The best spot in Australia for a picnic is hotly contested. Melbourne has some good ones. So do Sydney and Brisbane. Mount Buffalo, a picturesque mountain surrounded by green valleys roughly a four-hour drive from Melbourne, is now coming for the title — as long as you're not afraid of heights. The Bright Adventure Company is offering secluded picnics for thrill-seekers suspended off the cliff face of Mount Buffalo, on a platform 300 meters off the ground. For $449, you'll get a set up on the suspended ledge suitable for two people, a delicious picnic hamper and all the safety equipment and training required. Then you can relax with your partner or picnic buddy as you take in the views of the Mount Buffalo National Park. All you need to bring is warm clothes, sturdy shoes, a water bottle and a total lack of fear of heights. The experience goes for three hours with sunrise, lunch and dinner packages all available. If you have a group of four you can organise a set of two edges side-by-side so you can share the experience with your besties. Book a cliff picnic through the Bright Adventure Company. Before heading interstate, check the relevant state's COVID-19 guidelines.
Luxury spas and wellness clubs are popping up all over Australia right now, but more affordable alternatives are a little more difficult to find. Most of us can't fork out hundreds of dollars a month to relax our stressed-out minds and restore our tired bodies. Enter P3 Recovery, a not-so-spenny Queensland-based wellness brand that's got big expansion plans across the country's east coast. It currently has four locations — two in Brisbane, one on the Gold Coast and now, one in Port Melbourne — but there are over ten more in the works, in big cities and regional towns all along the eastern seaboard. No venue is exactly the same, but you'll likely find infrared saunas, hyperbaric chambers, hot and cold baths, and a range of therapy treatments — from compression therapy and IV therapy to breathwork classes and contrast therapy. These are available to those recovering from injuries, training to be fitter or simply looking to unwind. Compared to the luxury spas that dominate this kind of comprehensive wellness scene, weekly memberships and individual sessions are somewhat cheaper — but prices do vary from site to site. The entry-level memberships give you access to wet therapy spaces (from about $25–$35 a week), while the incrementally more expensive options let you try more and more of the technologies available — these can get a lot pricier. You can also just book a one-off session if that's more your jam, either by yourself or with mates. P3 isn't as swish as the best spas in Melbourne, Brisbane or Sydney, but you don't necessarily need all the bells and whistles when seeking that self-care life. Current P3 Recovery wellness centres can be found in Brisbane, Gold Coast and Melbourne, with plenty more locations to come. For more information, head to the brand's website.
He's one of the world's most renowned chefs, his three Michelin-starred restaurant Osteria Francescana claiming top spot on this year's prestigious World's 50 Best Restaurants list. And now, culinary powerhouse Massimo Bottura is swapping kitchen for stage, heading Down Under and travelling the country for a speaking tour next August. Bottura, who you'll have spied getting wildly creative with his native Italian cuisine — and doing so to save thousands of wheels of parmigiano-reggiano — in episode one of Netflix series Chef's Table, is well-known for his storytelling, as well as for a deep love of art, music and history. Audiences are sure to gain colourful insight into the chef's childhood, his life spent in the Northern Italian city of Modena, and the rich local history and culinary traditions that helped ignite his love of food. Bottura will also share another of his passions, speaking about his own work in the fight against food waste and hunger. As founder of non-profit Food for Soul, which empowers communities to fight food waste and social isolation, the Italian chef's helmed a series of community kitchens and drop-in dining halls across Milan, Paris, Rio de Janeiro and London. He's long championed the idea that a chef's responsibility extends far beyond the kitchen and into their community, to help inspire global change. MASSIMO BOTTURA 2019 DATES Perth — Riverside Theatre, August 6 Sydney — The State Theatre, August 8 Melbourne — MCEC, August 10 Brisbane — BCEC, August 13 Tickets are on sale April 3, 2019. Register now for pre-sale.
Maybe your nieces and nephews got you onto it, or the other kids in your life. Perhaps you just like all-ages-friendly animation, especially when it's an Australian series about a family of blue heelers. Or, you might've become a convert at one of the hugely popular Bluey live gigs that've been touring the country. Whichever fits, and whether you're a big Bluey fan even without kids in tow or you've always wondered why adults love it as well, Airbnb is bringing the homegrown show to life. As the accommodation platform has done with other pop culture favourites overseas — such as Carrie's Sex and the City apartment and the house from Home Alone — it's putting a replica of the Bluey house in Brisbane up for rent. Two adults and two kids will be able to spend two nights in a home that recreates the Heeler family's abode — but IRL rather than in cute pixels, obviously. Given that the show was created in Queensland, is produced in Queensland and uses Brisbane as inspiration for its on-screen setting, there was clearly only one city that could host this screen-to-reality experience. The Bluey house marks the first-ever Australian location in Airbnb's Only On Airbnb program — aka the part of the platform that lists all those pop culture-themed spots and offers up the type of experiences that money couldn't buy elsewhere. So this time, Aussies don't need to feel envious of their overseas pals. You do have to be ready to spend a couple days immersed in all things Bluey, though. Here's what's on offer: a stay in the house, which is located in suburban Brisbane, between Friday, February 18–Sunday, February 20 for $20 a night; a behind-the-scenes tour of Ludo Studio, where Bluey is created; Chinese takeaway to eat in the backyard; a cake-decorating afternoon, focusing on the show's famous duck cake; and a puppet-making craft session that's all about Bob Bilby. That, and all the work that's been done to make the house look like where Bluey's eponymous six-year-old dog, mum Chilli, dad Bandit and little sister Bingo live. Those decorating touches include the red letterbox, bone-shaped chimney and recognisable bay window, plus other design features — and toys, of course — inside in the rooms and outside in the backyard for kids. If you're keen — and you've got some young relatives to take along with you — you'll need to apply to book at 7am AEST / 8am AEDT on Tuesday, February 15. You'll also need to have a verified Airbnb profile, a history of positive reviews and be aged over 18. Also, no pets are allowed, even while you're celebrating cartoon canines. For more information about Airbnb's Bluey house in Brisbane, or to apply to book at 7am AEST / 8am AEDT on Tuesday, February 15, head to the Airbnb website. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Image: Hannah Puechmarin.
Things are looking up in Brisbane, with rooftop bars popping up all around the River City in recent years, plus a new 100-metre-high Sky Deck set to follow. Sydney has the Sydney Tower Eye, Melbourne has its Skydeck and now the Queensland capital will gain its own lofty tourist attraction — complete with a restaurant, bar, glass-floor viewing platform, and 360-degree vantage out over the Brisbane CBD and Brisbane River. The Brisbane Sky Deck forms part of the city's $3.6-billion Queen's Wharf precinct, a project that's been in the works for at least eight years now. Finally slated to open by the end of 2023, and sprawling between Alice, George, Queen and William streets, the development will be crowned by the sky-high spot to grab a bite, drink and take in stunning views — which'll sit atop everything other dining options, hotels, shops, apartments and a heap of public space. While part of one of Queen's Wharf's resident resorts — it's set to feature four hotels — Sky Deck will be open to the public. Also, it isn't small, with a capacity of 1500 visitors at a time. Here, folks keen to scale great heights can also host parties, with an events space part of the setup. Brisbanites, your shindigs are looking up as well. Specific details about Sky Deck's restaurant and bar, including their menus and operators, haven't yet been revealed; however, that glass-bottomed platform will sit around the midway mark of the structure. From the just-released artists impressions of the venue, locals and tourists alike can expect ample greenery and crucial outdoor seating elsewhere, the latter giving everyone plenty of places to stop, sit and take in the panoramic vista. Expect Brisbane's Sky Deck to be popular, too. The Queensland Government certainly does, with Deputy Premier Steven Miles advising in a statement that "the Sky Deck will be a magnet for the estimated 1.4 million international, interstate and local visitors to the city each year." As for the rest of the Queen's Wharf Brisbane redevelopment area, it spans across 12 hectares in the CBD, and will include around 50 new bars, cafes and restaurant; a casino; those four aforementioned hotels; approximately 1500 apartments; and a swathe of retailers in a huge new shopping precinct. The full precinct features repurposed heritage buildings, too, plus the Neville Bonner Bridge and Brissie's first riverside bikeway cafe. For Brisbane inhabitants, Queen's Wharf has been in the making for so long — and the construction around it just seems to be taking forever, too — that it feels like it has always been coming. But "let's meet at Queen's Wharf" is something that'll soon be able to be said, including by visitors. Ahead of the 2032 Brisbane Olympics, the River City is transformation central, including tearing down and rebuilding the Gabba; renewing and reinvigorating South Bank, complete with a treetop walk, a permanent handmade goods market and new riverside lawns; making over Victoria Park; and revamping and expanding Northshore Hamilton. Also, a new seven-hectare riverside parkland is set to join South Brisbane, QPAC's fifth theatre is under construction and Kangaroo Point is set to score a new green bridge with an overwater bar and restaurant. Queen's Wharf is slated to start opening in the Brisbane CBD from late 2023. We'll update you when a specific date is announced — and you can find out further details in the interim via the development's website.
Back in 2011, Ben Quilty won the Archibald Prize for one of his most striking pieces — a portrait of fellow Australian artist Margaret Olley. Befitting his usual style, it fashions her likeness out of heavy yet purposeful brushstrokes and visible, tangible smudges of paint, bringing not just colour to the painting, but discernible texture, movement and vibrancy as well. When the octogenarian Olley sat for Quilty, it wasn't the first time that the pair had crossed paths. She presented him with the Brett Whiteley Travelling Scholarship in 2002, and a friendship blossomed. While Olley passed away in the same year that Quilty's portrait nabbed Australia's top art prize, the two titans of the local art scene once again sit side by side at the Gallery of Modern Art's latest dual exhibitions — with Margaret Olley: A Generous Life focusing on her prosperous career and Quilty highlighting two decades of his work. On display until Sunday, October 13, the two free showcases are filled with standout pieces, spanning delicate sketches of Brisbane from times gone by, striking still lifes, mesmerising Rorschach-style landscapes, contemplative portraits and creative sculpture, among other works. With more than 170 items decking the walls across both exhibitions, each one is worth your time; however it you're wondering which paintings to look out for, here are our six tips. MARGARET OLLEY: A GENEROUS LIFE [caption id="attachment_730009" align="aligncenter" width="1920"] Victoria Bridge (1966), Margaret Olley. From the Moreton Bay Regional Council (Caboolture Art Gallery) Collection.[/caption] VICTORIA BRIDGE Living in the city on and off for much of her life, Margaret Olley turned many of Brisbane's streets and sights into art. Several pieces comprise an entire section of A Generous Life, not only offering a snapshot of the artist's work, but a time capsule of the city from five decades ago. Perhaps because it's such a crucial part of the CBD, or perhaps because it has changed significantly since Olley's 1966 work, her rendering of Victoria Bridge makes a splash. Linking the north and south sides of the river in the CBD, the overwater roadway is a functional crossing rather than anything spectacular to look at; however, in a simple inner-city landscape that combines pen and watercolour, this vivid piece will make you think otherwise. It actually depicts the previous version of the bridge, which was replaced by the current structure in 1969. [caption id="attachment_730007" align="aligncenter" width="1920"] The banana cutters (1963), Margaret Olley. Purchased 2014 with funds from Drs Philip and Lenna Smith through the Queensland Art Gallery and GOMA. [/caption] THE BANANA CUTTERS At GOMA's exhibition, separate areas are devoted to Olley's still-life paintings and her Indigenous portraits. Many straddle the divide — although, amidst bright pieces with eye-catching flowers and colourful fruit, The Banana Cutters stands out. Like her paintings of Brisbane as well, the piece captures Queensland history, showing a trio of the state's Indigenous workers plying their trade in the early 1960s. From a technical standpoint, it also achieves a significant feat as a detailed figure painting. There's much to marvel at in the intricate vision of three men making a living, as well as the window into the past that they represent. [caption id="attachment_730006" align="aligncenter" width="1920"] Portrait in the mirror (1948), Margaret Olley. Gift of the artist 2001, © Estate of Margaret Olley. Photo: Diana Panuccio, AGNSW.[/caption] PORTRAIT IN THE MIRROR Olley, like many artists, wasn't afraid of using her own reflection as inspiration, as A Generous Life makes plain. Several of her self-portraits grace GOMA's walls, offering an evolution of her style in a microcosm — an overview within an exhibition already designed to provide an overview, all by focusing on Olley's own form. And just as her eyes were drawn to her own guise over and over again, attendees will be drawn to 1943's Portrait in the Mirror, which features the artist surrounded by chosen belongings. Many will be instantly recognisable to those who've wandered through the preceding pieces, given that fruit and flowers feature prominently. QUILTY [caption id="attachment_730010" align="aligncenter" width="1920"] Margaret Olley (2011), Ben Quilty. Image courtesy of the Queensland Art Gallery and GOMA. Photograph: Natasha Harth, QAGOMA.[/caption] MARGARET OLLEY While it sits on the A Generous Life side of GOMA's ground floor, rather than across the wide hallway in his own section, Ben Quilty's portrait of Margaret Olley is the centrepiece of both exhibitions — a fitting status for a work that won the 2011 Archibald Prize. When he emerged victorious, it was a case of seventh time lucky for the artist. When you take in his painting, it's easy to understand why. Here, the piece gets its own wall, as well as its own space to shine. Making the most of its placement, spending time with it and truly peering at every inch is recommended. You'll not only stare into the eyes of a woman rightfully celebrated as a great of Australian art, but, through his thick, almost sculptural globs of paint, you'll see her through Quilty's affectionate but unsentimental gaze. [caption id="attachment_730005" align="aligncenter" width="1920"] Fairy Bower Rorschach (2012), Ben Quilty. Purchased with funds provided by the Patrick White Bequest Fund, 2012, Art Gallery of New South Wales, Sydney, Courtesy the artist.[/caption] FAIRY BOWER RORSCHACH Comprised of eight panels and taking over an entire wall, this Rorschach-style piece recreates a scenic landscape. Instead of an ink blot, Quilty uses heavy paint, a mirrored composition, and soothing hues of green and blue to depict a picnic spot in Victoria. But the place and the image both hide a darker secret, with the spot reputedly the sight of a massacre in 1834, with Aboriginal Australian women and children killed. That's why Fairy Bower Rorschach doesn't just seem peaceful, but foreboding — and why its central waterfall can't wash away that feeling. A word of warning: it's one of several paintings in the exhibition to use the visual technique, and it's easy to lose track of time while you're standing before them. [caption id="attachment_730004" align="aligncenter" width="1920"] Ben Quilty. Top row: Reza (2016), Gift of Paul Walker and Patricia Mason in memory of Reza; Omid Masoumali (2016), Gift of Paul Walker and Patricia Mason in memory of Omid Masoumali; Omid Ali Avaz (2016), Gift of Paul Walker and Patricia Mason in memory of Omid Ali Avaz. Second row: Ali Jaffari (2017), Gift of Paul Walker and Patricia Mason in memory of Ali Jaffari; Mohammad Nazari (2017), Gift of Paul Walker and Patricia Mason in memory of Mohammad Nazari; Khodayar Amini (2017), Gift of Paul Walker and Patricia Mason in memory of Khodayar Amini.[/caption] LIFE VESTS Sometimes, the simplest things make the biggest statement. For a person searching for refuge in Australia, making the perilous journey across the globe by boat and putting their very existence at risk, a life jacket isn't a simple item; however, to the rest of the world, its symbolism is now well-understood. Known as an Australian leader in activist art, Quilty's series of 12 life vests draws attention to the country's asylum seeker policy. More than that, it dedicates each image to the memory of someone who didn't survive the process, all after making it to the border and enduring what came next. Placed next to each other, this dramatic dozen is disarming by design and demands attention. It shouldn't escape notice that, while they're all grouped together, each vest sits alone in a separate piece, which is how the people who inspired them must've felt at the end of their lives. Margaret Olley: A Generous Life and Quilty are both free and on show at the Gallery of Modern Art, Stanley Place, South Brisbane until October 13. Top images: Margaret Olley: A Generous Life exhibition views at the Gallery of Modern Art (GOMA), Brisbane. Images courtesy the Queensland Art Gallery | Gallery of Modern Art (QAGOMA). Photographs: Natasha Harth / Chloe Callistemon, QAGOMA.
Like show, like trailers: that's the approach that HBO is taking with getting everyone excited about House of the Dragon's return for season two. Fiery feuds are this show's baseline — this franchise's as well, since Game of Thrones was also full of them — so the Targaryen-focused series has scored not one but two new sneak peeks at what's to come. HBO is calling them "duelling trailers", in fact, in a first for the US network. There's also a trailer for the duelling trailers — because this pair of promos is all about getting audiences to choose a side. Given that the green and black councils are doing battle, one for King Aegon II (Tom Glynn-Carney, Rogue Heroes) and the other for Queen Rhaenyra (Emma D'Arcy, Mothering Sunday), the pair of House of the Dragon trailers also split their allegiances. Accordingly, viewers get a glimpse of the tale that's set to unravel from each camp's perspective. Just like winter, which is when House of the Dragon season two will hit Down Under — HBO also announced a Monday, June 17, 2024 premiere date with its new sneak peeks — the Targaryen civil war known as the Dance of the Dragons is coming, then. In the initial teaser for this season, Rhaenys Targaryen (Eve Best, Nurse Jackie) told her niece Rhaenyra that "there is no war so hateful to the gods as a war between kin — and no war so bloody as a war between dragons". Because this is the Game of Thrones realm, expect the events that unfurl in House of the Dragon to make good on that observation. Also returning in season two as the fight for the Iron Throne continues: Olivia Cooke (Slow Horses) as Alicent Hightower, Matt Smith (Morbius) as Prince Daemon Targaryen, Rhys Ifans (The King's Man) as Ser Otto Hightower and Steve Toussaint (It's a Sin) as Lord Corlys Velaryon, plus Fabien Frankel (The Serpent), Ewan Mitchell (Saltburn) and Sonoya Mizuno (Shortcomings). HBO is also adding new faces to the mix, with Clinton Liberty (This Is Christmas) as Addam of Hull, Jamie Kenna (Gran Turismo: Based on a True Story) as Ser Alfred Broome, Kieran Bew (Warrior) as Hugh, Tom Bennett (Black Ops) as Ulf, Tom Taylor (Love at First Sight) as Lord Cregan Stark and Vincent Regan (One Piece) as Ser Rickard Thorne. They join Abubakar Salim (Napoleon) as Alyn of Hull, Gayle Rankin (Perry Mason) as Alys Rivers, Freddie Fox (The Great) as Ser Gwayne Hightower and Simon Russell Beale (Thor: Love and Thunder) as Ser Simon Strong among the season two newcomers. When it premieres in June, House of the Dragon's second season will arrive two years after the first debuted in 2022. Game of Thrones was always going to spark spinoff shows. Indeed, when HBO started thinking about doing a prequel six years ago, before the huge fantasy hit had even finished its run, it was hardly surprising. And, when the US network kept adding ideas to its list — including a Jon Snow-focused series with Kit Harington (Eternals) reprising his famous role, novella series Tales of Dunk and Egg and an animated GoT show, to name just a few prequels and spinoffs that've been considered, but may or may not actually come to fruition — absolutely no one was astonished. So far, just House of the Dragon has hit screens; however, A Knight of the Seven Kingdoms: The Hedge Knight, the Dunk and Egg adaptation, is now due in 2025. WithHouse of the Dragon, Game of Thrones' first spinoff jumps back into House Targaryen's history. When it initially roared into streaming queues, it became an instant success. Accordingly, as it delivered more complicated GoT realm relationships, flowing long blonde hair, dragons, stabbings and fights for power — and plenty to fuel a drinking game, as we created — it was quickly renewed for season two. The series kicked off 172 years before the birth of Daenerys and her whole dragon-flying, nephew-dating, power-seeking story, and gave HBO its largest American audience for any new original series in its history when it debuted. If you're thinking that House of the Dragon is basically a case of new show, same squabbles, as it was easy to foresee it would be, you're right. It's pretty much Game of Thrones with different faces bearing now well-known surnames — and more dragons. If you haven't yet caught up with the show so far, it dives into the battle for the Iron Throne before the one we all watched between 2011–19. Paddy Considine (The Third Day) started the series King Viserys — and it's exactly who should be his heir that sparked all the Succession-style fuss. The words "succession" and "successor" (and "heir" as well) got bandied around constantly, naturally. Also, Australian actors Milly Alcock and Ryan Corr were among the stars. This latest adaptation of George RR Martin's popular fantasy books — based on Fire & Blood, specifically — is bound to continue on for more than just two seasons, but that's all that's confirmed for the moment. Check out the duelling trailers (and the trailer for the duelling trailers) for House of the Dragon season two below: House of the Dragon streams Down Under via Foxtel and Binge in Australia, and SoHo, Sky Go and Neon in New Zealand, with season two arriving on Monday, June 17, 2024. Read our full review of season one. Images: HBO.
If you're a drinker of coffee, it's likely you're already familiar with Joseph Haddad's work. After all, he's the brains behind renowned specialty roaster Code Black, which launched in 2012 and has blossomed to encompass six local outposts. But for his latest project, Haddad's swapped beans for vino, opening the doors to an all-day wine bar and eatery on Flinders Lane. Simply named No. 100, it's drawing on a blend of Euro and Aussie influence, landing somewhere between dining room, deli and drinking destination. Hospitality design studio We Are Humble have worked their magic on the two-part venue, which greets you with a minimalist deli-style space that's primed for perching, then flows through into a chic 20-seat dining area filled with elegant timber panelling and metallic finishes. Drop by the former for a coffee (Code Black, of course), a sweet treat or one of the weekly changing sangas — perhaps starring chicken, stracciatella and rosemary lemon mayo, or porchetta with figs, ricotta and pistachio cream. The adjoining restaurant is plating up an oft-rotating menu celebrating simplicity and seasonality, which works just as well for lunch and dinner as for those in-between grazing sessions. You'll find small plates like baked fig done with honeycomb and mountain pepper ricotta, kingfish pastrami sided with crème fraiche, a chicken paté, and house focaccia served with whipped feta. Duck breast might be paired with pepitas and leek, squid noodles done with silverbeet and a hit of 'nduja, and a Basque cheesecake married with flavours of peach and thyme. There's also a $75 Feed Me option for when you're feeling indecisive. Meanwhile, wine-sippers are in expert hands with a list by Restaurant Manager and Head Sommelier Ellen Reinhardt, who brings experience from her time training at Le Cordon Bleu. Hitting a little differently to your usual wine lineup, this one's championing alternative Aussie varietals as well as spotlighting sustainable producers and a few international gems. A handful of cocktails sits alongside, including the Silver Fox, blending Code Black Coffee Liqueur with rye whisky and hazelnut. Find No. 100 at 100 Flinders Lane, Melbourne. The deli is open from 11am–2pm Tuesday to Saturday, while the restaurant is open 11am–late the same days. Images: Guy Lavoipierre
You demanded it, Australia. After apparently hypnotising the country with The Ghan, a three hour documentary about a train travelling from Adelaide to Darwin via Alice Springs, SBS Viceland has announced it'll be broadcasting the extended edition of the film, which clocks in at a whopping 17 hours. Take that, Return of the King director's cut! The initial three-hour cut — billed as Australia's first foray into 'slow TV' — was a massive surprise hit for the network, drawing an average of 583,000 viewers. That makes it Viceland's biggest hit of the past 12 months. The doco was also widely discussed on social media, with #TheGhan trending nationally last Sunday night. https://twitter.com/mel_laah/status/949940354588999681 https://twitter.com/sgbrens/status/949959735905722368 https://twitter.com/quinnal/status/949932847497846785 https://twitter.com/kplyley/status/949959657530916864 The extended version will air this Sunday, January 14 starting at the bright and early time of 2.40am. It'll feature the entire 2979 kilometres, minus the sections at night when the screen would just be black, which, even by slow TV standards, doesn't sound all that interesting. In the meantime, you can catch up with the (relatively) short version of The Ghan via SBS On Demand. https://www.youtube.com/watch?v=eiG3ipuB0Sw
It's time to shake off those thick coats, unleash the pale winter skin from beneath layers of black and stop worrying that you don't have your umbrella every time you leave the house — because summer is here. Melbourne may be the city of three seasons in a day, but at the first sign of summer sun we flock to the beach, parks, pools and amazing rooftop bars to enjoy a nice refreshing beverage. With so many great drinking options around the city, here are a few top recommendations for a summer tipple to get you in the spirit. Mojito, Los Barbudos Bringing Melbourne one-step closer to the colours and flavours of the vibrant Caribbean country, Los Barbudos are known for their traditional Cuban classics with great daiquiris, the El Presidente and — our top pick — a mojito ($10). Nothing could be more of a classic summer drink. Los Barbudos' version is full of white rum, lime, sugar, sparkling water and mint. You will be shocked at how fast these tasty treats disappear but, with prices this low, why not treat yourself to another one? 95 Smith Street, Fitzroy, (03) 9416 0079, losbarbudos.com.au Hard Iced Tea, Loop Roof A brand new rooftop bar has opened up above the cities favourite video bar, Loop. Officially named Loop Roof it has quickly been affectionately dubbed Looptop (see what we did there?). Looptop's menu features a huge range of top-notch cocktails, though it’s the hard iced tea selection that really shouts summer. Our pick for the best hard iced tea is the awkwardly named, but delicious tasting, Sunset Sparkle ($19) – Wyborowa vodka, pomme verte, T2 lychee sunrise tea syrup, fresh lemon, grapefruit peel and edible gold. Though we had the drink at night and were unable to see any sparkle, we have been told that under sunlight the edible golden spray used over the drink is quite a sight. Each hand-crafted tea syrup is created in house using tea from T2 and features a different ice cube full of delicious ingredients that are designed to melt and release more flavour into your drink as you go. On a side note, make sure you try the alcoholic snow cones (yes, really) with Ketel One vodka, watermelon shrub and lime. It's childhood nostalgia with an adult twist. 23 Meyers Place, Melbourne, (03) 9654 0500, looponline.com.au Red or White sangria, The Night Market We all love the Queen Victoria Night Markets. Sure, it's always overcrowded, but if you're after some of the tastiest food from around the world and free live entertainment — not to mention the people watching opportunities — then this is an event that can't be missed. With so many different multicultural hawker-style street food options available, there is no way anyone could try everything in one night alone (challenge accepted). Luckily for our aching bellies the markets will be operating every Wednesday night over summer. Wash down all that amazing food with a tasty (and huge) glass of sangria ($8). Served out of giant steel drums this is sangria made for the masses. There are two options, red or white and both are delicious. Grab yourself a huge glass, find a comfortable people watching spot near the bands and settle in for a warm summers night. Queen Victoria Market, cnr Victoria & Elizabeth Streets, every Wednesday night 5-10pm, qvm.com.au Vida Fiasco, Loch and Key Hidden above bushranger themed bar and restaurant Captain Melville, Loch and Key may be new but it's quickly making a name for itself as a great late night lounge bar. The space has been fitted out with lots of nooks to hide away in with a cheeky beverage and some good company. If you feel like you need a bit of private space then duck into one of their confessional booths. Our pick for a warm night however is to make your way onto their huge balcony overlooking Franklin Street with a cocktail in hand. Try the smoky Vida Fiasco: Del Maguey Vida Mezcal, fresh passionfruit, agave nectar and lime ($18). Mezcal is such an underrated spirit and gives this drink a lovely smoky flavour, perfectly balanced with the sweet passionfruit and agave. Above Captain Melville, via rear laneway, Level 1, 34 Franklin Street, Melbourne, captainmelville.com.au Campari Spritz, Carlton Espresso Walking down the Italian side of Lygon Street on a warm summers day, it's hard not to see the hordes of cafe-goers staking out prime people watching spots in front of Carlton Espresso. Also known as D.O.C Espresso, this Carlton landmark cafe knows how to make a great coffee — but on warm days all you should think about ordering is a refreshingly chilled Campari Spritz ($10). Served in a deep wine glass you have the fantastically bitter orange liqueur mixed perfectly with sweet Italian sparkling prosecco, a dash of soda and thinly sliced orange. Bellissimo. 326 Lygon Street, Carlton, (03) 9347 8482, docgroup.net Communist Manifesto, Double Happiness If you are after something a little unusual why not head to one of the original hidden laneway bars, Double Happiness. Tucked away down a side street off Chinatown, Double Happiness likes to infuse all their cocktail creations with some Asian-inspired flavour. Imagine chilli, coriander, ginger or lychee mixed with exotic fruits or even added to bubble cup tea cocktails. For the perfect summer drink on a hot day, try their Asian twist on a margarita. The Communist Manifesto – Tromba blanco tequila, tamarind, mandarin, lime and Szechuan salt ($17) has a perfect balance of sweet and salty with a delicious citrus tang that will make it hard to stop at just one. 21 Liverpool Street, Melbourne, (03) 9650 4488, double-happiness.org Pimm's #1 Jug, Madame Brussels Sharing is caring and who can say no to just one more delicious drink? Why not grab a group of friends and make your way up the stairs to Madame Brussels’ revered rooftop garden. Described by the Madame herself (well, the publican at least) as 'a rather fancy terrace and public house', it's hard not to get into the vibe at Madame Brussels. Do yourself — and your friends a favour — and let the lovely bartenders bring you some cucumber sandwiches and a large jug of Pims #1 ($35) to share. Full to the brim with tasty dark-tea colored Pimms, lemonade and an entire green grocers shop of fruits — strawberry, apple, orange, lemons, mint and the all-important cucumber — you can happily sip on it in the sunshine all afternoon. Level 3, 59-63 Bourke St, Melbourne, (03) 9662 2775, madamebrussels.com Pina Colada, Eau de Vie As you would expect from one of the top cocktail bars in the country, this is not your standard pina colada. Literally meaning 'water of life' in French, Eau de Vie have gone all out in reinventing this classic summer cocktail for a more discerning audience. Thoroughly shaken, the delicious chargrilled pineapple-infused Gosling's rum with citrus is then energised with house made pineapple soda and coconut syrup — and the the entire concoction is placed in a great big tiki mug for you to enjoy ($19). Add the stunning atmosphere and some of the top bartenders in Melbourne and you know you’re in good hands. 1 Malthouse lane, Melbourne, 0412 825 441, eaudevie.com.au Top image courtesy of Stewart, Sangria image courtesy of Anita Dabrowski, Campari Spritz image courtesy of Simon Aughton, Pimm's Jug image courtesy of Jessie Owen.
Since 2011, DJ Tom Loud's travelling dance party Hot Dub Time Machine has ripped up stages the world over, offering a rolling crossfade of the last six decades of pop-music. Now, ready to sink his teeth into a new chapter of music-infused revelry, Loud's announced his latest project, Hot Dub Wine Machine — a series of al fresco get-togethers that'll take over four of the country's best-loved wine regions. This Australia-wide tour follows the raging success of Hot Dub Wine Machine's inaugural event, which saw over 6000 wine and music lovers flock to McLaren Vale's Serafino Winery in December last year. This time around, the scenic vistas and rolling hills of Hope Estate in NSW's Hunter Valley, Rochford Estate in Victoria's Yarra Valley, Ocean View Estate in Queensland's Somerset Valley, Home Hill Winery in Tasmania's Huon Valley, and Houghton Winery in WA's Swan Valley (so many valleys!), will play host to the festivities. Each boutique event will run from early afternoon through to after dark, and feature a hand-picked smorgasbord of Australian musical talent. This will all lead into one of Hot Dub's signature sets, which will see audiences dancing their way from 1954 to today, as the DJ mixes an iconic song from each year. Backing up the tunes, expect a careful curation of locally-sourced gourmet eats, craft beer, cocktails, and of course, some sensational vino from these iconic Australian wine regions. Safe to say, it's probably the rowdiest event these wineries will host all year. Hot Dub Wine Machine will take over Home Hill Winery on Saturday, March 4, Hope Estate on Saturday, March 18, Rochford Estate on Saturday, March 25, Ocean View Estate on Saturday, April 1, and Houghton Winery on Saturday, April 8. Tickets are now on sale here. Images: Pat Stevenson. Updated: January 19, 2017.
Between them, Jane Austen, William Shakespeare, JRR Tolkien, Bram Stoker, the Brontë sisters, Virginia Woolf and Sir Arthur Conan Doyle are responsible for a wealth of literary treasures. So are Oscar Wilde, Harold Pinter, William Blake, Charles Dickens, Lewis Carroll, Lord Byron, TS Eliot, Thomas Hardy, James Joyce, DH Lawrence, John Keats, William Wordsworth and Rudyard Kipling, plus AA Milne, Beatrix Potter, Dylan Thomas, Sir Kazuo Ishiguro and Zadie Smith. HOTA, Home of the Arts on the Gold Coast mightn't seem like the usual place to celebrate them all, but it is until the start of August 2025, all thanks to Writers Revealed: Treasures From the British Library and National Portrait Gallery, London. Announced earlier in the year, open since mid-April and running till Sunday, August 3, this exhibition is all about paying tribute to great authors and writers — beyond libraries, bookstores, and your own bookshelf or Kindle. Indeed, getting the chance to revel in the talents behind some of the finest works of literature ever committed to paper in a stunning showcase across a gallery's walls is rare. Writers Revealed is a world-first. What features at an exhibition devoted to wordsmiths? Eager word nerds can see author portraits, plus rare handwritten manuscripts and first editions. More than 100 literary artefacts and portraits span the likenesses of the writers responsible for Pride and Prejudice, Romeo and Juliet, The Lord of the Rings, Dracula, Wuthering Heights, Sherlock Holmes and other masterpieces, as well as texts themselves, with five centuries of literature covered. As the exhibition's full name states, this is a collaboration between the British Library and the National Portrait Gallery, London. If you're wondering why the two institutions are pairing portraits with books, one of the showcase's aims to explore how literature and visual expression are linked. Also in the spotlight: the legacy of influential writers, plus digging into their creative processes. A draft of Dracula, what's thought to be the only Shakespeare portrait to be painted while he was alive, a picture of Austen by her sister, John Milton's publishing contract for Paradise Lost, letters from both Smith and Ishiguro: they're among the highlights that can be found across 1000 square metres in HOTA's Gallery 1. "We are thrilled to collaborate with the National Portrait Gallery on Writers Revealed, a truly unique exhibition that brings together some of the most exceptional objects from our collections. Visitors will experience rare first editions and exquisite manuscripts alongside celebrated portraits of the writers who created them," said Alexandra Ault, Lead Curator of Modern Archives and Manuscripts at the British Library, announcing the exhibition. "Featuring treasures that rarely leave our gallery in London, this major new exhibition will bring HOTA's visitors closer to some of the most-important figures in English literary history," added Catharine MacLeod, Senior Curator of 17th Century Collections at the National Portrait Gallery. "Encountering these displays, visitors will discover what is revealed and what is hidden when life, writing and portraiture intersect." Writers Revealed: Treasures From the British Library and National Portrait Gallery, London displays at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise, Gold Coast until Sunday, August 3, 2025. Head to the gallery's website for further details and tickets.
Yarra Valley wine country is set to score a bold new addition in June 2025, when Levantine Hill Estate opens its ambitious onsite hotel designed by acclaimed architecture firm — and Mona designers — FK (formerly Fender Katsalidis). Once completed, the award-winning winery's boutique accommodation Levantine Hill Hotel will be home to 33 luxury suites overlooking the rolling vineyards Conceptualised to blend seamlessly into the surrounding landscape, the new hotel will be set across two levels, decked out in natural materials and raw finishes to complement the property's existing spaces. That includes the cellar door, fine-dining restaurant and winemaking facilities, which are also the work of FK founder Karl Fender. Suites are set to feature their own living rooms, studies and private balconies, plus eight of them will feature expansive circular baths. Expect lots of polished concrete, rich leather and untreated silvertop ash used throughout. Catering to the wedding crowd, there'll also be a sumptuous bridal suite — named the Optume Suite — complete with its own cellar, bar, open fireplace and dressing room. And if you fancy arriving in style, the hotel will be located just a quick stroll from the estate's helicopter landing area. Guests will also have access to the indoor gym, an outdoor exercise area and a 1.5km walking sculpture track, which winds through the sculpture-filled gardens brimming with over 30 pieces of internationally created sculptures. Complimentary continental breakfast and a fully-stocked mini-bar are also included in every Levantine Hill Hotel stay. But this luxe accommodation isn't the only grand thing in the works for Levantine Hill, with plans for an additional 47-room hotel still in the works. That project will also be brought to life by architects FK, and we will be sure to share further details once they roll in. Levantine Hill Estate's new hotel is set to open in June 2025, at 882 Maroondah Highway, Coldstream. For more information, you can check out the winery's website. Images: FK Architects.
Whether you're devoted to the inner north or firmly believe that west is best, it's easy to get stuck in either bubble. But with the opening of the Metro Tunnel and new stations like Parkville and Ardern, commuting between Carlton and Footscray is more convenient than ever. And with free travel available until the end of January, it's also cheaper. Celebrating this newfound link, much-loved bar and bottle shop Mr West has fizzed up Northwest Connect — a self-guided beer-soaked safari that invites guests to travel between four standout venues across the two precincts. Held every weekend until the month rounds out, transport nerds and beer lovers will find themselves in heaven. Plus, if you collect a stamp from every spot, you'll get into the running to win awesome prizes. [caption id="attachment_902357" align="alignnone" width="1920"] Credit: Georgia Verrells[/caption] So, who's getting involved? Participating venues include Good Measure and The Lincoln in Carlton, while Mr West and Bar Thyme represent Footscray. What's more, each venue will serve a Metro Tunnel food and drink special, thanks to the support of Never Never Distilling Co. and Hop Nation Brewing Co. For instance, Mr West will serve the Never Say Never cocktail, featuring ginache gin, Italian bitters and fermented rhubarb, alongside loaded chips — think Chappy's Pickled Onion chips, smoked chorizo, pickled beetroot and guindillas. Meanwhile, Hop Nation has created the limited-edition Met-Pale just for the occasion, a hazy pale ale with a nostalgic Melbourne transport-inspired design. Time to catch the train? We think so.
Pastels and poop. Step inside Unko Museum: The Kawaii Poop Experience and that's what awaits. The colour scheme is soft and soothing, but the point of focus is literal crap (well, fake versions). If you've ever called something "cute shit" before, those words have never applied quite as they will here. This Japanese-style installation takes its cues from not only Japan's kawaii poop trend, but from the Unko Museum's sites across the nation, including in Tokyo, Hiroshima and Shizuoka. Now, Unko Museum is making its Australian debut in Melbourne — originally slated to open in December 2023, but now adding some adorable crap to summer from Wednesday, January 17, 2024. The focus: "max unko kawaii", aka "the maximum cuteness of poop". Also one of the mains attractions: getting everyone taking snaps and filling their social-media feeds, so expect a heap of pastel emoji-esque shit to fill Instagram. Unko Museum: The Kawaii Poop Experience is split into zones and areas, spanning displays to take pictures of and other inclusions that are more immersive. Think: images of poop projected around the place, snapping selfies with poop props and flying poop, and retro-style games with a poop theme in a space called the Crappy Game Corner. Pastel-hued toilets are also a feature, lined up along a wall under a sign calling them "my unko maker". So are neon poop signs, giant poops, a ball pit where the balls are shaped like poops, poop hats, walls filled with toilet seats, glowing poop lights and a towering toilet-shaped doorway. Plus, exiting through the gift shop here means picking up kawaii poop merchandise and souvenirs. In Japan, as at October 2023, 1.4-million people had flushed the interactive experience into their itineraries. In Australia, Melburnians and tourists who now want to add some poo to their next Victorian visit can expect to spend 30–60 minutes revelling in endearing crap, in a family-friendly experience — because poop is for everyone.
How many ways can Melbourne go dotty for Yayoi Kusama? Everyone is about to find out. The National Gallery of Victoria's big summer 2024–25 exhibition is dedicated to the Japanese artist, complete with a five-metre-tall dot-covered Dancing Pumpkin sculpture in NGV International's Federation Court, plus a world record-breaking number of infinity rooms and other immersive installations, many featuring spots. There'll be polka dots inside and out around the venue, including on the plane trees on St Kilda Road. On Wednesday, November 27, 2024 — in the lead up to the exhibition's run from Sunday, December 15, 2024–Monday, April 21, 2025 — the NGV has unveiled the beginnings of Kusama's latest artwork. A version of Ascension of Polka Dots on the Trees is being staged in Melbourne, with more than 60 trees outside the gallery having their trunks covered in pink-and-white polka-dotted material. The first row has been completed, which anyone in the vicinity can now check out — and by early in the week commencing Monday, December 2, 2024, all four lanes of St Kilda Road in front of the NGV will be brightly wrapped. With over 180 works set to feature, in what'll be the largest Kusama retrospective that Australia has ever seen — as well as one of the most-comprehensive retrospectives devoted to the artist to be staged globally, not to mention the closest that you'll get to experiencing her Tokyo museum without leaving the country — stepping foot inside the NGV will still be mandatory for art lovers. But Kusama is also livening up the road for everyone to enjoy all day and all night long. In the past, including when Ascension of Polka Dots on the Trees debuted at the Kirishima Open Air Museum in Japan in 2002, a red-and-white colour scheme has been used; however, Melbourne has scored its own bold-pink iteration. Ascension of Polka Dots on the Trees is obviously free to view, joining several other artworks that won't cost anyone a cent to see during the exhibition. The aforementioned Dancing Pumpkin is already on display. NGV International's glass waterwall is also going pink, but with black rather than white dots. Kusama's new version of Narcissus Garden, which dates back to 1966 and will feature 1400 30-centimetre-diameter silver balls this time around, is set sit in front of the waterwall and in parts of Federation Court. Plus, the yellow-and-black spheres of Dots Obsession will hang over the Great Hall. Then there's the artist's sticker-fuelled, all-ages-friendly The Obliteration Room, where audiences young and old pop coloured dots everywhere — 'obliterating', as Kusama calls it — to cover an apartment interior that's completely white otherwise. Overall, Yayoi Kusama will step through the 95-year-old artist's eight decades of making art via a thematic chronology. Some pieces hail from her childhood. Some are recent. Her output in her hometown of Matsumoto from the late 30s–50s; the results of relocating to America in 1957; archival materials covering her performances and activities in her studios, especially with a political charge, in the 60s and 70s; plenty from the past four decades: they'll all appear. [caption id="attachment_950480" align="alignnone" width="1920"] Yayoi Kusama, 2022 © YAYOI KUSAMA[/caption] Yayoi Kusama displays at NGV International, St Kilda Road, Melbourne from Sunday, December 15, 2024–Monday, April 21, 2025. Head to the NGV website for more details and tickets. Images: Yayoi Kusama's Ascension of Polka Dots on the Trees, 2002/2024, on display along St Kilda Road, Melbourne for the National Gallery of Victoria's Yayoi Kusama exhibition until 21 April 2025. © YAYOI KUSAMA. Photo: Tobias Titz.
Ice skating is one of those idyllic winter time activities that goes hand in hand with hot chocolates, sitting around a fireplace, and rugging up in coats, gloves and scarves until you're feeling like a big walking ball of wool. With all of that in mind, you can hit a ten on the winter feels scale these cold months with Winter Fest, a fiesta of coldness coming to Moonee Valley in June. First up, take a spin on the Moonee Ponds ice skating rink, which runs from June 30 to July 15. Bookings are necessary, and each session will run for 45 minutes — and when you leave the ring, you'll feel like an ice dancer ready for the 2022 Winter Olympics. There's a whole host more on offer too, like free music events and live theatre at the Clocktower Centre. The Clocktower will also hold $8 movie nights throughout the festival, and there's nothing cosier than a winter night at the movies — especially for less than a tenner.
The end of the world is coming to Mona. Where a library once sat, nothing but sand, water and debris will soon lurk. The Tasmanian gallery is remaining where it is. Dark Mofo is still on the calendar for 2025. And no, after becoming the first museum to receive Wu-Tang Clan's rare Once Upon a Time in Shaolin album on loan earlier in 2024, it isn't dropping the mic and saying goodbye. For a year, however, the inimitable Australian venue will fill part of its interior with a post-disaster landscape, all thanks to a new sculpture by French artist Théo Mercier. Commissioned specifically for the site, DARK TOURISM will display from Saturday, February 15, 2025–Monday, February 16, 2026 in Mona's former library. Using only sand and water, Mercier will create a scene that looks like the aftermath of a disaster — hence the debris — with the piece commenting on humanity's need travel to locations with grim histories, as well as making a statement about planet's changing climate. [caption id="attachment_980537" align="alignnone" width="1920"] Gut city punch, 2023, French Pavillon, Prague Quadrennial 2023. Photo: Ondrej Pribyl.[/caption] "What does it mean to sculpt catastrophe, or to construct collapse? Like others who have painted ruins in the past, DARK TOURISM is about sculpting contemporary ruins, which are also natural disasters," explains Mercier. "Faced with this frozen landscape, humans find themselves at the heart of the devastation, as spectators and consumers. But there's something contradictory about this project, something romantic and utopian at the same time. Because the sand allows the world to tremble and shuffle itself in infinite figures." [caption id="attachment_950179" align="alignnone" width="1920"] Jesse Hunniford. Image courtesy of the artists and Mona, Tasmania, Australia.[/caption] "When Théo was last in Hobart he said he was 'going for a walk'. He walked to the top of kunanyi. He's back, and he'll be doing something just as mad at Mona," added Mona Owner and Founder David Walsh. Crafting DARK TOURISM at the venue, Mercier will be using Tasmanian sand to ponder how people face the worst — in the past and impending — with the tourist trade in Pompeii, Auschwitz, Hiroshima, Paris' catacombs and Port Arthur given as examples of the type of dark tourism that the sculpture will be in dialogue with. "Théo's work is a reminder of the fragile and temporary nature of the world around us, and of life itself," notes Mona's Sarah Wallace, who curated the piece alongside Jarrod Rawlins. "I hope visitors will be drawn in by the intricate detail in this captivating installation, while reflecting on the questions he raises about how we cope with catastrophe." [caption id="attachment_980535" align="alignnone" width="1920"] Théo Mercier, 2023 © Jérôme Lobato[/caption] DARK TOURISM will display at Mona, 655 Main Road, Berriedale, Tasmania, from Saturday, February 15, 2025–Monday, February 16, 2026. Head to the venue's website for more information. Top image: Gut city punch, 2023, French Pavillon, Prague Quadrennial 2023. Photo: Ondrej Pribyl.
Prepare to exclaim "yeah, science!" like Jesse Pinkman — and to see a whole lot more of Aaron Paul's Breaking Bad character. The acclaimed series is making a comeback, cooking up a movie that'll serve as a sequel to the show's finale. In the spotlight: Walter White's former student and protege, who might just be in a spot of trouble. While this follow-up will span a single two-hour package, rather than span multiple episodes, it is still coming to a small screen near you. As revealed by The Hollywood Reporter, it's heading to Netflix before screening in the US on AMC, the network behind the original show. Just when it'll hit the platform hasn't been announced. First revealed last year, the film has a working title of Greenbriar, and begin shooting back in November. Plot details are scarce; however it'll reportedly focus on Pinkman and chart a kidnapped man's escape. It hasn't been confirmed if the former and the latter are one and the same, but it doesn't seem like much of a stretch to put them together. As Better Call Saul diehards are well aware, Breaking Bad has never completely gone away since the OG show wrapped up in 2013; however fans eager to look forward in the show's chronology, not backwards at the early life of Bob Odenkirk's shady lawyer Saul Goodman, have something to add to their must-watch list. There's no word yet on who else will feature in the film — and although Bryan Cranston confirmed the news of the movie, but whether he's in it or what it's about is still the subject of rumour. Via The Hollywood Reporter.
From March to September each year, Aussie Rules football is Melbourne's favourite sport. In April, via a sprawling showcase that marks the NBA's first official global touring exhibition, basketball wants to join in as well. The NBA Exhibition celebrates hoop dreams and all things b-ball, and has just locked in its first-ever visit to the Victorian capital. After premiering in Warsaw, Poland in 2021, The NBA Exhibition bounced into Brisbane in November 2023. Now, from Wednesday, April 3, 2024, it's Melbourne's turn — and to bound through basketball history at the same time. Catnip for fans of Air and Winning Time: The Rise of the Lakers Dynasty, this sports-focused affair is big in scope and size, surveying the culture of hopping onto the court and the lifestyle that goes with basketball, too. Visitors will traverse 1100 square metres and make their way through 20 themed sections. Created with the National Basketball Association, The NBA Exhibition aims to lure in b-ball diehards, casual followers and folks that haven't thought about the sport since their school PE lessons alike — and attendees of all ages. Looking at basketball memorabilia is part of the presentation, but so is throwing a ball around yourself and, thanks to the virtual and augmented reality aspect of the showcase, taking snaps with your favourite NBA players. So, you can get a photo with the Larry O'Brien Championship Trophy, too — aka the coveted prize that each year's NBA Finals' winner receives — and shoot hoops, see how far you can jump and test your reflexes as well. Fancy a picture showing that you can slam dunk, even if you can't? There's a section of The NBA Exhibition for that. Eager to watch NBA highlights using VR goggles? That's also on the agenda. Keen to get surrounded by iconic NBA moments? That's what the infinity room is for. With names like Michael Jordan and Shaquille O'Neal obviously featuring — and Kobe Bryant, Steph Curry, Giannis Antetokounmpo, Magic Johnson and Larry Bird as well — other elements of The NBA Exhibition include a heap of balls and shoes on display; footwear and hand prints from past and present players; art that was commissioned for a pop-up NBA Gallery exhibit in Sydney in 2022, featuring Australian and First Nations artists; and celebrating NBA players that've made the jump from Australia, which is likely to feature Patty Mills, Ben Simmons, Luc Longley, Andrew Gaze and more. The District Docklands will host The NBA Exhibition's debut Melbourne stop. The showcase hails from entertainment platform Fever, which is also behind The Art of Banksy: Without Limits. So far, the latter doesn't have Melbourne dates — but it's in the waitlist stage, so fingers crossed that a local season gets announced soon. The NBA Exhibition will display at The District Docklands, 440 Docklands Drive, Docklands, Melbourne from Wednesday, April 3, 2024 — head to the exhibition's website for further details and to join the waitlist, with tickets on sale on Wednesday, February 21. Images: Muse Marketing and Entertainment.
One of the beacons of light on Melbourne's event calendar in a fairly glum cold weather stretch is the Queen Victoria Market's Winter Night Market. And now it's set to return — and it's bigger and gutsier than ever before. Kicking off on Wednesday, June 5 the market pulls together a global array of eats, a plethora of live entertainment and lots of snow. As always, this year's market promises to not only brighten up your winter Wednesday nights, but to fill your hungry stomachs. The 30-strong lineup of food stalls will send punters trekking across the world, eating the likes of traditional Italian loaded flatbread, churro bowls with oozy hazelnut sauce and vanilla ice-cream and That's Amore's legendary pastas, which are tossed in a parmesan wheel before landing on your plate. The full food lineup is yet to drop, but we'll let you know when it does. Of course, there'll be mulled wine and steaming hot cider to warm your belly and hands as you browse over 50 design and specialty stalls. Top all that off with a dollop of live music, roving entertainment and a silent disco, and you've got one hell of a cosy winter situation. This year, for the first time ever, the Winter Night Market also features a series of Christmas in July-themed nights. For five weeks, every Wednesday from July 3–31, the space will transform into a winter wonderland with a large snow machine, Christmas decorations, a mini forest of trees, carollers and lots of ugly sweaters — wear your best one and you'll win prizes. Among the other festive inclusions, you'll be able to watch live ice-sculpting, drink Brick Lane's Christmas pudding-style take on its Red Hoppy Ale (with nutmeg, cinnamon, clove, barberry, bergamot and vanilla), and sip Mork's beloved campfire hot chocolates. Fancy an eggnog, but without the booze? Newcomer Melbourne Cocoa is whipping up a non-alcoholic version, paired with bite-sized Christmas puddings that come covered in 70-percent dark chocolate. The Winter Night Market will run from 5–10pm each Wednesday, from June 5 until August 28. Christmas in July-themed markets will run from July 3–31. Updated July 14.
If you're looking for a practical gift for your wine-loving dad this Father's Day, look no further than Good Pair Days. This year, the personalised wine delivery service has joined forces with sustainable retailer Manrags to bring you four wine and socks boxes — each of which was created with dad in mind. The man behind the wine offering is Sommelier Banjo Harris Plane (ex-head sommelier at Attica and co-owner of Melbourne's Bar Liberty), so you know you're getting some extra special drops for your pop. If your dad is well into his reds, go for the deluxe box ($164) — which boasts a New Zealand pinot noir, an Italian dolcetto and a Victorian shiraz mencia blend — or the the wine lover box ($123), with a malbec, a Barossa GSM (grenache, syrah and mourvedre blend) and cabernet merlot from Southern Highlands' Tertini. There's also a classic box ($84) and one solely dedicated to shiraz ($39). Along with the extra special bottles, each box also includes three pairs of Manrags socks, which are made from super-soft Egyptian cotton and are printed with funky Australian designs, as well as tasting notes, details on the winemaker, food pairing suggestions and a matching recipe card for each bottle. Shipping is included in all boxes and the packaging is 100-percent compostable to boot. And, for those last minute gift givers, Good Pair Days ships quickly within one-to-two business days. To order one of Good Pair Days' dad packs, head on over to goodpairdays.com. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
When June rolls around this year, Sydney's State Theatre won't be filled with cinephiles. Event Cinemas George Street won't welcome eager movie buffs either, and nor will other picture palaces around the city. Usually, they'd be teeming with Sydney Film Festival attendees; however the fest cancelled its 2020 physical event back in March, when COVID-19 restrictions started coming in. To the delight of film fans, however, SFF is moving online instead. After announcing the digital festival earlier this month, SFF has now revealed its first-ever all-online lineup, in what promises to be a once-off pandemic-only affair. If you're fond of film fests and you live somewhere other than Sydney, you'll be pleased to know that the 67th Sydney Film Festival: Virtual Edition is also streaming nationally, too. While SFF won't be showing hundreds of movies like it normally does, it has still compiled an interesting and engaging roster of flicks — specifically focusing on features by female filmmakers from Europe, Australian documentaries and an array of short films. Moving SFF's regular Europe! Voices of Women in Film program strand online, the digital fest will screen ten new movies by women directors from countries such as Germany, Finland, Switzerland, Sweden, Poland and Ireland. Highlights include Sea Fever, a tense and rather fitting sci-fi thriller that tracks a contagion on a fishing trawler; Force of Habit, an anthology film exploring women's everyday experiences; and Charter, following a mother's actions during a fraught custody battle — as well as documentary A Year Full of Drama, which charts a small-town competition winner who is enlisted to review every theatre production in Estonia in 2018. https://www.youtube.com/watch?v=OFJxW46F0YQ From the Aussie doco selection, ten films will compete for Documentary Australia Foundation Award for Best Australian Documentary, with the annual SFF prize being presented via a virtual awards ceremony this year. Among the contenders, Morgana follows a middle-aged housewife's decision to start starring in her own sex- and age-positive erotic films, while Descent focuses on one of the world's only professional ice free-divers. There's also The Weather Diaries, which sees filmmaker Kathy Drayton charts the effects of climate change on her daughter, musician Lupa J, as she grows up over six years, plus A Hundred Years of Happiness, about a young Vietnamese woman forced to choose between staying in her rural home to care for her parents and moving to South Korea to get married. SFF's shorts range spans another 13 titles, including ten vying for the Dendy Awards for Australian Short Films. Three others specifically hail from screen practitioners with disability as part of the fest's returning Screenability strand. Available to watch for the fest's entire duration, all of the above films are ticketed, starting at $5 for the Screenability shorts package, then costing $14 for a single movie. You can watch everything in either the Documentary Australia Foundation or Europe! Voices of Women in Film package for $99, too, or view the entire lineup — shorts and feature-length flicks — for $199. SFF's virtual program also includes two free components, should you be interested in looking back on previous fest highlights. The festival is one of 20 worldwide events taking part in We Are One: A Global Film Festival, which screens on YouTube from Friday, May 29–Sunday, June 7. As part of the online fest, it's showing Aussie films Mystery Road and Mabo, which you can view at set times without paying a cent. Or, Aussie movie lovers can binge their way through the 40-film Sydney Film Festival Selects collection on SBS On Demand, available from Wednesday, June 10–Friday, July 10. It's a best-of lineup featuring plenty of top titles from previous SFFs, so get ready to revisit Studio Ghibli co-production The Red Turtle, Taika Waititi's Boy, the Greta Gerwig-starring Frances Ha, Aussie comedy That's Not Me and New Zealand's The Breaker Upperers. You can also feast your eyes on Palme d'Or winner The Square, Scandi thriller The Guilty, Turkish drama Mustang and Xavier Dolan's Heartbeats, among other films. The 67th Sydney Film Festival: Virtual Edition runs from Wednesday, June 10–Sunday, June 21. For further details — or to purchase tickets and view the festival's programmed films during the above dates — visit the SFF website. Top image: Sea Fever.
Technology allows us to easily capture what we see and hear, and to share these sensory experiences in photos and soundbites. But so far, our sense of smell has been far less casually reproducible. Designer Amy Radcliffe, acknowledging both the disappointment and value of this, has created a scent "camera" that could make us all into amateur perfumiers. Radcliffe's Central Saint Martins MA thesis project, the Madeleine, is a quaint-looking device that makes use of chemist Roman Kaiser's "headspace capture" method from the 1970s. The Madeleine is like something out of The Jetsons, with hipster appeal provided by the tasteful, white ceramic vacuum casing and terrarium-like funnel. The user places said funnel over the source of the smell to be recorded, and then before his/her very eyes, the smell is sucked through a cute plastic hose into an absorbent resin odour trap. Check out the video to see the process. Resurrecting a sense of ceremony from the pre-digital age, you'd then nip over to the local processing lab with your vial of scent and transform it into a liquid fragrance, much like getting photos developed back in the '90s. Once the chemical signature is decoded, that fragrance is captured forever. What's the imaginative power of a pocket perfumier? Scent is, of course, the most potent memory trigger among our senses. Now there's scope to preserve the unique scent of a loved one, long after they've left your life. Imagine posting your crush the smell of jasmine outside your window (or certain, naughtier things) instead of a mixtape. One day there could even be a SoundHound for smells, as in, "Love the perfume that chick's wearing, what is it?" Whip out your smell-o-cam of the future and find out. Radcliffe is now developing the Madeleine further with fragrance labs. Will our olfactory world be cheapened by oversharing and oversaturation of scents? Or enhanced by our raised awareness of the smells around us? Just as Instagram can tend to make you see life in terms of potential freeze-frames, scentography may sharpen your nose to sniffing out shareable fragrances. Via the Guardian.
Don't be alarmed, but we think super-schmick purveyors of cool Monocle might be staging an artfully curated coup for world domination, with a luxury cafe in the centre of London set to open on Monday. Considering the powerhouse now boasts this, a 24-hour radio station, a formidable online presence, offline stores in London, New York, Hong Kong and Toronto and even an eatery in a Tokyo department store — all in addition to the global affairs and culture print magazine that started the whole thing in 2007 — we're about ready to lie down and submit to Monocle founder Tyler Brúlé's totalitarian regime, inspired by the pursuit of a thoughtful, well-designed approach of life. "We wanted to create a relaxed space for a morning coffee meeting, a lengthy weekend lunch with the papers and a glass of prosecco after work too," said Brúlé of his vision in an interview with Qompendium. Ah yes, all those after-work glasses of prosecco we've been having. The place comes complete with low-hanging industrial lights, enough stark white paint and soothing leafy greenery to rival a sanatorium and embossed napkins that look worth as much as a latte, so who are we to fight it? Via PSFK
Some cocktails feature both gin and whisky. Usually, though, if you're sipping one then you're not sipping the other. That means you're either enjoying the citrus and juniper taste that comes with gin, or indulging in the malty flavour that whisky is so well-known for. Or, you can now opt for Never Never Distilling Co and Sullivans Cove's newest release. The two Australian distilleries have teamed up on a tipple they've named Jennifer, and the South Australian gin outfit and Tasmanian whisky fiends really have combined the best of both worlds. This flavoursome spirit takes its cues from Dutch Genever, which is all about blending malt wine and botanical flavours. The aim here: to make a new concoction that nods to both gin and whisky, and works in cocktails that normally feature either. Taste-wise, you can expect notes of pine fresh coriander, spicy cinnamon scroll and pepperberry. You'll smell malt, toasted cereal and warm spice scents, too and also coriander and juniper. So, it's both rich and fruity — and it's part of Never Never's limited-edition Dark Series. Jennifer also marks the first time that two trophy winners from the World Gin Awards and World Whiskies Awards have joined forces to make to hybrid spirit style, and it's also quite the rare tipple. Only one batch has been made so far, and getting your hands on some will set you back RRP$92 for a 500-millilitre bottle. "We wanted to create something that was generous in flavour and luxurious in mouthfeel that will be appreciated by enthusiasts in both camps," said Never Never Head Distiller Tim Boast. "It was a perfect candidate for a Dark Series release, which are exciting experimentations in flavour that push the boundaries of the spirit category." "Our aim is to present, in the most delicious way possible, the most authentic expression of our ingredients and people," said Sullivans Cove Distillery Manager Heather Tillot. "An innovative mindset is vital for this, and centres around perspective, approach and detail." Jennifer will be available to purchase via the Never Never Distilling Co website from Wednesday, September 15, and from Never Never's McLaren Vale Distillery Door. Images: Meghan Coles.
On-screen, Ali Wong doesn't let go of grudges easily, at least in Beef. In rom-com Always Be My Maybe, she's also been romanced by Keanu Reeves. Tuca & Bertie had her voice an anthropomorphic song thrush, while Big Mouth sent her back to middle school. The American actor and comedian's next project: her current stand-up comedy tour, which has just locked in Down Under dates. Wong is presently working her way across the US and Canada, has also hit up London and Paris, and will head to Australia and New Zealand in July 2024. She's announced four dates, kicking off in Auckland, then jumping over to Melbourne. From there, she'll work her way up the east coast, next hitting up Sydney before wrapping up in Brisbane. Bringing her Ali Wong: Live tour this way comes after a massive 12 months for Wong. It was back in early April 2023 that Beef arrived, getting audiences obsessed and sparking plenty of accolades coming Wong's way. She won Best Actress Emmy, Golden Globe, Film Independent Spirt and Screen Actors Guild awards for playing Amy Lau, who has a carpark altercation with Danny Cho (Steven Yeun, Nope) that neither can let go of — and that changes both of their lives. The series itself, on which Wong was also an executive producer, has earned just as much love — including the Emmy for Outstanding Limited or Anthology Series; Golden Globe for Best Television Limited Series, Anthology Series, or Motion Picture Made for Television; Gotham Award for Breakthrough Series under 40 minutes; Film Independent Spirt Award for Best New Scripted Series; and PGA for Outstanding Producer of Limited or Anthology Series Television. [caption id="attachment_893741" align="alignnone" width="1920"] Andrew Cooper/Netflix © 2023[/caption] Behind the microphone, Wong's comedy career dates back almost two decades, including three Netflix stand-up specials: 2016's Baby Cobra, 2018's Hard Knock Wife and 2022's Don Wong. And, as an author, Wong also has 2019's Dear Girls: Intimate Tales, Untold Secrets & Advice for Living Your Best Life to her name. [caption id="attachment_946689" align="alignnone" width="1920"] Always Be My Maybe[/caption] Ali Wong: Live Tour Dates — Australia and New Zealand 2024: Monday, July 8 — The Civic, Auckland Thursday, July 11 — Palais Theatre, Melbourne Friday, July 19 — ICC Theatre, Sydney Monday, July 22 — Brisbane Convention and Exhibition Centre, Brisbane Ali Wong is touring Down Under in July 2024, with presale tickets available from 9am on Wednesday, March 20 and general sales from 9am local time on Friday, March 22 — head to the tour website for further details. Top image: Andrew Cooper/Netflix © 2023.
Remember the feeling of being pushed on a playground swing and getting so much air you thought you could do a 360 over the top? We indulged in that feeling when we rounded up the best swings ever, but now China have taken things to a whole new level. Not only are they building the "longest and highest" glass bridge in the world, but they're also tacking on three (three!) swings for the ultimate rush of adrenaline and sense of mortality. Game on. The Zhangjiajie Grand Canyon Glass Bridge is located above the — you guessed it — Zhangjiajie Grand Canyon in middle China's Hunan province. Designed by Haim Dotan Architects, the bridge was set to open this month, but has been delayed to include a few cheeky extras. Joe Chen, vice general manager at the Zhangjiajie Canyon Tourism Management Co., told Inhabitat that the bridge will include not one, but three swings. Because one swing is never enough. Obviously. "It's true that we will have a swing on the bridge and it's not a swing but three swings, including one giant swing which has a total length of about 150 meters to 170 meters," Chen told Inhabitat. According to this very dramatic video, the new structure will be the largest glass bridge in the world (note emphasis on 'glass'), standing at 430 metres long and 300 metres off the canyon floor. The video also says the bridge holds ten world records, although it's not actually clear what those records are (especially as it hasn't even been finished yet). The bridge doesn't have a firm opening date, but it could be as early as June or July. Until then, we suggest you start building your swinging technique and nerves of steel. Via Inhabitat. Image: Haim Dotan Architects.
If you're missing travel as much as we are, you're probably spending your days dreaming of faraway destinations — and binge watching every single travel show on Netflix. But, Australian intrastate borders are beginning to open, which means it's time to start planning a local getaway. And we found a way to do this that won't cost you a cent. Surf fashion brand Roxy is giving two Aussies the chance to win a free trip to absolutely any beach in the country. Maybe you could head to New South Wales' Cabarita Beach — Tourism Australia's best beach for 2020 — or The Whitsundays' Whitehaven Beach, which has been named one of the best beaches in the world (multiple times). Whether you're after white sands and sparkling blue waters, secluded spots hidden away from the hustle and bustle or legendary stretches of surf, Australia has it. You just need to choose the beach you want to visit. [caption id="attachment_785976" align="alignnone" width="1920"] Whitehaven Beach in The Whitsundays[/caption] To enter, head over to the competition website and describe, in 25 words or less, your all-time favourite Aussie beach, and what makes it so bloody great. You'll also have to subscribe to the Roxy mailing list, but we reckon that's a small price to pay. If you win, Roxy will organise the flights, accommodation and hire car to your chosen destination — and you'll get a $500 gift card to spend on some new beachy threads. And don't worry about COVID-19 restrictions when choosing your beach — Roxy will honour the prize until it's fully safe to travel anywhere in Australia. The competition closes on Saturday, October 31, though, so best get on it. Roxy's Request a Beach competition run until Saturday, October 31. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
The Red Hummingbird's deck is an oldie but a goodie. Perfect for an after-work drink — without the obligatory staircase hike — simply pull up a swinging basket chair and have a cocktail.
Since 2019, witnessing David Tennant utter the word "angel" has been one of the small screen's great delights. Playing the roguish demon Crowley in Good Omens, the Scottish Doctor Who and Broadchurch star sometimes says it as an insult, occasionally with weary apathy and even with exasperation. Usually simmering no matter his mood, however, is affection for the person that he's always talking about: book-loving and bookshop-owning heavenly messenger Aziraphale (Michael Sheen, Quiz). With just one term and two syllables, Tennant tells a story about the show's central odd-couple duo, who've each been assigned to oversee earth by their bosses — Crowley's from below, Aziraphale's from above — and also conveys their complicated camaraderie. Also since 2019, watching Tennant and Sheen pair up on-screen has been supremely divine. The actors clearly realised it themselves, spending lockdown making comedy Staged as versions of themselves, which they then continued for two more seasons. Great double acts feel like they've always been a twosome. They seems so natural that you expect them to continue the same routine off-screen as innately as breathing. They can be playfully parodied by themselves, as Staged does, and still just as winning. And, they're often the heart and soul of whatever project they're in. Good Omens, which hails from Terry Pratchett and Neil Gaiman's award- and fan-winning 1990 novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch, was always going to be about Aziraphale and Crowley. And yet, including in its second season on Prime Video from Friday, July 28, it's always been a better series because it's specifically about Sheen as the former and Tennant as the latter. In the first season, the end of the world was nigh (the fact that Good Omens debuted the year before the pandemic arrived and life began to feel ominous in reality was pure coincidence). In the show's narrative, Aziraphale and Crowley faced their biggest test yet after observing humans since biblical times: the always-foretold birth of the antichrist and, 11 years later, cosmic forces rolling towards snuffing out the planet's people to start again. Hell, where Beelzebub (Anna Maxwell Martin, The Duke) led the forces, was primed for a fight to claim power. As guided by the archangel Gabriel (Jon Hamm, Confess, Fletch), heaven was up for the fray, too. But in a comedic fantasy involving satanic nuns, witch hunters, prognostications, hellhounds, the four horsemen, seances, and also the simple pleasures of two pals bickering and bantering, the crisis to end all crises was ultimately averted. In the long-awaited second season, neither Aziraphale nor Crowley are beloved by their higher-ups or lower-downs thanks to their thwarting-the-apocalypse actions. One fussing over his store and remaining reluctant to sell any of its tomes, the other continuing to swagger around like Bill Nighy as a rule-breaking rockstar, they've carved out a comfortable new status quo, though, until a naked man walking through London with nothing but a cardboard box comes trundling along. He can't recall it, but that birthday suit-wearing interloper is Gabriel. He knows he's there for a reason and that it isn't good, but possesses zero memory otherwise. And, in the worst news for Aziraphale and Crowley, he has both heaven and hell desperate to find him. Returning for a second season saddles Good Omens with a considerable obstacle: when you've already told the tale that was laid out in print, what comes next? Thankfully, Gaiman is back as executive producer and co-showrunner, building upon his text with the late Pratchett by enlisting John Finnemore (That Mitchell and Webb Look) as his new co-scribe — and with director Douglas Mackinnon (a Doctor Who veteran) again helming every episode. The approach? A mystery, as Aziraphale and Crowley try to discover what's behind Gabriel's terrestrial visit. Gaiman crafts a missing-person search as well, including by the demon Shax (Rams' Miranda Richardson, switching into a new role from season one), and archangels Michael (Doon Mackichan, Toast of Tinseltown) and Uriel (Gloria Obianyo, Dune). Good Omens season two also takes a few sizeable trips elsewhere, spending time with Job (Peter Davison, Gentleman Jack) in the Land of Uz, during the Victorian era when robbing graves was a key way that surgeons advanced medicine and among undead Nazis in the Blitz in 1940s England (Finnemore solely scripts the Job segment, Ten Percent's Cat Clarke the body stealing, and Ghost Stories' Jeremy Dyson and Andy Nyman the zombies.) Also crucial: a few romances, commencing with Aziraphale and Crowley trying to get coffee shop proprietor Nina (Nina Sosanya, His Dark Materials) and record store owner Maggie (Maggie Service, Life) to fall in love by cribbing from Jane Austen and Love Actually filmmaker Richard Curtis. Any future season of Good Omens that purely regales audiences with Aziraphale and Crowley's past escapades would be a certain winner, but weaving such jaunts into season two still works a treat. For all of the show's drawcards — the irreverent battles for the fate of the universe, the heaven-versus-hell hijinks, the gleeful satirising of organised religion, the Paddington-esque aesthetic, the fact that anything and everything can occur (and does) in a comedy about angels and demons — Gaiman knows that Sheen and Tennant are its biggest. Cue more eager digging into Aziraphale and Crowley's bond, and more of Sheen and Tennant bouncing off of each other brilliantly. In the process, cue more unpacking the fact that Aziraphale isn't just pious and dutiful beneath his halo, nor fallen angel Crowley simply evil. And, also cue more examining what Aziraphale and Crowley mean to each other as an ever-wonderful chalk-and-cheese pair. Sheen and Tennant are visibly having a ball again, with both expressing oh-so-much through gazes, glorious line readings and the vibe that sparkles during their patter. They aren't the only ones enjoying their Good Omens stints, with Hamm leaning into his comic side — see also: 30 Rock, Parks and Recreation, Toast of London, Unbreakable Kimmy Schmidt, Curb Your Enthusiasm, The Increasingly Poor Decisions of Todd Margaret, Childrens Hospital, Medical Police, Angie Tribeca, The Last Man on Earth, Wet Hot American Summer: First Day of Camp and Confess, Fletch — with gusto. Richardson is as much of a scene-stealing marvel as she's kept proving since her Blackadder days, Bridgerton's Shelley Conn relishes playing Beelzebub's new guise and Quelin Sepulveda (The Man Who Fell to Earth) is joyous as a daffy lower angel. Indeed, even when season two overtly puts the wheels in motion for a third spin, its cast ensure that too is a great and welcome omen. Check out the trailer for Good Omens season two below: Good Omens streams from Friday, July 28 via Prime Video.
UPDATE, JANUARY 6, 2023: New year, new Moonlight Cinema program, with the outdoor venue's January lineup also filled with highlights. Catch sneak peeks of the Margot Robbie-starring Babylon and British rom-com What's Love Got To Do With It — or check out new Whitney Houston biopic I Wanna Dance With Somebody, Tom Hanks getting cantankerous in A Man Called Otto and the wild true tale that is The Lost King. Plus, January's retro programming includes Twilight, The Princess Diaries, Con Air, Clueless, Magic Mike and the OG Top Gun. So, that's sparkly vampires, 90s greats, royal hijinks, Nicolas Cage, barely clad men and a need for speed taken care of. If nothing says Christmas to you like catching a festive film under the stars, ideally while kicking back on bean beds and eating a picnic, then Moonlight Cinema's November and December 2022 program has you firmly in its sights. The beloved Australian outdoor movie-viewing setup is back for another summer, and it's kicking off with a heap of recent big-name flicks — plus a couple of weeks of the merriest pictures that it can find. Fresh from revealing its dates for the summer 2022–23, Moonlight Cinema has now locked in its first titles, with the openair picture palace heading to Melbourne's Royal Botanic Gardens from Thursday, December 1–Sunday, March 26. The lineup kicks off with Billy Eichner's gay rom-com Bros, and also includes Top Gun: Maverick, Smile and Ticket to Paradise — plus Don't Worry Darling, Elvis and Minions: The Rise of Gru. Yes, there's a throwback session of Grease in the first part of the program as well – because retro flicks are always a big part of this event — and then the festive fun begins. Yes, Elf, Home Alone, The Holiday and How the Grinch Stole Christmas are on the lineup. So is Die Hard twice and Love Actually a whopping three times. To wrap up December, there's also a preview session of Steven Spielberg's new release The Fabelmans, culinary thrills with The Menu and a preview of Australian drama Blueback — plus the family-friendly Lyle, Lyle Crocodile and Whitney Houston biopic I Wanna Dance with Somebody. The rest of the Moonlight lineup will drop month by month. Nosh-wise, Moonlight Cinema will again let you BYO movie snacks and drinks, but the unorganised can also enjoy a plethora of bites to eat from food trucks — perfect, messy treats made for reclining on bean beds. There'll be a VIP section for an extra-luxe openair movie experience, a beauty cart handing out samples, and dogs are welcome at — there's even special doggo bean beds, and a snack menu for pooches.
When you're taking your pet pooch to the park in the cooler months, you want your four-legged friend to look its best and be warm. Yes, all puppers are adorable anyway, because that just comes with the territory. But your furry little woofer is certain to dial up its natural cuteness in a piece from Big W's new winter pet range. Whether your dachshund would look dapper in a cosy knitted vest, your jack russell terrier needs a faux fur-trimmed jacket or your shih tzu could do with an 'Always Snackin' sweater, you'll find it on offer in this new line. It's super-affordable, too, with sweaters starting from $9 and jackets from $15. More than 100 items are currently available (including various sizes and colours), spanning collars, harnesses and leads, as well as cable-knit jackets, tartan jumpers and novelty beds. Yes, if you and your pooch are looking to to go on an 'indoor camping adventure' — we've been WFH for a while now — you can get them a teepee: The fashion and accessory line will add further items throughout the year, too, because even your doggo's wardrobe can change with the seasons. While Big W has dubbed the line its 'petwear', so far it's all for dogs. That said, if you can somehow manage to get your cat into a vest or sweater, then you're well-equipped to slip them into something from this range. Big W's petwear is currently available to purchase online, with contactless home delivery and pick up available.
Everyone needs a holiday to look forward to. With 2025 now officially into its second month, and everyone's Christmas breaks feeling like a lifetime ago, planning your next getaway is a self-care essential. Fancy heading overseas, but not too far, to either laze around on a beach or see some mountainous sights? Enter Virgin's latest sale, which focuses on short-haul international flights. Trips to Bali, Fiji, Samoa, Vanuatu and New Zealand this year just got cheaper — and you've got five days to grab a bargain. So, get your suitcases ready and book that annual leave. Fares start at $439 return, and are available until midnight AEST on Friday, February 7, 2025, unless sold out earlier. The cheapest option is Melbourne–Queenstown return, but you can also head there and back from Sydney for $469. Next comes Brisbane to Port Vila in Vanuatu from $479, while trips to Bali from Melbourne start at $499 and kick off at $509 from the Gold Coast. Or, get to Queenstown and back from Brisbane from $549 — or to Fiji from Sydney for $569, from Brisbane for $589 and from Melbourne for $599. Other deals include Sydney–Bali from $619, Brisbane–Bali from $659 and Brisbane–Samoa from $689. This sale began at 12.01am AEST on Monday, February 3, 2025, with prices covering Virgin's Economy Lite option. If you're wondering when you'll need to travel, these deals are for periods between Monday, February 17, 2025–Friday, December 12, 2025, with all dates varying per route. As always, inclusions also differ depending on your ticket — and, as usual when it comes to flight sales, you'll need to get in quick. Virgin's February 2025 international flight sale runs until midnight AEST on Friday, February 7, 2025 — unless sold out earlier. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Little Lonsdale Street's Caretaker's Cottage has regularly made The World's 50 Best Bars list — coming in at number 23 in 2023 — and is one of our favourite drinking dens in the city. Hailing from bartenders and owners Rob Libecans, Ryan Nordics and Matt Stirling, Caretaker's Cottage is known for being a subtle temple to great drinks. You're not going to find overworked and overly theatric bevs cross the bar here. But you will find the classics done brilliantly, and signature sips made with great care. It's even known for having one of Melbourne's coldest martinis — if that tickles your fancy — and serves a mean Guinness.
John Sugar adores cinema. It makes sense, then, that the Colin Farrell (The Banshees of Inisherin)-led Apple TV+ series about the Los Angeles-based detective loves movies just as devotedly. Sugar is styled like a classic film noir. It splices in clips from the genre's pictures, other Hollywood-set fare and fellow retro titles, swinging from The Big Heat, Kiss Me Deadly, Sunset Boulevard and Double Indemnity to Sherlock Jr and The Thing. It watches Sugar watch flicks. It listens to him drop references to and wax lyrical about them in his evocative narration. It pays tribute to its influences eagerly — and it gives its audience a helluva post-viewing watchlist. Sugar is also set in Tinseltown, going all in on LA noir like many of the movies that it references — and also The Big Sleep, Chinatown, LA Confidential and Under the Silver Lake as well — with its tale of a PI looking for a missing woman. The show's namesake might be introduced in Tokyo, where he has the case of a yakuza gangster's kidnapped grandson to solve, but he spends the bulk of the series in the City of Angels on a gig that his handler Ruby (Kirby, Scott Pilgrim Takes Off) advises against. He can't say no for the ultimate cinephile reason: one of his film idols is doing the hiring. But from the moment that iconic movie producer Jonathan Siegel (James Cromwell, Succession) puts him on the books and in search of his granddaughter Olivia (Sydney Chandler, Don't Worry Darling), Sugar may as well be in a twisty flick himself. A cinema-heavy pedigree behind the lens brings Sugar to streaming queues, too. Creator Mark Protosevich made his debut with the script for sci-fi thriller The Cell back in 2000. Director Fernando Meirelles came to prominence, complete with an Oscar nomination, for co-helming City of God. Executive producer Simon Kinberg wrote Mr & Mrs Smith back when it was a Brad Pitt (Babylon)- and Angelina Jolie (Eternals)-starring movie, not a 2024 TV show, and has a wealth of X-Men titles on his resume. A mystery fan himself, he also produced recent Agatha Christie adaptations Murder on the Orient Express and A Haunting in Venice, executive producing Death on the Nile in-between. Speaking with Concrete Playground, Kinberg notes that this detective series that's also a genre-bender and a love letter to LA noir equally has character study in its list, crucially. "I'm hoping that the audiences fall in love with John Sugar. Definitely feel intrigued, and tense in all the right ways about the suspense and the mystery and the danger of the show — the things that we love about detective stories — but I think ultimately, I hope that they fall in love with how complicated and nuanced and ultimately surprising John Sugar is as a character," he says. "When I think about my favourite television shows — and often my favourite movies, but definitely my favourite shows — it always comes back to character. And I believe that the construction of John Sugar with the portrayal by Colin is something that will grip audiences and make them love the show." Sugar might be at the heart of the series, naturally, but there'd be no Sugar without Ruby. In the show's second-billed part, Kirby adds to a killer resume that's also no stranger to detective tales thanks to 2019's fourth season of Veronica Mars. The Good Place, Why Women Kill, Love, Killing Eve, Hacks and Barry all sit among her past credits — but none had her basically playing a take on a legendary page and screen character. "I was really excited by Ruby. I was excited for Ruby before I even read about Ruby. Ruby was pitched to me as 'Ruby is to Sugar what M is to James Bond', and I felt like I loved that description of that relationship, because I knew that it would be a relationship that was layered and that had shifting power dynamics, but also was strong," she tells us. We chatted with Kirby and Kinberg about the eight-part first season of Sugar, which is available to stream in full now. On the agenda: their initial responses to its premise, which isn't afraid of twists, surprises and veering into science fiction — and also Farrell leading the show, what keeps drawing people to mysteries, the research that goes into playing the righthand woman to a PI, what gets them each excited about a new project and more. On Kinberg and Kirby's First Response to Sugar's Genre-Bending Angle on Detective Stories Simon: "Mark Protosevich, the creator of the show, had written the first script. And so I read that first script and was just so drawn to a lot of things, but primarily Sugar himself as a character. I loved the combination of this chivalrous, strong, capable leading man side with this vulnerable, human, innocent, kind side, too. I just thought that mashup between different elements was really interesting. Then I liked a similar mashup within the tone between classic Hollywood storytelling, like very film noir, obviously detective storytelling, with something fresh and new and different and bold. So I fell in love with the pilot script, and we got involved at that point, and then brought in Colin and then brought in Fernando, and then built the whole show. But yeah, it was just reading a script where I felt like 'this is a voice and tone and character I haven't seen before'." Kirby: "I actually read the script after I had been cast in the role, so I came into this project with blind faith, which is daunting. But I think that knowing the creatives involved, it felt like a calculated risk. I knew that Colin was attached to it. He was attached to it as an EP and as an actor before I before I became part of the process. And knowing his body of work — I've watched Colin for a very long time, and I think that he is an actor that does incredible work. There's incredible quality and passion there. But at the same time, there is such diversity in the roles he's taken. So I knew that this would be a project that, if he put his name on it, it would be something that would be really exciting and really new. And then knowing that this would be a neo-noir, that piques your interest, because it's not every day that you tackle that, that there are people that can tackle such a huge concept. It's very high-concept to be able to do a noir, but then to make it feel contemporary, to make it contemporary, to have it tackle contemporary issues and have a contemporary cast. And then on top of that you layer in a brilliant director like Fernando Meirelles, and I think that you have a winning formula. So whether or not you've read the script, I think that it's a project that you can get behind very early on." On Casting Colin Farrell as Sugar — and Finding a Rhythm with Him On-Screen Simon: "He was one of the first people we thought of for it because he does have that duality in in himself as a man and in his work as an actor — which is, he is very leading man and gorgeous and charismatic and witty and strong, and yet he's also vulnerable and human and flawed and fragile and sweet and innocent. That is who Colin is as a person, and it is what he brings to the character of Sugar. And he read the script and and flipped out for it as well. We met with him and immediately could see that he not only could do it as an actor, but had a natural affinity for it as a person." Kirby: "Colin is very personable, he's amiable, he's incredibly generous as a human and that really translates when you start working with someone — because the easier your chemistry is off screen, the better it will be on screen, I have found. And so for me, I think just having a really good rapport with him —we spent a lot of time there, and the majority of my scenes are either alone or with Colin — just spending long days together, in your down time you're chatting and things like that, and I think that lends itself to what you see on screen." On Working Through the Layers to Ruby's Relationship with Sugar Kirby: "I think that they have a really beautiful relationship. They have a deep connection. They've known each other for a very long time. There is a lot of trust and care and love there. But at the same time, it's a relationship that is complicated, which it is always is complicated when you are in a relationship that is both professional and personal. You find that that adds an additional layer to a friendship that not everyone has experienced, and doesn't always understand how complex that can make certain decisions." On Kinberg Being a Detective and Mystery Fan, and What Appeals to Him About the Genre Simon: "I grew up reading detective fiction. Sherlock Holmes and Agatha Christies were huge for me when I was a kid. And then ultimately more hard-boiled writing like Jim Thompson, James Ellroy, that whole generation of crime writers. I think there's a few things. One is I am someone who genuinely struggles with OCD, and there is an OCD element to detectives where they are really good at, and sometimes overwhelmed by, seeing clues in everything. So they're very attuned to the details of our world, which is something I live through. So there's that element. But the other part of it is, even when I was a kid, I looked at the world — and the world was even more this now — but I looked at a world that was chaotic, that had a lot of disorder in it. And I loved the idea that there was this sort of angel of restoring order. That detectives were there — and where, out of the chaos and muddle and mystery of life, they found order and they found truth. So that for me was always part of what was compelling about detective stories: that at the very end, there was going to be an answer, and it was going to be objective. And if you were clever and you paid attention, you could arrive there with the detective." On Thinking About Why People Are So Drawn to Mysteries While You're Making a Mystery Kirby: "I am guilty of it myself. I am very drawn to a mystery and to a documentary and a thriller, and things like that. But I think part of that is because there is so much that is unknown in our world, both on a huge, cosmic level, but also on a personal level. And I think that uncovering a mystery and figuring things out gives you a sense of control in a world that I think can feel often quite chaotic and quite out of your control. So I think that why people gravitate towards these stories is it feels very satisfying to ask a question and get a definitive answer. And these shows present something, there's a question, there is a mystery afoot, and when you figure that out you find the answer — and there is absolutely something that is completely gratifying for audiences in that." On the Affection for LA Noir and Classic Cinema That Sugar Splashes Through Its Frames Simon: "It's a huge part of the DNA of the show, this love letter to classic American cinema, specifically film noir stories. It was in the script — not the clips, the clips in the show were something that Fernando Meirelles and his editor Fernando Stutz [The Sympathizer, which Meirelles also directed episodes of] discovered in post. In the edit, they actually just started inserting these clips into it and it brought even more life into the show and made what was implicit in its homage very explicit. So yeah, it's a huge part of the show. It's a show that's for cinema lovers, but it's also for people that maybe don't know this genre of film and can discover it and learn about it by watching the show, and maybe it'll have them delve back into those classic movies. It was something that excited all of us because you were cutting to these old clips from old movies while juxtaposing them with something really modern and really new. And that juxtaposition, that dance between the old and the new, is very much at the core of the show." On the Research That Goes Into Playing the Righthand Person to a Private Detective Kirby: "For me, a lot of the research was researching the genre, because I am familiar with film noir but I don't have this film school encyclopaedic knowledge of the genre. So it was really helpful for me to take suggestions from Mark, and go in and watch Chinatown — and I had a book that was given to me at the beginning about the history of noirs and some of the biggest touchstones within that genre. That was really helpful, because I think once you start to know the tropes and the archetypes in that world, you can also start to subvert those characters and make them contemporary." On What Gets Kinberg and Kirby Excited About a New Project Simon: "A great character. It's always a great character. Sometimes people ask me this and I'll be like 'what would get you excited if you were at a party and you met somebody, a new friend, a new partner, whatever it is? You met somebody that you wanted to see again, they got you excited, and you went told your friends the next day — I just met this great woman/man/person last night'. It's the same thing for me when I read something or I hear about something, I'm like 'oh, that's an exciting person I just met and I want to spend more time with that person'. Because it's a lot of time that you're investing. Whether it's a feature or or a show, it's years of your life. So it always starts from character for me." Kirby: "Good storytelling gets me excited about a role. Creative people, creative collaborators get me really excited. So coming into a project where I know the way people work and I've seen their work, like this — I don't have to have seen this type of thing from the creators, I just have to have seen something that gets me excited. In this, knowing Fernando was attached, and being such a huge fan of City of God and his previous work, got me so excited. I think that sometimes we are in dire need of just good simple stories that that show genuine human connection — and then you can add all the other layers on top of it and that just serves to heighten the experience." Sugar streams via Apple TV+. Read our review.
A two-week exhibition at Melbourne Town Hall will shine the spotlight on nine unique women who helped shape Australia as we know it today. From the heroic exploits of WWII nurse Vivian Bullwinkel to the compassionate work of homeless and youth activist Rebecca Scott and the groundbreaking achievements of Deborah Lawrie (who became the country's first ever commercial pilot), the Her Place Pop-Up Exhibition will combine numerous multimedia platforms in order to celebrate the enormous accomplishments Australian women have made. In addition to the nine profiles, the pop-up will provide a home base for a number of public talks, on topics ranging from women in sport to the impact of domestic violence. Visitors will also get their chance to share their ideas for a Her Place museum, an educational women's space the organisers hope to set up permanently in Melbourne.
Before our always-on devices and the internet meant that everyone could discover almost anything in seconds, how did anyone know about spectacular surfing spots that weren't in their own backyard, or near enough — and about what people were doing on those waves? When the sport was just becoming popular in Australia in the 50s, taking advantage of the fact that this is indeed a nation girt by sea, how did word of where the best breaks are spread, and the latest techniques? The answer to these questions sits at the heart of Australian documentary You Should Have Been Here Yesterday. To be exact, the solution to sharing tips on where and how to hit the waves provides the bulk of the film. By rustling up 16mm cameras however they could, the era's surfers shot their own footage, then screened the results far and wide to eager crowds. Filmmaker Jolyon Hoff — also a surfer — now splices his latest feature together from such material. First, he made another surfing-related film — and if it wasn't for 2009's Searching for Michael Petersen, about one of the country's legends of 70s surfing, You Should Have Been Here Yesterday wouldn't exist, either. "It all started with that film. I was a film student when I first started making that film — and Michael Peterson was the ultimate iconic mythological character of 1970s Australian surfing. But when I went to make the film, he was also schizophrenic and whenever he saw a camera or an interview, he couldn't talk to people, he couldn't be around people, he found that very difficult," Hoff tells Concrete Playground. [caption id="attachment_981744" align="alignnone" width="1920"] Steve Otton[/caption] "When you're setting out to make a film about someone like that, you've got to find some footage — and you've got to find some surfing footage. You can't show the rubbish stuff because it's the icon, he's this mythological character. So that journey took me to Dick Hoole's garage up behind Byron Bay," Hoff continues. Inside, he went into one of the surf photographer and fellow filmmaker's rooms, which was filled with 16mm films and surfing paraphernalia. "And we found some footage of Michael, but that whole time — and this is what, 2007, maybe 2008? — I was looking around at all these other film reels and thinking 'wow, I wonder what other gold is hidden in those?'. So that's where the kernel of the idea began." More than a decade and a half later, You Should Have Been Here Yesterday weaves that rediscovered gold into a cinematic poem that takes inspiration from non-surfing docos Moonage Daydream and Mountain. As Bret Morgen's stunning David Bowie tribute and Australian director Jennifer Peedom's ode to towering peaks both are, it's also designed to be as immersive as a movie can be. The best surfing films can't replace the real-life experience, of course, but they can make you yearn to catch waves yourself — or to see them ebb and flow in front of you with the naked eye. They also give non-surfers and surfers alike a close-up look at one of the planet's great joys, and ensure that a quote from Point Break always rings true: "surfing's the source, it'll change your life". [caption id="attachment_981743" align="alignnone" width="1920"] Hamish Ludbrook[/caption] Australian lives were changed by surfing, and Australia was as well, as You Should Have Been Here Yesterday explores via its gorgeous restored footage. As clip after clip of waves rolling across the Aussie coastline fills the screen, scratches and other markers of the material's heritage still visible, voices give the imagery context. Morning of the Earth director Albe Falzon, surfer and surfboard shaper Wayne Lynch, 1993 Women's World Champion Pauline Menczer, author Tim Winton and others get talking. The documentary covers how jumping on a board became the nation's new youth culture, the response to the filmed material at the time, how surfing connected the land Down Under to the world, the sport's local commercialisation, the reaction to women riding the waves and more. You can also see You Should Have Been Here Yesterday as compiling examples of behaviour that's oh-so-familiar today: people taking the art of capturing their experiences, and of sharing stories as well, into their own hands. They filmed waves; today, anyone with a phone can record anything. We chatted to Hoff about that, too, and about making movies about surfing, why surfing has such big-screen appeal, his inspirations, retaining the imperfections in the imagery and what surfing culture means to Australia. [caption id="attachment_981747" align="alignnone" width="1920"] Andrew McAlpine[/caption] On Getting Into Making Documentaries About Surfing and Australian Surf Culture "I'm a lifelong surfer, and then by trade I'm more of a filmmaker — I'm a filmmaker who surfs rather than a surfer that makes films. With Searching for Michael Peterson, I was fascinated by the idea of heroes and legends, and what it is about these people that captures our imagination, that we just become so enamoured about this person and somehow project all of our ideas onto that person. So that film was really about heroes and myths, and why we're drawn to these kind of people, troubled people in particular. This film, You Should Have Been Here Yesterday, it was a little bit different. It was a bit of a response to something that I feel. Well, it's a few things. I feel that surfing undersells itself in a whole lot of ways. So back in the 60s and 70s, surfing was the leading youth culture, and youth culture was part of this movement within Australia where everything was changing. Everything was shifting as a country — modern Australia, I'm talking about — we were becoming more confident, we're starting to do things for ourselves, making our own films, our own art movement, the Australian film industry began. And surfing was right there at that moment. [caption id="attachment_981746" align="alignnone" width="1920"] Bob Evans[/caption] We were a leader in so many things that are now deeply part of the Australian cultural DNA — when we headed up the coast and experimented with not working for the man, and healthy living and connecting to country, connecting to nature. Beginning to explore Eastern philosophies and different ways of living, all of this was part of surfing. And surfing was there, because the young people were so desperate to go catch waves, it was there before the hippies and before a lot of those other more well-known movements. So in one way, I wanted to remind surfers who we are and how important that was as part of a shift in modern Australia — and maybe remind the rest of the world to look back at that time in Australia, a beautiful time in Australia. It feels to me like an adolescent period of Australia. There was this freedom, but also this naivety, like an adolescent — full of energy and going everywhere, but we made some mistakes. At the same time, there were beautiful things about that period. I'd like maybe as Australia moves forward to look back and go 'what was brilliant, what was fantastic about that that period in Australia?'. So that was the motivation behind this film." [caption id="attachment_981750" align="alignnone" width="1920"] Steve Otton[/caption] On the "I Need to Make This Movie" Moment with You Should Have Been Here Yesterday "I think it gestated a long time. I must have thought about that moment when I was in Dick Hoole's garage in 2007 and 2008, thinking what other gold is on those film reels. Film technology became better, so you could go back and rescan that old 16mm film. I became a father, I've got teenage children, my interest in that generational change and how information is transferred across generations became stronger. I think these ideas are just always kicking around in the brain and little pieces pop together. The first moment would be would be Dick Hoole's garage, and the idea that maybe there's some gold, some really important pieces of Australian history, in those film real scattered around his garage. [caption id="attachment_981754" align="alignnone" width="1920"] Andrew McAlpine[/caption] And it is important. It was important. Those surf filmmakers that went out and started filming their mates, their friends, that was the first time kids started filming themselves, ever. Before that you would have seen ABC, channel networks, Channel 9 or whatever it was, government propaganda — that was the only film footage you saw. And this was kids going 'we're not interested in that bullshit. This is what we think is important. This is what we think is invaluable'. Then they got their hands on cameras, and at great expense and great lengths, to film those moments, whether it's surfing or life or what their friends were doing. And that's the process that's gone through until now. You see now that kids everywhere, whatever they're doing, they're filming their friends and they're sharing it with each other. And that whole conversation is taking place. So they really changed the landscape, and it was part of this process of change in that mediascape that's just continuing at at a rapid rate now." [caption id="attachment_981748" align="alignnone" width="1920"] Alan Rich[/caption] On the Appeal of Surf Films as a Genre — Especially on the Big Screen "It's just beautiful. It's just incredible shots. There are a whole lot of things within those early surf films that, to me, are everything that film is about. So in those days, you couldn't see surfing anywhere else. So if you're a surfer and you're in New South Wales, you want to know what the Queenslanders were doing or what was happening in Hawaii, you had to go to the surf film — you couldn't see it anywhere else. So in that way, it became the way that we shared stories and transferred information. [caption id="attachment_981751" align="alignnone" width="1920"] Esta Handfield[/caption] Then those kids from New South Wales would see what somebody's doing in Hawaii, and then they try and copy it, and then they'd come out with a new way, and then that film would go back. And so, along with the conversation, it became really important as a community-building exercise — and cinema as a community-building and information-, knowledge-sharing kind of place. To me, that's what storytelling and filmmaking is all about: bringing us together around these stories. But surfing specifically, you've got giant waves, you've got water, everything's moving all the time. It's like one huge, giant special effect. If you can have a giant wave 50-foot high on the screen in front of you and it comes crashing over you, it's still just an amazing, visceral feeling. [caption id="attachment_981760" align="alignnone" width="1920"] Andrew McAlpine[/caption] Surf films are a genre. This film is more of an experimental form than your standard surf adventure film. But surf films as adventure films do have a genre. They're about escapism. Surfers left the cities in Australia in our film in the 50s and 60s to go and explore new ways to live, and I think that still there's a yearning to be out there in nature, and to be enveloped by nature and to be free. So much of our lives is driven by work and consumerism, and we're always constantly being put in a box, that you have to behave like this and that, and follow this rule and follow that rule. And surfing and catching waves, and other adventure sports as well that have grown from this, just provide this opportunity to feel free of all of that, and to be connected to nature and connected to the world in those place, rather than stuck in these regimented boxes that so many of us find ourselves in." [caption id="attachment_981753" align="alignnone" width="1920"] Dennis MacDonald[/caption] On You Should Have Been Here Yesterday Taking Inspiration From Moonage Daydream and Mountain "Because we had all of this archive footage — we had 150 hours of archive footage, and it was all beautiful. And so we wanted to, like Moonage Daydream and Mountain, we wanted to get at an idea. Mountain is using absolutely stunning footage to get at an idea of why are we drawn to the mountain. Why are you drawn to climb a mountain? It's a madness in many ways. Why would you do that? It's dangerous. You could die. It's cold. I don't climb mountains, but it was trying to get at the idea of what it is that draws us to these places. And so in that way, Mountain by the incredible Jen Peedom, an amazing Australian filmmaker, inspired us. And then Moonage Daydream, just the form, that was just so radical — that form of 'hey, you don't need to have talking heads. You don't need somebody to come up and tell you what to think at any one moment. You can just sit back and absorb a film'. Moonage Daydream is an experience. It was a cinematic experience. You come out of that and you're jingly jangly — you're like 'what did I just see?'. [caption id="attachment_981761" align="alignnone" width="1920"] Bob Evans[/caption] I was really hoping to get that feeling of surfing across, and that idea of being in nature and being connected to the world. So Moonage Daydream really gave us the confidence that we could do this film. For the first 90 percent, 95 percent of the film, there's no talking heads. It's just footage and voice. And I love that everybody in the audience takes their own journey through the film. It evokes something in them. They're not told 'this is what you should be thinking now. This is the moment'. Usually the talking head comes up and tells you 'well, that was a really great moment, we were all amazed'. I don't want to be derogatory, it's a really great filmmaking technique, but I wanted people to take their own journey through it and experience it. I tried make an experiential film." [caption id="attachment_981755" align="alignnone" width="1920"] Bob Evans[/caption] On Retaining the Imperfections in the Restored Footage So That It Really Does Look Like a Treasure Trove of Material On-Screen "We love it. It was too much to fix it all up, and then why would you? It would have cost a fortune and taken years. And I love that idea of everything not being perfect. Some of the most-imperfect footage is some of my favourite, actually — some of the scratchy stuff that you can just barely see. I think those imperfections speak to where it's come from — that it was lost and it was made by essentially amateur filmmakers, and it was made by kids. And they went out there and they gave it a good shot. It wasn't polished. It was innocent and naive, the films. It was innocent and naive times. And then the footage, this is what we've managed to capture. [caption id="attachment_981757" align="alignnone" width="1920"] Dick Hoole[/caption] So I really just adore those imperfections. Maybe it's getting older or something, and I go 'oh well' — and I look around at all the older people around me, and I think we're all, once we've been through things, once we've been on journeys, we all collect all these imperfections along the way. The footage is like that. We love it, and we couldn't do anything different. So we cleaned it up. Kade [Bucheli, who also worked on Hoff's 2022 documentary Watandar, My Countryman, about former Afghan Refugee and photographer Muzafar Ali] spent 14 months scanning. And literally the process, it's a physical process — like white gloves and cleaning it, and fixing splices, and then maybe a little bit of a certain solvent. But that was it. And then when we got it as good as we could physically, then we scanned it, and went 'well, we've given it love and care'. [caption id="attachment_981758" align="alignnone" width="1920"] Bob Evans[/caption] It feels as it should to me. I've seen some films that have been restored. What they do with surfboards now, the analogy is maybe surfboards — they fix up the old surfboards, and then sometimes they fix up the old surfboards to the point that they look brand new. And then everyone goes 'oh, it just looks brand new. I loved that little ding or that little bit of discolouration or that mark that it had'. So I think it's like that. And I've seen that in some restorations as well, that it just ends up looking like any old digital kind of modern-affected piece, and you're losing something that's now a part of that artefact. Those blemishes now belong to that footage. They are what that footage is now." [caption id="attachment_981759" align="alignnone" width="1920"] Alan Rich[/caption] On What Surfing Culture Both Means to Australia and Says About Australia "I don't know what it means to Australia, but what I think about is that — I'm talking modern Australia, we came over here and then really post-Second World War, we started to get more confident, and that's when the kids decided they were going to head out of the cities. And they found these beautiful places up and down the coast, and around Australia. And then they came to them to surf, to ride waves. But I have begun to think — I'm really interested in this idea of connection to Country. And I see that surfers are getting more and more connected to these places. They revere these places. We go on pilgrimages to these places. We love these places. And I sometimes question whether it's the land, this ancient land that we find ourselves on, calling us to come — and to come to us. Because surfers, we don't go there to farm it or to make money or anything. We go there to have joy, to meet friends, to have beautiful times together. Or maybe for solace, to dive into the water and wash away our difficulties. [caption id="attachment_981752" align="alignnone" width="1920"] Andrew McAlpine[/caption] So I think it's a part of the process of this country beginning to speak to us as a people, as a modern Australian people, and draw us away from that really big British empire or imperialist force that keeps us really locked into these very regimented lives. Surfing's been a leader culture in a lot of different ways, and I feel that maybe in this way, maybe in the most humblest of senses, maybe it's the beginning of a connection to Country that Indigenous people have had for 40,000, 60,000 years. And maybe it's the beginning of us being able to understand what maybe a sacred site means, or what maybe it means to be connected to Country. So I think it's a little window into that. But it could be a whole lot more, a whole lot of other things as well." You Should Have Been Here Yesterday opened in Australian cinemas on Thursday, November 21, 2024. Top image: Dick Hoole.
Plastic shopping bags might seem to last forever, but Australian's reliance upon the pesky, flimsy carriers has an expiration date. In a massive move for the industry — and a huge hug for the environment — the country's supermarkets are ditching single-use plastic bags from 2018. Three grocery chains have announced that they'll be banning the bag: Woolworths, Coles and the New South Wales-based Harris Farm. The big two will phase out plastic bags over the next 12 months, with Woolies' plans also including Big W and BWS, while Harris Farm will remove them from checkouts by January 1, 2018. Rather than offer shoppers free carriers, the supermarkets will sell thicker, reusable options for 15 cents per bag. The move will impact Woolworths and Coles locations around the country — bringing New South Wales, Victoria, Queensland and Western Australia into line with South Australia, ACT, the Northern Territory and Tasmania, where state-wide plastic bans are already in place. Over at Harris Farm, their range will also include single-use paper bags, as well as the free cardboard boxes they've been providing to customers for the past decade. Getting rid the ever-present items everyone has too many of is just the latest example of Aussie businesses putting the planet first, rather than prioritising convenience, money or simply maintaining the environmentally unfriendly status quo. Brisbane's Crowbar banned plastic straws last year, Closed Loop has been trialling ways to recycle takeaway coffee cups, and reusable coffee cups have been gaining popularity all over the place — with some cafes offering discounts, and others banning disposable containers completely. Via the ABC.
If you didn't have a great time watching some of cinema's many sequels, remakes and riffs on well-known characters in 2023, you weren't alone: franchise fare and flicks linked to familiar figures scored big among the nominations for the 44th Golden Raspberry Awards. These annual accolades include a specific category for Worst Remake, Ripoff or Sequel, but perusing its current list of contenders means seeing titles that continue sagas and the like everywhere — including all five movies vying for Worst Picture. Up for the award: The Exorcist: Believer, Expend4bles, Meg 2: The Trench, Shazam! Fury of the Gods and Winnie-the-Pooh: Blood and Honey. Among the rest of the fields, they have company from Fast X, Magic Mike's Last Dance, Ant Man & the Wasp: Quantumania and Indiana Jones and The Dial of Destiny. As everyone already knows, last year was a great year to be Barbenheimer, which showed that films that weren't follow-ups could amass a massive audience. The same can't be said for movies that arrived with a been-there-done-that vibe already baked in. Obviously, not all flicks can be excellent. Some are, and gongs like the Golden Globes and Oscars reward them accordingly. For those that aren't, the Razzies make its choices — and from 2023's releases, Expend4bles leads the way with seven nominations, including for Worst Supporting Actor (Sylvester Stallone), Worst Supporting Actress (Megan Fox), Worst Screen Couple (for any two "merciless mercenaries"), Worst Director (Scott Waugh), the aforementioned Worst Remake, Ripoff or Sequel, and Worst Screenplay. If you're wondering where Fast X was recognised, Vin Diesel received a Worst Actor nod. Magic Mike's Last Dance picked up nominations for Worst Actress (Salma Hayek) and Worst Screen Couple (Hayek with Channing Tatum). Ant Man & the Wasp: Quantumania has two contenders for Worst Supporting Actor in Michael Douglas and Bill Murray — plus director and sequel — and Indiana Jones and The Dial of Destiny pops up in the sequel and screenplay camps. Among the other big-name actors, Chris Evans and Ana de Armas are on the list for action-comedy Ghosted, and so is Russell Crowe for The Pope's Exorcist (exorcism movies were big in 2023, and with the Razzies). Helen Mirren and Lucy Liu got the nod for Shazam! Fury of the Gods, Jennifer Lopez for The Mother and Jason Statham for Meg 2: The Trench, while Megan Fox picked up a second nomination for Johnny & Clyde. Sometimes, films receiving the Razzies' attention also earn some Oscars love, as Elvis and Blonde did last year. That seems less likely in 2024, but the Golden Raspberry Awards are always timed to make the comparison. Its nominations drop the day before the Oscars do the same and, when it anoints its winners on Sunday, March 10, Australian and New Zealand time, it'll also do so the day before the Academy Awards ceremony. Check out the full list of Razzie nominees below: Golden Raspberry Nominees 2023: Worst Picture: The Exorcist: Believer Expend4bles Meg 2: The Trench Shazam! Fury of the Gods Winnie-the-Pooh: Blood and Honey Worst Actor: Russell Crowe, The Pope's Exorcist Vin Diesel, Fast X Chris Evans, Ghosted Jason Statham, Meg 2: The Trench Jon Voight, Mercy Worst Actress: Ana de Armas, Ghosted Megan Fox, Johnny & Clyde Salma Hayek, Magic Mike's Last Dance Jennifer Lopez, The Mother Helen Mirren, Shazam! Fury of the Gods Worst Supporting Actor: Michael Douglas, Ant Man & the Wasp: Quantumania Mel Gibson, Confidential Informant Bill Murray, Ant Man & the Wasp: Quantumania Franco Nero (as The Pope), The Pope's Exorcist Sylvester Stallone, Expend4ables Worst Supporting Actress: Kim Cattrall, About My Father Megan Fox, Expend4bles Bai Ling, Johnny & Clyde Lucy Liu, Shazam! Fury of the Gods Mary Stuart Masterson, Five Nights at Freddy's Worst Screen Couple: Any two "merciless mercenaries", Expend4bles Any two money-grubbing investors who donated to the $400 million for remake rights to The Exorcist Ana de Armas and Chris Evans (who flunked screen chemistry), Ghosted Salma Hayek and Channing Tatum, Magic Mike's Last Dance Pooh and Piglet as blood-thirsty slasher/killers in Winnie-the-Pooh: Blood and Honey Worst Director: Rhys Frake-Waterfield, Winnie-the-Pooh: Blood and Honey David Gordon Green, The Exorcist: Believer Peyton Reed, Ant Man & the Wasp: Quantumania Scott Waugh, Expend4bles Ben Wheatley, Meg 2: The Trench Worst Remake, Ripoff or Sequel: Ant Man & The Wasp: Quantumania The Exorcist: Believer Expend4bles Indiana Jones and The Dial of Destiny Winnie-the-Pooh: Blood and Honey Worst Screenplay: The Exorcist: Believer Expend4bles Indiana Jones and the Dial of Destiny Shazam! Fury of the Gods Winnie-the-Pooh: Blood & Honey The Golden Raspberry Awards will be announced on Sunday, March 10, Australian and New Zealand time. For further details, head to the awards' website.
There's an elaborate story involving bootleg vodka stills and a Russian named Leon "Satan" Satanovich behind this throbbing Fitzroy nightspot. Men helping Satan brew his vodka during the Great Depression were said to be getting naked for Satan when they stripped down to endure the heat of the copper stills in summer. Whether it's true or not, the myth is fitting because there's a touch of the fantastical about Brunswick Street bar Naked for Satan, where patrons come for the Pintxos and stay for the infused vodkas. Spread over three levels, the lush red benches and highly-polished copper trimmings conjure a steampunk aesthetic. As you enter, you are assaulted by food and drink. Wine bottles fill one wall and a buffet-style smorgasbord of Spanish pintxos are displayed along the other. If that isn't decadent enough, the back wall is plastered with pin-ups of half-naked men and women. The fit-out is slick but the polished copper and red trimmings give this sinful speakeasy-inspired bar a warm, welcoming feeling. The décor maybe shiny and modern, but the inspiration behind the substance of the place - the stuff you're putting in your mouth - is Spain via depression-era Melbourne. The Pintxos - a Basque practice - are bite sized mini-meals served as they are in Spain's north; speared on a toothpick. Costing less than a coffee, the cold Pintxos are mostly slices of baguette topped with meat, fish, jamon or calamari, paired with a slice of tomato or salad shavings and a shellacking of tapenade, pesto or soft cheese. There are also waiters serving trays of hot Pintxos so you don't have to worry about going hungry one you've decamped with a drink and a handful of food. Like all good north-side bars, Naked for Satan offers a selection of beers a cut above the standard Fosters fare. Thornbury brewery Three Ravens is on the menu alongside South Australia's Beard and Brau. Traditionalists can get Asahi and Stella. Clearly gathering to all tastes, Naked for Satan also serves Melbourne Bitter, if you must. There is a long list of infused vodkas, with strange and unexpected flavours including violet and alpine chocolate with sugarcane. But it's the Pintxos that truly set Naked for Satan apart from the 7,564 other bars in Melbourne's inner hub.
In 2014, the ultimate celebration of French cinema in Australia will mark its silver anniversary with one of its most impressive programs yet. Lighting up Palace Cinema locations around the country, the 25th annual Alliance Française French Film Festival has film-faring Francophiles covered, with light hearted comedies to searing dramas, as well as hat-tips to two of France's most legendary filmmakers. The festivities kick off on opening night with a screening of Nils Tavernier's inspiring sports drama The Finishers followed by a post-film cocktail party. Other big tickets include the bloody Palm d'Or nominated epic Michael Kohlhaal, Bruno Dumont's lauded biopic Camille Claudel 1915 and the Monaco-set espionage thriller Möbius starring The Artist's Jean Dujardin. Lighter options can be found in the festival's romance and comedy streams. Stylish indie ensemble 2 Autumns, 3 Winters has garnered plenty of positive buzz internationally, while Bright Days Ahead offers something for the older crowd, recounting the tale of a newly retired senior who strikes up an affair with a much younger man. Patrons can also preview the works of France's future filmmaking elite, with a program of short films from renowned Parisian film academy La Fémis. At the other end of the spectrum, fans of the classics might enjoy a retrospective of the works of new-wave pioneer François Truffaut, including his medium-shifting masterworks Jules and Jim and The 400 Blows. Closing night serves up another iconic slice of French cinema, in the form of Jacques Tati's wonderful 1958 comedy Mon Oncle. For the full Alliance Française French Film Festival program, visit www.affrenchfilmfestival.org. We have six double passes to give away to the Alliance Française French Film Festival in Sydney, Melbourne and Brisbane. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
A boat sails across the ceiling, down the wall and across the crisp white hotel bed, into the carpet. This is no projection, no Photoshop and no witchcraft, but the aquarium-like effect of acclaimed photographer Robyn Stacey's recent experiments with a 5th-century BC technology: camera obscura. During a residency at Melbourne's Sofitel on Collins Street and visits to hotels in other cities, Stacey photographed scenes of exterior cityscapes imposed onto hotel interiors using tools from opposite ends of the technological spectrum, a simple camera obscura and a high-tech Hasselblad DSLR. The result is Guest Relations, a new series on show now at Sydney's Stills Gallery. What can you expect to see? Mysterious people, supposedly guests of the hotel, caught in moments of contemplation while the city hangs suspended above their heads or washes over the walls around them in startlingly sharp definition, suggesting a collision of public and private life. During her residency, Stacey recognised that just a photo of the hotel's famous views would constitute nothing more than a postcard. So she turned to camera obscura to solve the creative problem. "I like layers in work," she says. "The room sort of reveals itself to you." Because of the technical constraints of camera obscura — sometimes there'd only be a 40-minute window to shoot a long exposure of a motionless, torch-lit human subject while the sun was in the right spot — surprises would emerge. For example, in one image, there's "the way the war memorial comes in, the angle it comes in, and how [the female subject] is lying under it. So there's all that thing about, what does a war memorial signify, and what about the fact that she's female? It's open then, for people to read into it how they might." Stacey likes the film-still sense of narrative in the tableaux, raising questions of "What's happened in that room, or why are [these people] there?" The beauty of camera obscura, which she's only been working with since February this year, is that "it's magical. Turn on the light and it’s not there. It only happens in the dark." While hers required a laser-cut hole and a diopter lens, she points out that anyone could make one with black cardboard and a pen to punch the hole through it. She hopes to progress to filming these interiorscapes. "What you get in the room that you don’t get in a still image is movement. Sometimes you get these fantastic cloudscapes. They’re just rolling toward you, and they go all over the bed and the floor. It's like you're in the clouds." Stacey's advice to aspiring artists? She cites the quote often attributed to Goethe: Whatever you can do, or dream you can do, begin it. "[There can be] too much thinking and not enough doing. But they have to come together. If you have an idea, don't wait, do it now. It might not come out how you wanted, but it will open into something else. The work will lead you, but you've gotta go into it. You can't stand back from it." Robyn Stacey's Guest Relations is on at the Stills Gallery in Sydney until November 9. See more of her photography in her online portfolio.
If it can happen in a pandemic, it can happen in any year. Yes, we're talking about Brisbane Festival. After 2020's event, which had to adjust to the new realities brought on by COVID-19, the annual celebration of arts and culture returns in 2021 — so mark Friday, September 3–Saturday, September 25 in your diary. Most of the 2021 program will be announced much closer to those September dates, as happens each time the festival rolls around. That said, you can expect everything from art, music and theatre to lights, lasers and interactive installations, plus whatever other weird, wonderful, unique and just brand new ideas and shows the fest's organisers and the talented artists they work with manage to come up with this year. If you'd like to get excited already, a few details have already been revealed — including the long-awaited world premiere of Boy Swallows Universe, which'll hit the Brisbane stage during Brisbane Festival. Also on the bill so far: Queensland's Finest, with the Queensland Symphony Orchestra showcasing top local talent; and Songs That Made Me, with singer-songwriter Jess Hitchcock crooning tunes. [caption id="attachment_793650" align="aligncenter" width="1920"] Boy Swallows Universe, David Kelly[/caption] Top image: Brisbane Festival 2020, Atmosphere Photography.
When Taika Waititi received an Oscar in 2020 for Jojo Rabbit, he became the first person of Maori descent to achieve that feat, as well as the first Indigenous person to be both nominated in and win the Best Adapted Screenplay category. When Meyne Wyatt won the 2020 Archibald Packing Room Prize for his self-portrait, he became the first Indigenous Australian to win any Archibald award across the competition's 99 years. Both Waititi and Wyatt deserve the acclaim and awards that have come their respective ways. But the fact their recent wins made history — more than nine decades after both the Oscars and the Archibalds were first created, too — demonstrates the ongoing lack of diversity in the arts. So, when NITV and Sydney Theatre Company decided to team up to make a three-part series exploring the topic, as well as other Indigenous issues in creative fields, the two must've been at the top of the guest list. The resulting show is called The Whole Table, and its first episode is available to stream now via SBS On Demand. The following two episodes will air at 8.30pm on Wednesday, January 27 and Wednesday, February 3 on NITV, and then stream online afterwards — and Waititi and Wyatt are in great company. The Sapphires, Top End Wedding and Redfern Now's Shari Sebbens is on hosting duties, while Sydney Festival artistic director Wesley Enoch, Black Comedy's Nakkiah Lui and Sydney Opera House's head of First Nations programming Rhoda Roberts sit on the show's panel. Joining them at the table each week is a lineup of guests, not only including Waititi and Wyatt, but also The Dry's Miranda Tapsell and musician Adam Briggs — all chatting about their experiences. Expect to hear spirited discussions that not only touch upon the arts in Australia and New Zealand, but also explore Indigenous involvement and representation worldwide — in the past, now and the possible future. The series forms part of SBS and NITV's 'Always Ways, Always Will Be' programming leading up to January 26 — such as its Australian Made TV collection, curated by Enoch, that's streaming on SBS On Demand as well. Check out the very brief trailer for The Whole Table below: https://www.youtube.com/watch?v=1FabOIRhNC0 The first episode of The Whole Table is available to stream now via SBS On Demand, with future episodes airing on Wednesdays at 8.30pm — and streaming online afterwards.
Hiking through forests and swimming around coral reefs can be great fun, but some of the best adventure holidays include those with close and personal wildlife experiences — and that doesn't mean just looking at birds in trees or visiting a zoo. This kind of epic getaway will have you witnessing exotic animals in their natural habitat, getting as close as you can without causing them any harm. To help you get on one of these trips, we teamed up with a bunch of local and international tour providers who curate experiences for animal lovers especially. Read on to find your fave and book your spot through Concrete Playground Trips. A HUMPBACK WHALE ADVENTURE This is a once-in-a-lifetime kind of travel experience. Adventure lovers will spend seven nights in Tonga, diving around the island almost every day. Each day, you'll follow the lead of Jono Allen — the ocean photographer, environmental scientist, marine megafauna guide and filmmaker — as he takes you to a series of different dive spots. Every year, thousands of magnificent humpback whales migrate from the freezing feeding grounds of Antarctica to Tonga's warm, azure paradise to mate and give birth. You're not totally guaranteed to see these majestic sea creatures, but this place'll be your best bet. BOOK IT NOW. [caption id="attachment_899178" align="alignnone" width="1920"] Red Charlie (Unsplash)[/caption] FIVE-NIGHT LUXURY SERENGETI SAFARI This Tanzanian trek takes animal lovers to some of the country's most famous safari destinations, including Rift Valley and the Ngorongoro Crater. You'll traverse savannah grasslands in a 4WD car with only a couple of other tourists. Here, you've got an ideal vantage point for spotting zebras, leopards, giraffes and all other kinds of native wildlife. You'll also stay in incredibly glam accommodation along the way. Specifically, the Four Seasons Safari Lodge Serengeti, Arusha Coffee Lodge and Grand Melia. It's guaranteed that you'll safari in total style on this Serengeti tour. BOOK IT NOW. [caption id="attachment_893317" align="alignnone" width="1920"] Colin Meg (Unsplash)[/caption] 10-DAY BORNEO WILDLIFE EXPEDITION Borneo is a bucket list travel destination for so many nature lovers. People flock to this part of the world for its wild rainforests, rugged coastline and traditional villages full of friendly locals. Fantastically, this 10-day tour takes you to all of Borneo's best bits, including an orangutan sanctuary where you can get up close with the intelligent creatures. You'll also cruise along the Kinabatangan River, chill out on the stunning Manukan Island and get a taste of city life in Kota Kinabalu — spending your nights in luxe resorts, hotels and lodges. BOOK IT NOW. [caption id="attachment_895302" align="alignnone" width="1920"] Tourism Western Australia[/caption] SWIM WITH WHALE SHARKS ON THIS NINGALOO REEF GETAWAY Swimming with the whale sharks on Ningaloo Reef should be at the top of everyone's travel hit-list when visiting Western Australia's Coral Coast. Exmouth is the gateway to the world's largest fringing reef — the iconic Ningaloo Reef — and that's exactly where you're headed on this exclusive three-day adventure. You'll enjoy a full day here, diving headfirst into the pristine aquatic wonderland that's home to dolphins, manta rays, turtles, humpback whales and, of course, the much-loved gentle giants: whale sharks. Spend the rest of your days at your own leisure. Our hot tips? Hitting up the iconic Cape Range National Park, home to native wildlife and epic walking trails. BOOK IT NOW. [caption id="attachment_899180" align="alignnone" width="1920"] Juli Kosolapova (Unsplash)[/caption] CROSS THE SOUTH GOBI DESERT BY CAMEL This isn't the usual two-hour camel tour you'll find Down Under — it is altogether more epic. You'll spend 11 days trekking around the largest desert in Asia, all from atop your humped steed. Wake up, jump aboard and explore Mongolia's Gobi Desert with local guides. This part of the locale is rich in mineral resources, diverse flora and fauna, thousands of unrevealed dinosaur fossils and rare paleo findings, as well as stacks of historical and archaeological sites. And seeing them via camel just makes your trip that much more unique and fun-filled. BOOK IT NOW. [caption id="attachment_899177" align="alignnone" width="1920"] Jorge Tung (Unsplash)[/caption] LUXURY SAFARI AROUND KENYA This seven-day tour takes adventure travellers to some of the greatest national parks and conservation reserves in Kenya. You'll see lions, elephants and rhinos in their habitats as they thrive in protected areas — a true must-do experience. Each night will be spent in a different luxury lodge located close to the wildebeest migration routes — meaning guests will likely get the chance to see these astonishing wild animals close-up (say, while having brekkie or swimming in their private plunge pool). If an African safari is on the cards this year, consider this exclusive offering from Concrete Playground Trips. BOOK IT NOW. [caption id="attachment_899195" align="alignnone" width="1920"] Nick Dunn (Unsplash)[/caption] SMALL GROUP FULL-DAY TOUR OF KANGAROO ISLAND Kangaroo Island is one of the top places to visit in Australia — and this tour will let travellers see some of its cutest and most rare wildlife. Start the morning with a cuppa and some homemade treats with fellow travellers before walking along koala-filled paths by the beach. After you're fuelled, you'll be taken to a series of natural sites that'll have you right up close to wallabies and sea lions. Watch pups nursing or playing in the surf, see old bulls bearing the scars of territorial disputes and learn about their unique breeding biology. The trip even includes lunch at a private bush camp, where you'll dine on locally caught fish and drink plenty of South Australian wine. BOOK IT NOW. [caption id="attachment_899184" align="alignnone" width="1920"] 2H Media (Unsplash)[/caption] EXCLUSIVE GORILLA TOUR OF UGANDA Live your Gorillas in the Mist fantasy (sans scary poachers) on this seven-day primate tour in Uganda. You'll trek around the rainforests keeping your eyes peeled for all kinds of primates — think chimpanzees, monkeys and the almighty gorilla — and even jump aboard a river boat for a day. Throughout the animal-filled getaway, travellers will stay in Rushaga Gorilla Camp, Simba Safari Camp and the Isunga Lodge — each surrounded by nature and wildlife. It's one of the greatest ways to explore this part of the world. BOOK IT NOW. 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: Hu Chen (Unsplash).
Dinosaurs. Sir David Attenborough. This planet we call home, but 66 million years ago. That's the Prehistoric Planet template, and it's a winner. It proved a treat when Apple TV+'s impressive and immersive documentary series initially arrived in 2022, becoming one of the best new shows of the year. And, now that the program is back for a second five-episode run with more photorealistic ancient creatures and more Attenborough-narrated insights into their behaviour — streaming one chapter per night between Monday, May 22–Friday, May 26, then available to watch whenever viewers like afterwards — that formula works just as charmingly again. Prehistoric Planet achieves a magical feat, which both seasons have perfected: making viewers feel like they're travelling back in time, and spectacularly so. The concept for the program is over a decade old, coming to executive producer, veteran Attenborough colleague and BBC Natural History Unit Creative Director Mike Gunton (Planet Earth II) while filming with the iconic broadcaster in Africa, but the end result unsurprisingly took time to come to fruition. "We did a very early test — actually, in fact it became the heart of the T-rex on the beach sequence in the opening series. We did that as a sort of initial proof of concept and it was it was astonishing, actually, how good it was," Gunton tells Concrete Playground in a chat about the show with series producer Tim Walker. Being able to capitalise upon advancements in technology to make Prehistoric Planet look as stunningly lifelike as it does is a happy result of the years spent making the show happen; however, if was it's presenting wasn't scientifically sound, all that imagery would mean nothing. [caption id="attachment_779232" align="alignnone" width="1920"] David Attenborough, A Life on Our Planet, WWF[/caption] "We're very proud of the scientific rigour that underpins the series," adds Walker, who has also enjoyed a lengthy history delving into natural history on-screen, including on Attenborough projects such as David Attenborough's First Life. "Every sequence — when we talk about sequence, we're talking the short films within the film, so each episode has about five or six sequences in it — each of those sequences takes years to create, both in the research and then in the execution of it." That effort is evident, whether Prehistoric Planet is observing raptors display their cleverness, peering at mating rituals — oh-so-many mating rituals — or unpacking the often-perilous search for food and always-dangerous quest for survival. It shines through as the series surveys all the regular go-to dinosaurs, when it broadens its remit to lesser-known creatures and as it heroes non-dinosaur inhabitants of this pale blue dot during the Cretaceous age. How did it all come about? How does it look so astonishing? How important is the one and only Attenborough to making the series what it is? Gunton and Walker chatted with us about all those crucial Prehistoric Planet details and more — including the tense experience of watching Attenborough watch the show's first footage. ON HOW PREHISTORIC PLANET INITIALLY CAME OUT — AND WHY IT DIDN'T EARLIER Mike: "That's often the sign of a good idea, I think. Of course it should've have been done — it's blindingly obvious when you think about it. The idea came about actually with Sir David, doing some filming with him in Africa about 12 years ago now, maybe even more. He was doing the opening for a series I was working with him on about Africa, and his opening piece of camera was on top of this mountain on the equator in Africa. He was saying, the kind of thought was: 'nowhere on earth does nature put on the greatest show than here in Africa'. And I thought 'that's interesting — it is true, but I wonder if that's always been the case? I wonder when the greatest time of all time would have been?'. And I thought it was probably when the dinosaurs were running around here. So I thought 'could you do that?'. Could you take that crew that was standing on that mountainside, stick them in the time machine, fly them back 66 million years ago, and Sir David, and make a film, a series, as we were trying to do there, but instead of being lions and wildebeests and elephants, there'd be T-rex and triceratops. So that was the that was the germ of the idea, but it took a long time, many years, to get every all the stars to align — the planets to align, whichever the way you want to say it — and to get the team together, to get the resources and to find the right broadcaster before we finally made it. But actually, as David has said — he said 'I'm glad we waited ten years, because actually we've learned so much in those ten years'. And he's probably right. As Tim says, this is a golden age of dinosaur research now." ON MAKING THE SERIES LOOK SO STUNNINGLY PHOTOREALISTIC — AND THE HUGE TEAM EFFORT BEHIND IT Mike: "I think definitely the technology does improve all the time, but again another another sort of star alignment that I think was critical was that Jon — Jon Favreau — had in that time made The Jungle Book, then The Lion King. They basically did millions of dollars in R&D for us really, because to make those shows, Jon wanted to do that effectively — he said he wanted to try to take some of the grammar and approaches from wildlife documentary-making and apply those to those shows in terms of the look and some of the way the camera worked. And and that hyper-accelerated the sorts of CG that we needed to make to make this show. But it's accelerating — these these advances are going all the time." Tim: "[It takes] lots and lots and lots and lots of hard work. That's the basic answer. We are a multidisciplinary group of people. We've got, over the course of the the two series, we've approached almost 2000 people working on the project in various different disciplines. Marry them all together and you get a piece of work which is greater than the sum of its parts. We've got fabulous wildlife filmmakers based at the BBC's Natural History Unit, who've spent years in the field filming animals, making animal films. And then we've got wonderful CGI artists at MPC, who were the FX producers. And then we've got a wonderful relationship with the palaeontology world. So we have a lead scientific adviser who's embedded in the team. He's got his finger on the paleo pulse, and through that connection we talk to people all over the world. And of course, the internet has enabled that to happen really, really quickly — the exchange of data to happen really quickly. So marry all of those disciplines together, as in paleoclimatologists, paleobotanists, locomotion specialists, paleo artists, and you start to create this wonderful machine that starts thinking about what we're going to put in the series by looking at the fossil record so. That's our base entry level. We look to see what animals were around in the time period. Our time period that we feature is only the last five or six million years of the dinosaur evolution, called the Maastrichtian. And so we look to see what's in the Maastrichtian fossil layer. That gives us the animals — not just the dinosaurs, but the whole cast of characters. So the dinosaurs, the pterosaurs in the air, and the marine reptiles. And then the other animals that were around as well, because it was a very rich and vibrant time —so the mammals, the snakes, the amphibians, the other reptiles, the fish, the birds — to paint this very rich habitat of the of the planet. Then we start with that fossil record — that gives us the animals, it gives us the habitats — and then we start to think about the storylines based on what we know the behaviours would have been like. Animals face the same challenges to survive their daily rigours whether it's today or 66 million years ago. They've all got to find a mate. They've all got to procreate. They've all got to find food. They've all got to avoid being eaten in some cases. So that happens in Australia today, Africa today, America today. It happened in those places 66 million years ago. And so combining all of those different skills with the different personnel, that's how we start to get the series." Mike: "That's the that's the short answer, by the way." ON DAVID ATTENBOROUGH'S IMPORTANCE TO THE SERIES Tim: "One of the things that we all are very proud of is the incredible execution, not just of the CGI imagery, but also the aesthetic of the whole series. It's beautifully filmed, beautifully put together. But we always maintain that it doesn't matter how good something looks, it's all about the storytelling. And if you don't have the storytelling, the images may wash over you a little bit. So then to add the gravitas of the storytelling, we have a wonderful opportunity to work with Sir David. And Mike has worked with David for what, 35 years, Mike is it?" Mike: "Nearly, yeah." Tim: "And if anyone can tell you a story about Sir David it's Mike." Mike: "One thing that was interesting about working with David on this was that he did — actually, with one of the questions you asked earlier about why hasn't it been done before, I think he was always quite anxious that he'd seen people making dinosaur shows, and he always thought were a bit fantastical and a bit lacking in rigour. And so one of the things that he was very, very keen to interrogate was the level of rigour and the authenticity that we were bringing to the show. Not just how good the dinosaurs look, but how much evidence we were using to come up with our deductions and the representations we made. In the end, I literally had to go there to his house with two sequences to show him in story form, in sort of a storyboard form, and to explain what we're doing and how the stories will play out. And I thought 'I'll take some of the data that we've got, that we've collected, to support these two stories'. And each of those was a carrier bag, a holdall full of papers. I had to hump two massive great holdalls of paperwork up to London to talk to him about it. And sure enough, he wanted to see them. We flipped through some. So it needed that kind conviction for him to want to do it, because if he's going to do it — this is the one time he's going to do it, probably — he wanted to make sure it's going to be to the best and the most authentic and most rigorous representation you could ever have." ON DAVID ATTENBOROUGH'S REACTION TO SEEING THE FINISHED PRODUCT Mike: "When we finally showed him the first episode, we again went up there to show it. He had it on my computer, and he sat and he said 'let's watch it then'. And he sat down, he sat there — not a word, he watched it without a word, and his fingers were slightly drumming on his the arm of his chair as he was watching. He was very intensely watching it. He finished it — he's very theatrical in this way, he flipped the computer down, and then [he says] 'but I don't know how you could have done it any better'. And from that moment on he was utterly — every commentary recording, he'd say 'when's the next one? That was amazing. What's happening? I can't wait to see the next one. What are we doing next?'. Really, really, it was a great, great pleasure, wasn't it Tim?" Tim: "It really was." Mike: And those PPUs — those little behind-the-scenes ones at the end — that's David at his absolute most joyful, with an object in his hand that he could talk about and tell you about. 'This is what this tells you, and this, and this and that, and this asks this question and that question'. It's amazing. It's fantastic." Tim: "One of the things is, we've got so many people involved in this — and you know, we get notes from a lot of people. So, as we're making the film, lots of people check the films along the way and people give us notes and suggestions. When you get notes from Sir David Attenborough, that's when you listen, because you know he's seen it all and done it all. And if he points something out, 'oh yeah, good point'." Prehistoric Planet season two streams via Apple TV+ across Monday, May 22–Friday, May 26, with a new episode available each day. Read our full review of season two — and of Prehistoric Planet season one.
If there's ever a range of films that proves that every movie deserves to be seen in a cinema, it's Studio Ghibli's output. If you had your first experience with Spirited Away or My Neighbour Totoro at home, then felt compelled to catch a retrospective showing at your local picture palace, you'll understand. Indeed, Australian theatres get it, too, given how often the Japanese animation house's movies return to the silver screen. The Imaginary isn't a Studio Ghibli release, but it has a Ghibli pedigree. The second feature from Studio Ponoc after 2017's Mary and the Witch's Flower, it's both directed and penned by Ghibli alumni — the latter of which founded Ponoc. It made its Aussie debut on streaming this year, but is now getting a well-deserved big-screen outing at the 2024 Japanese Film Festival as one of its must-see titles. The just-dropped lineup for this year's JFF will give audiences the chance to see this enchanting tale about imaginary friends — 2024's third such film after Blumhouse horror movie Imaginary and the John Krasinski (A Quiet Place Part II)-directed IF, and the best of them — as well as nine other new Japanese features. The latest flicks out of its country of choice are just one part of the JFF setup, however. In four of its five cities, audiences will also enjoy a retrospective season that focuses on classics by Shohei Imamura, a two-time Palme d'Or winner courtesy of The Ballad of Narayama and The Eel. Canberra, Brisbane, Melbourne and Sydney will receive the full festival treatment, while just the new releases will play Perth. The festival kicks off with its retro sessions in the nation's capital in late September, before making its way around the country throughout October and into November. [caption id="attachment_971203" align="alignnone" width="1920"] Let's Go Karaoke! Film Partners[/caption] Opening the fest: Mom, Is That You?! , a mix of heartwarming comedy and workplace commentary from prolific director Yoji Yamada (Kinema no Kamisama). Other highlights include chaotic karaoke antics in Let's Go Karaoke!, with a choir boy and a yakuza striking up a friendship over singing lessons; fellow manga adaptation Sand Land; World War II-set historical drama Shadow of Fire; and rom-com Our Secret Diary. Or, there's more laughs via A Samurai in Time and The Dancing Okami, with the first paying tribute to samurai stuntman Seizo Fukumoto and the second inspired by an IRL tourism campaign — and also thrills via Matched and Out, following a wedding planner who connects with a suspected serial killer without knowing via online dating, plus a former juvenile gang leader's quest for redemption. [caption id="attachment_971204" align="alignnone" width="1920"] MIRAIEIGASHA[/caption] 2024 marks the Japanese Film Festival's 28th year in Australia — and the event's in-person lineup comes after its online program screened in the middle of the year. "Australia has always been a second home to Japanese film, with an exponentially growing audience captivated by Japanese cinema every year," said Manisay Oudomvilay from The Japan Foundation, Sydney, announcing the 2024 JFF bill. "Each of the featured films this year dissects the common human experience from a uniquely Japanese perspective, which will resonate with everyone regardless of their familiarity with Japanese culture." [caption id="attachment_971205" align="alignnone" width="1920"] Sand Land Film Partners[/caption] Japanese Film Festival 2024 Dates: Canberra: Latest releases: Wednesday, October 9–Tuesday, October 15 at Palace Electric Special series: Tuesday, September 24–Wednesday, September 25 and Saturday, September 28–Sunday, September 29 at NFSA Perth: Latest releases: Monday, October 14–Tuesday, October 22 at Palace Raine Square Brisbane: Latest releases: Thursday, October 17–Tuesday, October 22 at Palace Barracks Special series: Monday, October 7–Wednesday, October 16 at QAGOMA Melbourne: Latest releases: Monday, October 21–Tuesday, October 29 at The Kino Special series: Thursday, October 31–Sunday, November 3 at ACMI Sydney: Latest releases: Thursday, October 24–Monday, October 28 at Palace Norton Street and Palace Moore Park Special series: Wednesday, October 9–Sunday, November 10 at AGNSW [caption id="attachment_971206" align="alignnone" width="1920"] The Dancing Okami Film Partners[/caption] The 2024 Japanese Film Festival tours Australia from September–November. For more information and to buy tickets, visit the festival website. Top image: Studio Ponoc.
After its hugely successful inaugural event last year, Melbourne Design Week has returned in 2018 with another massive program of local and international design innovators. Presented at the National Gallery of Victoria — and various other Victorian locations — from March 15–25, it'll feature more than 160 inspiring exhibitions, talks, studio tours and industry-led events that'll take you into creative overdrive. Here are five you can't miss. [caption id="attachment_659331" align="aligncenter" width="1920"] Geronimo[/caption] VISIT AN EXHIBITION It wouldn't be Melbourne Design Week without a host of exciting and innovative exhibitions to check out. Much-loved home-grown designers Ben Landau and Lucile Sciallano explore the future of ceramics through 3D printing in Ornament is Fine, while Designwork 02 features solo exhibitions by design leaders Dale Hardiman and Elliat Rich at the Sophie Gannon Gallery. Acclaimed Amsterdam-based architecture practice Experimental Jetset are showcasing in a retrospective large-scale installation, Superstructure, that explores the link between graphic language and the city. LA Artist Jihan Zencirli — better known as Geronimo — will take over Hub Furniture's Abbotsford showroom with thousands of balloons for her installation Diminishing Elation. Geronimo's designs are known worldwide and have featured on Oprah and in a Kanye West concert. For the Melbourne exhibition, the colourful balloons will be 100% biodegradable. [caption id="attachment_659331" align="aligncenter" width="1920"] Medibank Place[/caption] JOIN A TOUR Go behind the scenes with Victoria's top design innovators at Open State, presented by Open House Melbourne. By giving the public access to some rarely seen spaces, including artist studios, research facilities and manufacturers, you'll get a glimpse behind the curtain of where some of Australia's best design work happens. Highlights include tours of the award-winning Medibank Place, Hepburn Wind — Australia's first community owned wind farm — and the Glenn Murcutt–designed Australian Islamic Centre. You can also peek inside some of the city's best design showrooms on the Denfair Design Loop. Each showroom — Jardan, Cult and Tait are three of the total 15 participating — will have an in-store exhibition curated especially for the event, responding to the theme Celebration of Material. [caption id="attachment_659330" align="aligncenter" width="1920"] Designing the Body Forum[/caption] LISTEN TO A TALK One thing that's common among (many) designers is they love to talk about their work. And for Melbourne Design Week 2018, you'll hear from some of the foremost thinkers and makers working around the world today. Design expert and Dezeen editor-in-chief Marcus Fairs will make a one-off appearance, in a talk titled Designing a Better World (Wednesday, March 21), discussing how design shapes the world. On a smaller scale, Designing the Body Forum (Monday, March 19) will feature a round-table chat with biomedical engineers and artists discussing everything from prosthetics to edible perfumes and the future of condoms. A discussion on the role of language in the formation of cities and communities, Experimental Jetset MABF Symposium (Thursday, March 15) — a key talk at the Melbourne Art Book Fair — features Experimental Jetset in conversation with a board of writers, designers and academics. Blak is the New Blak (Friday, March 23) presents Australian First Nation female designers and how they're leading the charge to include indigenous cultural design and design principles into fashion. And High Density Happiness: Future Proof Apartment Living (Saturday, March 17) considers the 'Australian Dream' and how we might better design homes for the future. TEST YOUR VOCABULARY AT A CROSSWORD FESTIVAL The Melbourne Art Book Fair (March 15–18) returns for its fourth year with its latest offering of book launches, panel discussions and some of the finest printed matter available today. It'll take over the NGV's Great Hall with more than 150 stalls, but this isn't just a great opportunity to add to your book and zine collection — the fair includes a host of free zine-making workshops, talks and tournaments. A standout is Word Alert! (March 16–18), a three-day crossword festival held the NGV Forecourt. Held in partnership with writing school The Good Copy, the event will feature cryptic crossword workshops, a clue booth (where you can have your name turned into a cryptic crossword clue) and a spelling bee (where the winner get a dictionary). There'll even be a crossword tournament, complete with live commentary, that will culminate in a final showdown on Sunday. EXPLORE FUTURE MELBOURNE IN VR If you're interested in what future Melbourne might look like, head along to Brunswick Town Hall on Friday, March 16. And no, you won't be handed an iPad packed with renders — instead, you'll be given a VR headset. Virtual Moreland Workshop will explore and visualise the future design of the inner-north suburbs using virtual and augmented reality technology. You'll have a chance to have your say, too, so if you'd rather the neighbourhood's future didn't involve more oBikes — let them know. Melbourne Design Week is an initiative of the Victorian Government's Creative State strategy and is presented in collaboration with the National Gallery of Victoria. To check out the full program and register your interest for events, head to ngv.vic.gov.au/melbourne-design-week.
