp wasabi cheese. Using Tasmanian-grown wasabi to add delicate but zesty heat, it's perfect on an adventurous cheese platter or melted into a steak. Head to Elizabeth Town in northern Tasmania to enjoy a pasture-to-plate menu across breakfast and lunch. There's even a fancy 'high cheese' selection served with tea, coffee and sparkling wine. Who's hungry? Ready to plan a trip for your tastebuds around Tasmania? To discover more, visit the website. Top image: Samuel Shelley
April is here, which means that it's almost that time of year: the time when you're either at Coachella or curing your FOMO by watching it at home. 2024's lineup dropped in January, featuring Lana Del Rey, Tyler, The Creator, Doja Cat and the reunited No Doubt as headliners. Now comes news just as big: if you're dancing along in your living room over two weekends this month and you've got a set clash, you'll be able to livestream multiple stages at once. How many? Four in total, all thanks to YouTube's annual coverage of the event. Each year, Coachella and the online video platform join forces to beam the massive music fest around the world. Of course, that's no longer such a novelty in these pandemic-era times — but being able to fill your screen with a quartet of Coachella sets at the same time definitely is. YouTube's multiview concert experience will enjoy its debut in the music space, and globally, at Coachella. This year, the service will be capturing six different stages, as it did in 2023 for the first time ever — with Sonora on the list for the first weekend and Yuma on the second. That said, while you can feast your eyes on four stages simultaneously, you'll only be able to hear one, so you will still need to pick a favourite in any given timeslot. View this post on Instagram A post shared by Coachella (@coachella) Coachella 2024 runs from Friday, April 12–Sunday, April 14 and Friday, April 19–Sunday, April 21, which is Saturday, April 13–Monday, April 15 and Saturday, April 20–Monday, April 22 Down Under. For those lucky enough to be getting the IRL experience, the fest takes place at Empire Polo Club in Indio, California. The full bill is a jaw-dropper, as usual, featuring a stacked array of acts that also spans everyone from Blur, Ice Spice, J Balvin and Peso Pluma to Sabrina Carpenter, Grimes, Lil Yachty and Flight Facilities. [caption id="attachment_936351" align="alignnone" width="1920"] Casey via Wikimedia Commons[/caption] Coachella 2024 runs from Friday, April 12–Sunday, April 14 and Friday, April 19–Sunday, April 21 — which is Saturday, April 13–Monday, April 15 and Saturday, April 20–Monday, April 22 Down Under — at the Empire Polo Club in Indio, California, and livestreams via YouTube across the same dates. Top image: Roger Ho.
If you haven't made the December pilgrimage to southeast Queensland's Woodford Folk Festival at least once, have you truly celebrated the end of the year to the fullest in Australia? No, no you haven't. Due to the pandemic, however, that hasn't been an option for the past few years — but the beloved festival has confirmed its return to see out 2022 and welcome in 2023. Mark December 27–January 1 in your diary, and prepare to catch a heap of bands, wander between arts performances and get a little muddy. Exactly who'll be playing the fest, which takes place about 90 minutes north of Brisbane, hasn't yet been revealed. But the 2019–20 fest boasted Lior, Horrorshow, The Herd, Kate Miller-Heidke, Electric Fields, Emma Louise, Archie Roach with Paul Grabrowsky, and Kasey Chambers, which gives you an idea of the kind of mix of artists that's usually on the bill. Also typically part of the Woodford experience: over 2000 artists putting on more than 1600 shows across the festival's 25 stages, in venues that range from a 25,000-seat amphitheatre to chilled-out hangout spots. Exactly what this year's figures will hit also hasn't been advised as yet, but this is never a small-scale fest. Indeed, announcing the event's return, Woodford General Manager Amanda Jackes advised that "over the past two years, Woodfordia organisers have delivered 1372 shows with 1032 artists over eight national tours and eight multi-day events, to an audience of 20,000 with overnight visitation totalling 50,192. To put this into context, as only one event, Woodford Folk Festival hosts 1800 shows across 25 stages featuring 2800 individual artists and performers to an aggregate audience of 132,000 with overnight visitation totalling 222,356." Beyond the numbers — yes, Woodford is massive — Founder and Director Bill Hauritz said that "this year will see the festival built from the ground up with new ideas, new programming, a new layout but always maintaining the festival tradition of the key corner stones of what has made it so successful for a long period of time." "In the past we have spent a lot of time planning, sometimes two and three years ahead, which we've been unable to do during COVID times," he continued. "Instead, we've been creative in the space and using the time to both restructure our organisation, always making improvements to our considerable systems." The festival will once again take over its Woodfordia parklands base, which now boasts a lake — and is in the process of getting 20 permanent glamping tents installed. And, as always, the fest's lineup will span everything from music, art, circus and cabaret to yoga, dance and comedy again, plus spoken word, comedy, workshops, bars, cafes and restaurants. If you're already keen to buy tickets, they're expected to go on sale in mid-June. The 2022–23 Woodford Folk Festival will run from December 27, 2022–January 1, 2023 at Woodfordia on the Sunshine Coast. For more information, head to woodfordfolkfestival.com Images: Woodford Folk Festival via Flickr.
For too long the precious black liquid that keeps your brain afloat during 8am meetings on Monday has gotten all the attention. But what about the intricately designed disposable cup? It's easy to forget about (let alone give any sustained attention to) the vessel of cardboard that carries that lovingly brewed coffee to our lips — but we'd be pretty lost without it. Coffee Cups of the World is an unabashed display of one man's beautiful takeaway coffee journey across the world documented on Tumblr and Instagram. "I want people to look at the coffee cups and be conscious of them," New Zealand professional food photographer Henry Hargreaves told Cool Hunting. "The to-go cup is the best piece of advertising for coffee shops, but not everyone gives it enough attention." Until now, that is. Hargreaves (who you might know for his eerie food photography series of death row inmates' last meals) has collected coffee cups from cafes in Europe, the United States, Australia and New Zealand. He has even enlisted a friend from South Africa to send him a bunch and — great news — is now encouraging the public to do the same. See more of Hargreaves's work at the Coffee Cups of the World Tumblr and on his online portfolio. Via Cool Hunting
Australia should've given rise to The Moogai before 2024, and prior to the SXSW Midnight Shorts Grand Jury Award-winning short of the same name four years earlier as well. An Aussie horror film born out of the Stolen Generations where the monsters of colonisation, White Australia policies and attitudes since remain inescapable, and where Indigenous children today are also snatched away by a literal monster, is a brilliant idea — one that instantly feels as if it needed to have been made decades back. But writer/director Jon Bell and his stars Shari Sebbens and Meyne Wyatt appreciate how deeply that this is a movie for now. Indeed, The Moogai doesn't just explore the direct ramifications of the Stolen Generations; it proves as clear-eyed about the reality for First Nations Australians today. This is not the only recent Australian film to grapple with the nation's past. Sweet Country, The Nightingale, The Drover's Wife The Legend of Molly Johnson, The New Boy, The Furnace and High Ground have all stepped into the same terrain. The Mystery Road franchise, including the initial movie's big-screen sequel Goldstone and then three seasons of TV, feels the echoes that the country's history has now and, when the saga jumps backwards, not that long ago. Making his first feature after creating The Gods of Wheat Street, developing Cleverman, and also penning episodes of Redfern Now, Black Comedy, Mystery Road and more, Bell was sparked by the inhumanity of taking children away from their parents — not only when forced child removals were the abhorrent policy in Australia, but as the trauma from that practice remains a presence. The Moogai begins on the Red River Aborigines Mission in 1969, where two sisters (debutants Aisha Alma May and Precious Ann) attempt to avoid being separated from their family by white men, only for one to be spirited away instead by the picture's namesake. When it jumps to half a century later, the film spends its time with Indigenous couple Sarah (Sebbens, The Office) and Fergus (Wyatt, Strife). A lawyer and a carpenter, and parents to six-year-old Chloe (newcomer Jahdeana Mary) with a new baby on the way, they each possess different ties to their heritage. Sarah was taken from her birth mother Ruth (Tessa Rose, Firebite) not long after her first breath, then adopted by white parents (While the Men Are Away's Tara Morice and Plum's Nicholas Cassim). Newly reconnected with the woman that gave her life, she's cautious, while Fergus heartily welcomes his mother-in-law. When the Moogai enters Sarah and Fergus' lives, Sarah's fears of the malevolent force impact her every moment. Her agitated state is dismissed by doctors, however, who think that she's simply struggling after a difficult birth. Painting anything but the portrait of a perfect family also immediately earns attention from anyone watching on, medical professionals, Chloe's teachers and the police included. Alongside Australia's history that constantly demands confronting, Bell was inspired by his and his wife's anxieties when his grandchildren were born, knowing how quickly that judgements can be made in a hospital situation. Australia's past haunts its present on- and off-screen, then, in this powerful picture — a movie that was labelled "Australia's Get Out" when it made its world premiere at the 2024 Sundance Film Festival, ahead of charting the Aussie fest circuit, then hitting local cinemas in general release on Halloween. "It is a good comparison, because Jordan Peele, through his sketch-comedy career, too, the amount of story you have generate to be able to do that sort of stuff — no wonder Get Out was such a success and so on-point," Bell tells Concrete Playground. "And so in those terms, that's a good touchstone for us, because we're certainly trying to bridge those same audiences: people who are going to come see something, and see that it's got something to say, but it's also going to give you the genre stuff that you need. There's scares in this, but it's not grotesque and gruesome. There are also some laughs in there, which Get Out has as well. And I think there's a message in there, too, and there's a lot of heart." "I think as an artist, I don't particularly love comparisons in that way, but I absolutely understand why they're useful for audiences and for people to grasp onto something and have a quick point of reference," notes Sebbens, who also starred in the short alongside Wyatt. "But I will say it's a valid comparison and that it's Jon very much writing from a place of culture, very much writing from a place of Blackness — and employing elements of comedy. I wouldn't call this a comedy-horror by any means, but it is a psychological horror with just moments of comedy peppered throughout, and I totally understand why it reminds people of something like Jordan Peele's Get Out. Also, I'm like, man, if you're going to be compared to any director, that's the one," she tells us. Wyatt advises that he's excited about "what indigenous people will think about the film here in Australia, particularly, because I think it's a film for them in a lot of ways." He continues: "Aboriginal people love horror films, and there's a lot of humour in there as well. And I think there's something that you can claim and take ownership of, being that Jon is the writer and the director, Mitchell Stanley's the producer, Shari and I are acting, and Tessa Rose. It's got a cast of Indigenous filmmakers, this is one of our stories that we can tell and it has been authored by First Nations people." We also chatted with Bell, Sebbens and Wyatt about the fact that the film's premise feels like it should've been explored before, their journey with The Moogai from short to feature and ensuring that it comments on today's reality as much as the past — and more. On How Writing the Short as Proof of Concept for the Feature Helped Shape The Moogai Jon: "It's a good process to go through. I'd encourage anybody to do that, because trying to tell your story in different lengths really highlights structure in a lot of ways. It also gives the feature, if there's any flab, that will get cut off. Because with the short, you're so focused on everything having to earn its place because you've got very little time. And then with the feature, I think this is certainly under 90 minutes — I think it might be 86 or 87. And in trying to get that narrative drive, the script at a certain point, I think it might have got up to 114 pages, and then I cut it down before we started shooting. Then we just cut, cut, cut to try and get narrative pace, because these days people don't give too much time to anything. It's not even change the channel, they can just click off so easily. So you've got to get an audience and you've got to keep them. And writing the two lengths brought some of those issues into sharp focus." On Sebbens and Wyatt Both Starring in the Short as Well as the Feature — and How the Former Helped Them Prepare for the Latter Shari: "Definitely as an actor, you secretly hope, but it's also so completely out of your control. And I know that that's something that Meyne and I'm just so thankful for, is a chance to come back and play in the feature. Because it's really rare, actually, that actors get to be involved in the proof of concept in the short and then make it to the big screen. So it's definitely a hope that we were holding out on. But you can't ever say it out loud. I don't know, you probably can say it out loud — there probably are actors that go 'I want to be in this'. But I guess there's also an element of still being blackfullas, we're a bit ashamed to do that stuff. But it was definitely something we both really wanted. And when it came about, we were just over the moon. It's a dream come true to get to follow the story from that concept size all the way to its full fruition. Meyne: "For me, if it was offered to me, I was always going to go from the short to the feature. But I don't know how Jon feels about it or the production house. What was in the short was a good encapsulation of the feel of what the feature is and where the film gets to go. And I think I certainly jumped at the opportunity to be a part of the feature because I feel like Fergus, in particular, had been fleshed out in a very nuanced and interesting, juicy role that had come to life in the feature. So I was always excited to be involved. And I think that the short is probably a different film to the feature in some ways. One gives you the feeling and then the next, I think they're telling a different story. And I think that's a good thing. You're able to explore something in the feature that in short-form storytelling you won't be able to, and that was always an exciting thing to jump into." Shari: "I think the biggest thing was I've never done genre before. I've never done horror before as a as a genre specifically. So it was a great exercise in knowing the mental and emotional stamina it takes to maintain a taught psychological wire for an extended period of time, but still look after yourself, and still be able to exit and enter a process every day as an artist. It also just meant that we had a really great understanding of how to work with Jon, what he wanted to say and what he wanted to do. We had a shorthand with him, which was really useful for us on set." On How the Concept for the Film Came About for Bell Jon: "Part of the initial inception, the first time I had some of those ideas was when my oldest grandson, he's a teenager now, but when he was born, me and my missus throughout all of our grandkids, when they were born we were nervous about hospitals making a judgement — as we've worked with DoCs trying to reunite families. We had seen how easily from the government's point of view reports and judgments could be made. And then we also had our own experiences, our own family experiences with close calls, and I had an uncle who was part of Stolen Generations and stuff. So we had some personal experience. But when the grandkids came along, that was another thing that brought it into sharp contrast again, because one would think that we were past this in our history, but the fear that was inside us and the way, not anxiety, but the way we were just on our toes — we were on our toes the night before, for perceptions and judgments. We were just very aware of that stuff, and we didn't want any of our grandkids to be in the system. As soon as you're in the system, then another government department pulls something up and then bam, all the stuff comes up. So we were super watchful. In a lot of ways, that was probably the initial idea. That fear just followed us. It didn't matter how many generations deep we were, this fear just followed us." On The Moogai's Premise Instantly Standing Out Shari: "I say this a lot, but I came across Jon's writing in 2012 when we did The Gods of Wheat Street together, and I was like 'oh my god, who is this person writing such rich, incredible tapestry of black lives and family on screen, and on top of that, black women?'. I was convinced that a woman had written The Gods of Wheat Street, actually. And so when I found out it was a man, I was like 'what? This brotherboy's got such a beautiful respect and understanding of women'. And so when I came across that Jon was doing a horror, and he had such great ambition and vision for it — I've trusted this man and admired this man's work for years, of course I want to be a part of that. He's someone that pushes his boundaries and his own abilities, and what he thinks he's capable of himself, so I knew that this was going to be an ambitious project and actually be — I think I'm safe in saying this — the first Aboriginal-produced directed horror film, and will stand as the first in what I hope is a long line, a huge canon of horror works to come from First Nations artists. But just the fact that it was Jon who had written it is what absolutely drew me to it in the first place. And we're very close with Mitchell Stanley, one of the co-producers as well. So it felt immediately that there was a group of Black people that wanted to reach and try something new that traditionally we've been kept out of. Because yeah, people love gritty Indigenous drama in this country, like contemporary gritty indigenous drama, and that has a place, absolutely, to speak to who we are here and now as a nation. But there's no reason why we shouldn't get to play with form and genre and style as well, like every other artist." Meyne: "One, it's a genre film, so that was always exciting. And I think that's a rare opportunity to in Australia, I think, to be involved — and particularly a First Nations genre film, a horror, psychological thriller. That was always exciting. I think what Jon's able to do is Trojan horse this social commentary. You think it's one thing and then there's something else going on entirely. I think going away with the audience, coming up with their interpretation of what's going on, and showing people rather than knocking them on their head — it's allowing you to go away and have those conversations with the people that you go 'what about that bit?'. I feel like those are always the films that I enjoy and I'm entertained by, so I always wanted to be a part of a film that allowed for that opportunity. And in the same token when you talk about Get Out, those social thrillers, horrors, it's in the social consciousness at the moment, and they are all touching on something that's saying two things at once. And I think in an Australian context, I feel like this is the right time to do it. Like you were saying before that it should have been a film that had been made — but I don't think it would have been made until Jon, a First Nations writer/director, could make that film. That was always an exciting thing to have the privilege to be involved in." On Whether There's a Sense of Responsibility in Making a First Nations Film That Treads New Ground Shari: "Oh big time. Yeah, it's something that, to be honest, it's something that you're all-too-keenly aware of every time you're taking on a role as an Aboriginal actor, because you're so aware that no matter what you do, you are seen to be representing your entire people. And it's an impossible weight and an impossible job. You can't represent every blackfulla. So I think in terms of Jon and Meyne and Mitchell, all the Aboriginal creatives around it, it's a responsibility and a weight that we were all familiar with. It wasn't a new experience to us to feel that. But I think you turn that fear into excitement, and you turn that into a challenge, and you turn that into 'well, how can we keep pushing boundaries and showing people that not one person can be responsible for an entire race of people and a representation of entire people, but that a group of us working together will bring complexity and nuance that is so often afforded to non-Indigenous stories and artists?'." On the Importance of the Movie's Connection Between Past and Present Jon: "That was one of the things that was very important to me. After Kevin Rudd made his apologies, it feels like that people are just being like 'okay, well he said sorry, can we just move on now?'. No. People are still living with this pain. And those kinds of White Australia policies, they are, probably under the United Nations definition, they are in fact genocide. Those are genocidal practices. Just trying to wrap your head around that, that's of vital importance. But at the same time, I think that this film is very much a horror film, and the horror or fear that plagues your family can absolutely be a universal thing. We've all got stuff in our past —that saying 'you don't grow out of your childhood, you escape it' — we've all got stuff that we're probably hanging on to, all of the things that have affected us. So in that sense, it's very much a universal story. You could say that the Moogai for someone else means a different thing. But in terms of where I was coming from, it was absolutely there." Shari: "I think there's no way to tell it without that, without being truthful to what the reality is for us mob, for our families, for our communities. I think there would have been absolutely — I'm just spitballing and projecting onto Jon — but I imagine for a writer/director, there are moments where it's like 'well, yeah, how much do I delve into Fergus' moment with the police?'. I think for Jon, I imagine it's what I feel, which is if your projects don't have an element of reality in them — I guess that's the scariest thing about the horror, is that the reality and the history and the current situation for so many Black people is far scarier than what you can put on-screen ever. But I think he would probably feel a bit inauthentic if that scene with Fergus and the police wasn't in there, just because that's Jon's experience as a Black man. It's Meyne's experience as a Black man. It's so many people's experience as Black people in this country. It's not saying that you have to always put these things in there as a political statement, but actually the personal is political in that way. So what they're really doing — what we're all doing — is just trying to recount things in an authentic, genuine way to get people to understand what the hell is still happening here." On Sebbens Playing Someone Who Is Devoted to Her Family, But Also Cautious About Her Heritage — And Navigating Coping with a New Baby While Also Certain that the Moogai Is Taunting Her Shari: "It's mad when you say it all out straight like that. It's like 'oh yes, that is a lot of things, isn't it, to happen to someone'. Jon and I would talk a lot, Meyne and I would talk a lot, about backstory and history — and certainly for Sarah, that's on the screen. The history of her Aboriginality that she has been denied through government policy, and that she has also denied herself because of adopted ways of thinking and shame and, I guess, internalised racism. But also Sarah is someone that wants to deeply belong, which I think is why she seeks out an Aboriginal partner in Fergus. And so in that sense, we could load ourselves up — and I did load myself up with all this history and backstory — but at the end of the day, also you just have to let it go and play what's on the page, and be present with those words and those scenes. All that work hopefully informs the weight that you bring into scenes, and it informs choices you make. But for me particularly, I was just like 'if I keep getting bogged down on this, I'm going to try and play all of those things at once'. And actually, if I just play what's on the page, it felt like the clearest way through for me." On Wyatt Stepping Into the Role of the Worried Husband and Father Who Wants to Believe Sarah, But Is Also Concerned with How She's Coping Meyne: "I think Fergus is, at one point, he should be the perspective of the audience. And you should be concerned and worried about what's going on with Sarah. There's a fine balance with him that he has to believe her, but then there has to be that skepticism. And I think he makes some decisions that are questionable and maybe problematic, but I think that's nuanced character. With Jon, there were conversations about trying to find that balance with Fergus and making sure that he's being supportive, but also touching on the trope of being the husband that isn't quite believing the wife — and as a horror film, making sure you're ticking off those boxes and those touchstones, but making sure that he isn't a complete arsehole and that it's coming from a real place, and this is a real person and it's nuanced. And someone who possibly doesn't know how to deal with, one, a malevolent spirit, but two, mental health — and not having the tools to be able to deal with somebody. I think that can always be trying for anybody, having that for the first time, especially a loved one, because it's a delicate line you're toeing." The Moogai released in Australian cinemas on Thursday, October 31, 2024. Images: Elise Lockwood / Sean Ryan.
In King Richard, Will Smith does more acting than expected with his back to the on-screen action. He does more acting in general — while the Ali and Concussion star can be a transformative performer, here he feels like he's overtly playing a part rather than disappearing into a role — but the way his eponymous figure handles his daughters' matches instantly stands out. Richard Williams is a tennis parent who despises the usual tennis parent histrionics. At the time the film is set, in the early 90s, he has also coached Venus (Saniyya Sidney, Fences) and Serena (Demi Singleton, Godfather of Harlem) since they were four years old, and penned a 78-page plan mapping out their futures before they were born. He's dedicated his life to their success; however, he's so restless when they're volleying and backhanding that he can't bring himself to watch. These scenes in King Richard are among Smith's best. He's anxious yet determined, and lives the feeling like he's breathing it, in some of the movie's least blatantly showy and most quietly complex scenes as well. The Williams family patriarch has wisdom for all occasions, forged from a tough childhood in America's south, plus the hard work and hustle of turning Venus and Serena into budding champions, so he'd likely have something to say about the insights gleaned here: that you can tell oh-so-much about a person when they're under pressure but nobody's watching. If he was actively imparting this lesson to his daughters — five of them, not just the two that now have 30 Grand Slam singles titles between them — and they didn't glean it, he'd make them watch again. When they see Cinderella in the film, that's exactly what happens. But his courtside demeanour is teachable anyway, recognising how all the preparation and effort in the world will still see you tested over and over. King Richard mostly lobs around smaller moments, though — still life-defining for the aforementioned trio, matriarch Oracene (Aunjanue Ellis, Lovecraft Country) and the rest of the Williams brood, but before Venus and Serena became women's tennis superstars. It unpacks the effort put in to even get them a game, set or match and be taken seriously in a sport that's whiter than the lines marking out its courts, and the chances, sacrifices and wins of their formative years. From cracked Compton courts and homemade hype videos to seizing every hard-earned opportunity: that's the tale that King Richard tells. But, despite making a clear effort to pose this as a family portrait rather than a dad biopic, it still shares an approach with Joe Bell, director Reinaldo Marcus Green's prior film. It bears one man's name, celebrates him first and makes him the centre of someone else's exceptional story. In screenwriter Zach Baylin's debut script, Richard's aim is simple: get Venus and Serena to racquet-swinging glory by any means. His DIY tapes are bait for a professional coach, but attracting one is easier said than done for a working-class Black family without country club connections facing America's inbuilt racism and class clashes, and tennis' snobbery — even if Richard knows his daughters will reach their goals. A turning point comes when, after strolling into a practice match between Pete Sampras and John McEnroe, Richard convinces renowned coach Paul Cohen (Tony Goldwyn, Scandal) to watch his kids play and take on Venus for free. While she's swiftly impressing on the junior circuit, her dad becomes concerned about her psychological and emotional wellbeing, so he next works his persuasive act on Florida-based coach Rick Macci (Jon Bernthal, The Many Saints of Newark) — with a strict no-competition rule. One of the keys to King Richard, as witnessed in its namesake's decisions about his daughters that he unyieldingly makes alone, also proves an ace when he's looking away courtside. This is a movie about how Richard put Venus and Serena on their path to becoming two of the greatest sports women ever, but it's also about imperfections, struggles and contradictions in the pursuit of excellence. That said, it's an authorised account with the tennis legends and their sister Isha Price as executive producers, so it only dives as deep as that whole situation allows. When it focuses on difficult instances where the overbearing and stubborn Richard blazes ahead but Oracene, Venus and Serena call him out and demand their say, it's a better film, although that happens less often than it should. There's texture, weight and complication here, but also a crowd-pleasing smoothing of rough edges that undercuts the feature's power. The Williams sisters deserve multiple movies about their extraordinary achievements, obviously. Their careers stress that inherently. The standout scenes they're given here — including Serena's unhappiness when put second to her sister; today, she's the one that's considered the greatest of all time — also dynamically make the case for more of their tale to reach cinemas. While always in Smith's shadow, both Sidney and Singleton are phenomenal, but the film has been designed to be the former's show. With a hunched posture and pronounced Louisiana accent, Smith is an inescapable force surrounded by far more naturalistic portrayals, including from the terrific and grounded Ellis; however, he grows into a rhythm that matches the film's message. He calls upon the charm that's been a part of his game since his Fresh Prince days, too, and pushes because Richard had to to succeed "in the champion-raising business," as the character describes it. For all the sunny hues splashed around by cinematographer Robert Elswit (a veteran of Paul Thomas Anderson's Boogie Nights, Magnolia, Inherent Vice and more), King Richard doesn't opt for gloss with the clashes working against the Williams' dream. Although Venus's professional debut in 1994 at the age of 14 and her pivotal match against then-world number two Arantxa Sánchez Vicario provides the picture's climax, it's sparing with its tennis bouts, but the battles of race and class in Venus and Serena's way are in the draw from the get-go — discussed, and also made so visible that no line calls are needed. It took a flawed yet dogged king to navigate such relentless serves of engrained prejudice and disadvantage and ensure that the world received two queens, the film posits, and does so convincingly. King Richard is still an easy win, though, rather than an all-timer.
When Lunar New Year rolls around, there's one obvious place to go in Brisbane: the Chinatown Mall. Across Saturday, February 1–Sunday, February 2, 2025, lion and dragon dances will saunter through the Fortitude Valley spot, and markets will tempt your wallet — but it isn't the only place in the vicinity getting into the celebratory mood. Also joining in to mark the Year of the Snake is Bakery and California lanes, which'll be home to roving performances on the Saturday. [caption id="attachment_758021" align="aligncenter" width="1920"] Tanya Dedyukhina via Wikimedia Commons[/caption] Chinatown's part of the fun runs from 2–9pm on the Saturday, then from 10am–3pm on the Sunday. And if you're wondering about the tastiest part of Lunar New Year celebrations — the food, obviously — you'll be in the absolute best place thanks to Chinatown's many eateries (and the Valley's in general). We recommend booking in advance, though, as you won't be the only one with that idea. Top image: J Low via Flickr.
Prepare to spend more time scrolling through streaming queues from this November onwards — that's when Apple's new film and television platform will arrive. Called Apple TV+, announced earlier this year and just revealing that it'll launch on November 1, the new subscription service will feature a heap of new original television shows, movies and documentaries. They'll all be available ad-free and on demand, with access via the company's existing Apple TV app and the Apple TV+ website. The platform will debut just a few weeks before Disney's new streaming service, Disney+. And, like the Mouse House's foray into the world of online viewing, Apple TV+ will come relatively cheap. Australian viewers will be able to subscribe for $7.99 per month, while New Zealanders can sign up for $8.99 per month. While Apple doesn't have its own decades-old library of content to draw upon, like its sizeable competitor, it is investing a heap of cash into new shows. The company has revealed a sizeable lineup of new original series it hopes will attract your TV-loving eyeballs — and plenty of stars to go with them. https://www.youtube.com/watch?v=BVsM4gvkQXo Fancy watching Reese Witherspoon, Jennifer Aniston and Steve Carell navigate the world of morning television in the appropriately titled drama series Morning Wars? Jason Momoa in a new sci-fi show called See, which is set in a world where humans are born blind? A reboot of 90s kids favourite Ghostwriter? A new docu-series from Oprah — and the return of her book club? They're all on the way, and will be available from the outset. Most series will premiere with three episodes, then roll out one new instalment per week afterwards — although some will drop full seasons at once. At launch, the above shows will also be joined by Dickinson, with Hailee Steinfeld playing poet Emily Dickinson, plus Snoopy in Space, a new Peanuts production about the beagle's desire to become an astronaut. Or, you can look forward to documentary The Elephant Queen, exploring the animal species and their proximity to extinction, and For All Mankind, which'll ponder what could've happened if America was still literally reaching for the stars. https://www.youtube.com/watch?v=7Rg0y7NT1gU Down the line, Apple TV+ will also be home to Servant, a new psychological thriller from M. Night Shyamalan; Truth Be Told, which is based on a novel about true crime podcasts and features Octavia Spencer and Aaron Paul; and Samuel L. Jackson and Anthony Mackie-starring flick The Banker, about two African American entrepreneurs trying to make it in the 50s. The list goes on, spanning a revival of Steven Spielberg's Amazing Stories anthology series; crime thriller Defending Jacob, starring Chris Evans; and a TV remake of Terry Gilliam's film Time Bandits, with a pilot directed by Taika Waititi. There's also a comedy set in a video game development studio from the folks behind It's Always Sunny in Philadelphia, a yet-to-be-named CIA undercover agent series starring Brie Larson, and new series from La La Land director Damien Chazelle. As well as being available on iPhones, iPads, Apple TV and the iPod touch, the Apple TV app is accessible via select Samsung smart TVs, and will hit Amazon Fire TV, LG, Roku, Sony and VIZIO platforms sometime in the future, too. Apple TV+ is set to launch on November 1. For more details, or to sign up for future updates, visit the streaming platform's website.
If you're under the impression that Bundaberg is only good for sugarcane and rum, you're sorely mistaken. While it's true that the Bundaberg region is responsible for much of Australia's agricultural industry, in recent years the area's endless output of fresh produce has also led to a rise in local farm-to-table restaurants, with some of Australia's top cooking talent setting up shop in the area. Meanwhile, thanks to the region's prime position along Queensland's coastline, the area boasts a host of natural landmarks that comfortably go toe-to-toe with Australia's best-known destinations. It's also only a four-hour drive from Brisbane. Read on to find some of our favourite places to eat, drink and play in Bundaberg. [caption id="attachment_749802" align="alignnone" width="1920"] Pocket Storehouse by Paul Beutel[/caption] EAT Bundaberg might still be a country town at heart, but it's got more than a few awesome dining experiences that give it a cosmopolitan touch. The Windmill Cafe Bargara is a must-visit stop when you're in the mood for some of the region's best coffee, which is made with fresh filtered rainwater. The menu offers all your favourite breakfast and lunch classics, alongside plenty of vegan and vegetarian options. Plus, it has an in-house gelateria serving 25 sweet flavours that are best enjoyed on a stroll along the coastline. Back in Bundaberg city is another headline restaurant: Water Street Kitchen. Led by chef Alex Cameron and his partner Jen Cameron, the meals are delicately put together using ingredients produced on a range of local farms. Having initially run a successful catering company, the duo decided it was time to put a face to their creations, opening their cosy restaurant in 2017 and quickly becoming one of the city's most acclaimed fine-dining destinations. [caption id="attachment_752093" align="alignnone" width="1920"] Paul Beutel[/caption] Once you start craving another coffee, Alowishus Delicious is a fine choice, having taken home top honours from the 2018, 2019 and 2020 Countrywide Cafe of the Year awards. And when it's finally time to make dinner plans, head down to the H2O Restaurant & Bar. You'll find high-quality modern Australian dishes, with a striking view of the Burnett River to match. [caption id="attachment_749822" align="alignnone" width="1920"] Kalki Moon by Paul Beutel[/caption] DRINK Bundaberg's reputation for rum certainly precedes it, but the Kalki Moon Distilling & Brewing Company has built its legacy within the world of gin. As the first Queensland distillery to win first prize for its London-style gin at the Australian Distilled Spirits Competition, Kalki Moon has also received a range of commendations from around the globe. Be sure to stop by the distillery's cellar door for a free guided tour and samples of its handcrafted tipples, and to pick up some souvenirs to take back home. Across town at the Ohana Cider House and Tropical Winery you'll discover some delightful drinks that wouldn't be out of place at any big-city bar. Having taken a holiday to Hawaii and fallen in love with the tropical climate, founders Zoe Young and Josh Phillips left behind their desk jobs in Perth to buy a piece of Bundaberg land, where they established their much-loved tropical winery. Since then, they've gone on to release ciders ranging from dry apple to pineapple and strawberry, as well as produce some of the region's top vino. Ohana Cider and Tropical Winery by Paul BeutelIf you can't wait to get your hands on some more Bundaberg-made wine, your next stop has to be the Hill of Promise Winery, located 40-minutes south of Bundaberg in the township of Childers. Here, winemaker Terry Byrne carries on the traditions of his Sicilian family, who moved to the region in the early 1900s, by making fortified reds to sparkling whites and Italian classics like limoncello. For an expertly made cocktail, Bert's is the place to be. Honouring the life of local aviator Bert Hinkler — who achieved a flurry of Australian flying records — the 1920s-themed bar ensures his pioneering spirit lives on. There are pizzas and share plates, plus a lengthy list of cocktails and aperitifs, including specialities like French pear martinis. [caption id="attachment_749819" align="alignnone" width="1920"] Lady Musgrave Island[/caption] DO The Bundaberg region is alive with natural wonders that draw visitors from all over the world. One of the most unique is the Mon Repos Nightly Turtle Encounter, a once-in-a-lifetime experience that'll leave you feeling like David Attenborough in the making. During Bundaberg turtle season, which runs from November to March, you can experience turtle conservation first-hand on the only ranger-guided turtle encounter on the east coast. Between November and January, you can witness mother turtles emerge from the deep blue and make their way up the beach to nest under the moonlight. Later in the season (late-January to late-March), you'll be able to look on as adorable hatchlings emerge from their sandy nests and scurry down to the beach. Next, dedicate some time to exploring the Southern Great Barrier Reef. Bundaberg is perfectly positioned at the first and most accessible point of the reef, and coral cays Lady Musgrave Island and Lady Elliot Island are the best places to experience the pristine waters and diverse marine life that the region is famous for (and, no doubt, why you're there). To explore Lady Musgrave Island and spend a day snorkelling with turtles, manta rays, tropical fish and other sea life, book a day trip with Lady Musgrave Experience. Your day tour includes transportation on a luxury catamaran from the Bundaberg coast, plus morning tea, lunch and afternoon tea. [caption id="attachment_749818" align="alignnone" width="1920"] Lady Musgrave Island by Melissa Findley/Bundaberg Tourism[/caption] Just to the south is the picturesque Lady Elliot Island, which showcases some breathtakingly beautiful lagoons, as well as the last coral cay amid the Southern Great Barrier Reef. You can access the island for a day trip via a scenic flight with Lady Elliot Island Eco Resort or, if you want to stay a little longer, book a night's stay in one of its cosy glamping tents. Naturally, it wouldn't be a trip to Bundaberg without a stop in at the Bundaberg Rum Distillery. You'll get to roam the sprawling museum and learn the secrets behind what it takes to be a master blender. A visit to The Bundaberg Rum Distillery guides you through a state-of-the-art facility before you take a break at the bar. [caption id="attachment_749815" align="alignnone" width="1920"] Bundaberg Rum Distillery[/caption] The Bundaberg Region has activities for outdoorsy types aplenty, there are endless hikes to embark upon within the Cania Gorge National Park and Mount Walsh National Park. For something with a little less action, the white-sand beaches of Elliot Heads are just 20 kilometres from Bundaberg city, making it the perfect spot to catch Queensland's famous sun. [caption id="attachment_749827" align="alignnone" width="1920"] Kellys Beach Resort[/caption] STAY Situated overlooking the black volcanic beaches of the Queensland coast, C Bargara Resort is a luxe stay for weekenders looking to make the most of their time in Bundaberg. The resort sports a collection of bright apartments and penthouses, plus a sleek swimming pool with a sundeck. For something more back-to-basics, Kellys Beach Resort's charming self-contained eco villas are set against a backdrop of tropical gardens, while there are also tennis courts, a spa and a sauna for maximum relaxation. Bundaberg has plenty of great camping spots, too. The Burrum Coast National Park showcases an oceanfront camping area along Kinkuna Beach, while the Cordalba National Park places you among some of the state's best hiking trails deep within the eucalypt woodland. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world. Top image: Lady Musgrave Island by Darren Jew/Tourism and Events Queensland.
There is something rather charming about a small bar that rides solo, goes out on its own, takes a risk and has it pay off. We've gathered a list of the top ten bars out in the suburbs, and we're not talking New Farm or Newstead, Caxton Street or West End. We're talking about bars out on their lonesome where others bars dare not to venture. They are the pioneers of cool in their home suburbs, and they are making locals proud to call the area home. Canvas, Woolloongabba Set in Woolloongabba's trendy antique precinct, Canvas's arty appeal suits the neighbourhood perfectly. The heritage building's original boarded ceiling is still in tact, while the walls are covered in murals by local artists and the floors decorated with old fringed lamps. The small bar is filled with shabby chic chairs and Chesterfield lounges, and out the back is a courtyard ready for a small party. It's a place to come for a quiet drink, and believe me the new cocktail menu is worth crossing the river for. 16 Logan Road, Woolloongabba Junk Bar, Ashgrove Much like the name suggests, Junk Bar is filled with a mishmash of prize-worthy junk store finds, including leather and velour couches, old yet loveable lampshades and mounted deer heads. It’s cosy and eclectic with a strong '70s tiki influence. The kind of place where a paisley-shirted gentleman with a Magnum, PI moustache would blend in nicely. Den-style decor aside, Junk Bar’s main focus is on your drink, offering intimate table service and fresh cocktail concoctions. 215 Waterworks Road, Ashgrove The Scratch, Milton The Scratch's motto is "No pretension, no dress code and no pub cover bands". The small bar is a cosy, chilled, shabby-chic addition to Milton's wining 'n' dining Park Road precinct, an area once better known for metre-long pizzas, espressos and relatively diminutive Eiffel towers. However, the self-proclaimed dive bar that is The Scratch has helped bring a younger, no-nonsense crowd back to the strip. It is the antithesis of almost anything else nearby, especially the brewery. The Scratch eschews typical brewery/brand relationships (i.e. the same old bland major-chain beer taps you find in, like, every pub) for a constant rotation of their tap beers every few days — all of them flavoursome craft varieties. It is also BYO food. 8/1 Park Road, Milton Southside Tea Room, Morningside Opened by members of Brisbane band The Grates, this Southside-and-proud watering hole is knowingly kitsch when it comes to decor, with strings of fake flowers, embossed wood-effect wallpaper and mismatched chairs. The bar features occasional live music, as well as games nights and Takeout Thursday (where customers are invited to bring their own takeaway). Snacks are on hand, as are pizzas, and the drinks list includes some interesting beers. 639 Wynnum Road, Brisbane Lucky Duck, Highgate Hill Perched up in Highgate Hill, Lucky Duck have rolled the dice and are going quacky with the theme. Upon first glance, Lucky Duck could be like many other bar/cafes – lots of wood, bench seating, mason jars for light fittings and plants hanging from ceiling – but the closer you look, the more ducks start to appear. From the knick-knacks here, there and everywhere, to the collection of street art lining the walls, Lucky Duck fits the bill. Lucky Duck have The Hills Cider Co on tap along with a range of craft beer. If you pop by during happy hour, pick up a jug for just $12. 15 Gladstone Road, Highgate Hill Toro, Auchenflower Like its sister, Deer Duck Bistro, Toro Bar is an unexpected cell of old-world glamour on Milton Road, Auchenflower. The Prohibition-era speakeasy vibe of this cosy little nook is complemented by live music on a Friday and Saturday nights, a tasty bar menu and a well-stocked bar. Taxidermy, assorted antique furniture, tasseled lampshades and a mirrored ceiling complete the atmosphere. Sundays are the day to visit for amazing drink specials. 416 Milton Road, Auchenflower The Walrus Club, Toowong The Regatta is nothing like we once knew it. Ten dollar jugs and student Wednesdays are but a distant memory, silent discos in The Boat Shed are no more, and now we venue beneath the ground to drink. Go round the back to the servants entrance, down the stairs and below the grand old pub. Here you’ll find the lair/rum den they call The Walrus Club. Think leather chesterfield couches, a raw brick maze of rooms, free spiced popcorn and melting candles everywhere. 543 Coronation Drive, Toowong Brisbane Jazz Club, Kangaroo Point With Coopers on tap, RSL alcohol prices, some of the nation’s best talent passing through and a deck with views of the CBD, the Brisbane Jazz Club is not one to be overlooked. For something a little different, stop by for a gig, a jig and some river views. They do dinner and nibbles too, and it’s only a free CityHopper ride from the city. 1 Annie Street, Kangaroo Point Byblos, Hamilton Set right on the river, Byblos is where the north-easterners flock on a Sunday afternoon. With live music in one corner, drink prices that are easy on the pocket and now Eat Street around the corner open Sundays 11am-7pm, you don’t have to be a northsider to want to join the fun. Byblos also offers a great mediterranean-inspired tapas menu to keep you happy. Portside Wharf, Hamilton Room 60, Kelvin Grove Located in buzzing Kelvin Grove's Queensland University of Technology creative precinct, Room 60 is a sanctuary away from the hustle and bustle of student life. The intimate space emits a cosy and comfortable feeling achieved by the dark hue of the walls and friendly faces behind the bar. Low hanging lights, stacks of vinyl records and mis-matched furniture ooze a vibe of mature coolness, making it a perfect setting for drinks or a light meal. The bar contains a raised stage enabling it to host regular events such as talks, music and public readings. 22 Carraway Street, Kelvin Grove
"You wanna get through this?" asked Furiosa in the film that introduced her to the world. With the heat of a blazing sun in a desolate future Australia scorched by ecocide, the answer to that question was baked into Mad Max: Fury Road's frames. All that the characters in the dystopian franchise's fourth film in 2015 wanted was to survive, its namesake (Tom Hardy, Venom: Let There Be Carnage) and the long-running hero's new hero in Furiosa (Charlize Theron, Fast X) included. Of course, merely getting through the phenomenal George Miller (Three Thousand Years of Longing)-directed addition to a saga that the iconic Aussie filmmaker started in 1979 couldn't have been further from its audience's mind. Mad Max: Fury Road wasn't just the return of an Australian franchise three decades after its last instalment; it was the return of the Aussie franchise. It was post-apocalyptic action cinema at its most spectacular, too — and the action film that all action films are now judged against. Viewers got through it not only revved up and buzzing, but seeking more like a war boy chasing Valhalla, especially as further chapters were teased by Miller. It took nine years, but now the fifth Mad Max flick is finally racing onto silver screens: prequel Furiosa: A Mad Max Saga. As Furiosa, The Witch, Split, Emma, The Queen's Gambit, The Northman and The Menu's Anya Taylor-Joy dons a shaved scalp and grease smeared across her forehead. As Dementus, her captor from childhood — and the adversary that she devotes her pre-Fury Road life to getting revenge on— Chris Hemsworth trades a Marvel Cinematic Universe superhero for a wasteland warlord. Much to the amusement of both while they're chatting with Concrete Playground about the film, the latter can't quite leave his time as the MCU's resident hammer-wielding god behind even while he's riding a chariot made out of motorbikes across a hellscape. A cape that turns red via a flare gun's crimson smoke guarantees it. "You did bring it up," Taylor-Joy says to Hemsworth about the wardrobe choice that pushes his four Thor films, 2022's Thor: Love and Thunder being the last, to mind. "I said it to George, I go 'you know I wear red cape in that film we're trying to forget about, and that character we're trying to remove myself from?'," Hemsworth tells us. "And he said 'oh, I didn't think of that. Anyway, cool.' And I was like 'so it stays red?'. And he's like 'yeah, it stays red'." [caption id="attachment_956846" align="alignnone" width="1920"] Jasin Boland[/caption] Scarlet capes aside, the only thing that anyone should be thinking about during Furiosa is Furiosa. That, and the magnificent cinematic series that Miller has been crafting for 45 years now. Back then, he didn't foresee a future for anything Mad Max. He couldn't predict the response to Fury Road, either. "You can't. It's like life; there's almost no point in trying to prognosticate," the former doctor explains to Concrete Playground. Talking through why that's the case Steven Spielberg anecdotes spanning both E.T. the Extra-Terrestrial and Jurassic Park — and charting how the technology that helped bring the Babe pictures to life (Miller scripted and produced both, and helmed sequel Babe: Pig in the City), and then the Happy Feet flicks, led him back to the world of his directorial debut. Miller hasn't just been making visions of a potential sunburnt fate that increasingly no longer feels purely fictional — especially with Fury Road and now Furiosa, he's been making dystopian magic. We also chatted with him about the route to the saga's fifth entry, plus the decision to cast Taylor-Joy instead of digitally de-ageing Theron. And, with Taylor-Joy and Hemsworth, we dived into entering such a significant franchise, living the Aussie dream, the threads that connect Furiosa and Dementus, Taylor-Joy's love for her character and why this is Hemsworth's favourite part in years. On Never Imagining 45 Years Ago That Mad Max Would Still Be Going All of This Time Later George: "Not in a million years. I mean, to be perfectly honest, the first Mad Max was so difficult to make, I didn't even think I'd make another movie — let alone make more Mad Max movies. But one thing led to the another. As John Lennon said, life is what happens when you're making other plans, and that's what happened to me. Luckily for me, the first Mad Max had some resonance with audiences — and I couldn't even figure out why. Because for me, it just wasn't anything close to what I thought was a film that would work. And then I realised 'oh, I'd better find out why' and that led me to do Mad Max 2 — which was technically and physically a much more difficult film to make, but I understood then what makes a film. I'd learned all the things I did done wrong on Mad Max. And then that basically started my lifelong inquiry into how to make films and why we make films, or why we tell stories on film. So here I am still curious about that process all these years later. Never expected to be, but here I am." On Taking on a Mesmerising Fury Road Character and Stepping Into an Iconic Australian Franchise Anya: "Oh my goodness, I think my brain does a very clever thing where anything that could possibly stop me from taking an opportunity, it just keeps in the back of my mind and I don't think about it until it's way too late. But I will say that I have a lot of friends that made Fury Road and they had one piece of advice — and it was just 'trust George'. This is a man that's been living with this character for forever. He's had this script in his mind for forever. He wasn't going to let us mess it up. He was going to deliver exactly what it is that he wanted." On Living the Aussie Dream of Starring as a Wasteland Warlord in a Mad Max Film Chris: "I remember watching these films with my dad many years ago, and the nostalgia and vivid memories I have around it is incredible. And to be not just working with George Miller, but on a Mad Max film, was kind of this pinnacle for me. And I don't know where I go from here. It may all be downhill. But it was a dream come true. I peaked too early. I'm retiring. There it is." On the Huge Response to Fury Road — and Not Being Able to Predict How Much the World Would Love the Film George: "People say set goals. The only goals you should set are what you can do in front of yourself. You can't lay out plans because life's too unpredictable in every endeavour in life, no matter what people say. That's why I think that John Lennon quote is so true, really. But on Fury Road, that was an exercise in basically realising one day that filmmaking had changed from the celluloid, analogue filmmaking, where we made the first Mad Maxes. Fury Road was a decade into the digital dispensation, which we kind of really got into fairly early with the first Babe movie. That was done at Universal Studios, which had made Jurassic Park, which was the first big movie where Steven [Spielberg] used the digital technology. There were 63 shots of dinosaurs and that basically heralded the new digital age of filmmaking. They saw what was happening with that, hadn't yet released that and said 'hey, if you guys wanted, this would be good if you wanted to shoot the pigs and the animals live action, you could do it'. So that's what got me on that path. The story is always privileged over everything else in filmmaking, but the technology and the tools are also a fascinating thing because the new technologies can really help you make films — interesting films that are in some way unique. So, almost a decade later when [Australian cinematographer] Andrew Lesnie, who shot Babe, went off to shoot Lord of the Rings, and he came back to Sydney after the first one and showed me the first motion capture of Gollum, I suddenly thought 'hey, this penguin story we've got, we can make the penguins tap dance'. And so that technology, motion capture, I'd never even heard the words before and now we could use it in animation — and so on and so on. So, by the time we got to Fury Road, all that technology, that's another decade later, almost. I thought 'holy cow, there's things we can do with a basic action film like this, we could never dream of doing way back two, three decades before'. So that led to Fury Road. You put all that you know, your skills and what you've learned along the way into a film like Fury Road. You go through the process and push it out there and people will make of it what they will — there's no other way you can do it. You can never anticipate whether a film is going to be successful or not. You really can't. I met Steven Spielberg for the first time about a month and a half before E.T. came out. He showed me a trailer of this film. I thought, 'gee, that's very moving'. I was very touched by the trailer. And he no idea at the time that it would become E.T., that it would have such a cultural impact. He was more concerned with some other film that he was working on at the time. So you can never predict. You can't tell either way. You don't know if something's going to be successful. I'm just very thankful that after Fury Road, which was a pretty arduous film to make, that it had some traction and ultimately it led us to do to make Furiosa." On Avoiding Feeling Daunted About the Massive Reaction to Fury Road While Making Its Prequel Chris, to Anya: "I get a little bit of what you were saying — you could spend your entire day kind of thinking of all the..." Anya: "Reasons not to do something." Chris: "Yeah, the consequences. And all of the should, could, etcetera. And it ends up distracting you from what you should be doing, which is just focusing on the character and the story and so on. Plus, the more films I do, I realise how much of it is just out of your control. That used to scare the hell out of me, and now I find it really comforting. I'm like 'there's a lot of people involved in this, it's not my fault'. We're all a part of this massive collaboration or jigsaw puzzle that's trying to be assembled — and it works or it doesn't, but as long as you put your heart and soul into it, then, great. If you try to take it personally and look at it like 'oh, there's this many years and so on', occasionally it's a motivation but it shouldn't be a distraction. Anya: "I'd also say rather than thinking about all of that as something that was scary, we both wanted to do this because in recent memory we'd seen Fury Road. We knew what that was. We knew what an adventure it would be and we wanted to be a part of the team that made such an incredible creation — and now we've done it. So if anything, it's just more exciting to get to work with these incredible artists." On Digging Into the Commonalities Between Furiosa and Dementus, Even Though They're Adversaries Chris: "Quite a lot in the rehearsal process, what I found so impressive from Anya, and what I take away now in that everything I do, is the how fiercely protective she was of the character Furiosa. I suggested doing something in one of the rehearsals with the younger Furiosa and she overheard and said 'hang on, hang on, no, no, no, no, no, she wouldn't take the bear. She wouldn't do this. She wouldn't do it'. And I thought 'oh wow, okay'. That was, I found, inspirational, but it also did drastically alter the way I had to then perform that action. And it was sort of to bury it [a teddy bear] within her grip and then she drops it within the film, you see, as opposed to holding on to it like I was suggesting. And so a lot of our early conversations in the rehearsals definitely, I think, spawned or dictated where these characters were going to go and evolve to or change throughout the film. That was just one thing that always stuck in my mind that I thought I was very thankful for." Anya: "Thank you for saying that, Chris, genuinely. People say that hurt people hurt people. And I think that you can explain egregious action, but I don't think that you should excuse it. That's not something that necessarily makes sense to me. So I think in this relationship, despite the fact that they both have a lot of pain, you can't argue the fact that he is a focal point for a lot of the things that have gone wrong in her life." Chris: "Yeah, it's a beautiful examination, too, of people put in traumatic situations facing adversity." Anya: "Yeah. Everyone's a victim." Chris: "But ultimately it being a decision on the individual. It's not the circumstances that define us, it's ultimately our free will and our decision to act accordingly to that thing. And two people who both have suffered but react very differently and behave very differently — I found that interesting." On Deciding Not to Use De-Ageing Technology and Instead Cast Taylor-Joy as the Younger Furiosa George: "It was a big, big issue. Once we decided to go ahead and realised that close to a decade had gone by — and this is a story that starts with Furiosa at ten and takes her to 28. It happens from childhood to adulthood, whereas Fury Road was compressed into three days and two nights, a completely different exercise in filmmaking. I thought 'gee, who are we going to find to fill those big, big shoes of Charlize?'. And then it turned out to be relatively quick because Edgar Wright showed me an early cut of the movie he'd made — Last Night in Soho, a movie he'd just done with Anya. I saw the movie. I'd seen just clips of her earlier movies, but I hadn't really seen a full movie that she'd done – and I was really struck by her presence. There's a timeless quality about her. She seemed to be very, very in the role. It was a tricky role, it involved dance, there was a lot of precision. And I turned to Edgar and talked about the movie, and then I said 'Anya, she'd be great for...' — he had no idea that I was talking about Furiosa. I said 'she'd be great for...' and before I finished the sentence, he said 'do it, do it, she's got it all, she's got it all' or some words to that effect. I asked him recently is that what he said, and he said it was something different. But my memory was 'she's got it all, she's got it all, do it'. And so I talked to her. I got to understand a little bit about how she approaches her work. She had a lot in common with Charlize. They both were skilled ballet dancers from a very young age, which is a really, really good marker for somebody who's got physical skills. They had that precision. She rode motorbikes. She came from a big family, she was the youngest of them, rode motorbikes when she was a little kid — illegally, of course — in Argentina, and so on. And then we went through the process of working on the film together, and I subsequently learned that it was the right decision, because she was equal to the task — and not only to take on what Charlize had done, but who could match what Chris did with Dementus. These two adversaries had to be evenly matched from the top to the end of the movie, and she was able to do that. I think the movie depends on them both being worthy adversaries." On Conveying So Much of Furiosa's Story Without Words Anya: "It's really extraordinary — characters have always been real for me, and I think with each script I understand how I'll be able to tell the story. Sometimes I'm a little bit ahead of them, and so I can tell it more with hindsight. And with this script, I just knew straight away that I was going to have to tell it in real time — that it was just going to feel very real for me and I'd have to experience it, and that's how I was going to be able to bring the truth of this story to light. I will say that I'm so grateful to both Chris and George for just respecting how much I cared about her. Like, I was really fighting for her every single step of the way, and rather than seeing it as something intense, they saw it as something beautiful — and I really appreciated that. On Hemsworth Getting His Favourite Role to Play Since He Was in Rush Chris: "I think like Rush, when I did Rush, I had just done Thor and a few other things, action films, and it was the great departure from that space. And look, I love playing Thor and if the opportunity came up and there was a story, I'd love to do again. But I definitely feel like I've also run out of ideas with it, whereas this just spawned an abundance of the creativity in me, which I sort of had forgotten about, I think. And it gave me an opportunity to experiment and try different things and lose myself in a role, and get back to the joyful playfulness that we have as kids — and just experimenting with removing the critic and that judgmental voice and just having fun. As odd as that may sound, because he's a murdering psychopath, but it was enjoyable. This is what acting's about. It's about transportation and inhabiting other spaces and someone else's shoes." Furiosa: A Mad Max Saga releases in cinemas Down Under on Thursday, May 23, 2024. Read our review.
"A pink, glittery, existential dance party in their heart." That's what Greta Gerwig hopes that audiences will find when her third film as a solo director splashes its rosy — and rose-hued — frames across the silver screen. The movie in question is Barbie, marking Mattel's six-decade-old doll's live-action debut. And, no matter how you feel about the toy itself, the feature boasts no shortage of reasons to get excited: the Lady Bird and Little Women filmmaker guiding the show; the fact that Gerwig co-wrote the film with her Frances Ha, Mistress America and White Noise helmer Noah Baumbach; Margot Robbie not only starring but producing and originating the project; a killer cast, including Ryan Gosling as Ken; and the self-aware sense of humour that's bounced through not one, not two, but three trailers before the picture hits cinemas Down Under on July 20. Gerwig and Robbie know that Barbie is a product with history. First reaching stores in 1959, as one of the first-ever dolls that weren't of babies, the plaything has sparked more reactions than the toy itself sports outfits — and this figurine in all of its many guises has never been short on wardrobe options. As a flick, Barbie aims to unpack those swirling responses and, yes, play with them. The feature's marketing tagline might be adamant that "if you love Barbie, this movie is for you" and also "if you hate Barbie, this movie is for you", but Robbie adds to it. "It's also a film for people who feel indifferent about Barbie. But when I pitched that to marketing, it didn't really roll off the tongue in the same way." The Australian Babylon, Amsterdam and The Suicide Squad actor shared her thoughts in Sydney, as did her Maggie's Plan, Jackie and 20th Century Women star-turned-filmmaker helmer Gerwig. In the leadup to the picture's release, Barbie is going global, with a trip Down Under one stop on the feature's promotional tour. Also visiting: Issa Rae and America Ferrera, with the Insecure and Superstore talents popping up on-screen alongside Robbie. Rae plays President Barbie, while Ferrera is Gloria, one of the film's few non-doll characters. Weeks out from Barbie hitting cinemas, the Gerwig-directed, Robbie-led, Rae- and Ferrera-costarring movie has already achieved a feat that would likely seem unthinkable if any other talents were involved: this is one of 2023's most-anticipated cinema releases. Actually, Barbie scored that status months out — years even, after the Gerwig-and-Robbie pairing was locked in back in 2021. Audiences are eager, but the folks that've been given the chance to bring this Barbie flick to them couldn't be more thrilled, too. Talking about the film at a beachside Bondi event at Icebergs, where the venue's famous pool even scored a temporary Barbie-themed makeover, the team's enthusiasm is palpable. "It's a movie that I think can really cut across generations and gender," notes Gerwig, who advises that the feature has been made for everyone aged eight to 108. Also covered at Gerwig, Robbie, Rae and Ferrera's Australian press conference: making a "wild, bananas Barbie movie", the huge opportunity to play with something so globally recognised, expanding the character, challenging stereotypes, following Wonder Woman's lead and breaking all of the Barbie rules. ON HOW IT FEELS NOW THAT BARBIE WILL SOON BE IN CINEMAS Greta: "At this very moment, just being in this setting and being with all of you — and the beach, and we're in Australia, and all these talented people — I really am feeling like what a spectacular life this is. It's overwhelming and amazing, and I just feel very grateful that Margot came to me almost four years ago and said 'do you want to you write a Barbie thing?'. And I'm grateful that in my postpartum haze four years ago, I said yes. It's just been such an extraordinary confluence of so many people coming together who are just outrageous and smart and talented — and that we got to make this wild, bananas Barbie movie is just an extraordinary blessing." ON WANTING TO MAKE A BARBIE MOVIE IN THE FIRST PLACE Margot: "I was aware that the Barbie IP was floating around, had gone up and running, and hadn't come to full fruition. So we've been keeping tabs on the property, and when there seemed like there was an opening, we jumped at the opportunity. We sat down with the Mattel CEO, Ynon [Kreiz], and that was five years ago, and pitched what we as our production company would want to do with a Barbie movie. And I knew even at that time that I would want to do it with someone like Greta Gerwig. She was the dream writer/director for it. I didn't know if she was going to say yes to it, but there are very few people in my mind that I want to make a Barbie movie with, Greta being the top of the list — and thank goodness she said yes. But the reason we went after the property is because it seemed like a very big and exciting and scary opportunity. It's globally recognised — the word itself is globally recognised. And not only that, people have very strong feelings about Barbie in a lot of cases. So it felt like a really exciting place to start a film, and start with the audience, where they already feel a certain way — perhaps that, at the very least, they have associated childhood memories with it. And it seemed like we could do something special with it." ON BEING A PART OF BARBIE'S ON-SCREEN WORLD Issa: "It was spectacular. Greta approached me and, just in our interview-slash-meeting, told me that she envisioned a world, a Barbie world, where I was President. I was super flattered by that, and also questioned her taste in political leaders. But it's a world that is perfect and beautiful — and seeing her brilliant writing, and the cast attached, it was a no brainer for me. So I was just honoured to to play in the world." America: "It was Margot and Greta's involvement that made me interested in what the script was. It was irresistible to be invited to — to take a peek into the world that these two incredibly talented and intelligent, respected women in our fields were going to do with Barbie. I never imagined myself in a Barbie movie, and I just opened the script and I was laughing on page one and then I was crying — and then I was laughing and crying. I had so many feelings and, truly, my first thought was 'are they even going to let Greta make this?'. I did not go into it feeling invested in Barbie — I didn't grow up playing with Barbies, I didn't feel represented in the world of Barbie — but Greta and Noah's brilliance created a world that made it relevant to me. And it is really exciting to get to be a part of a moment that is expanding such a dominant, influential female iconic character in our global culture, to include more of us. And also to include people with perspectives that aren't necessarily positive and kind toward the very long legacy and history that Barbie has." ON TACKLING A CHARACTER WITH SUCH HISTORY — AND BREAKING ALL THE BARBIE RULES Greta: "I grew up with a mum who didn't love Barbie, which only made me more interested in Barbie. So I had a lot of hand-me-down Barbies — a lot of Barbies who were Kate McKinnon's version, like their clothes were all on backward. That Barbie is very close to my heart. When we signed on to write it and I went to the Mattel headquarters, they opened up all the archives and took me through everything from 1959 till now, and the designers and the people who work there were just really fun to talk to and really interesting. But I would say that actually what we we did is, if there were rules, I think we broke all of them. That was part of it, in a way: 'tell me what your sacred cows are and I will do something naughty with it'. Margot, as a producer, was so instrumental in the whole process of just saying 'I want to make this. I want to make her version of this movie, her vision and and really protect it'. But yeah, if anything, it was an introduction to all the rules so they could be broken." America: "I remember when Greta and I first started speaking, she gave me a list of movies to watch to get in the vibe and the feel and the tone, and actually one of the movies I watched was a documentary called Tiny Shoulders about the expansion of the brand. I learned so much watching that. I did know a little, but through the making of this movie and the little bits of research that are either in the movie or that you caught researching it, it's really phenomenal to get a sense of how long the Barbie legacy has been — and how there have been times in the legacy where she was a revolution, and other times where she was behind her times and she needed to catch up. Just the mere fact that she was the first doll a girl could play with that wasn't a baby doll is something that I didn't really ever know. So there was there was an appreciation right from the start of how long her legacy is and how varied her place in our culture has been." ON CHALLENGING THE BARBIE STEREOTYPE Margot: "I definitely didn't want to portray Barbie as being vapid in any way. The thing about our how our story is constructed is that Barbie can be anything — Barbie can be president, Barbie can be a Nobel Prize-winner, you see all this stuff at the beginning of the movie that sets up how incredibly intelligent Barbie is. But at the same time, she hasn't been exposed to so many of the concepts that she's going to be exposed to in the real world. So it was a fine line between playing naivety without it coming across as unintelligent, because I didn't want it to seem ditsy— and that's just not interesting to play. It's not interesting to watch, either. There are times in the movie where we lean into stereotypes — we literally call my Barbie 'stereotypical Barbie' — so we're very much leaning into some stereotypes so that we can, in a way of being self-aware, play up the comedy, and also have a deeper conversation about some sort of issue. But then there are other times where you're like 'okay, if we play up that particular stereotype, it's going to be boring for people for the hour and 40 minutes that they're watching this movie'. It was an interesting challenge to find 'okay, what how do we portray the fact that she hasn't been exposed to certain things that she's going to learn along the way, but it doesn't mean that she's not intelligent?'." ON GETTING HELP FROM WONDER WOMAN — AND PASSING THAT HELP ON Margot: "Obviously I want the movie to do well because we all worked so hard and we love it so much. But I think it is important when a movie like this does do well — like, if Wonder Woman hadn't done what Wonder Woman had done, I don't know if people would have given us the budget we got to. And if this does well, then the next person who wants to make [something female-led]. It's so important." Greta: "We were just saying this the other day. I think all the time, I was like 'I'm so grateful that Patty Jenkins made Wonder Woman'. And yeah, whoever comes next, it will be..." Margot: "I remember when they were trying to come up with comps [comparable films] for this movie, and there's not that many. And it's important to have them. It makes a difference on the business side of things to have those comps, and have the proof in the pudding that they've made money and done well. Hopefully we can be an extra stepping stone for the next thing." Check out the trailer for Barbie below: Barbie releases in cinemas Down Under on July 20. Images: Barbie press tour photography by Caroline McCredie for Warner Bros/NBC Universal. Barbie film stills via Warner Bros.
Australia's war on waste has received a significant boost, with the Federal Government pledging to ensure that 100 percent of the country's packaging is recyclable, compostable or reusable in the next seven years. Announced by Minister for the Environment and Energy Josh Frydenberg, the target will be implemented by 2025 or earlier. The Commonwealth will also work with state and territory governments to increase the nation's recycling capabilities — and prioritise 'waste-to-energy' projects, which convert waste that is unable to be recycled into energy. Also on the agenda: ramping up the purchase of recyclable materials by the various levels of government by using more recycled paper, and building roads and construction projects out of recycled mattter. The focus not only on mandating the widespread uptake of recyclable packaging, but also finding ways to use and process it forms part of the country's response to China's decision to stop importing waste. Since the beginning of 2018, Australia has been struggling to find solutions for the 1.3 million tonnes of recyclable materials it previously sent to Chinese facilities each year, a figure that accounts for 35 percent of our recyclable plastics and 30 percent of our recyclable paper and cardboard. Earlier this month, it was discovered that one Queensland council had been sending recyclable matter to landfill instead. The promise to scrap non-recyclable packaging in general arrives as several other eco-friendly bans are coming into effect — or, in the case of Hobart's Australia-first commitment to get rid of single-use plastic containers, are set to by 2020. Single-use bags are on their way out in most states, with Queensland joining the fold this coming July and Victoria following suit, leaving New South Wales as now the only state that hasn't made the same pledge. Elsewhere, Aussie bars venues have begun phasing out straws, and campaigns to reduce the use of single-use takeaway coffee cups also continue.
If you have firm thoughts on South Bank's place and purpose in Brisbane, then you might've shared them with the Queensland Government back in 2022. That's when news of the precinct's upcoming revamp was revealed, complete with a draft proposal outlining how the 42-hectare patch of the River City's inner city could change — and it was also when the public was asked to comment on those ideas. More than 25,000 pieces of feedback were received. Two years later, the new South Bank Master Plan has been unveiled. The riverside stretch has been part of Brissie since 1992, but it is about to look significantly different. With the location notching up more than three decades since it was turned into public parklands after Expo 88, the new plan focuses on how it can evolve for the people of Brisbane over the coming years. Accordingly, a trip to South Bank in the future will involve hopping along a treetop walk, strolling along wider footpaths, shopping at a permanent handmade goods market and taking a longer promenade to Kangaroo Point. Many of these additions and expansions were in the blueprint initially, alongside refreshing Little Stanley Street's dining options, adding a beach plaza and enhancing the Queensland Performing Arts Centre cultural forecourt. A key part of the overall concept, as announced by Queensland Minister for State Development and Infrastructure, Minister for Industrial Relations and Minister for Racing Grace Grace, is to focus on South Bank's southern and northern gateways — so where the Maritime Museum currently sits, and also the BRISBANE sign — plus Grey Street. One big aim: to make Grey Street "one of the world's most-recognisable subtropical people-centric streets". Here's what's definitely staying the same: the arbor, the BRISBANE sign, the existing heritage buildings, the rainforest, the Rainforest Green, the Riverside Green and the River Quay lawn. But the plans from there are hefty, ranging from relocating the Epicurious Garden to Little Stanley Street and adding a busy tucker trail, through to removing the piazza and also Flowstate, and expanding the lagoon. More riverside lawns, including one that peers over the beach and the city, and more riverside eateries are also on the list. Throw in temporary river stages, a potential water taxi from the Cultural Centre, more outdoor dining, laneways, a digital water wall, an island archipelago in the water play zone, an elevated lookout and a reflecting pool, and that's still only part of what's in store. "We know that people want more greenery and shade, enhanced connections to surrounding areas like the CBD, Kangaroo Point Cliffs and Gabba, and more active transport opportunities — this plan delivers that and more," said Grace. "South Bank is a lasting legacy of Expo 88 and its Master Plan envisions how South Bank can help create our next big legacy, including from the Brisbane 2032 Olympic and Paralympic Games. We want to ensure the legacy of these investments is felt for residents and visitors for decades to come." Susan Forrester AM, Chair South Bank Corporation, called the plan "a testament to the collective efforts of the community, who provided invaluable feedback and insights throughout the planning process and played a crucial role in shaping the future of South Bank. "With 89 percent of respondents expressing support for the plan's vision, we are prioritising increased greening of the precinct, improved accessibility and travel connectivity improvements. We have a unique opportunity to reimagine South Bank and create an incredible legacy for future generations." Given that this is a long-term blueprint, exactly what will be in place when — including ahead of the 2032 Olympic and Paralympic Games — hasn't been finalised. But Brisbane's Olympics transformation was never going to forget South Bank, which is also set to welcome QPAC's fifth theatre, the Neville Bonner Bridge connecting to the Queen's Wharf precinct, and the new Kangaroo Point green bridge with an overwater bar and restaurant. For more information about South Bank's revamp, head to the South Bank Master Plan website.
Already in 2023, streaming viewers have watched Sam Richardson get spiteful in one of the most kindhearted sitcoms in recent years, and get nominated for his second Emmy for it. They've witnessed him host oh-so-silly game shows, too. It isn't just Ted Lasso and I Think You Should Leave with Tim Robinson that've been keeping him on-screen, but also rom-com Somebody I Used to Know and voicing Shaggy in new Scooby Doo take Velma. Only The Afterparty, which returned to Apple TV+ for season two on Wednesday, July 12, has him playing buddy cop with Tiffany Haddish, however. Actually, The Afterparty has the ever-busy Richardson playing a wealth of roles, but only stepping into one character's shoes. Aniq Adjaye is a wedding guest, doting boyfriend and eager-to-please potential future son-in-law. He's the guy who finally made good on his high-school crush at his reunion in season one, after getting accused of murder when a classmate would up dead at, yes, the afterparty. And, he's whatever his fellow revellers see — because this murder-mystery comedy from Cloudy with a Chance of Meatballs, 21 Jump Street and 22 Jump Street, and The Lego Movie's Christopher Miller is a whodunnit about perspective. The clever, inventive and entertaining twist? Every episode not only takes a different character's viewpoint, but filters their recollections through a parody of a different genre. Sometimes, then, Richardson dives into a romantic comedy within the ensemble murder-mystery comedy. That's what the show's two Aniq-centric episodes — the opening chapters of both 2022's season one and now 2023's season two — have delivered, and delightfully. Richardson is the series' lead no matter which on-screen figure's memories guide each instalment, though, teaming up with Haddish's (The Card Counter) Danner to interrogate his fellow partygoers. So, sometimes Richardson is also plunged into the world of action. Or, he's whisked into a musical, a teen drama or police procedural. In season two, the list includes a Jane Austen-style period romance, both Hitchcockian and erotic thrillers, Wes Anderson's aesthetic and film noir. The Afterparty's second go-around takes Aniq and his other half Zoe (Zoe Chao, Party Down) to her younger sister Grace's (Poppy Liu, Dead Ringers) nuptials to the wealthy-but-awkward Edgar (Zach Woods, Avenue 5). After the ceremony, then the reception, then the post-proceedings, there's a body, a winery full of suspects and questions to ask. There's also Richardson proving as versatile as ever, a skill that's served him exceptionally on everything from underseen Tim Robinson-costarring comedy Detroiters to stealing scenes upon scenes as Veep's Richard Splett — plus a six-episode run on The Office, cinema stints as varied as Spy and Promising Young Woman; and Werewolves Within and Hocus Pocus 2 as well. With The Afterparty season two now streaming, Richardson chatted us through the joy of the show's comedic layers, his odd-couple dynamic with Haddish, living the murder-mystery dream as a big fan of the genre, how he'd respond if one of the series' situations crossed over to his real life, I Think You Should Leave's unhinged reactions and more. ON MAKING A MURDER-MYSTERY COMEDY THAT'S ALSO A ROM-COM, AN ENSEMBLE COMEDY AND A SPOOF OF EVERY GENRE IT CAN FIT IN "There's so much that I love about all these things. I'm a big fan of a murder-mystery — Sam Richardson is. I'm a big fan of a rom-com. And I'm a big fan of an ensemble comedy. So the show is all three of those things. So I got to do that the first season, and then the second season we get to heighten all of that. Now Aniq is investigating not just to protect himself, but to try to figure out actually who the murderer is with him outside the gaze of suspicion. He's now trying to solve this mystery, and also his retelling of the story is a rom-com sequel. So now everything's all heightened when he's telling the story — big setpieces and big physical-comedy bits. That's a really fun thing for me to do, and to get to work with the new cast — everybody's so funny —and all these new genres." ON MAKING A BUDDY-COP COMEDY WITH TIFFANY HADDISH, TOO "They're an unlikely pair [Aniq and Danner], but it turns out they're good partners. One balances the other. And getting to perform with Tiffany — she's so funny. So it's good to play off of that dynamic and that energy. It was such a great thing to do and to get to play with. The two of them — her methods are unorthodox at first, and then his methods are maybe a little sloppy. So together they're able to get through this thing, but [make] an unlikely pair." ON TICKING MURDER-MYSTERY OFF THE ACTING BUCKET LIST "There's nothing more fun than being the one to get to put the pieces together at the end of the mystery — that sort of monologue that Sherlock Holmes has where he explains all the pieces that he's seen, that you've seen as the audience, but now I'm giving you the grand thing, the Colombo sort of speech, the "one more thing, you thought I didn't know this, but ha!". Getting to be in that role is a dream come true for me." ON THE CHALLENGES AND FUN OF JUMPING BETWEEN GENRES FROM EPISODE TO EPISODE "It's definitely both, because you are getting pulled in a bunch of different ways. But that is the fun of it, because you get to explore your character and these genres from all these different perspectives. As an acting exercise, and as a challenge to an actor, you get to say not only 'what is the perspective of this character whose story I'm in, the person who's telling the story, what's their perspective on me?' but also 'what is the trope of this genre?'. 'What is this character in a film noir? And who who is the person within that trope? Who is this person in this Jane Austen story? What is that person in this trope?' But then also at the same time, 'what does the character telling the story think of me? Does this person think I'm untrustworthy? Do they think that I'm a weak person? Do they think that I'm more maybe more bold than I am? Do they think that I'm behaving surreptitiously?'. So that's a fun thing to explore in a show like this." ON THE BEST GENRE TO DIVE INTO SO FAR — AND A DREAM PICK FOR THE FUTURE "I really do love the the big rom-com sequel that I got to do this season — big set pieces and physical comedy. I also really enjoyed the Wes Anderson-style episode, the costumes of the Jane Austen [episode]. Each one has it's [merits] — it's so hard to pick one. But if there was another genre that I would want to do, it'd would be a kung-fu movie. That would be so much fun." ON PLAYING OLD HIGH-SCHOOL BUDDIES WITH SEASON ONE'S CAST — THEN STRANGERS AT A WEDDING WITH SEASON TWO'S "The first season, the cast, and getting to play with that cast, was terrific. And then also the idea that you have this shared history and so you're looking back on these relationships that you've had — but what's the dynamic now? — was such a great thing to get to do. So in this season, there are some dynamics that have existed before. But for Aniq especially, he's meeting so many people for the first time. And so getting to be introduced to these characters, and then to get to work with some of these actors for the first time as well, it was such a great fertile playground for reactions. You're absorbing these people for the first time — whereas on the other side of the coin, you get to fall back on 'oh, this guy behaves like this and I know they do'; this time, you get to be like 'this guy behaves like this, what are they doing?'. So it's two sides of the coin, but the coin is still 25 cents." ON HOW RICHARDSON WOULD REACT IF HE WAS LIVING A MURDER-MYSTERY IRL "I fear that day happening greatly. But I do wonder how I would react, because you want to hope that you'd be bold and be like 'no, it has to have been this'. And you'd answer all the things. I myself, I do like to solve things. So I really would be trying to look at things objectively and be like 'well, no it couldn't have been this because these three people were here at this time, that person was there, and I know they were, and they said that before'. That's kind of how I approach things anyway, so I think if somebody got murdered in my high school, I'd figure out who it was." [caption id="attachment_903580" align="alignnone" width="1920"] Netflix © 2023[/caption] ON WHAT RICHARDSON LOOKS FOR IN A ROLE "Good money. I look for, you know, does it pay my insurance? I am entirely joking — but also not. I really just like characters who have very fun wants, and characters who are able to react to things. So for I Think You Should Leave — I Think You Should Leave is its own sort of thing. That's my best friend's show, and it's sketch, and I very much love sketch and I love playing these characters who have wants that are a little bit unrealistic, and then the reaction to not getting those wants is also unhinged. That's a fun thing to get to do. But then with with shows like Detroiters, the wants there are to spend time with your best friend and represent your city in the best way. I think it ultimately comes down to wants — the interestingness of what characters want, and getting to see how these characters go about trying to achieve them, is what I look for most." Season two of The Afterparty streams via Apple TV+ from Wednesday, July 12. Read our full review of season two.
For more than two years, everyone has been asking the same two questions — everyone that's a fan of Stranger Things, that is. They're obvious queries but, if you've been hooked to the 80s-set Netflix sci-fi series since it first debuted in 2016, they're important. Question one: what happens next? Question two: when will we see what happens next? Indeed, when July 2021 came and went, it marked two years since Stranger Things last graced our streaming queues. So, you've been wondering what's become of all the series' characters — especially Hawkins' beloved police chief Jim Hopper (David Harbour, Black Widow) — for quite some time. You'll be pondering into next year as well, because the streaming platform already announced that the show won't be returning till 2022; however, it does keep dropping sneak peeks. Back in February 2020, Netflix provided an initial clip. Yes, that now seems like a lifetime ago. It also dropped a couple more teasers in May this year, and released another one back in August. Need more? The streamer has just unveiled yet another teaser trailer, this time focusing on a spooky spot called Creel House. First, we see it years ago — and then, we see it being explored in its abandoned, dusty and eerie guise by Steve (Joe Keery, Spree), Dustin (Gaten Matarazzo, The Angry Birds Movie 2), Lucas (Caleb McLaughlin, Concrete Cowboy) and Max (Sadie Sink, The Last Castle). When you're hanging out for anything and everything related to the show's fourth season, each trailer and teaser drop is exciting — and they all keep threading together pieces that are bound to prove important when new episodes actually hit. Indeed, we already know what happened after season three's big cliffhanger and Russian-set post-script — when Hopper, the mind flayer, the Russian lab below Starcourt Mall and that pesky gate to the Upside Down all had a run-in. And, we know that Hawkins Laboratory is going to feature again moving forward, thanks to clips focusing on Eleven (Millie Bobby Brown, Godzilla vs Kong) and Dr Martin Brenner (Matthew Modine, Operation Varsity Blues: The College Admissions Scandal). Now, with this latest teaser, we know a little bit more as well. Of course, it's worth remembering that when Netflix announced the show's renewal for a fourth season back in 2019, it did so with the catchphrase "we're not in Hawkins anymore". Naturally, we'll have to wait to see what that really means for its full cast of characters — including Joyce (Winona Ryder, The Plot Against America), Will (Noah Schnapp, Hubie Halloween), Jonathan (Charlie Heaton, The New Mutants) and Nancy (Natalia Dyer, Things Seen & Heard). Check out the new Stranger Things season four sneak peek below: Stranger Things season four will be able to stream via Netflix sometime in 2022 — we'll update you with an exact date when one is announced.
The vast majority of those who dine at Sugo IT do so for the pizza. The pizzas are thin crust but not over-crisp or brittle. The dough is oven-charred but elastic in texture, offering the right amount of bite and resistance. The flavours are simple, straightforward and complementary — not too crowded. The pizza menu is divided into rosso (red) and bianco (white). Rosso refers to the red sugo base used in classics like the margherita and the spicy piccante (with soppressa salami and fresh chilli). The sugo itself is sweet and flavoursome, but the sugo-less bianco pizzas are just as popular as their red counterparts. The quattro formaggi (mozzarella, parmigiano, gorgonzola, bocconcini and fresh sage) and the patate (potato, pancetta, mozzarella, parmagiano and rosemary) are favourites with the punters thanks to their incredible flavours. There are also many Italian classics on the Sugo IT menu including porcini arancini, spaghetti vongole and pannacotta. To accompany your meal there is a modest selection of wines from Australia, New Zealand and Italy from which to choose, as well as local beers. The restaurant interior is very small, but tables overflow out onto the footpath, resulting in a bustling outdoor dining area. 5pm – 6pm Sunday to Thursday is an ideal time to go, not only to avoid the worst of the dinner rush, but for the $18 pizza hour. On your way out, perhaps visit the adjacent Sugo Mi groceria, which stocks Italian food products and take-home gelati.
It has won 11 Tony Awards and is one of the Obamas' favourite musical, and now Lin-Manuel Miranda's game-changing musical Hamilton is finally coming to Australia. The critically acclaimed hip hop musical, for which Miranda wrote the music, lyrics and the book, is about the life of Founding Father Alexander Hamilton, as well as inclusion and politics in current-day America. As well as its 11 Tony Awards, which include Best Musical, it has nabbed a Grammy Award and even a Pulitzer Prize. After hitting Broadway in 2015, then West End in 2017, and beginning its third tour of the US earlier this year, Australians can finally catch Hamilton — when it makes its Southern Hemisphere premiere at the Sydney Lyric Theatre in March 2021. While this is not new news, with the musical heading Down Under first announced back in May 2019, the fact that it's still planning to go ahead in seven months despite the global pandemic is. And, Aussies keen to head along will be able to snag tickets in just a few weeks. Those who've signed up to the waitlist — or do so before Sunday, August 23 — can get pre-sale tickets from 10am on Monday, August 24. General public tickets will then go on sale at 9am on Tuesday, September 1. Tickets will set you back $70–250 a pop — but there'll be a limited number going for just $10, available as part of the Hamilton lottery. We'll be sure to let you know more details about that when they're announced. [caption id="attachment_731122" align="alignnone" width="1920"] Joan Marcus[/caption] There's no word yet on whether it'll head to other Aussie cities later on — it's possible, other big musicals, such as The Book of Mormons, have. But, if you don't want to risk it, those located interstate should to start planning a trip ASAP — we think it'll be more than worth it. Of course, if you're hoping to make the journey to NSW from interstate, you'll be keeping your fingers crossed that all the internal borders will finally be open by next March. It's not Miranda's first musical to hit Australia, either, his take on the classic 200s film Bring It On: The Musical hit Melbourne in 2018 and quadruple Tony Award-winning In The Heights just finished a short season at the Sydney Opera House last year. In the meantime, you can watch the filmed version of Hamilton with the original Broadway cast on Disney+ — yes, it's as phenomenal as you've heard. Hamilton will make its Australian premiere at the Sydney Lyric Theatre from Wednesday, March 17–Sunday, August 1, 2021. You can sign-up for pre-sale tickets now before they are released at 10am on Monday, August 24 via Ticketmaster. General public tickets will then go on sale at 9am on Tuesday, September 1. Image: Hamilton, Broadway. Photo by Joan Marcus.
UPDATE, August 3, 2020: Mary Poppins Returns is available to stream via Disney+, Google Play, YouTube and iTunes. Floating in on the wind with her umbrella in hand, Mary Poppins is back — in a most delightful way. More than half a century since the magical nanny made the leap from page to screen, this lively, loving sequel explores a notion that's already fuelled seven books. Directed by Rob Marshall (Into the Woods) and scripted by David Magee (Life of Pi), Mary Poppins Returns asks: what if the seemingly prim-and-proper governess worked her wonders on the Banks children once more? The answer both does and doesn't play out as expected. Imaginative songs, animated flights of fantasy and a friendly labourer all feature, as does the Banks house on Cherry Tree Lane. Kids learning life lessons and to embrace their creativity are part and parcel of the film as well, and so is the warmest of moods. But, letting time pass in the story as it has in real life, Mary Poppins Returns introduces adult versions of the tykes that Poppins once cared for. They need her help yet again, and so does the next generation snapping at their heels. Struggling to make ends meet during the Great Depression, widower Michael Banks (Ben Whishaw) is about to lose the family home. He's behind in the mortgage and, despite working for the bank as his late father did before him, the financial institution's president (Colin Firth) won't offer an extension. Michael's only option is to find proof that he own shares, with his sister Jane (Emily Mortimer) and his children Anabel (Pixie Davies), John (Nathanael Saleh) and Georgie (Joel Dawson) all doing their part in the search. Enter Poppins (Emily Blunt), as radiant and no-nonsense as ever – except when she's the source of the nonsense. If that idea seems like a conundrum, the nanny explains the predicament herself in one of the movie's catchy musical numbers. Reviving not only a long-beloved character, but one engrained in the youth of multiple generations, is far from an easy task. Thank the heavens that Poppins descends from for Blunt. Fresh from putting in a powerhouse performance in the virtually dialogue-free horror flick A Quiet Place, she charms and captivates stepping into Julie Andrews' shoes. Always entrancing, it's the kind of singing and dancing showcase that audiences mightn't have realised that the English actor could deliver. Whether she's schooling and being silly with the Banks poppets, or leading them into adventures with kindly lamplighter Jack (Lin-Manuel Miranda) by her side, Blunt fits the part perfectly. More than that — she practically perfects the film's infectious air of fun in every way. While a spoonful of sugar isn't needed to make the movie go down a treat, it comes in the form of Marshall's love and care. The filmmaker's output can be hit and miss, with Chicago falling into the first category and Into the Woods the second, but Mary Poppins Returns is a winning effort. There's a juggling act at the picture's core, as the movie endeavours to pay homage to its popular predecessor without becoming a mere rehash. In a playful and well-judged manner, Marshall finds the necessary balance. His film deploys elements of the original — reflecting, reshaping, inverting, referencing — and yet it flies high as a kite on much more than nostalgia. Among the few elements that don't soar, nothing threatens to send the picture tumbling. The slight story feels like it could be whisked away by a breeze, but it's aided by the frequent diversions into song and dance. Rarely at her best in music-heavy scenarios (as the Mamma Mia! movies have shown), Meryl Streep is forgettable as the magical nanny's cousin, however her part is brief. And even when the film falters momentarily, Mary Poppins Returns has quite the distraction up its sleeves. From the eye-catching costuming to the colourful sets to the gorgeous animation, the movie serves up a visual wonderland. First Paddington, then Winnie the Pooh and now Mary Poppins, British treasures just keep coming back to the screen. But when they're this enjoyable, they're more than welcome. We're sure Poppins herself would approve of that sentiment. Among her many life lessons: realising when to relish what's in front of you. https://www.youtube.com/watch?v=hMe7hUb3TpI
Dom Dolla just keeps making history. Back in December 2023, the Australian DJ and producer notched up a hefty achievement, playing his biggest-ever hometown show in Melbourne at the Sidney Myer Music Bowl. Then, come 2024, his national tour became the largest ever by an Australian electronic artist, selling 170,000-plus tickets in four cities. What does 2025 hold, then? Oh, only the Grammy-nominee doing his first-ever Aussie stadium show and biggest headline gig ever. He's played Coachella, Lollapalooza, Wildlands, Spilt Milk and more — including soldout Madison Square Garden gigs with over 30,000 attendees, plus Ultra Miami and EDC Las Vegas. When Europe's summer hits, he's doing a ten-week residency at Hï Ibiza. Then, on Saturday, December 20, 2025, Dom Dolla will head home in a massive way, headlining Sydney's Allianz Stadium. The three-time ARIA-winner (and 16-time ARIA-nominee) also has something else sizeable to add to his resume in 2025: with 'No Room for a Saint' featuring Nathan Nicholson, he's making his film soundtrack debut. The movie: the Brad Pitt (F1)-starring F1. Also this year, Dom Dolla has released two other tracks: 'Dreamin' featuring Daya and 'Forever' with Kid Cudi. On his 2024 Aussie tour, the venues weren't small, given that he played Melbourne's Flemington Racecourse, Sydney's Domain, Brisbane's Riverstage and Perth's Wellington Square. But making the leap to a headline stadium gig is no minor feat. Only the sole Allianz Stadium show has been announced, so if you're keen to head along and you're outside of the Harbour City, you'll also want to make travel plans. Dom Dolla is playing Allianz Stadium, Sydney on Saturday, December 20, 2025. You can sign up for ticket presales from 11am AEST on Monday, May 19, then buy presale tickets from the same time on Thursday, May 22, with general sales from 12pm on Friday, May 23. Head to Dom Dolla's website for more details. Images: shevindphoto / Beyond the Valley, Chloe Hall.
When Sally Rooney's first page-to-screen hit arrived in streaming queues in 2020, it made instant stars out of Daisy Edgar-Jones and Paul Mescal. The pair's recent respective roles in Fresh and The Lost Daughter sit among plenty more to come, but part of what made Normal People work so devastating well was watching its disarmingly relatable romance play out with fresh faces that could've been anyone. That same idea sits at the heart of Conversations with Friends, too, Rooney's debut novel but second book to leap to television. The quietly magnetic Alison Oliver makes her debut at the 12-part Dublin-set series' centre, and it's a perfect stroke of casting. Available to stream in full via Prime Video from Monday, May 16 — dropping ready to binge, revel in and obsess over, as Normal People did — Conversations with Friends doesn't opt for newcomers across the board, though. That's another savvy move, placing Oliver amid well-known actors Sasha Lane (Loki, American Honey), Jemima Kirke (Sex Education, Girls) and Joe Alwyn (The Souvenir: Part II, The Favourite), who immediately exude engrained confidence. Oliver's character, pensive literature student Frances, is in the same situation. She's always on-edge and on the verge of withdrawing whenever the show's four key characters spend time together, like she feels overwhelmed by everyone else's company. Conversations with Friends didn't have Oliver go method and live Frances' life, of course, but compared to her co-stars, she's a blank slate ready for viewers to see themselves in. Peeking into intimate connections and feeling as though they've been lifted from your own life, or from emotions you've navigated and weathered, is one of Rooney's key skills as a writer. It's true of both Conversations with Friends and Normal People in print, and it's a knack that the same creative team — Rooney as an executive producer, co-screenwriter Alice Birch (Lady Macbeth) and co-director Lenny Abrahamson (Room, Frank) — have brought to both TV adaptations. In text and flickering across the screen, both tales step into complicated romances that simmer with intensity. They confront class clashes and the difficulties that spring from them as well. And, they force contemplative women to confront what they want, who they are, how they'll grow as people and the others they might give their hearts to. In Conversations with Friends, 21-year-old Frances is first poised as the other half in a couple that's not a couple, at least anymore; she went to school with and used to date the outspoken and outgoing Bobbi (Lane), but now the two university students are best friends and spoken-word poetry partners. It's during one of their performances that successful writer Melissa (Kirke) spots the duo's act, compliments them afterwards and invites them over for a swim, then back to her well-appointed house for a drink. Enter Nick (Alwyn), Melissa's actor husband, who holds himself like he'd rather be anywhere but there but is too polite to upset the status quo. He's as reserved and introverted as Frances — and they catch each other's eyes, while Bobbi and Melissa gravitate towards each other. Soon, Frances is part of another couple, one that's only secretly a couple: between the sheets, in stolen moments, and with much awkwardness while trying not to be discovered by either Bobbi or Melissa. As was also such an influential part of Normal People, she's caught in a relationship that's as filled with terse, tense yet deep discussions as it is with instances where saying nothing says everything there is. Despite its name, cut out Conversations with Friends' loaded silences and you could likely reduce its running time by half, but you'd also rip away much of its heart and soul. It's a show about what can't or won't be said; about the interiority that we all live within, some more than others; and about how, when and why we open ourselves up to and allow ourselves to truly become vulnerable with others. Conversations with Friends is catnip for Normal People fans, in other words — and rewardingly so. There's no escaping the similarities, including in the midseason trip abroad, and in the dreamy-yet-naturalistic approach that Abrahamson and fellow director Leanne Welham (His Dark Materials) use to anchor viewers in the show's dramas. Watching along feels like sliding into the series' love quadrangle, observing along even more quietly than Frances often does, but experiencing every emotion — blatant and unspoken — along the way. The mood: swooning melancholy. The look: the kind of cosiness and uncertainty that drips from Ireland's overcast skies and sweater-friendly climes. The sensation: sensitive, realistically messy and deeply lived-in. Hitting bookshelves in 2017, Rooney's novel was her first success, earning buzz after a seven-way auction for the publishing rights, and garnering award nominations. It's a portrait of entangled lives, and the intricate webs that love, lust, friendship and loyalty weave, but it's also a character study of one woman learning how to face and reveal her true self. Frances' affair with Nick, and the ripples it sends through her bond with Bobbi, Bobbi's infatuation with Melissa, and Melissa and Nick's marriage, fuels just one of its narrative threads. Frances' complex relationship with her divorced parents (Derry Girls' Justine Mitchell and Tommy Tiernan), her view of her health and her unwillingness to ask for help even when she needs it most leave just as big of an imprint. It's little wonder, then, that Oliver is Conversations with Friends' most pivotal player — but she's also in fantastic company. Wanting to spend more time watching Bobbi and Melissa's growing connection isn't just a result of Rooney's layered story, but of Lane and Kirke's textured performances and bubbling chemistry. The same proves true of Melissa and Nick's stressed relationship, with Kirke and Alywn compellingly ebbing and flowing through the couple's ups and downs. "Who knows what happens between two people when they're alone?" Frances comments early, chatting to Bobbi about Melissa and Nick — and Conversations with Friends makes its audience desperate to know the answer no matter which possible combination of its four main characters it happens to be focusing on at any given moment. Check out the trailer for Conversations with Friends below: All 12 episodes of Conversations with Friends are available to stream Down Under via Prime Video on Monday, May 16. Images: Enda Bowe/Hulu.
The 11th of March 2011 will be a date long remembered as one of Japan's darkest, when an 9.0 magnitude earthquake and a 40-metre high tsunami took the lives of over 20,000 people and destroyed the homes, communities and livelihoods of countless others. To add insult to injury, it will also be remembered as the day the Fukushima Nuclear Power Plant was seriously damaged, the disastrous consequences of which may linger for years and years to come. In the weeks and months since the natural disaster, the affected towns and communities have slowly and painstakingly began the task of rebuiling their lives, homes and communities. And whilst it is unlikely that the Fukushima Nuclear Power Plant will ever open again, its workers and engineers have begun tackling the daunting question of how to clean it up, stabilise the reactors and lower dangerously high levels of radiation. In an unauthorised visit, and at great personal risk, Kazuma Obara became the first photojournalist to enter into the nuclear plant in an attempt to draw attention to the daily life and conditions of the people who work there, with no guarantee of their health and safety. So far, the clean up project at the power station has been characterised by secrecy, misinformation and confusion, not only for the general public, but, as Obara's story tells, for the plant's workers also. Obara's images are sobering, mundane and surreal. And have provided the world with its first images of the day to day reality of the aftermath of the world's bigget nuclear disaster since Chernobyl.
With Mystery Road, True Colours and now High Country, Australia's screen industry has been increasing its Indigenous detective tales of late. It's a welcome shift, and one that Leah Purcell chalks up to the strength of the genre. "I think a cop show is a great drama. You've got everything in it, and we do cop shows very well in this country," she tells Concrete Playground about her stint as Andie Whitford, the character that was written for her — in the series that was also penned for her — by Wentworth duo Marcia Gardner and John Ridley. "Then when you've got a mystery-thriller, it's an opportunity to get audiences together, sitting on the lounge at home with their family — and actually, it brings about discussion," Purcell continues. "That's when you know that you've got a good show. We did a screening, and people got around and were wanting to work out who'd done it, and they saw that opportunity with only one episode," Purcell continues. Debuting its eight-episode first season in March — which is now available to watch in full via Binge — High Country gives viewers much to talk about and sleuth along with. In the Mystery Road and The Dry mould, it's about a city detective digging into a rural case and cracking the secrets of close-knit communities. It's also about the landscapes that shape not only small towns but also the people in them, and reflect their strengths and struggles in the terrain. And, High Country follows a personal journey. Andie didn't grow up in the town of Broken Ridge, only to return now, as the protagonists of Mystery Road and The Dry did with their respective settings; however, she's trying to embrace the place as home after making a tree change with her artist partner Helen Hartley (Sara Wiseman, Under the Vines) and high-schooler daughter Kirra (Pez Warner, making her TV debut). The setup: Andie and her family move to Victoria at its most mountainous (where Force of Nature: The Dry 2 also traversed earlier in 2024) just as a spate of missing-person cases pile up. Sam Dryson (Ian McElhinney, The Boys in the Boat), the retiring police chief that she's replacing, has an older disappearance that he's determined to solve — a missing boy that he's insistent that former teacher Damien Stark (Henry Nixon, The PM's Daughter) abducted — but also notes that deaths and vanishings aren't uncommon in the region. He's still a helpful mentor, though, as Andie endeavours to stop people going AWOL or worse from being a local fact of the life. But even before she begins asking questions, the rest of the town isn't always as accommodating, nor are all of her new colleagues. [caption id="attachment_953804" align="alignnone" width="1920"] Narelle Portainer[/caption] Purcell's acting career spans three decades now, and everything from 90s dramas such as GP and Police Rescue, then Lantana and The Proposition on the big screen, through to the likes of Redfern Now, Black Comedy, Wentworth, The Drover's Wife The Legend of Molly Johnson, The Lost Flowers of Alice Hart and Shayda recently. It wasn't just the whodunnit Aussie-noir angle that appealed to her about High Country, but also Andie's complexity, the challenge of being first on the call sheet on a major series and co-stars that also include a first-time dramatic collaboration with Aaron Pedersen (High Ground). As she did with The Drover's Wife — which she made as a play, a book and then a movie — showcasing a part of the country that she fell in love with while filming Somersault and Jindabyne in the 2000s was a big factor. That passion on Purcell's part is evident in every scene that she's in throughout High Country, as it always has been whenever she's in front of the camera — or, with The Drover's Wife, also behind it. What gets her excited about a role, the series and the part of Andie being specifically penned for her, championing more than just the stereotypical vision of Australia's landscape, digging into Andie's backstory and the response to her arrival beyond the dialogue, working with the rest of the show's cast: we chatted with Purcell about all of the above. [caption id="attachment_953802" align="alignnone" width="1920"] Martin Philbey[/caption] On Both High Country and the Part of Andie Being Written for Purcell "The project was written for me, so that was pretty awesome and humbling. Marcia Gardner and John Ridley, who were the creators behind Wentworth — when we were wrapping up that series, Marcia said 'we'd love to work with you again, Leah. And guess what? I've written something for you and a show around you'. And she said 'would you be interested in being in it?'. And I said 'mate, if you get it up, give me a call'. So six months later, she rings me and says 'I've got it up'. But what was also appealing is the beautiful high country. I'd just finished, a couple of years before, The Drover's Wife The Legend of Molly Johnson, my first feature — that was done in the high country, the Snowy Mountains on New South Wales side. So to come across to Victoria to film in that location was amazing. The stories were really interesting. Who doesn't love a good cop show and a mystery-thriller whodunnit? To be a part of it and being in the rural area — I'm a country girl from country Queensland in Murgon, so to go back and portray that sort of setting on our TV was important to me as well." On Championing More Than Just the Stereotypical Vision of Australia's Landscape "Normally it's the reds and the brown and the heat. I fell in love with the high country when I did Jindabyne and Somersault in that area. And I just went 'gee, we don't utilise this landscape enough'. Then when I got the idea to pursue The Drover's Wife, I said 'we've got to do it in the high country and have that beautiful big sky, and the blues and the greens that we don't see'. Even when I was selling the project overseas, people said 'what, there's snow and green in Australia?'. And I thought 'yes, there is'. [caption id="attachment_815948" align="alignnone" width="1920"] The Drover's Wife The Legend of Molly Johnson[/caption] As I said, it was one of the drawcards to High Country for me. And also because that landscape is so alive, it is a character within this show as well. It's also important to Andie on a couple of levels. One, yes, as the detective, the sergeant trying to solve the mysteries — because is it just that these people took a wrong step on a trail in the bush? Or is there more behind it? And also for her and her journey, the land really speaks to her and makes her look at herself. You want a character with many story threads to it, so you've got depth to play in emotionally. So that was another drawcard. But the location, your eyes will be stimulated — the beauty in the landscape is just phenomenal." On Purcell's First Read on Andie — and What She Knew That She Could Bring to the Part "She's a fearless woman, but also there's a vulnerability to her, which is nice. She's a great detective — and it was something that I had done before, but the challenge was to find what I could bring to her that was new to me as a performer. It was different from the other roles that I had done, so that's where the challenge was for me. And what I liked is that she's quieter, she's an observer. And I guess that's what makes her a great cop. She observes things, takes things in — and a deep, a deep thinker. But I really wanted to show her vulnerability as well as the brilliance in her detective work — and that she's a strong, strong woman in the face of what she has to do for her job." On Conveying the Tough Journey That Andie Has Had in an Unspoken Way "We're women. We've lived it. It wasn't anything too difficult. We've all had those sort things thrown at us — and it was just great to have an opportunity to play with that on-screen. And then Andie finding the power, and showing that she's worthy of the position that she's in, and that she's good at what she does, and the respect comes. But it's a great place to start in a series, so you've got a place to go — and she works hard to do it, but she does it." [caption id="attachment_910859" align="alignnone" width="1920"] Shayda[/caption] On What Gets Purcell Excited About a Role Three Decades Into Her Acting Career "Getting a lead role is something that's important to having a look, because you want the challenge. And I think that I've earned my stripes. So that was appealing, of course. And I just want to be able to connect. To be challenged, I think, is important, so that you stay engaged and you want to be there, and work hard." [caption id="attachment_953803" align="alignnone" width="1920"] Martin Philbey[/caption] On What Purcell Learns From a Part Like Andie and a Show Such as High Country "Be careful what you ask for in being number one on the call sheet. There's a lot of hard work, that's what I've learned. But I love that. Thirty-three years [in], I want to be engaged. I want to be challenged. That's what was appealing that for me in taking on the role of Andie." On Working with the Rest of High Country's Impressive Cast "Believe it or not, this is the first time that Aaron [Pedersen] and I have actually shared work together in a drama. It was awesome. Our chemistry is really, really great. And he was a pleasure to work with. Then you've got Ian McElhinney from Belfast in Ireland. Mate, what a legend — just what he brought. We all challenge one another. There's some really awesome people that are doing awesome acting, and it's a challenge in a friendly way. But it's like 'ohh, so you're going to do that — right, can I top you on this?'. So that made the project fun, and it was a joy to go to work every day. We had an awesome cast that worked so hard and tirelessly. That was pretty demanding. There were really cold days and rain, and there was snow, and there was minus-zero days where I had to stand there with no jumper on, and I had too many clothes on to put the thermals underneath. But it was just a pleasure to be on, and I'm so excited and I just want our Australian audiences to really support Australian stories — to tune in, and hopefully the ratings will be there and we'll be able to go again on a second season." High Country streams via Binge. Read our review. High Country images: Sarah Enticknap / Narelle Portanier.
New year, new list of huge events to look forward to — but only one will make LGBTQIA+ history. That'd be the first-ever WorldPride held in the Southern Hemisphere, which'll hit Sydney from Friday, February 17–Sunday, March 5. And, although Sydney WorldPride announced its massive 2023 lineup late in 2022, it's still adding big-name additions. Joining the program alongside everyone from Kylie Minogue and Charli XCX to Kelly Rowland and Nicole Scherzinger: German pop star Kim Petras. Fresh from nabbing a Grammy nomination for 'Unholy' with Sam Smith, the 'If Jesus Was a Rockstar', 'Heart to Break', 'Future Starts Now', 'Coconut' and 'Malibu' singer will headline Sydney WorldPride closing gig Rainbow Republic alongside the already-announced MUNA and G Flip. View this post on Instagram A post shared by Sydney Mardi Gras (@sydneymardigras) "I'm so happy to be back in Sydney supporting WorldPride! Headlining Mardi Gras was a really inspiring moment back in 2019 and it was one of my favourite Pride events ever, so I'm really excited to see my Australian fans again and take everything to a whole new level," said Petras, announcing the news. She'll take to the stage in The Domain, where WorldPride is hosting both its opening and closing events, as part of a a seven-hour show filled with live music, DJs and dancing — a queer megamix, if you like. On hosting duties: Keiynan Lonsdale (Love, Simon, The Flash, Eden), who'll also perform. Peach PRC, Alter Boy, BVT and Vetta Borne have also been named on the bill. Sydney WorldPride has been announcing parts of its lineup since June last year, including the return of the Sydney Gay and Lesbian Mardi Gras Parade to Oxford Street after the 2021 and 2022 events were held at the Sydney Cricket Ground due to the pandemic. Among the other highlights: pride villages set up in sections of Crown Street and Riley Street, rainbows all around Greater Sydney, a Bondi beach party that'll turn the iconic sandy stretch into a club for 12,000 people, and a Blak & Deadly First Nations gala concert. RAINBOW REPUBLIC SYDNEY WORLDPRIDE CLOSING CONCERT LINEUP: Kim Petras MUNA G Flip Keiynan Lonsdale Peach PRC Alter Boy BVT Vetta Borne Sydney WorldPride will run from Friday, February 17–Sunday, March 5, 2023, with closing concert Rainbow Republic taking place at The Domain on Sunday, March 5. Tickets for Rainbow Republic are on sale now. For more information about Sydney WorldPride, or for general ticket sales, head to the event's website.
My ode to Scout shall be swift and sweet like the café itself. Its food is fun, its drinks are molten magic and the venue itself is as cosy as Yogi. It wreaks simplicity in perfection, yet the dozens of special touches apparent from entrance to exit makes Scout one of the most creative and cherished coffee spaces in little old Brisbane. It has my tick of approval, but more impressively it has my parents' – here's why. The one thing that tends to grind my parents' gears are limited selection menus. Boutique cafes that stingingly offer a house muesli, a cryptically labeled bacon and eggs and a drink selection of lattes, Darjeeling and aqua. It's frustrating for a an excited stomach and boring for those who crave options, only to be greeted with a few passages of text on a white space dominated menu. Scout's menu is anything but stingy, though it's margins and font size suggest otherwise. Combining cabinet specials, with a sweet selection drinks, and offering five to six fat and fabulous mains, Scout understands the balance of keeping options open, without being a whore. Its salted caramel milkshake founded the flavour craze that's been sweeping the Brisbane boutique café scene, and their strawberries and cream and chocolate ganache options are nostalgically dazzling. Their organic lemonade contains evident traces of really lemon, and their coffee is a-grade in taste and execution. What makes Scout though is the bagels. They hold the throne as having Brisbane's best bagels, according to us, and we've never wavered in throwing this title to anyone but these craft masters. Meatloaf Monday could turn any vegetarian meat lover – well in my case it certainly did, and every other flavour combination is executed with perfect filling ratio, with the highest sourced ingredients. From truffle sopressa to white bait, with generous dashing's of aioli and relish, Scouts holds a cabinet of well sourced fillings and stuffs them in bagels with the most genius of expertise and generosity. Scout, their shakes, and of course their bagels induce that type of food coma your mind assumes and prays can only be treated with more food. It can get dangerous, but when visiting Scout be anything but careful.
Whether he's co-writing and starring in sketch comedies, directing two of the best horror films of the past few years, producing an Oscar-nominee or reviving a science-fiction classic, Jordan Peele has amassed an impressive resume. So, whenever he adds a new project to the lengthy list, it's worth paying attention. After Key & Peele, Get Out, Us and The Twilight Zone — and producing BlacKkKlansman, too — he's now lending executive producing skills to upcoming Amazon Prime Video series Hunters. It stars Al Pacino, it's about hunting down Nazis in the 70s, and it has just dropped its first impressive teaser trailer. Pacino plays Meyer Offerman, the leader of a group of Nazi hunters who are intent on stopping a Fourth Reich taking hold in America. They've discovered that hundreds of escaped Nazis are not only living in the US, but have genocidal plans — and Offerman and his vigilante pals plan to thwart this conspiracy by any means necessary. Expect violence, tensions, action, thrills, and a fight between good and evil that's inspired by real events. Not just calling out oppression, injustice and hatred, but tackling it through film and television is firmly in Peele's wheelhouse, as his filmography shows. Accordingly, Hunters slots in nicely, with a ten-episode first season due to drop at a yet-to-be-announced date in 2020. Fresh from his excellent turn in The Irishman — his first collaboration with Martin Scorsese, somehow — Pacino is in less theatrical, more nuanced mode here. He's also joined by a well-known roster of co-stars, which includes Logan Lerman (The Perks of Being a Wallflower), Carol Kane (Unbreakable Kimmy Schmidt), Josh Radnor (How I Met Your Mother), Lena Olin (Vinyl) and Australian actress Kate Mulvany (Lambs of God) as a kick-ass nun. Check out the first teaser trailer for Hunters below: https://www.youtube.com/watch?v=hYxTHcoRpNo Hunters will hit Amazon Prime Video in 2020 — we'll update you when an exact release date has been announced.
A great bar isn't just about the tap count, but that figure can be a sign of a more-the-merrier situation for beer lovers. When the number is hefty, usually so are your drinks choices, including trying tipples that you mightn't have had a chance to otherwise. So when a 120-tap bar awaits, it really is a case of imagining the possibilities. The Great Australasian Beer Spectapular, aka GABS, loves getting creative with beers — and loves letting attendees at its annual festivals sip and sample over 100 different varieties each year. In 2025, when the fest returns to Melbourne in April, then to Brisbane and Sydney in May, it'll set up that 120-tap bar, all in a straight line. Exactly 100 of those taps will pour beers, and the weirder and wilder the flavours, the better. The other 20 will feature spirits, cocktails and other beverages. For many of the brews on offer at GABS, this is either the first time or the only place that you can taste them. It's too early for details on specific beers as yet, but sushi beer, cookie stouts and lollipop sours have featured in the past. Think of a foodstuff — peanut butter, coffee, earl grey tea, chicken salt, pizza, fairy floss, bubblegum, doughnuts, red frogs and sour gummy bears, for instance — and there's likely been a brew made to taste exactly the same at GABS. This year, GABS is doing two-day visits to its three Aussie stops. Across Friday, April 4–Saturday, April 5, Melbourne Convention and Exhibition Centre will be saying cheers. Then, from Friday, May 23–Saturday, May 24, it'll be time to clink cups at Brisbane Convention and Exhibition Centre, before ICC Sydney hosts the last event of the tour on Friday, May 30–Saturday, May 31. If you're a newcomer to GABS, it started off as a Melbourne-only celebration of ales, lagers, ciders and more. Then it began spreading along Australia's east coast capitals, as well as to New Zealand. The event surveys both Australian and New Zealand breweries, plus sometimes some guests from further afield — Schlenkerla and Weihenstephan, both from Germany, are the first names on the list in 2025 — with more than 60 normally showcasing their wares annually. Also on the bill: other tipples, including non-alcoholic beers, seltzers, whiskey, gin, cocktails and wines. GABS is known for dishing up a hefty lineup of activities to accompanying all that sipping, too, which usually spans a silent disco, roaming bands, circus and sideshow performers, games and panels with industry leaders, plus local food trucks and vendors to line your stomach. And you might just find a ferris wheel or a mullet bar — yes, dispensing the haircuts — as well, as they've popped up in the past. Great Australasian Beer Spectapular 2025 Friday, April 4–Saturday, April 5 — Melbourne Convention and Exhibition Centre, Melbourne Friday, May 23–Saturday, May 24 — Brisbane Convention and Exhibition Centre, Brisbane Friday, May 30–Saturday, May 31 — ICC Sydney, Sydney GABS will take place across Australia's east coast throughout April and May 2025 — head to the event's website for further details.
Winter in Melbourne in 2024 began with a festival, with RISING getting June started with everything from music-fuelled block parties to 24-hour movie marathons. Winter in Melbourne in 2024 will also end with a fest when Now or Never makes its big return in mid-to-late August. After proving a hit with its mix of tunes, performances, installations, talks and more in 2023, its inaugural year, this City of Melbourne-presented celebration will again fill the Victorian capital with creativity. Clear your calendar now — you've got more than 100 different events to attend. Now or Never already locked in its dates and theme earlier in the year. Whether you're a Melburnian or an interstater looking for an excuse for a getaway, you'll have plenty to do across Thursday, August 22–Saturday, August 31. And, with help from 250-plus local and international talents, you'll be getting revelling with the concept 'look through the image' — so, honing in on imagination, emotions and contemplation — firmly in mind. A recurring idea among 2024's Now or Never events is peering beyond the surface, as reflected in a lineup that's jam-packed full of deep cuts. While 2023's fest saw Melbourne's historic Royal Exhibition Building host its first large-scale live music performances in over 20 years, 2024's will return to the venue for four nights of tunes and audiovisual projections that aim to leave a big impression. Eartheater, Sandwell District, Erika De Casier, Ben Frost, Naretha Williams, Clark and DJ Donato Dozzy are all on the bill, as is the Australian debut of COUCOU CHLOE. Still on Aussie premieres, DESASTRES from Marco Fusinato falls into that category, heading Down Under after first appearing at the Venice Biennale 2022 across a 200-day run. For just two days in Melbourne, audiences will be peering at the world's largest LED volume screen for virtual production at NantStudios in Docklands cinema studios for this experimental noise performance project, which synchronises its guitar sounds with imagery. It's both a solo performance and an installation. Across Thursday–Sunday nights during the festival, Joanie Lemercier will unveil Constellations above the Yarra River. This free AV installation projects lights to form shapes in the air, focusing on the cosmos, as accompanied by a soundscape by producer Paul Jebansam. Similarly at the right price for everyone's wallets, the also-free Silent Symphony and Present Shock II hail from London's United Visual Artists. The first features Frost's compositions as part of celestial patterns given a sonic interpretation, in a piece that will never repeat. The second boasts a score by Massive Attack's Robert Del Naj with Robert Thomas, and is all about confronting a realm where alternative facts and post-truths now dwell. At ACMI — and also presented by the Melbourne International Film Festival — the free world-premiere kajoo yannaga (come on let's walk together) will take participants on an interactive virtual and gamified walk on Country that puts First Nations knowledge at the fore, all thanks to Wiradjuri Scottish artist April Phillips. Or, hovering above Melbourne Museum Plaza, get ready to experience Peder Bjurman's augmented-reality experience Slow Walker, which turns a microscopic organism into a floating giant. Plagiary is another certain highlight, with dance technologist and choreographer Alisdair Macindoe joining forces with media artist Sam Mcgilp to create a new dance performance each night. Ten dancers will improvise, but it's a computer presence that'll tell them what to respond to. Elsewhere on the lineup, Roxane Gay's latest trip to Australia is tied to discussing 2023 book Opinions: A Decade of Arguments, Criticism, and Minding Other People's Business; Melbourne's HTRK and Britain's Actress are teaming up for a single evening; and Mutti Mutti, Yorta Yorta and Nari Nari man Kutcha Edwards is in the spotlight at Wuigada — Gagada (To Sing — Loud), which makes its Victorian premiere. There's also MOUNTAIN, a dance performance with costumes by Akira Isogawa, plus mycologist Merlin Sheldrake chatting about fungi, if you needed more examples of how wide-ranging the 2024 program is. Now or Never 2024 runs from Thursday, August 22–Saturday, August 31 around Melbourne — head to the festival website for further details.
In the space of a mere two days to close out May, two tales of two puppeteers join the streaming ranks. Eric is pure fiction, but it's impossible not to think about Jim Henson while watching it, regardless of whether you also have a small-screen date with Jim Henson Idea Man. Creator and writer Abi Morgan — who has previously penned the likes of Shame, The Iron Lady, The Invisible Woman, Suffragette, River and The Split — puts a Henson-esque figure with his own hit TV show for kids at the core of her six-part miniseries. Played by Benedict Cumberbatch (The Wonderful Story of Henry Sugar) in a performance that's bound to receive awards attention, the bearded and lanky Vincent Anderson even physically resembles the man behind The Muppets, Sesame Street, Fraggle Rock, The Dark Crystal and Labyrinth. As evident to everyone watching Eric from Thursday, May 30 on Netflix, its protagonist definitely isn't Henson. Firstly, Anderson is an abusive alcoholic. Secondly, his nine-year-old son Edgar (debutant Ivan Morris Howe) goes missing one morning on his walk to school, which he was supposed to accompany him on as his main contribution to fatherhood. And thirdly, the eponymous Eric is a seven-foot-tall monster muppet who his boy scribbled to life on the page and then starts following Vincent as his mental health struggles after Edgar disappears. But binge-viewing your way through Eric — and it is engrossingly bingeable — means being unable to shake the feeling that Morgan pondered "what if?" about Henson in all of the above scenarios. As a series, the 1985-set Eric is as ambitious as it is expertly acted; neither daring in general nor absorbing portrayals are lacking. The exceptional Cumberbatch sits at the crux of both as Eric asks another "what if?": what if someone experiencing the terror of their child going AWOL wasn't at their best before their life is turned upside down, because heartbreak and horror don't solely blight pictures of perfection? There's force behind his work as Vincent by design, with the audience asked to feel every ounce of his agony and the chaos he wreaks. Cumberbatch finds haunting nuance in the part, too, as subtlety simmers in every key portrayal — from Howe, Gaby Hoffmann (C'mon C'mon) as Edgar's mother and McKinley Belcher III (One Piece) as the cop on the case through to Clarke Peters (Whitney Houston: I Wanna Dance with Somebody) as a neighbour, Bamar Kane (Io Capitano) as an unhoused street artist and Adepero Oduye (Five Days at Memorial) as another mum looking for her lost boy. Eric is also instantly involving and deeply layered as it queries how a bright world can turn unkind, cruel and corrupt. It's an ordinary day when Edgar trundles out his New York City door alone, and routine even in the fact that Vincent and Hoffman's Cassie have been fighting. With the series starting with Edgar's parents fronting the media flanked by police, pleading for their son to come home — Vincent speaks directly to him through the camera — viewers know what's in store before the boy doesn't arrive at class. Morgan and director Lucy Forbes (This Is Going to Hurt), who helms the entire miniseries with poise, can't ever be accused of lacing their tale with inevitability, however. Rather, pain and poignancy are Eric's constants. Swiftly, the Anderson family is plunged into crisis. As he frays visibly and publicly, the already-erratic and egotistical Vincent still can't tear himself away from work on Good Day Sunshine. The show, plus conjuring imaginary friends to life with felt, was the primary glue between the Anderson men (Edgar's bedroom overflows with sketches that resemble his dad's). Vincent isn't merely distracting himself by keeping busy or clinging to something that bonded him with his kid; he becomes obsessed with turning Eric into his show's newest character. At home, their marriage disintegrating, Cassie is certain that reward money from her husband's rich parents (The Big Cigar's John Doman and Anatomy of a Scandal's Phoebe Nicholls), who he's estranged from, will help rustle up information on her son's whereabouts. One of the bold choices that Morgan makes is not just to take a setup that could've fuelled the series by itself — abduction thrillers are their own genre — and add a complicated character study complete with a furry pal manifesting as a man's guilt, regret and sorrow; she also ensures that Eric functions as a portrait of 80s New York, with graffiti and garbage a consistent sight, and the city's homeless population a frequent topic of discussion. Here, enter NYPD detective Michael Ledroit (Belcher III), who is investigating while handling his own baggage. He's still trying to find another disappeared boy from 11 months ago, 14-year-old Marlon (Bence Orere, another newcomer), but with far less support because the child is Black. Ledroit is also a closeted gay Black man in a workplace and at a time that's hardly welcoming, and with a partner (Mark Gillis, Hollyoaks) dying of AIDS-related illness. Accordingly, Eric is a snapshot of a crumbling family, and of a man facing his worst nightmare and mental deterioration in tandem; a missing-person procedural about two vanished boys and the dissimilar attitudes to bringing them home; and a wander through the Big Apple in a distinctive period, and through the inequality engrained in everything from race and class to sexuality and power with those bearing its brunt. Its namesake may seem as if he could've strolled out of Monsters, Inc., albeit with a gruff voice and no aversion to swearing — and "be good, be kind, be brave, be different" might be Good Day Sunshine's motto — but this is always a tale of darkness, pain and the reality that sunny days sweeping the clouds away are so rare that they need to be clung to. In a busy year for childhood buddies on-screen, Eric isn't optimistic fantasy IF or dull horror film Imaginary, though. It also isn't 2018's terrible adult puppet flick The Happytime Murders, which had a Henson pedigree: Brian, son of Jim, plus director of both The Muppet Christmas Carol and Muppet Treasure Island, helmed it. When it swings through clubs where sex sells, examines the impact of gentrification, and unpacks the dishonesty and violence that can colour the thin blue line and the institutions behind it to the detriment of a city, The Deuce and The Wire both appear to be influences (Peters and Doman's supporting parts assist). Puppets don't nest one inside the other, but this series with one at its centre repeatedly proves the TV equivalent of a matryoshka doll. Check out the trailer for Eric below: Eric streams via Netflix from Thursday, May 30, 2024.
It's never too cold to party. At least, that's what the guys behind Snowtunes say. And for its third year, this Snowy Mountains music festival is coming back even bigger — twice the size actually. With the addition of a second night of festivities, the party people have also added a second stage so punters can enjoy live music at one and dance it out at the other, dedicated to EDM. Mark your calendars, snag some tickets and find some snow gear, because September 1 and 2 are fast approaching. Who's expected to take to the stage? There'll be plenty of Aussie-born talent to set your weekend's soundtrack after a day on the slopes, including L D R U, Gang of Youths, Nina Las Vegas, Mashd N Kutcher and Tigerlily. New Zealand-born singer-songwriter Mitch James and French DJ Klingande will bring some tunes from abroad into the mix, too. Really, it's a slam dunk of a lineup. And in between sets you'll be able to grab a drink at this year's Bag Jump Adventure Park, a VIP champagne bar, as Lake Jindabyne gets transformed into the ultimate party snow globe. Stay tuned for any updates and announcements on Snowtunes here.
Close out the summer with a wild and wacky bang at Mona's annual festival of boundary-defying culture, music and art. The iconoclastic Hobart gallery, performance space, and purveyor of beer and wine, is known for subverting expectations so you can expect an eccentric and unforgettable few days down south at Mona Foma. Now in its 16th year, the 2024 incarnation of the festival runs from Thursday, February 15 to Sunday, February 25 in nipaluna/Hobart and from Thursday, February 29 to Saturday, March 2 in Launceston. There are morning meditations with cross-cultural musical collaborations and captivating art exhibits for those after a more reflective experience. On the flip side of fun, there are gigs galore and late-night bashes for those keen for a boogie. The program features everything from Taiwanese artist Yahon Chang painting with a human-sized brush and Emeka Ogboh's gin-centred exhibit to musical headliners Queens of the Stone Age, Courtney Barnett, Paul Kelly and cult favourites TISM in a rare live show. Check out our picks of the program below to kick-start your festival planning or get you inspired to book your Tassie getaway. Mona Sessions If you can only make it to one event, the quintessential Mona Foma experience can be found at the Mona Sessions. On the evenings of Friday, February 23 to Sunday, February 25, you can enjoy live music from international artists on the sprawling museum lawns. Suitable for all ages, Mona Sessions features performances by Scottish space-rock stalwarts Mogwai; Kutcha Edwards and The Australian Art Orchestra; Japanese punk-pop band Shonen Knife; Canadian quartet Holy Fuck; French-Korean siblings (both under the age of 15) Isaac et Nora; and Lonnie Holley with Moor Mother and Irreversible Entanglements. [caption id="attachment_939340" align="alignnone" width="1920"] Amniote Editions[/caption] Faux Mo Keep the grooves flowing after the Mona Sessions at Faux Mo. The Granada Tavern opposite Mona will become abuzz with late-night beats and boogies from 10.30pm until 2am on Friday, February 23 and Saturday, February 24, with a more chill afternoon sesh on Sunday, February 25. Catch sets from POOKIE, Soju Gang and m8riarchy, along with melodic beats by Mama Snake from Denmark, Afrobeats by Nigerian-born Emeka Ogboh, and mellow house by Kiwi brothers Chaos in the CBD. [caption id="attachment_939338" align="alignnone" width="1920"] Amber Haines[/caption] Wayfinder Queensland dance collective Dancenorth is known for compelling performances which weave together contemporary dance and powerful storytelling. Wayfinder is no exception. Viewers will be immersed in Dancenorth's spellbinding choreography, set to a score by Grammy award-nominated Hiatus Kaiyote with a stage and costumes designed by visual artist Hiromi Tango. The performance will only run for three nights from Thursday, February 22 to Saturday, February 24, so be sure to book in quick. [caption id="attachment_829589" align="alignnone" width="1920"] MONA and Jesse Hunniford[/caption] Boats (a gin and art experiment) Multifaceted artist Emeka Ogboh will not only be spinning a DJ set at Faux Mo, but has also developed an immersive exhibit. Boats explores themes of migration and belonging through a bespoke gin blended by the Nigerian-born creative. Festival-goers can sample the gin and snacks accompanied by a sound installation at Detached. If that's not enough, Ogboh is collaborating with Mona's executive chef to incorporate the gin and West African flavours at various Mona restaurants during the festival. [caption id="attachment_939336" align="alignnone" width="1920"] Courtesy of Filastine & Nova[/caption] Arka Kinari It wouldn't be Mona Foma without show-stopping, thought-provoking works — and what's a bigger statement than a 70-tonne sailing ship moored at the waterfront to spread awareness about climate change? The boat, named Arka Kinari, is musical duo and married couple Filastine and Nova's home, creative work, transport and travelling stage. The pair are inviting visitors aboard to learn about the ship's sustainable resources — which include water desalination, solar power, wind travel and waste management — and will also be performing their music against a backdrop of cinematic visuals on the deck of the ship. Don't miss it. [caption id="attachment_939339" align="alignnone" width="1920"] Gabriel Comerford[/caption] Dekoor In Launceston, gym and rave bros collide at the adults-only Dekoor. Local Tasmanian artists ROOKE will put on an exciting dance, theatre and circus performance in a working gym, where audience members can wander through the space throughout the show. For some added fun, consent tokens will be available if you're open to being touched, carried or led away by performers. These tokens can of course be removed or passed on if you change your mind during the event. After the show, stick around for a party with DJs and performances across three levels of the gym until 1am. The Shruti Sessions Journey across musical borders at The Shruti Sessions, where musicians from Hindustani and Rajasthani backgrounds collaborate and experiment with Australian instrumentalists. Experience something new at each performance, whether you drop in for a Morning Meditation or catch the action at the Mona Sessions. Performers include notable tabla player Bobby Singh, percussionist Benjamin Walsh, OAM recipient and saxophonist Sandy Evans, sarangi player Asin Khan Langa and renowned slide guitarist Debashish Bhattacharya. [caption id="attachment_831323" align="alignnone" width="1920"] Jason Charles Hill via Tourism Tasmania[/caption] The Gorge How about a lazy day of lounging and swims followed by an evening concert at the spectacular Cataract Gorge? And what's more, this live show — featuring the elusive TISM, Mulga Bore Hard Rock, FFLORA x Grace Chia and Cash Savage and The Last Drinks — is completely free. If you'd like to level up your experience, you can opt for the Peacock Pass which grants you access to the Peacock Bar, a private entrance and a viewing area with seating. Find out more and book your tickets at the Mona Foma website.
When Yellowjackets begins, it's with an instantly intriguing mystery, a killer cast — led by the always-watchable Melanie Lynskey (Mrs America), Juliette Lewis (Breaking News in Yuba County) and Christina Ricci (The Matrix Resurrections) — and a deep valley overflowing with trauma. Streaming via Paramount+ in Australia and Neon in New Zealand, it starts with eerie forests, bright-eyed 90s teens with their whole lives ahead of them, devastating plane crashes and what looks like cannibalism, too, plus the unhappy adult lives endured by the tragedy's survivors 25 years later. In their high-school prime, Shauna (Lynskey, and also The Kid Detective's Sophie Nélisse as a teenager), Natalie (Lewis, plus The Tomorrow Man's Sophie Thatcher) and Taissa (Billions' Tawny Cypress, and also Scream's Jasmin Savoy Brown) were key players on the titular high-achieving New Jersey soccer team, while Misty (Ricci, as well as Shameless' Samantha Hanratty) was the squad's frequently bullied student manager. Then, en route to a big match in Seattle on a private plane in 1996, they entered Lost territory. That accident saw everyone who walked away from the accident stranded in the wilderness — and those who then made it through that ordeal stuck out there for 19 months, living their worst Alive-meets-Lord of the Flies lives. As established in a stellar first episode that's directed with the utmost precision by Destroyer filmmaker Karyn Kusama, Yellowjackets isn't simply interested in inherently disturbing events that'd change anyone forever, however. There's a reason that it flits between two time periods from the outset, rather than laying its dramas out in a linear fashion and teasing out how things end up. From the get-go, creators and showrunners Ashley Lyle and Bart Nickerson (Dispatches From Elsewhere) ensure that all that time in the woods, cabin and all, is tough, rough, savage and creepy, and that its complications and swerves into the supernatural only grow. That said, their immediately addictive series is just as obsessed with the transformation that springs after such an experience. As struggles arise in both the 90s and now — including weird symbols in both, and deaths, plus blackmail plots in the present — Yellowjackets examines how, after falling from the sky, learning to cope in such remote surroundings and plummeting into a horror movie, anyone manages to go on. As set to a top-notch 90s soundtrack, it also faces the fact that for some, normality won't just come calling nicely afterwards. Actually, for everyone, each and every second spent back in civilisation will always be coloured by that time in the wild. A series about misfortune weathered, paths taken, necessities accepted, friendships twisted and grief endured, as well as the reverberations that linger from all of the above, Yellowjackets boasts a searingly smart and savvy concept, which lets tragedy echo as all tragedies do — because facing an ordeal isn't just about the terrifying experience right there in the moment. Back in 1996, when an at-any-cost survivalist mindset begins to fester amid an embrace of woodland spirituality, grappling with the crash, teammates who don't make it, being cut off from normal teen life, and finding food and shelter is all immensely difficult. In 2021, the adult Shauna is an unhappy housewife embarking upon an affair, Natalie has just come out of rehab for the umpteenth time to shattering news, Taissa is running for state senate and having problems with her wife and son, and Misty is a nurse but still nobody's favourite, and little feels easier. It's no wonder that the show became a chilling, perceptive, resonant and potent must-see from its very first episode back in November, and that it only grew bolder and stronger as its ten-episode first season kept going. It quickly proved one of 2021's best new series, and is the absolute standout drama of the past few months as well. If you already watched it week-by-week, it was appointment viewing, aka the kind of show you plan your nights around and couldn't stop theorising about in the week afterwards (and the type that gets its pitch-perfect opening-credits track lodged in your head non-stop, too). If you're new to all things Yellowjackets and you're planning to check it out now, it'll make one helluva binge. And, in news just as exceptional as the series itself, it's returning for a second season. Given that Yellowjackets' first run of episodes kept deepening its mysteries moment by moment, persistently embraced every up and down thrown its complex characters' ways, never took the easy or obvious route, and found the ideal balance between survivalist horror, coming-of-age antics and midlife malaise, its new batch really can't come sooner. Check out Yellowjackets' first-season trailer below: The first season of Yellowjackets is available to stream via Paramount+ in Australia and Neon in New Zealand. Season two doesn't yet have a release date — we'll update you when it does. Images: Kailey Schwerman/Showtime.
Concrete Playground recently caught up with Mexican-Canadian tech artist Rafael Lozano-Hemmer. Lozano-Hemmer is famous for art that lurks in public spaces, galleries and even beaches, amplifying passers-by into new creatures with a city-sized will. He's taking over a slice of the as-yet unfinished Museum of Contemporary Art over summer, with his hands-on exhibition Recorders. Lozano-Hemmer mashes-up tech, art and his audience, with an effortlessness that would leave the mechanism invisible — if he didn't then go on to scrupulously explain, in-situ, how his works work. How would you describe what do you do? I work primarily with the intersection of architecture and performance art. Most of my installations are in the form of either displays or lights, or sounds that react to the presence of the public. And to do that there are things like sensors and tracking systems, and biometric scanners which allow the artworks to detect the presence of people. I like always to reveal the mechanisms by which these works function. So oftentimes in my work you get to see the tracking systems, or you get explanations about what equations are at work to make a project happen. I pretentiously call it a 'Brechtian moment'. You remember how in Brecht, all of a sudden all the actors stop and just look at the public and say "Well, you know, this situation is just make believe. This is just a simulation of reality. We are actors. You're the public." So there's this moment where you all get back, anchored in reality. You've said one of the things you liked about an outdoor work of yours was that you had people outside in public, just hanging around and not shopping. It must be very interesting for you, watching the Occupy movements around the world. When it first started in Spain in May it was just so exciting. I'm from Latin America, so oftentimes protests and so on turn out to be these ideology-based, adversarial kinds of movements. And that's not what I saw with the Occupy movement, when it started in Spain. With the indignados ('indignant ones') it was mostly professionals, architects, dentists, students, professors, whatever. And they were just taking over public space. And that was just such a beautiful statement, and they did so in such a sophisticated way. The indignados started in Madrid, where there's a tradition of young people going out and drinking in the streets. There's a sense of ownership of the street. Real estate was so expensive that everybody lives with their parents. And so you needed to go out in order to see your friends. And that produced very lively street life. But it's also just a sense of being seen. It's almost as if the actual protest is the message all by itself. Just a we're here. Yeah. Just this idea of just occupying space is radical. You know, you're there. You're existing. Just spending time, and connecting, and being present, is in my opinion extremely radical. Especially in Latin countries where people used to just disappear under the dictators, the idea of just being there.. That's a really good way to understand the sense of presence and absence, in terms of the political dialogue. It's like "Yeah, what are you going to do? You cannot wipe us out. We think these things, and therefore we are taking space. These ideas take space." I just came back from Art Basel Miami Beach. Which is this art fair. I mean, I'm not a moralist. And I love money. And I love champagne as much as the next guy, but there is something really absurd about a system that only reserves this sort of superior cultural production to this tiny fraction of the population. And I'm telling you this because there was an Occupy Art Basel Miami. There were all these artists. You know, local artists and so on, and educators, camping out of Art Basel Miami saying "We can't afford the 50 bucks it costs to go in. And, even if we could, we would never be able to afford any of the art that is on display here." Something else you try to bring to people's awareness is the surveillance around them all the time. These technologies come mostly from a desire to control the public, a desire to seek out, search and detect suspicious activity. The surveillance aspect of my work is more about acknowledging this kind of darker, predetorial side of where these things come from. But then creating critical or poetic experiences with these very same technologies. I would love people to come out of Recorders with a sense of inclusion, a sense that these technologies are neither this Orwellian, ominous threat — it's already happened — and also not like an infantile, fun, hands on science experiment thing. In between those two extremes, there's a whole range of different poetry that is possible. Image courtesy and © Rafael Lozano-Hemmer. Photo: Ana Cristina Enriquez
In 2006’s Night at the Museum, the exhibits and dioramas of New York City's Museum of Natural History sprang to life, surprising freshly hired evening security guard Larry Daley (Ben Stiller). In 2009’s Night at the Museum: Battle of the Smithsonian, Larry returned to save enlivened treasures being shipped off to storage in Washington, D.C., stumbling upon a power battle between magically resurrected pharaohs in the process. The films, mixing an everyman protagonist with an exaggerated situation, established an easy formula of heroics and humour, history and fantasy, and quests and chaos, as suitable for all ages. Now, once more adhering to the blueprint but transporting the action to London, the trilogy crawls towards its conclusion with Night at the Museum: Secret of the Tomb. Here, the perpetually bumbling Larry is thrust into trouble once more when an important event goes awry as a result of his animated mannequin friends. The tablet that endows the appearance of life into the museum’s trinkets is starting to corrode, courtesy of an Egyptian curse. Only specimens housed in Britain hold the answers to stopping the rot, reinstating the spell and rescuing the likenesses of famous figures from reverting to a permanent state of wax. Adding to the antics are Larry’s English counterpart, nightwatchwoman Tilly (Rebel Wilson), and an arrogant Sir Lancelot (Dan Stevens), both endeavouring to thwart the visitors’ efforts for their own reasons. Returning director Shawn Levy (This Is Where I Leave You) and new scribes David Guion and Michael Handelman (Dinner for Schmucks) aren’t concerned with offering any unexpected detours in the events that follow, repeating the beats of the earlier films with a heightened emphasis on outdated pop culture jokes. Indeed, that the feature’s biggest source of laughs — and its best surprise cameo – stems from an internet meme gives an indication of the level of comedy cultivated, as does the prominence of online cat videos to the plot. Even the usual reliance upon slapstick wavers, for worse, not for better. The odd-couple banter of Owen Wilson as an old west cowboy and Steve Coogan as a Roman soldier is similarly toned down. Elaborate staging aside (best manifested in Secret of the Tomb in an uncharacteristically excellent M.C. Escher-inspired sequence), the biggest lure of the Night of the Museum series has always been its extensive cast. Performers express enough energy to keep the movie bubbling along; however, for reasons inconsequential to the content itself, it is Robin Williams’ return as Teddy Roosevelt that stands out. His last on-screen appearance evokes both sweetness and sorrow that far exceeds the average franchise swansong he is saddled with.
UPDATE: Thursday May 6, 2021 — New COVID-19 restrictions have been announced. We'll keep you updated on this event as the situation changes. For the latest information, visit NSW Health. More than ever, we're looking for opportunities to immerse ourselves in another universe for a few hours. Luckily, that's exactly what you can do this summer when the hit Frozen the Musical premieres in Sydney. The stage production, based on the legendary 2013 Disney animated film, opened on Broadway in 2018 and proceeded to break box office records. After a US tour in 2019, the production is expanding to international markets with Sydney as its first stop this summer. Why was our city the lucky chosen destination? Perhaps the producers took the advice of everyone's favourite snowman Olaf when he sang "the hot and the cold are both so intense. Put 'em together, it just makes sense." If the cultural phenomenon has somehow passed you by until now, Frozen was inspired by the Hans Christian Andersen tale The Snow Queen, and it tells the story of Princesses Anna and Elsa. At the latter's coronation to become Queen, she accidentally reveals her magical powers to control and create ice and snow and inflicts an eternal winter on her kingdom, Arendelle. She flees to the North Mountain and, while singing the iconic ballad 'Let it Go', builds herself an ice castle in which to hide. Anna sets out to find her sister, proving the bonds of sisterhood can overcome all obstacles. The musical adaptation brings the beloved story to life before your eyes with opulent costumes, stunning sets and awe-inspiring special effects. All of your favourite tunes from the film will be performed — including 'For the First Time in Forever' and 'Love Is an Open Door' — plus 12 new songs as the stage production expands upon the film's narrative. The Sydney production has an all-Australian cast, led by Jemma Rix (Wicked) as Elsa, Courtney Monsma (Aladdin, Six) as Anna and Matt Lee (Mary Poppins) as the lovable Olaf. As we live in uncertain times, there are flexible ticket options available, which might suit those planning to travel to Sydney especially for the show. The Capitol Theatre also has a COVID-19 safety plan in place, in accordance with NSW Health. Frozen the Musical is running from Tuesday, December 1, 2020 to Sunday, May 23, 2021. Tickets start at $49.50 and can be purchased via Ticketmaster. Images: Frozen the Musical, Original Broadway Cast, Deen van Meer, courtesy of Destination NSW.
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=odM92ap8_c0 GODZILLA VS KONG Given that neither of Godzilla vs Kong's towering titans are truly terrors, and therefore neither should really emerge victorious over the other, getting them to face off seems pointless. "They're both big, so they can't get along" is the simplistic concept. This isn't a new train of thought, or new to the American-made Monsterverse that's been nudging the beasts closer together for seven years. Thankfully, in the hands of You're Next and The Guest director Adam Wingard, Godzilla vs Kong has as much in common with its superior Japanese predecessors as it does with 2019's terrible Godzilla: King of the Monsters. The follow-up to 2017's Kong: Skull Island, too, this new battle of the behemoths doesn't remake the duo's first screen showdown in 1962's King Kong vs Godzilla. And, sadly, it hasn't ditched the current Hollywood flicks' love of unexciting human characters. But it crucially recognises that watching its titular creatures go claw-to-paw should be entertaining. It should be a spectacle, in fact. The film also realises that if you're not going to make a movie about this pair with much in the way of substance, then you should go all out on the action and fantasy fronts. In other words, Godzilla vs Kong feels like the product of a filmmaker who loves the Japanese Godzilla flicks and Kong's maiden appearance, knows he can't do them justice thematically, but is determined to get what he can right. Wingard is still saddled with a flimsy script with a tin ear for dialogue by screenwriters Eric Pearson (Thor: Ragnarok) and Max Borenstein (Kong: Skull Island), but his massive monster melees are a delight. Also welcome: Godzilla vs Kong's eagerness to lean into its genre. When it surrenders to its pixels, and to a tale that involves a journey to the centre of the earth, subterranean asteroids, altercations with giant flying lizards and an underground tunnel from Florida to Hong Kong, it's equal parts loopy and fun. That trip to the planet's interior is guided by Kong. Now kept in a dome that simulates the jungle, the jumbo primate is under the watch of researcher Ilene Andrews (Rebecca Hall, Tales from the Loop), and bonds with Jia (newcomer Kaylee Hottle), the orphan also in the doctor's care. But, after Godzilla surfaces for the first time in three years to attack tech corporation Apex's Miami base, CEO Walter Simmons (Demián Bichir, Chaos Walking) enlists geologist Nathan Lind (Alexander Skarsgård, The Stand) on a mission. Testing the latter's hollow earth theory, they plan to track down an energy source that could be linked to both Zilly and Kong's existence — if Kong will lead them there. In a plot inclusion that'd do Scooby Doo proud, teenager Madison Russell (Millie Bobby Brown, returning from King of the Monsters) and her classmate Josh Valentine (Julian Dennison, Hunt for the Wilderpeople) are certain that Apex is up to no good and — with podcaster Bernie Hayes (Brian Tyree Henry, Superintelligence) — start meddling. Read our full review. https://www.youtube.com/watch?v=3yJ4r7ON974 THE PAINTER AND THE THIEF Asked why he broke into Oslo's Gallery Nobel in 2015 and stole two large oil paintings in broad daylight, Karl-Bertil Nordland gives perhaps the most honest answer anyone could: "because they were beautiful". He isn't responding to the police or providing an excuse during his court appearance, but speaking to Czech artist Barbora Kysilkova, who wanted answers about the theft of her work. Captured on camera, the pilfering of Kysilkova's Swan Song and Chloe & Emma initially appeared to be a professional job. As the two pieces were removed from their frames in such an exacting manner, it was presumed that experts were behind the crime. But Nordland and his accomplice didn't plan their brazen heist, or have a background in purloining art. Thanks to the effect of illicit substances, Nordland can't even remember much about it, let alone recall what happened to the stolen works that Kysilkova desperately wants back. That said, as the thief tells the painter when she first talks with him, he does know that he walked past Gallery Nobel often. He's aware that he saw her photorealistic pieces — the first of a dead swan lying in reeds, the second of two girls sat side by side on a couch — many times, too. And, he's candid about the fact that he marvelled at and was moved by the two canvases long before he absconded with them. As a result, he doesn't seem surprised that his life led him to that juncture, and to snatching Kysilkova's creations. A victim confronts a perpetrator: that's The Painter and the Thief's five-word summary, and it's 100-percent accurate. But such a brief description can't convey how fascinating, thoughtful, moving and astonishing this documentary is as it unfurls a tale so layered and wild that it can only be true — a story that stretches far beyond what anyone could feasibly anticipate of such an altercation and its aftermath, in fact. Nordland was arrested and charged for his crime, with Kysilkova initially making contact with him at his trial. From there, the skilled carpenter and heavily tattooed addict unexpectedly gained a friend in the woman whose works he took. Kysilkova first asked to paint Nordland as part of her attempts to understand him, and he then became her muse. As all relationships do, especially ones forged under such unusual circumstances, their connection evolved, adapted and changed from there. As Norwegian filmmaker Benjamin Ree (Magnus) pointed a camera in their direction for three years, the duo weathered their own ups, downs, twists and turns, as did their friendship. If Nordland's reply to Kysilkova feels disarmingly frank and unguarded, that's because it is. The same tone remains throughout The Painter and the Thief's entire duration. Absent the usual tropes and stylistic markers that true-crime documentaries are known for, the film eschews the standard mix of talking heads, re-enactments and explanatory narration in favour of truly observing and stepping inside its subjects' unique bond. Read our full review. https://www.youtube.com/watch?v=JCw90xLvYPw THE LAST VERMEER Dutch artists Johannes Vermeer and Han van Meegeren picked up their brushes more than two centuries apart. Mention the latter, though, and you need to mention the former. Just why that's the case makes for a fascinating tale, as The Last Vermeer tells — one filled with twists, subterfuge, investigations, a trial and post-World War II efforts to punish anyone who conspired with the Nazis. Directed by producer turned first-time helmer Dan Friedkin (All the Money in the World, The Mule), and adapted from Jonathan Lopez's 2008 book The Man Who Made Vermeers, The Last Vermeer relays the Hollywood version of the story, of course. Big speeches and massaged details consequently abound. Attention-grabbing performances jump across this cinematic canvas, too, with Guy Pearce (Bloodshot) resembling Geoffrey Rush as van Meegeren and Claes Bang (Dracula) adding his third recent art-centric feature to his resume after The Square and The Burnt Orange Heresy. There's enough here to keep viewers interested, as there should be given the real-life basis, cast and handsome staging, but this is the type of film that's nicer to look at than to dive into. Its subject: art forgery, a topic that leaves an imprint beyond the movie's narrative. The Last Vermeer doesn't steal from elsewhere, but it also sinks into a well-populated list of other dramas about art and the war (see also: The Monuments Men and Woman in Gold ) far too easily and generically than a feature about this specific tale should. Bang plays Dutch Jewish officer Captain Joseph Piller, who is tasked with hunting down artworks illegally sold to the Nazis during the war and bringing everyone responsible to justice. That leads him to Christ and the Adulteress, a piece credited to Vermeer but found after his death — and to van Meegeren, the man who is suspected of selling it to key Nazi figure Hermann Göring in the world's biggest art sale at the time. Turning on the rakish charisma even when he's being interrogated by Piller and his offsider (Roland Møller, The Commuter), van Meegeren denies the accusation. Piller isn't convinced, but then police detective Alex De Klerks (August Diehl, A Hidden Life) tries to take over the case. Soon, van Meegeren has been secreted away, is painting while in hiding and, when eventually charged and brought to court, offers an astonishing theory. Also arising in The Last Vermeer: an exploration of the costs of and sacrifices involved in surviving wartime, although Friedkin and screenwriters John Orloff (Anonymous), Mark Fergus and Hawk Ostby (The Expanse) happily stick to the surface as they do elsewhere. As a mystery, the film suitably zigs and zags. As a courtroom drama, it boasts stirring moments. But, as well as wasting Vicky Krieps (Phantom Thread) in a thankless part, The Last Vermeer is never more than passable. https://www.youtube.com/watch?v=4GjskJIRyRA GOLDEN VOICES The year is 1990, the USSR has collapsed, and Victor (Vladimir Friedman, The Operative) and Raya Frenkel (Mariya Belkina, Into the Night) are among the hordes of Russia's Jewish citizens that decide to move to Israel in search of a fresh start. But relocating costs them their prolific and busy careers as dubbing artists, with the married pair spending the decades prior recording Russian dialogue tracks for every type of film imaginable — to the point of becoming minor celebrities, including among Israel's ex-pat community once they emigrate. For Victor, the lack of work in the same field is crushing. He delivers pamphlets instead, determined to finance their new life, but yearns to get behind a microphone. Willing to try a gig that puts her voice to use in a different way, Raya takes a job at an erotic phone line, although she tells Victor that she's selling perfume from a call centre. Films about relationships disrupted by sizeable changes and duos forced out of their comfort zones aren't rare. Nor are movies about late-in-life shifts and new developments, and the impact on seemingly solid nuptials. And yet, as directed, written and edited by Evgeny Ruman (The Damned), and co-scripted and shot by Ziv Berkovich (A Simple Wedding), the warm and engaging Golden Voices finds its own niche again and again. There's a thoughtfulness to Golden Voices that underscores almost every choice, including in the film's narrative. Features that wear their overwhelming affection for cinema on their sleeves aren't uncommon either (filmmakers love the medium they work with, obviously, and like to show it). Still, Victor's passion for the big screen and its wonders is steeped in his inability to explore the world physically under Soviet rule, with movies opening a door that he couldn't otherwise pass through. Similarly, the unexpected freedom that Raya finds in her new job is anchored by the same truth. Being able to genuinely be herself behind a veil of anonymity is a new experience, which she relishes, as she does the attention sent her way by a doting customer. These characters are truly approaching their lives afresh — sometimes by choice, sometimes not so — and Ruman and Berkovich find multiple ways to convey this in their screenplay. Also helping: the film's lived-in sense of Israel's expat Soviet Jewish community, Berkovich's eye for composition, the visual period detail and the nuanced yet potent performances by Friedman and Belkina. A sense of neatness can creep into Golden Voices at times, but never encroaches upon the work of its likeable and expressive leads. https://www.youtube.com/watch?v=iVBKyLqsS5k PETER RABBIT 2: THE RUNAWAY Before a single Peter Rabbit movie had hopped into cinemas, the Paddington films got there first — and twice. The English franchise about everyone's favourite marmalade-eating bear has left big paw prints for its bunny-focused counterpart to follow in, too, but neither 2018's Peter Rabbit nor its new sequel Peter Rabbit 2: The Runaway comes remotely close to filling them. While impressive photorealistic CGI brings the jacket-wearing Peter and his also partially clothed fellow animals to life, and such special effects wizardry blends seamlessly with the live-action settings and cast members as well, this series is cartoonish and anarchic from its first moments. Anyone who grew up reading Beatrix Potter's books, which date back nearly 120 years, will notice the distinct, stark and unwelcome change of tone. The farmland setting and all those cute rabbits look just as they should, but this is a family-friendly franchise that turned sticking a carrot down a man's pants into one of its big gags the first time around. Accordingly, expecting anything gentle and measured in The Runaway — and anything other than more of the same, just laced with some snarky commentary that acknowledges the criticisms directed the initial movie's way — is as foolish as most of Peter's chaotic adventures. Once again voiced by James Corden — as the all-knowing computer in Superintelligence was last year as well — Peter thinks of himself as a plucky rebel. After his long-time human surrogate mother Bea (Rose Byrne, Irresistible) marries his former nemesis Thomas (Domhnall Gleeson, Run), he tries not to cause trouble around the farm, but it seems that he's always seen in that light no matter what he does. As Bea's books about Peter, his sisters Flopsy (Margot Robbie, Dreamland), Mopsy (Elizabeth Debicki, Tenet) and Cottontail (Aimee Horne, Psychotown), and cousin Benjamin (Colin Moody, Miss Fisher's Murder Mysteries) attract the attention of a big-city publisher (David Oyelowo, Chaos Walking), Peter gets fed up with his bad reputation. And when he crosses paths with town-dwelling bunny Barnabus (Lennie James, Fear of the Walking Dead), he thinks he's found someone who likes him as he is. From here, returning director and co-writer Will Gluck (Annie) unleashes a heist film that's also a musing on identity, and both elements feel not just broad, messy and distractingly energetic, but also routine. Byrne, Gleeson and Oyelowo bring what they can to their flesh-and-blood roles; however, the overall movie is as about as charming as rabbit droppings. 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, March 11 and March 18. 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, Girls Can't Surf, French Exit and Saint Maud.
Everybody loves condiments, but it's hard to imagine sitting down to a 33-minute documentary about one. Until, perhaps, we reveal that the condiment of choice is Sriracha, the punchy hot sauce that inspires cult-like levels of devotion the globe over. Sriracha is a Kickstarter-funded documentary by Griffin Hammond that follows the rise of the ubiquitous 'rooster sauce' in America after a Vietnamese refugee named David Tran decided to make his own version of the sauce, which originated in Thailand but is also popular in Vietnam as a condiment for pho. Tran founded Huy Fong Foods in 1980, and since then the company's revenues have grown by at least 20 percent every year — amazingly, without advertising. The documentary mainly consists of interviews with Tran, as well as several die-hard Sriracha fans. According to reviews, there's some interesting trivia in there and it does give you an insight into the company and its founder. But it's also been described as "one long Sriracha commercial" due to its lack of non-Sriracha-loving subjects. There's some anxiety among Sriracha lovers following the recent partial shutdown of the main Huy Fong factory in California. Combined with a new 30-day freeze on shipment, it's looking like a short-term shortage may be a reality. Have fortitude, heat fiends. You can watch the trailer for Sriracha below. The full documentary is available on Vimeo for $5. Via the NPR blog.
Not only is Troye Sivan one of Australia's brightest pop stars, he's also a Queer icon with a strong perspective on diversity and inclusion. At Town Hall, he'll be in conversation with Lillian Ahenkan — AKA Flex Mami, the multidisciplinary Sydney-based creative — to discuss "beauty, art and fluidity" as part of Vivid Sydney's Global Storytellers series. Despite being only 26 years old, Sivan has been in the eye of the public since his teens — performing on TV and online from 2006 — and has spoken out about his discomfort around being singled out while also wanting to be a voice for the Queer community. This layered experience forms a unique standpoint, with the creative force sure to have some fascinating insights to share in this intimate event.
When Barbie and Oppenheimer both released in cinemas on the same July 2023 day, they didn't take attention away from each other. Instead, Barbenheimer had everyone flocking to picture palaces to see both. Among the just-announced 2024 Golden Globe nominations, a similar phenomenon is occurring. Since these gongs split the bulk of the awards into dramas and musicals/comedies, Barbie and Oppenheimer have both scored a heap of love largely without competing. Greta Gerwig's take on the toy doll topped the list among the number of nods given to this year's contenders, nabbing nine overall. Christopher Nolan's latest was only one behind with eight. The two do face off in a few fields: Best Director, Best Screenplay, Best Supporting Actor (with Ryan Gosling and Robert Downey Jr nominated), and the brand-new Cinematic and Box Office Achievement accolade that's clearly designed to give a shiny trophy to a blockbuster (Guardians of the Galaxy Vol. 3, John Wick: Chapter 4, Mission: Impossible — Dead Reckoning Part One, Spider-Man: Across the Spider-Verse, The Super Mario Bros Movie and Taylor Swift: The Eras Tour are also in the running). Now boasting six competitors per category, the Golden Globes will anoint its latest round of winners on Monday, January 8 Australian and New Zealand time, with Killers of the Flower Moon (with seven), Poor Things (also seven) and Past Lives (with five) also joining the movie-loving party. TV earns affection at these awards as well, with Succession garnering nine nominations, followed by The Bear and Only Murders in the Building with five each. Among the other cinema highlights: Celine Song's debut feature doing so well; Greta Gerwig finally being recognised in the Best Director camp after missing out for Lady Bird and Little Women; Lily Gladstone, always; The Boy and the Heron in the Best Animation field; Suzume doing the same; not one, not two, but three Best Song nominations for Barbie, including for earworm 'I'm Just Ken'; Anatomy of a Fall and The Zone of Interest notching up nods beyond the Non-English Language category; and Barry Keoghan's Saltburn and Andrew Scott's All of Us Strangers noms. Also stellar: Emma Stone getting attention for two absolutely stunning performances on screens big and small, aka Poor Things and The Curse. From the TV contenders, The Last of Us, Barry, Beef and Fargo all thoroughly deserve their nominations. So do Elle Fanning for The Great, Natasha Lyonne for Poker Face, Rachel Weisz for Dead Ringers and Christina Ricci for Yellowjackets, even if the shows they're each in sadly didn't get enough attention overall. The television fields also completely ignored Reservation Dogs and The Other Two, two of the best shows of the year, both of which wrapped up after their third seasons. Australian actors picked up three nominations, with Margot Robbie receiving the nod for Barbie, Sarah Snook for Succession and Elizabeth Debicki for The Crown. If you're wondering what else is in the running, here's the full list of nominations: GOLDEN GLOBE NOMINEES: BEST MOTION PICTURE — DRAMA Anatomy of a Fall Killers of the Flower Moon Maestro Oppenheimer Past Lives The Zone of Interest BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE — DRAMA Annette Bening, Nyad Lily Gladstone, Killers of the Flower Moon Sandra Hüller, Anatomy of a Fall Greta Lee, Past Lives Carey Mulligan, Maestro Cailee Spaeny, Priscilla BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE — DRAMA Bradley Cooper, Maestro Leonardo DiCaprio, Killers of the Flower Moon Colman Domingo, Rustin Barry Keoghan, Saltburn Cillian Murphy, Oppenheimer Andrew Scott, All of Us Strangers BEST MOTION PICTURE — MUSICAL OR COMEDY Air American Fiction Barbie The Holdovers May December Poor Things BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY Fantasia Barrino, The Color Purple Jennifer Lawrence, No Hard Feelings Natalie Portman, May December Alma Pöysti, Fallen Leaves Margot Robbie, Barbie Emma Stone, Poor Things BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY Jeffrey Wright, American Fiction Joaquin Phoenix, Beau Is Afraid Matt Damon, Air Nicolas Cage, Dream Scenario Paul Giamatti, The Holdovers Timothée Chalamet, Wonka BEST MOTION PICTURE — ANIMATED The Boy and the Heron Elemental Spider-Man: Across the Spider-Verse The Super Mario Bros Movie Suzume Wish BEST MOTION PICTURE — NON-ENGLISH LANGUAGE Anatomy of a Fall Fallen Leaves Io Capitano Past Lives Society of the Snow The Zone of Interest BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE Danielle Brooks, The Color Purple Da'Vine Joy Randolph, The Holdovers Emily Blunt, Oppenheimer Jodie Foster, Nyad Julianne Moore, May December Rosamund Pike, Saltburn BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE Charles Melton, May December Mark Ruffalo, Poor Things Robert De Niro, Killers of the Flower Moon Robert Downey Jr, Oppenheimer Ryan Gosling, Barbie Willem Dafoe, Poor Things BEST DIRECTOR — MOTION PICTURE Bradley Cooper, Maestro Greta Gerwig, Barbie Yorgos Lanthimos, Poor Things Christopher Nolan, Oppenheimer Martin Scorsese, Killers of The Flower Moon Celine Song, Past Lives BEST SCREENPLAY — MOTION PICTURE Anatomy of a Fall Barbie Killers of the Flower Moon Oppenheimer Past Lives Poor Things BEST ORIGINAL SCORE — MOTION PICTURE The Boy and the Heron Killers of the Flower Moon Oppenheimer Poor Things Spider-Man: Across the Spider-Verse The Zone of Interest BEST ORIGINAL SONG — MOTION PICTURE Bruce Springsteen, 'Addicted to Romance', She Came to Me Mark Ronson, Andrew Wyatt, Dua Lipa and Caroline Ailin, 'Dance the Night', Barbie Mark Ronson and Andrew Wyatt, 'I'm Just Ken', Barbie Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond and John Spiker, 'Peaches', The Super Mario Bros Movie Lenny Kravitz, 'Road to Freedom', Rustin Billie Eilish and Finneas O'Connell, 'What Was I Made For?', Barbie CINEMATIC AND BOX OFFICE ACHIEVEMENT Barbie Guardians of the Galaxy Vol. 3 John Wick: Chapter 4 Mission: Impossible — Dead Reckoning Part One Oppenheimer Spider-Man: Across the Spider-Verse The Super Mario Bros. Movie Taylor Swift: The Eras Tour BEST TELEVISION SERIES — DRAMA 1923 The Crown The Diplomat The Last of Us The Morning Show Succession BEST PERFORMANCE BY A FEMALE ACTOR IN A TELEVISION SERIES — DRAMA Bella Ramsey, The Last of Us Emma Stone, The Curse Helen Mirren, 1923 Imelda Staunton, The Crown Keri Russell, The Diplomat Sarah Snook, Succession BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES — DRAMA Brian Cox, Succession Kieran Culkin, Succession Gary Oldman, Slow Horses Pedro Pascal, The Last of Us Jeremy Strong, Succession Dominic West, The Crown BEST TELEVISION SERIES — MUSICAL OR COMEDY Ted Lasso Abbott Elementary The Bear Barry Only Murders in the Building Jury Duty BEST PERFORMANCE BY A FEMALE ACTOR IN A TELEVISION SERIES — MUSICAL OR COMEDY Rachel Brosnahan, The Marvelous Mrs Maisel Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Elle Fanning, The Great Selena Gomez, Only Murders in the Building Natasha Lyonne, Poker Face BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES — MUSICAL OR COMEDY Bill Hader, Barry Steve Martin, Only Murders in the Building Jason Segel, Shrinking Martin Short, Only Murders in the Building Jason Sudeikis, Ted Lasso Jeremy Allen White, The Bear BEST TELEVISION LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION All the Light We Cannot See Beef Daisy Jones & The Six Fargo Fellow Travellers Lessons in Chemistry BEST PERFORMANCE BY A FEMALE ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION Ali Wong, Beef Brie Larson, Lessons in Chemistry Elizabeth Olsen, Love & Death Juno Temple, Fargo Rachel Weisz, Dead Ringers Riley Keough, Daisy Jones & the Six BEST PERFORMANCE BY A MALE ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION David Oyelowo, Lawmen: Bass Reeves Jon Hamm, Fargo Matt Bomer, Fellow Travellers Sam Claflin, Daisy Jones & the Six Steven Yeun, Beef Woody Harrelson, White House Plumbers BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE ON TELEVISION Abby Elliott, The Bear Christina Ricci, Yellowjackets Elizabeth Debicki, The Crown Hannah Waddingham, Ted Lasso J. Smith-Cameron, Succession Meryl Streep, Only Murders in the Building BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE ON TELEVISION Alan Ruck, Succession Alexander Skarsgård, Succession Billy Crudup, The Morning Show Ebon Moss-Bachrach, The Bear James Marsden, Jury Duty Matthew Macfadyen, Succession BEST PERFORMANCE IN STANDUP COMEDY ON TELEVISION Ricky Gervais: Armageddon Trevor Noah: Where Was I Chris Rock: Selective Outrage Amy Schumer: Emergency Contact Sarah Silverman: Someone You Love Wanda Sykes: I'm an Entertainer The 2023 Golden Globes will be announced on Monday, January 8, Australian and New Zealand time, streaming on Stan in Australia. For further details, head to the awards' website.
It was true in 2023 and it's set to prove the case again in 2024: if you can't find something on the SXSW Sydney lineup for you, you aren't looking hard enough. Want to enjoy the massive tech, innovation, screen, music, games and culture festival, but saving your pennies? That's where its free Tumbalong Park hub comes in — and it too is returning for another year. When SXSW Sydney runs its second fest across Monday, October 14–Sunday, October 20, it'll also host its second public program at Darling Harbour. Here, it doesn't matter if you're also heading to the music festival or the screen festival, trying to catch as much of the entire event as possible or aren't paying for any SXSW tickets at all. Whichever fits, you can check out more than 60 hours of free entertainment, including tunes, talks and movies. [caption id="attachment_953722" align="alignnone" width="1920"] Jaimi Joy[/caption] Just-announced highlights include Silverchair's Ben Gillies teaming up with songwriter Tushar Apte and futurist Johannes Saam, which ticks both the music and tech boxes; a 60th-anniversary screening of iconic surfing film The Endless Summer, hailing from the screen portion of the program and including an after party; and a day-long showcase of Indian creativity to wrap up the fest, with +91 Calling! featuring an array of different music genres. Attendees can also catch Bush Shorts, a selection of short films by Australia's First Nations and Indigenous talents; conference talents getting chatting at Meet the Speaker sessions; an innovation showcase that's all about rockets, robotics and more; and a Fortnite competition for high schools. On top of all of this, there will also be food trucks, plus pop-up activations from a range of brands — and yes, the Suntory -196 Extreme Vending Machine will be back. [caption id="attachment_953715" align="alignnone" width="1920"] Ian Laidlaw[/caption] SXSW Sydney's lineup drops are in full swing, after a first batch came in May, then a second round in June. In July, the fest revealed not one, not two, but three rounds of additions to its 2024 program. Also on the bill across the rest of the fest beyond the free Tumbalong Park hub: Australian The New Boy filmmaker Warwick Thornton, The Babadook composer Jed Kurzel, the UK's Jorja Smith on the 'Be Honest' musician's Australian tour, human rights lawyer Jennifer Robinson, author Johann Hari, Australian race car driver Molly Taylor, pianist Chad Lawson, Westworld's Luke Hemsworth hosting a session about the Tasmanian tiger and Aussie astronaut Katherine Bennell-Pegg. Or, get excited about Heartbreak High star Ayesha Madon, cricketer David Warner, Mortal Kombat director Simon McQuoid, TikTok marketing head Sofia Hernandez and documentary Slice of Life: The American Dream. In Former Pizza Huts, about the new uses of former Pizza Hut buildings across America. There's still more where they came from, plus more to come. [caption id="attachment_953724" align="alignnone" width="1920"] Jaimi Joy[/caption] [caption id="attachment_953717" align="alignnone" width="1920"] Paul McMillan[/caption] [caption id="attachment_923290" align="alignnone" width="1920"] Brendon Thorne/Getty Images for SXSW Sydney[/caption] SXSW Sydney 2024 will run from Monday, October 14–Sunday, October 20 at various Sydney venues, including Tumbalong Park, 11 Harbour Street, Sydney. Head to the SXSW Sydney website for further details. Top image: Brendon Thorne/Getty Images for SXSW Sydney.
Fascinated by the cassowary? You're not alone in your love of the dinosaur-like bird. The Community for Coastal and Cassowary Conservation (C4) in Mission Beach is dedicated to protecting the southern cassowary and the local coastal habitat through community activities and awareness. Stop by the C4 Environmental Display Centre to learn more about these birds and get the hot tips on local sightings and which walks you can spot them on. You don't have to be a resident to take part in the C4 planting days, film nights or information sessions, either. If you're interested in getting involved on your next holiday, just keep an eye on the organisation's website to see what's happening. Image: Tourism Tropical North Queensland.
Yes, Queenstown is the adventure capital of the world, but there is only so much one can do before needing to refuel. That, or the weather pulls a finger, and the day's activities need to be re-planned. For both of those types of situations, I suggest trying the delightful Vudu Cafe & Larder. The tiny cafe on Rees St has a solid following from both locals and exotic ski bunnies alike, and it's not particularly hard to figure out why. For one, it's organic; and the meat and egg production's all free range. There's your tick for being a good person. Secondly, it's darn tasty. Especially when working on a steady half-hangover, you'll want to cast your eyes towards the Immunity Booster juice. This particularly sassy number introduced me to the joys of having beetroot, ginger and carrots in a juice, together. Immunity boosted? I think so. Then there's the food. Try anything in the cabinet or off the menu, anything. It's all be good. I had a bean burrito ($9) for a late lunch, which effectively filled my tank until around midnight. So it's fair to say you're getting a lot of bang for your buck. Add in some cool hanging jar lamps, and an aerial shot of Queenstown to the decor, and you've got yourself a pretty cute wee cafe. But be warned, all good things come to those who wait, so be prepared to stand in quite a bit of line for seating. Vudu Cafe & Larder 03 441 8370 16 Rees St, Queenstown Mon - Sun 07:30am - 5pm
The human brain has been studied inside and out, and its complexities never cease to amaze us. We can make a fist, take a step or turn the wheel all because our thoughts are connected to our actions, but perhaps the new EPOC Neuroheadset will do away with the need for actions altogether. The neuroheadset is a brain-scanning device that allows you to control your computer with your mind. The headset detects brain signals to determine users' emotions and also contains gyroscope technology that reads your position, body movements and facial expressions to accurately communicate commands. Combined with the EmoLens application, the device can detect the emotions you feel as you browse through photos on Flickr and tag the photos accordingly - you don't even touch your mouse or keyboard. If you're bored of that trick, the headset can also use concentration, number of eye blinks or head shakes to determine how you're feeling. Among other applications that can be purchased include Mind Mouse, which allows the user to perform standard computer commands like clicking or double clicking a mouse or even sending an email, and Master Mind, with which users can play their favourite computer games with their minds. The applications and uses are quite limited at this stage, but along with other superhero-inspired technology coming to market, perhaps it won't be long before we can control things with our minds alone. Like a car.
When is a dance film more than just a dance film? When it brings a celebrated real-life performance to the cinema, fills its frames with dream-like visuals, and dives into the indigenous Australian experience. That's the case with Spear, which — its sublime showcase of fancy footwork and smooth moves aside — bears little other resemblance to the bulk of the dance film genre. Saturday Night Fever, Footloose and Step Up, this is not. Indeed, in an effort concerned with origins and evolution, understanding the movie's own leap from dance piece to film is pivotal. Spear blossoms out of a Bangarra Dance Theatre presentation first staged in 2000, and marks the feature filmmaking debut of Stephen Page, the company's artistic head. His close connection with the material is evident from the outset, and not just because his son, Hunter Page-Lochard, plays the lead character and his brother, David Page composed the accompanying music. Prior to this, Page's only credits are on a segment of The Turning and choreography work on Bran Nue Dae and The Sapphires. Nonetheless, his expressive offering demonstrates what all directors hope for: the strong imprint of a distinctive guiding hand. Given that the production relies upon imagery and movement much more than words and narrative, the importance of Page's task cannot be underestimated. In fact, as Spear cycles between rocky seaside cliffs, dusty outback plains and gritty urban locations, the feature's primary aim isn't to tell a story, but to convey a feeling and channel a sense of spirituality. Enter Djali (Page-Lochard), an Aboriginal youth trying to understand his heritage, and the audience's on-screen surrogate. As the film takes him through the past and present experiences of his people, sometimes accompanied by an Old Man (Demala Wunungmurra) or interacting with Suicide Man (Aaron Pedersen), its rhythmic sights and sounds wash over him — and over the watching viewer, too. Think of Spear as a series of exquisite dance routines, each fusing the traditional and the contemporary, and representing a plethora of issues: discrimination, marginalisation, violence, homelessness, abuse, and forced assimilation among them. Think of it as a process of layering, as well. Each individual section proves an intricate, intimate and distinctive creation in its own right, as well as a crucial piece of a bigger thematic and artistic puzzle. If it sounds unique, that's because it is. In fact, with its combination of exceptional physical feats, evocative presentation and somewhat abstract content, Spear is unlike any film most audiences will have seen. It's a stunning achievement, as well as a memorable one. The end result doesn't simply engage the brain but assaults the senses — so much so that it almost feels as though the movie could dance from the screen back into reality at any moment. To celebrate Black History Month, Spear screens at QPAC's Cremorne Theatre at 6.30pm on Thursday, July 5 — with tickets just $5, and a Q&A session held after the film.
A character drama about a West Texas woman who wins the lottery, but six years later has nothing to show for it except pain, alcoholism and burned bridges, To Leslie is all about English talent Andrea Riseborough's remarkable performance — famously so thanks to her Best Actress Oscar nomination for an indie film widely underseen until that nod of approval. Nothing can take away the power of the Mandy, Possessor and Amsterdam star's stunning portrayal. A spectacular performance is a spectacular performance regardless of what surrounds it. So, Riseborough's work in the debut feature from seasoned TV director Michael Morris (Better Call Saul, 13 Reasons Why, Brothers & Sisters) remains a gut-punch no matter the controversy around the campaign by high-profile names to help get her the Academy's recognition, with Kate Winslet, Edward Norton and Jennifer Aniston among those advocating for accolades. To Leslie remains Riseborough's movie despite comedian and actor Mark Maron uttering the words that sum it up best, too. In his latest compassionate performance — with a less-gruff edge than he sports in GLOW — he plays Sweeney, the co-proprietor of a roadside motel in Leslie's hometown. That's where she ends up again after the money runs out, plus her luck and everyone she knows' patience with it. As scripted by Ryan Binaco (3022), Sweeney is another of To Leslie's flawed characters. The movie teems with such folks because everyone of us is flawed, and it sees that truth with the clearest of eyes. In a sincere but awkward chat, Sweeney explains how his now ex-wife's drinking helped end his marriage; however, he catches himself afterwards, making a point to say that just because his story turned out like that, that doesn't mean Leslie's will as well, or that he thinks it that'll occur. One person's tale can be everyone's — cinema, and storytelling in general, thrives on the fact that the deeply specific can be profoundly universal — but no one's experiences ever play out exactly as another's have. That's an essential message at the heart of To Leslie, and it's one that asks for understanding but not judgement. While watching the film's very fictional namesake on-screen, it's easy to spy parallels, to relate, and to feel what it is to be in Leslie, Sweeney or the feature's other figures' shoes. Movies are empathy machines, after all. That said, battling assumptions about what the course that Leslie's story has to follow, and what that says about her and other people who've struggled with addiction and poverty, is as important to Morris and Binaco's picture as Risebourgh's awards-worthy performance. There's such weight and soul to the actor's titular portrayal in this tale of redemption — when Leslie is at her best, worst, hovering in-between and splashing between the two extremes alike. In early footage that's repeated later, Riseborough is giddily ecstatic holding a giant cheque for $190,000 and hollering in a local news interview about what an impact it'll make (and promising to spoil her young son). She cuts a still-wiry, still-determined sight, but now fraught rather than euphoric, in the hard jump to after the cash has been drunk away, which is when she's being kicked out of her The Florida Project-style digs for not paying her bill. There's a visible difference between the two Leslies, as her grown-up boy James (Teague, The Stand) notes without saying when she reunites with him next — but much of Riseborough's efforts are about what's churning inside Leslie moment by moment, whether inebriated, desperate for whatever she can sip or stone-cold sober. When she turns up carting a pink suitcase containing all of her worldly belongings, James has one rule for Leslie's attempts to reconnect: no booze. Part of the heartbreak of To Leslie, and of Riseborough's performance, is foreseeing what might happen while witnessing how Leslie endeavours to battle against it. Similarly, part of the film's joys and surprises spring when addiction doesn't win out. With James, though, Leslie can't keep her promise. When she's sent home to Dutch (Stephen Root, Barry) and Nancy (Allison Janney, Breaking News in Yuba County), pals she was once as close as family with, she's met with the spite and bitterness of former friends rather than a son's disappointment and hurt. The bulk of the small town's residents similarly have long memories, largely treating her as a joke. And Sweeney's colleague Royal (Andre Royo, Truth Be Told) is hesitant when the former sees her sleeping outside their motel, initially runs her off, but then generously offers her both a place to stay and a cleaning job. Country music echoes within the film, heard and spoken about, in a telling choice for a movie about second, third, fourth and fifth chances (and more). Notes of Wild Rose, another feature about a woman piecing her life back together, filter in with that in mind; the two pictures have plenty of dissimilarities, too, but share exceptional leads. Indeed, simply watching Riseborough sit at a bar nursing a drink and listening to a twang-filled tune makes for an astonishing scene, with Morris shrewdly holding the moment, and cinematographer Larkin Seiple (Everything Everywhere All At Once) lighting a lengthy closeup like it's extraordinary and ordinary all at once. In what might be her biggest acting feat in a deservedly well-regarded career, Riseborough knows how to be Leslie, not play her — in this scene and from start to finish. This isn't a performance courting attention, but one committed to conveying what's swishing and swirling within a tumultuous character whose strengths and missteps are both always in view. To Leslie's least impressive trait is its fondness for neat and conventional beats, although Riseborough ensures that even the most predictable plot developments never feel like a standard pour (as does Morris' ability to recognise what he has with Riseborough as the narrative's anchor). Stories can turn out like this, traversing the highs as well as the lows, and To Leslie certainly isn't afraid of getting messy through its protagonist and her lifetime's worth of tussles before it starts letting hope loiter. It definitely isn't scared of showing what's worth striving for, either, be it the tenderness of Leslie and Sweeney's blossoming bond, the yearning of a mother who wants to finally be able to do right by her son, or a path to a future that's safe and sustainable. Riseborough is striving, of course, but her every move and expression — alone, and when paired with the also-excellent Teague, Maron and Janney — couldn't be more raw, complex and lived in.
A big windy river that stretches the length of the city. A coastline that, while it isn't located among all the hustle and bustle, is still a definite part of this town of ours. When it comes to hanging out in, on top of or near the water in Brissie, they're the main choices — and whether you opt for a leg of the Brisbane River, or make the trip to either north or east to various foreshore spots, there's plenty to keep you occupied while you're there. Perhaps you're a wanderer who enjoys meandering at your own pace with a scenic view. Maybe you're certain that any beverage or bite to eat goes down better when you can feel the river or sea breeze against your skin. Or, you could like getting active on the water itself, but in a creative fashion. Whichever category you fall into, we've picked the best ways to make the most of your chosen body of H20 in Brisbane. Head to a Waterside (or Overwater) Cafe, Restaurant, Bar or Brewery Just a few short years ago, Brisbane didn't have any bars perched over the water. That's no longer the case thanks to Mr Percival's. The River City only had two big central waterside precincts where you could eat, drink and hang out, too, and now — with Howard Smith Wharves and Queen's Wharf joining South Bank and Eagle Street — it has four. Brissie didn't boast a riverside brewery to its name either, but Felons Brewing Co and BrewDog both have that covered. You can spot the trend here, of course, because this town isn't short on places to satisfy your hunger and quench your thirst by the water. And while riverside haunts have been popping up with frequency of late, the idea is hardly new. Newstead, Hamilton and Kangaroo Point have been home to waterside cafes, restaurants and bars for decades as well, for instance. Back at HSW, there's a new wave of must-visit joints near the water: upstairs hangouts at Stanley and Yoko Dining, aka Stan's and B-SIDE, with one taking inspiration from Hong Kong and the other from Tokyo. [caption id="attachment_807855" align="alignnone" width="1920"] Lean Timms[/caption] Here a Picnic Boat for You, Your Date, Mates and Dog Picnicking by the water in Brisbane is a tried-and-tested way to spend an afternoon — and it's featured on this list a bit further down. But you can also picnic on top of the water, all thanks to Denmark-born company GoBoat, which is sailing its 18-feet-long, dog-friendly vessels from Breakfast Creek. The company is all about making the whole boating caper more accessible for everyday folk, and its Scandinavian-designed vessels are slow-moving, a breeze to operate and don't require a boating licence — making for some fun, fuss-free sailing sessions. Each GoBoat boasts a central picnic table with room for eight people (and all the necessary snacks and booze). And they're even affordable enough to fit your budget — simply BYO food and drinks, find enough eager sailors to jump aboard and a GoBoat session will start at around $10 per person, per hour. [caption id="attachment_711839" align="aligncenter" width="1920"] Paul Giggle/Tourism and Events Queensland[/caption] Pair a Stroll or Cycle with a Watery View Some folks prefer putting one foot in front of the other and seeing just where that takes them. Others like to sit on top of two wheels and start pedalling. Whichever one suits you best, if you live in Brisbane, you aren't lacking in options — but we all know that the riverside and oceanside options sit at the top of the list. For walkers, you can pick between the Brisbane Riverwalk from New Farm to the city, South Bank's path between its pools and the Old Brown Snake down to Kangaroo Point, heading up and over the Sir Leo Hielscher Bridges (aka the Gateway Motorway), or picking either the Wynnum–Manly or Sandgate–Shorncliffe regions. If you're a cyclist, you can also choose all of the above — you'll just speed along them more quickly. Eat Seafood by the Sea Sure, you've been on a pub crawl — but have you been on a fish 'n' chip crawl right next to the water? We're guessing that you haven't, but it's one of those simple ideas that's both brilliant and oh-so-easy to execute, because it just involves taking advantage of the abundance of greasy spoons along in the Wynnum–Manly or Sandgate–Shorncliffe areas. We'll give you two options, too: you can either order something from each place you pass as you walk along the relevant seaside region, or you can come back at regular intervals to sample a new eatery. Head north and you'll be hitting up the likes of Fish on Flinders, Sandgate Fishmonger and Doug's Seafood Cafe, while in the southeast you can expect to Finn's Fish House, Baywatch Cafe and Sea Vibes Manly. Take a Kayak Tour By now, you've definitely realised that Brisbane is a town with options. In almost every instance, you can select your favourite watery or water-adjacent pastime and then pick a heap of places to indulge in your chosen activity. Kayaking is no different. Riverlife at Kangaroo Point will let you get paddling through the CBD and seeing the inner city in a completely different way, but that's merely the most central and best-known choice. You can also kayak at Enoggera Reservoir and, although the hire hut is currently temporarily closed, go across to Bribie Island as well. The list goes on, and spans professional tours and just hiring a kayak, hopping inside and making your own way at your own leisure. Picnic in a Waterside Park The weather is glorious. Your basket is packed with homemade salads, a big stack of cheese or the finest sandwiches your local deli can make. The lawn games are at the ready. A relaxing picnic is just moments away — and yes, because this is Brisbane, it's easy to add a glistening view to your outdoor meal. Brissie is home to quite the array of places that fit the bill. Whether you're keen to recline by the snaking Brisbane River or eager to sit seaside, there's somewhere to go. You can try all the usual picnic spots, including the Kangaroo Point Cliffs, New Farm Park, the Brisbane City Botanic Gardens, Howard Smith Wharves and South Bank. Or, if you've whiled away more than one afternoon at all of the obvious locations, you can also make a beeline to other great waterside picnic places that you might not have visited. [caption id="attachment_703976" align="aligncenter" width="1920"] Brisbane City Council via Flickr[/caption] Throw a Line Over a Pier Never thought of yourself as the fishing type? Hear us out. It's a peaceful and relaxing excuse to stare at the water, and to think about absolutely nothing other than whether you might've felt some tension on your line, the crispness of the sea air and just how gorgeous the ocean looks. In other words, it's a mindfulness bonanza — and there's no better place in Brisbane to get casting than one of the city's piers and jetties. The big places to head, aka Shorncliffe Pier and Wynnum Jetty, are popular spots for very good reasons. But if you'd rather stick closer to the city, you'll also find a small platform jutting off of the Colmslie Recreation Reserve in Morningside, too (which isn't too far from Brissie's secret beach, actually). [caption id="attachment_754201" align="aligncenter" width="1920"] Kgbo via Wikimedia Commons[/caption] Cruise Along — Via CityCat or While Eating and Drinking If you were visiting Brisbane and you wanted to see the sights, you'd probably opt for one of the most obvious choices there is. Getting on a CityCat might seem oh-so straightforward, but it really does offer you quite the impressive and extensive glimpse of the city, especially if you make the full journey from Northshore Hamilton to St Lucia. You can even take your pooch with you. Also, your trip will only cost you 50 cents. If you're enthusiastic about the cruising idea but you'd like to up the ante, you have options as well. There's River City Cruises, which runs multiple tours daily — plus party boat Yot Club, although you'll need to keep an eye on its seasons, because it's Brissie dates tend to change. Learn How to Sail or Windsurf Hopping on a seafaring vessel and letting someone else do all the hard work for you is one option for cruising along the water in and around Brisbane. If you're quite fond of jumping on a boat — or a yacht for that matter — you can always learn a new skill and take sailing lessons, too. The Royal Queensland Yacht Squadron puts on a heap of classes to show you the ropes (and to make sure you know how to use any ropes necessary while you're sailing, of course). This one is a bit of an investment in terms of time and cash; however, that's not the only way you can expand your horizon at the Manly-based organisation. It'll also teach you how to windsurf, should regular ol' standing on a board and pretending you're Keanu Reeves in Point Break just not be enough. [caption id="attachment_643649" align="aligncenter" width="1920"] Brisbane City Council via Flickr[/caption] Splash Around in a Man-Made Waterside Pool Brisbane isn't a beach city, but venture out of the CBD, away from the shadows of tall buildings and past the suburban sprawl, and you can find the holy grail of outdoor pools. Yes, if you head east until you can't go any further, you'll find a fine example of a man-made area filled from the sea and replenished by the tide. Built during the 1930s depression as part of the Unemployment Relief System, the Wynnum Wading Pool is the ideal place to enjoy the warm weather with an ocean view. Of course, if you're happy splashing around by the river instead, there's always Streets Beach at South Bank Parklands as well. And, also on our pools list: Settlement Cove Lagoon at Redcliffe, which overlooks Moreton Bay. Top image: Riverlife.
