Some visit Bali seeking romantic places to stay, where they can treat themselves to pamper packages within wild natural surroundings. Others want a tropical adventure — hiking up volcano craters, riding quad bikes through the jungle or swimming beneath hidden waterfalls. And, of course, there's the party atmosphere, from group day trips to places to dance the night away. To help any kind of traveller have the best time in Bali, we curated a selection of local trips and tours that can be booked through Concrete Playground Trips. Read on to find a few of our favourites. [caption id="attachment_892435" align="alignnone" width="1920"] Juan Cruz Mountford (Unsplash)[/caption] SUNRISE VOLCANO HIKE WITH THERMAL SPRINGS SWIM This trek could quite easily become the highlight of your trip to Bali. You'll get up early to hike to the summit of volcanic Mount Batur to catch the sunrise and enjoy breakfast cooked over volcanic steam. It's not a difficult climb, but the natural hot springs waiting for you at the bottom are a magical treat. Enjoy the view of the volcano and the surrounding mountains while you soothe your muscles in the natural springs. Not a morning person? Book a midnight hike or a private jeep ride up to the volcano and into the crater instead. BOOK IT NOW. [caption id="attachment_892433" align="alignnone" width="1920"] Rob M Visuals (Unsplash)[/caption] RICE TERRACE CYCLING TOUR When visiting Bali, go beyond the island's famous beaches and head inland to explore the untamed jungle and thousands of miles of rice terraces. While you can drive to many of them, the best way to see a bunch is by going on a cycling tour. This particular one focuses on the Bangli region. It is a less commercialised area, boasting some of the world's most beautiful rice fields with views of Mount Batur in the distance. Alight from your bike to walk between the terraces, little huts, tumbling waterfalls and quaint temples before sitting down to a big lunch overlooking the stunning scenery. We could think of worse ways to spend a day. BOOK IT NOW. [caption id="attachment_892434" align="alignnone" width="1920"] Jared Rice (Unsplash)[/caption] FIVE-DAY HOLISTIC RETREAT Bali abounds with wellness retreats, and Y Retreats is one of the best budget-friendly options. That's why we teamed up with Y Retreats to sell some of the spots available on its upcoming Reset and Recharge retreat. Over the course of five days, you'll be immersed in a carefully curated combination of breathwork, cold exposure, yoga, self-development sessions, leadership and resilience workshops, physical adventuring and so much more. It's held at a secluded beachfront property in Tabanan and includes all your meals. It's the perfect place to relax and work on yourself. BOOK IT NOW. BALI SEA WALKER This is a really random travel experience. But it's heaps of fun. You pop on a glass helmet that's fed oxygen via a long tube and walk along the sea floor spotting tropical fish swimming about coral reefs. It's much easier than proper scuba diving (no training is required for sea walking). Add this little activity to a day spent at the beach. BOOK IT NOW. [caption id="attachment_892436" align="alignnone" width="1920"] Nick Fewings (Unsplash)[/caption] UBUD DAY TRIP The Ubud region has become increasingly popular these days, but remains quieter than most parts of Bali. It has many picturesque temples, coffee plantations, rice fields, museums and small villages filled with markets and great places to eat. But seeing all its best bits can be tough without a guide. So, we teamed up with Candidasa Taxi to offer this unique private tour of Ubud that also includes a trip to Tegenungan Waterfall and Sacred Monkey Forest Sanctuary. BOOK IT NOW. [caption id="attachment_892432" align="alignnone" width="1920"] Tandya Rachmat (Unsplash)[/caption] THREE-DAY GILI ISLANDS AND LOMBOK TOUR The Gili Islands is one of our favourite places to go in Indonesia. These six small islets are all located by Bali's neighbour sister Lombok and offer up exceptional experiences. You can swim with turtles, explore small fishing villages, relax on long white sand beaches and simply escape the crowds of Bali. And if you book this Gili Island and Lombok tour, you'll get to take your time seeing all the best bits over three days — you'll really want to spend more than just a day in these parts. The tour will also pick you up from Padang, so it's a great addition to any Bali holiday. BOOK IT NOW. [caption id="attachment_892439" align="alignnone" width="1920"] Florian Giorgio (Unsplash)[/caption] REGIONAL BALI TOURS Bali is a diverse place when it comes to culture, food and natural sites. That's why you shouldn't spend your entire holiday in just one place. But packing up all your things to stay in several different areas can also be tiring. The solution? Get on the day trip bandwagon. We have a bunch to help you see it all. Spend a day in the north, south, east or west of the island with each of these unique trips that take you to all the most popular parts — as well as a few hidden gems only locals know about. [caption id="attachment_892438" align="alignnone" width="1920"] Nattu Adnan (Unsplash)[/caption] NUSA PENIDA DAY TRIP Nusa Penida is an absolutely stunning island located just off the shores of Bali. It's a beach lover's paradise, with countless hidden coves located all over. A great way to see them is by joining a day tour. This particular one takes you to Broken Beach, Angel's Billabong, Kelingking Beach and Crystal Bay. You can even book a really affordable private boat tour of Nusa Penida to see it all from the water. BOOK IT NOW. [caption id="attachment_892441" align="alignnone" width="1920"] Bali Surgawi Tour Travels (Unsplash)[/caption] QUAD BIKE ADVENTURE As an ATV rider, you will be challenged to conquer some of Bali's rugged off-road terrain and muddy rock formations for 90 to 120 minutes. You'll see some great scenery, rice fields, rivers and beaches while zooming about with some mates. This will be followed by a two-hour snorkel trip that will take you to two different swimming spots. It's a two-in-one. 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 to destinations all over the world. Top image: Jamie Fenn (Unsplash)
Melbourne loves itself some culture. We are a City of Literature. We have all the artistic acronyms in the land: NGV, ACCA, MWF, EWF, HMT, CCP. We have that one guy in Degraves Street subway who's always doing covers of 'Wonderwall'. What a champ. But if there's one thing we all hold close to our art-lovin' hearts it's the Melbourne Festival. From October 11–27, our fine city becomes host to a whole new crop of international artistic talent, and while the full program is impressive, it's also a little unwieldy. No one person could see it all. So, we've made a little list to get you through — from neon discotheques to harmonicas carved from handguns. This year's festival really does cater to all tastes. Life and Times: Episodes 1-4 Imagine your autobiography — meaningless, small, incomplete, full of diversions and 'ums' and 'likes' — was turned into a play. That went for 24 hours. Who'd watch that? Well, it turns out, if you're Kristin Worral of the Nature Theatre of Oklahoma, hundreds of thousands of people all over the world, who then rave about it as if possessed. The New Yorker calls you "a masterpiece" and the Guardian gives you all the stars. The Nature Theatre of Oklahoma (who are from NY; their name comes from a Kafka novel) are trying to remake everything we know about theatre, and for a company so experimental, they're also eminently watchable. The idea is that with each episode, the form shifts — from a musical to an '80s pop video, a murder mystery, an animated film and an illuminated manuscript. The first ten hours of Life and Times will be featuring at Melbourne Festival (the rest are still being developed), which you can watch over three nights or in one marathon performance broken up by a barbecue and snacks. October 22-26; Arts Centre Melbourne, Playhouse ACTIVE CHILD Active Child is my 'night walking' music. That full ethereal voice, those hypnotic synth-laden hooks, and the harp — oh, the harp. It perfectly suits that surreal yet peaceful journey between your last pint, the cold wind, and a warm bed. But as much as I love these intimate headphone sessions, this performance at the Melbourne Recital Centre is going to be a much more impressive spectacle. Active Child's live recordings really showcase the talents of lead man, Pat Grossi, and his technical prowess is sure to deliver an enriching and ethereal performance when translated to a big stage. In a Melbourne Festival exclusive, he will also be premiering tracks from his unreleased second album, as well as old favourites from 2011's You Are All I See. Supported by local talent Oliver Tank, this will be a show to tell your friends about — and maybe relive through your iPod on the walk home. October 26; Melbourne Recital Centre Tacita Dean: FILM This installation by Young British Artist, Tacita Dean, is going to be one of the most spectacular sights of this year's festival. Her surreal and finely crafted 35mm film will be projected onto a towering 13 metre vertical screen in the vast main gallery of ACCA. The sheer grandeur of the piece will be awesome to behold, but it will also raise some interesting questions about the medium itself. Does it stand in simple celebration of the artistry of celluloid cinema, or is it a bittersweet elegy for the decline of analogue art? FILM has been received well during its exhibition in the Tate Modern last year, and Dean will be speaking about the work at a free public lecture on October 10. October 10 to November 24; ACCA AN EVENING WITH YO LA TENGO Listening to Yo La Tengo is like hanging out with an old friend. It's comforting, calming and you can't help but get nostalgic. With 13 albums to their name — count 'em — Yo La Tengo are one of the true bastions of indestructible indie rock, and they're sure to draw a crowd of diehards at this one-off show. But the evening won't all be spent dwelling on the total glory of their 1997 classic I Can Hear The Heart Beating As One. Their newest album, Fade, was released in January this year, and is proving itself testament to their adaptability and ongoing popularity. For those that like the sound of all this hype, but are maybe too young to know the full story, here's a cheat sheet to get you up to speed. You'll fit in with the diehards in no time. October 18; The Arts Centre Minsk 2011: A Reply to Kathy Acker In Australia, it's common to think of theatre as a safe diversion for a small elite. Not so in Belarus, where theatre is dangerous, and the political ensemble Belarus Free Theatre is outlawed. Instead of performing for their countrymen, then, they travel the world, doing works like Minsk 2011, a combo critique of and love song to their home city. With a particular focus on underground subcultures and sexual policing under a dictatorship, their work is renowned for being inventive rather than polemic, and of striking a note of hope. This is theatre on the edge. October 24-27; Arts Centre Melbourne, Fairfax Studio WERK The description of this event makes it sound like the greatest thing ever. When I read that it's a "late-night haze of neon and performance, live art, and discotheque", all I could think of is this. Irish theatre dynamos THISISPOPBABY — the ones behind this enigmatic cluster of buzzwords and fluro-fantasia — look like they know their way around both a stage and a dancefloor, so something fantastic is sure to go down. I know this is a vague description, but when an event is forced to describe itself as a 'happening', it's best to go in with an open mind. That way when you walk out half-covered in spandex, sweat, and someone else's body glitter, you can aptly remark "Well, that happened." October 26; Foxtel Festival Hub URBAN CHAMBER - BEYOND The Melbourne Festival is known for its endorsement of experimental music, but this one is a doozie. Combining young local hip-hop artists with classical chamber music, dance, and performance poetry, the event is described as both a "multi-cultural ode to Melbourne" and a "hip-hop/classical throw down". That's a lot to digest. The kids from the MASSIVE hip-hop choir look really exciting though, and we'd love to see how it all comes together. At worst it could be a bit confusing, but at best it could be a really unique and entertaining hybrid — it's exactly the kind of adventurous project festivals like this should be supporting. October 25 and 26; Melbourne Recital Centre DISARM Because 'Make Love, Not War' is so over, Pedro Reyes latest exhibition has suggested a new alternative: make music! It may be a simple premise, but the result is amazing. Using discarded weapons confiscated by the Mexican army, Reyes has created a grand total of 47 very unique instruments. Electric guitars, violins, flutes, and intriguing hybrids — all fashioned out of artillery. Of course, it has a pretty hefty political bent, but when it comes down to it there's a simple joy in watching someone play a harmonica carved out of a handgun. Keep an eye on the Melbourne Festival site to find out when the concert's going to be (oh yeah, that's happening), and check out Pedro Reyes' free talk on October 13 to hear more about it. October 12 -27; NGV International Room of Regret Amid all of the international superstars flying in, some of the most unmissable events are from locals. Newly commissioned pieces from popular indie companies THE RABBLE (with Room of Regret) and the Daniel Schlusser Ensemble (with M+M) will play at Theatre Works. Both works take a classic text as the subject for their boundary-pushing inventions. Staged in a labyrinthine network of corridors, Room of Regret will do Oscar Wilde's The Picture of Dorian Gray as seen through a Hall of Mirrors, while M+M is an adaptation of Mikhael Bulgakov's The Master and Margarita that introduces some equally dark references from contemporary Russia. M+M: October 8-13; Room of Regret: October 21-19; Theatre Works TANDERRUM This year's festival will be opened with a traditional tanderrum — a welcoming ceremony from elders of the Kulin nations granting permission for guests to use the land and resources. However, this won't be any ordinary Welcome to Country; the tanderrum will be orchestrated by the Ilbijerri Theatre Company and will include music and performance, as well as rich storytelling which adheres strongly to the traditions of the land. Once the ceremony is complete, Archie Roach will be performing a free concert with a 10-piece band. All on the wide, open grounds of Fed Square, the evening promises to be a respectful and community-oriented first note for a festival that showcases talent from all over the world. October 11; Federation Square THE SONIC FLOCK Have you ever been at a gig with an awkwardly small number of audience members? Felt like they were just playing for you? Well, if this was a feeling you enjoyed, you're going to love what the Click Clack Project has lined up. Over the first two days of the festival, Federation Square will be littered with a series of small black teepees, and inside of each, an artist will be performing to an enthralled audience of one. While admittedly terrifying — oh god, what facial expression am I making / how are they maintaining eye contact with me while playing the flute?* — it also sounds a little amazing. Check it out on Saturday for Shadow Tales performed by the Footscray Community Arts Centre, or head down on Sunday if Japanese sound art is more your thing. *We really can't guarantee anyone will be playing the flute. October 12-13; Atrium at Federation Square Teenage Riot/All That Is Good You don't truly realise how parental and limiting adult writers can be towards children until you've seen the works of Belgian youth theatre group Ontroerend Goed. Their self-devised pieces are anarchic, freeform, funny, dramatic, frequently loud and generally unpredictable. The seminal Once and for all we're gonna tell you who we are so shut up and listen has now spiralled out into a trilogy that somewhat progresses through the stages of youth. Melbourne Festival 2013 gets the later, angstier chapters. Teenage Riot has eight teenagers trapped in a room inflict twisted games on each other, and recording it on camera, while All That Is Wrong has single writer/performer Anna Jakoba Ryckewaert, 18, undertake a more introspective coming-of-age — what Melbourne Festival are calling "a final, poignant dispatch from the consuming borderland between youth and adulthood". October 15-20; Arts Centre, Fairfax Studio By Meg Watson and Rima Sabina Aouf
The World's 50 Best Restaurants for 2013 have just been announced, and it seems the trend towards all things natural and sustainable is here to stay, along with a speckling of Australian culinary talent working here and abroad. The Acqua de Panna award for Australasia's best went to Attica in Melbourne, a Ripponlea gem helmed by Patrick Shewry. The New Zealand-born chef has brought a certain sensitivity to his kitchen and earned a reputation for sustainable practice that showcases natural flavours and textures. Breaking into the list at no. 21, Attica was also honoured with the highest placed new entry. Peter Gilmore's usual suspect, Quay, came in at no. 48 to secure its fifth consecutive year on the list and rounded out our national presence. The result of 900 food journalist, restaurateurs, gastronomes and chefs working across the planet, the World's 50 Best Restaurants named Catalonia's El Celler de Can Roca as this year's premier international culinary destination. Run by the three Roca brothers — Joan (chef), Jordi (pastry chef) and Josep (sommelier), pictured — it has sat at no.2 for the last two years behind Denmark's Noma, which left the number one ranking for the first time in three years to slip to no.2. The United States and France confirmed their ascendancy with six restaurants in the top 50 each, including the celebrity-magnet Per Se in New York. Homegrown talent working abroad also nabbed a few spots, with Brett Graham's Notting Hill restaurant, The Ledbury, finishing at no. 13 and ex-Sydneysider David Thompson coming in at no.32 with Nahm in Bangkok. Thompson became the Sydney authority on Thai cuisine during the '90s with his well-remembered Darley Street Thai.
Not once, not twice, but nine times, Australia's most-dazzling Indigenous arts festival has lit up the Northern Territory. 2025 will make ten. Parrtjima — A Festival in Light has so firmly established itself as a highlight of Alice Springs, the Red Centre and Australia's cultural scene that it's hard to imagine a time before it. Expect luminous sights again this year, including the reliable star of the show: getting a 2.5-kilometre stretch of 300-million-year-old MacDonnell Ranges glowing every evening. The MacDonnell Ranges Light Show is one of two favourites returning to Parrtjima in 2025, again pairing its eye-catching display with classical music and Arrernte language. The other: Grounded, asking attendees to look down instead of up. A festival of lights in the NT was always going to incorporate the red earth, too, which is where large-scale projections turn the soil into a canvas. This year's version features six artworks. If Parrtjima only boasted those two pieces across Friday, April 4–Sunday, April 13, it'd still be worth heading to the Red Centre to enjoy — but there's far, far more in store across the event's ten days. Four other installations, all new and focusing on the 2025 festival theme 'timelessness', are among the standouts of a lineup that sports contributions from 20-plus First Nations artists, plus more than 100 performers and special guests. At The Gateway at Parrtjima's entrance, towering poles by artists from Antulye, Irlpme, and Mparntwe groups will greet guests. Also, Balanggarra and Yolŋu artist Molly Hunt's Three Generations of Station Women is making an animated comic strip that honours Aboriginal stockwomen, with actor Mark Coles Smith (Apple Cider Vinegar) on soundtrack duties. Then there's Bobby West Tjupurrula's Hypnotic Reverberations, creating a moving dreamscape out of beams of light, mist and reflections on a shallow pool. From Lyall Giles, Transforming Light & Country isn't just about sand dune patterns — it gets festivalgoers to play with them, using drums to create rings of light. Troy Cassar-Daley is headlining the festival's roster of nightly performances, putting on a free show on opening weekend. On the rest of the bill: the Darwin Symphony Orchestra, in what'll be Parrtjima's first-ever orchestral performance, plus gigs by Bumpy, Dem Mob, and Warren H Williams & Western Wind. This year will also feature the fest's debut comedy night, with Andy Saunders and Sean Choolburra sparking laughs. The Blak Markets are back, again showcasing First Nations paintings, jewellery, prints, baskets, sculptures and more — and Cassar-Daley, filmmaker Rachel Perkins (Jasper Jones), Michael Liddle, Armani Francois and Rudi Bremer are among the guests and speakers at the event's in-conversation sessions. If you're keen to learn by doing, the workshops itinerary spans art centre Iltja Ntjarra Many Hands getting participants doing watercolour paintings in the style of Albert Namatjira, Chef Mark Olive and Kungkas Can Cook's Rayleen Brown exploring bushfoods and traditional recipes, Parrtjima Curator Rhoda Roberts leading a weaving workshop, drumming with Dobby, and using native plants in Aboriginal healing with language holder and ecologist Veronica Perrule Dobson. Parrtjima – A Festival in Light will return from Friday, April 4–Sunday, April 13, 2025, at venues around Alice Springs in the Northern Territory. For more information, visit the festival website. Images: Parrtjima – A Festival in Light. 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.
It was one of the biggest celebrity scandals of the 90s, and it's now heading back to screens. When a sex tape featuring Baywatch star Pamela Anderson and her then-husband Tommy Lee was stolen from their home in 1995, then leaked on online, it fuelled tabloid headlines (and internet downloads) for years and years. Now, the whole saga has been turned into a drama called Pam & Tommy — starring Lily James (The Pursuit of Love) as Anderson and Sebastian Stan (The Falcon and the Winter Soldier) as the Mötley Crüe drummer. Even better: US streaming platform Hulu, which is behind the eight-part show, has just dropped the first teaser trailer for the series. James obviously dons the red swimsuit that Anderson was so famous for wearing for 76 episodes of everyone's favourite 90s lifeguard drama — you really couldn't make a series about Anderson without it — and, given that the focus is squarely on the couple's intimate recording, how it became public, and the impact it had on Anderson and Lee, things clearly get chaotic rather quickly. In the sneak peek, a mullet-wearing duo played by Seth Rogen (An American Pickle) and Nick Offerman (Devs) can't quite believe what they've stumbled across. That's the focus of the trailer; however, the clip does also show Anderson and Lee's reaction when the tape makes its way out into the world. Pam & Tommy's stars firmly look the part — calling James' appearance a transformation definitely fits — and the trailer sports an expectedly hectic vibe. Australian-born director Craig Gillespie has jumped into larger-than-life true tales before with I, Tonya, so he's in somewhat familiar territory. He also keeps being drawn to decades gone by: the 90s here and in I, Tonya, the 80s in aerobics-focused dark comedy series Physical, and the 70s in this year's live-action Cruella as well. Hulu has set a February 2 release date for Pam & Tommy in America, dropping the first three episodes on that date and then streaming the rest week-to-week afterwards. At the moment, where and when it'll surface Down Under hasn't yet been revealed, but hopefully that'll happen around the same time. Check out the Pam & Tommy teaser trailer below: Pam & Tommy will start screening via Hulu in the US on February 2. A release date Down Under hasn't yet been revealed — we'll update you when one is announced.
You don't need binoculars or a deerstalker cap to be a sleuth. If you're keen to investigate new cases at the press of a few buttons, all you really need is a stacked streaming queue. TV mysteries and dramas are full of whodunnits, after all. And, while they're filled with on-screen folks trying to get to the bottom of many a thorny predicament, they're also all perfect for letting viewers play armchair detective at home. Perhaps you're excellent at spotting tiny foreshadowing details? Maybe you have a great feel for television's twists and turns? Or, you could just love escaping into a series, lapping up all the minutiae and seeing if you can pick what's going to happen next? Whichever category fits, we've paired up with streaming platform Binge to take care of your next five viewing picks. They'll have you puzzling along as you're watching — including via a 14-day free trial for new customers.
Heading overseas from Australia is about to become a reality again, with the Federal Government recently announcing that international travel will be allowed to restart on a state-by-state basis from November. When each state or territory hits the 80-percent fully vaccinated mark set out in the National Plan to transition Australia's National COVID Response, that part of the country will be able to resume international flights — and Qantas has announced which routes will be operating first. Back in August, the airline revealed that it was planning to begin flying overseas again in December this year, based on when it forecast that Australia's international borders would reopen again. It has since started selling tickets for a number of overseas routes and, now that a firm plan has been put in place to open the nation back up to the rest of the world, it's bringing forward the start date for its flights to London and Los Angeles. Both legs will operate out of Sydney, and recommence operations from Sunday, November 14. To begin with, there'll be three weekly return flights to each city on Qantas' Boeing 787-9 Dreamliners. And if you're wondering why the carrier picked these two routes, it's because they've been the most searched options for the past few weeks. Pack your bags, flights from Sydney to LA and London take-off from mid-November ✈️ https://t.co/reJshnEF0U pic.twitter.com/KsxjrsBfGC — Qantas (@Qantas) October 1, 2021 The airline advises that it'll add more flights if it needs to, as per demand, and that the dates may shift once the exact border reopening date is announced (or, if anything changes with the Australian Government's current plan). So, if travel can recommence out of Sydney earlier, Qantas will move things forward — and it it gets pushed back, so will the flights, obviously. If you're keen to get booking anyway, ticketholders for these flights will be able to make changes without paying a fee for travel up until the end of 2022, although you will need to pay a difference in fare if that applies. Fares for the two routes are open to Australian citizens, permanent residents and their immediate families and some visa holders, and start at $1662 return for the Sydney–Los Angeles trip and $1869 return for Sydney–London. At present, Qantas is sticking with its plans to restart other international flights from Saturday, December 18. Previously, Qantas had revealed its intention to recommence flights to destinations with high vaccination rates from December 2021, including Singapore, Japan, the US, the UK, Canada and Fiji, before adding Hong Kong flights in February, and then trips to Bali, Jakarta, Manila, Bangkok, Phuket, Ho Chi Minh City and Johannesburg in April 2022. When overseas flights do resume, Qantas will use digital health passes to verify vaccination and testing status. And, as Qantas CEO Alan Joyce has previously stated, the airline will only allow fully vaccinated passengers to travel on international flights. Passengers will also need to have returned a negative PCR COVID-19 test 72 hours before departure. It's expected that travellers on these international flights will need to go into home quarantine for seven days when they return, which Prime Minister Scott Morrison mentioned when he announced that the international border will reopen in November; however, the exact details of how that'll work hasn't yet been revealed. As part of its efforts to encourage vaccinations — and to help speed up the return to its normal operations — the airline is also currently giving away discounts and frequent flyer points to vaxxed Aussies. Qantas will restart Sydney–Los Angeles and Sydney–London flights from Sunday, November 14. For more information or to book, visit the Qantas website.
Have you ever dreamt of a better version of yourself? At Sydney Film Festival's 2024 closing night, that'll be the question of the evening. The query sits at the heart of The Substance, which premiered at this year's Cannes Film Festival, got the movie world talking instantly and now has a date with the Harbour City on Sunday, June 16 to wrap up SFF with a dose of body horror. If you've being seeing Demi Moore's name pop up a heap lately and were wondering why, this film is the reason. After recently adding Feud, The Unbearable Weight of Massive Talent, Please Baby Please and Brave New World to her resume, the actor leads The Substance as celebrity Elizabeth Sparkle. When the character uses a black-market drug in an effort to cling on to her image and fame, it creates a younger version. "More beautiful" and "more perfect" is also how the first official clip from the film describes the temporary clone. If everything went swimmingly, however, there wouldn't be much of a movie. The Substance is also the long-awaited second feature from writer/director Coralie Fargeat, who made a spectacular debut with 2017's Revenge, and just picked up the Best Screenplay award on the Croisette for her sophomore effort. And, alongside Moore, Margaret Qualley (Drive-Away Dolls) and Dennis Quaid (Lawman: Bass Reeves) also star. "We are thrilled to close this year's Sydney Film Festival with the Australian Premiere of The Substance. Coralie Fargeat's film, featuring an outstanding performance by Demi Moore, promises to leave a lasting impression," said Sydney Film Festival Director Nashen Moodley. While the festival announced its full lineup in early May, the event always keeps adding to the program afterwards. Elvis' Austin Butler also joined the bill, coming to Sydney for a screening of his new film The Bikeriders. Plus, normally before the fest kicks off, it reveals a few more straight-from-Cannes titles. Accordingly, keep watching this space. Check out the teaser trailer for The Substance below: Sydney Film Festival 2024 takes place from Wednesday, June 5–Sunday, June 16 at various cinemas and venues around Sydney. For more information and tickets, head to the festival's website.
Forget humdrum Hallmark — this Valentine's Day, it's time to up the ante by whisking your other half to a boutique escape that would knock even Casanova's (lacy) socks off. Best for lavish loving: Blakes Hotel London, United Kingdom Having long seduced fabulous film stars and glamorous glitterati, Blakes Hotel delivers hedonistic pleasures with a hefty dose of decadence. Put simply, the sexy boudoirs will have you seriously considering extending your stay (no wonder Blakes won 'Sexiest Bedroom' at our recent Smith Hotel Awards). Inspired by far-flung lands, including Turkey, Russia and Indi, each room has its own unique style: think suites kitted out with mother-of-pearl-inlaid furnishings, four-poster beds draped in rich fabrics or hand-painted white floors. Jimmy Choo-clad ankles and Rolex-boasting wrists head to Blakes’ dimly lit restaurant to dine on dishes that are influenced by the East: try tempura oysters for an afternoon aphrodisiac. Best for rustic romantics: The Farm at Cape Kidnappers Hawke's Bay, New Zealand Neighboured by a 6,000-acre working farm and jaw-dropping Pacific Ocean views, The Farm at Cape Kidnappers comes complete with a glam golf course, soothing spa and seductive dining snug. Communal areas in this French-style country house have exposed wooden beams above rough grey-stone walls, natural wood panelling, stone floors scattered with cowhide rugs and oversized couches clustered around a fire — perfect for snuggling up with your favourite person and glass of New Zealand pinot. Following a day on the green, choose from a range of dining spaces — the snug is perfect for dinner a deux. Be sure to leave room for dessert; the hotel’s pastry chef makes all of the scrumptious cookies, breads, jams, ice-cream and pastries from scratch. Best for party pleasures: QT Sydney Sydney, Australia Dubbed the ‘Directors of Chaos’, the red-wigged belles manning the doors at QT Sydney are the first hint that this hotel is not your average boutique bolthole. A playground for adults (ankle-biters are best left with grandma), the hotel occupies the beautiful old bones of the revamped State Theatre and Gowings department store buildings. All the rooms are tricked out with vibrant hits of colour, prints and patterns across fur throws, rugs and cushions. DIY Martini kits cater to budding mixologists and hint at pre-dining-and-dancing tipples. For morning-after alleviation, slot in a session at stylish SpaQ, where an old-school barber is a nod to the history of the Gowings building. Best for quiet canoodling: Ca Maria Adele Venice, Italy With heavy damask fabrics, shimmering Murano chandeliers and ornate flock wallpaper, Ca Maria Adele is a romantic respite hidden away from camera-clutching tourists. Couples are welcomed by a private dock and then coaxed into the elegant reception, resplendent in gold marble and deep African teak. A soundtrack of lapping water and chattering locals can be heard from the windows of Ca Maria Adele’s magnificent rooms: the grand Sala del Doge has sumptuous furnishings and a sensuous red palette; Sala Noire is darkly seductive, with black glass and muted lighting. Best for balmy beach bliss: Qualia Great Barrier Reef, Australia In the heart of the world's largest marine park, the postcard-perfect and too-turquoise views from Qualia extend as far as the eye can see. Pavilions — made from natural wood, glass and stone — are enveloped by lush tropical forest and gardens or are perched on the resort’s aptly named Pebble Beach. Those seeking to stimulate the senses in the most serene of surroundings should head for the spa; oenophiles can get their kicks with a chardonnay massage and vinotherapie body scrub. Golf buggies replace cars and can be used to explore Hamilton Island's main street offerings of shops, cafes and restaurants. When a growling stomach bids you to return to the resort, the Long Pavilion is a fine-dining eatery serving modern Australian cuisine at candlelit tables with sunset vistas. Best for a private palace: La Residence Garden Route & Winelands, South Africa Peering over Franschhoek's valley of vines, La Residence is a mini, modern Versailles with more Persian rugs and exotic antiques than you could poke a pith helmet at. Life happens at a leisurely and luxurious pace here — days are spent moseying between the come-hither infinity pool and shaded sun loungers, cycling around the estate or indulging in a private cheese or wine tasting at one of the neighbouring vineyards. Dine beneath dazzling chandeliers in the hotel's grand dining room. The Persian Alley is perfect for cocktails and canapes by candlelight, while would-be master-chefs can book a cookery demonstration at the chef’s table. Best for enchanting escapism: Jade Mountain St Lucia, St Lucia Rising above the Caribbean sea, Jade Mountain is a cornucopia of zigzagging stone walkways, cascading koi pools and sculpture-topped stone pillars. The vision of conceptual architect Nick Troubetzkoy, each of the ‘sanctuaries’ (fancy talk for rooms) has its own ‘sky path’ — an individual bridge suspended from a network of columns and a removed fourth wall, allowing for totally uninterrupted ocean views. There’ll be no quickly checking emails or uploading a #nofilter shot to Instagram; this is a tech-free zone with no phones, sound systems, TVs or WiFi. Bliss. Expect to fill days with waterskiing, snorkelling, kayaking, cycling, paddling in your private infinity pool and feasting on the seafood-focussed menu at the Jade Mountain Club. Best for decadent dining: The Prince Melbourne, Australia Behind its art deco facade, The Prince is home to simply decorated communal spaces, an acclaimed restaurant and a spa sure to soothe every niggle. In edgy and bohemian St Kilda, the Prince is so cool it's sure to illicit a raised eyebrow from even the most blase of hipster — credentials include a sophisticated vodka bar, buzzing public saloon and an iconic live-music venue. Paying homage to Melbourne’s favoured sleek and minimal aesthetic, rooms are uncluttered and spacious with dark woods, chocolate-grey carpets and unfussy white bed linen. Dining at the Prince is an award-winning affair: helmed by Ashly Hicks, Lyndon Tyers and Stephen Burke, Circa’s menu focuses on seasonal and local produce — roasted duck with mandarin and blackened onion, smoked quail with parsnip curd and mulberries. Best for upscale country manor: The Lodge at Kauri Cliffs Bay of Islands, New Zealand Soak up panoramic Pacific Ocean vistas from The Lodge at Kauri Cliffs, which flaunts blissful beaches, a championship golf course and a cliff-top perch. Rooms at the lodge are the kind that you want to take back home in your carry-on so nothing gets broken: think neutral-toned comfy armchairs by the fire, walk-in wardrobes, indulgent bathrooms and private porches overlooking the sea. If golf isn’t your game, a private beach with soft pink sand is a mere 15-minute stroll from the seventh hole, or you can succumb to the spa, where treatment rooms have floor-to-ceiling windows and overlook a trickling stream. Best for Parisian perfection: L’Hôtel Paris, France In Paris, romance rules and L’Hôtel isn’t daunted by its setting; it will sweep you off your feet. In the hotel where Oscar Wilde penned his last, there are extravagant nods to this famed eccentric everywhere, from the glamorous underground swimming pool to the leopard-print carpet and original Jean Cocteau artwork in the lobby. From the cylindrical hotel atrium, a spiral staircase descends towards the basement hammam, where the pool is decked out with heavy velvet curtains, terracotta floors and rough-stone columns. Post-swim stomachs can splurge on Michelin-starred cuisine at Le Restaurant or, if liquid libations are more your speed, the adjacent Le Bar is a dark and seductive haunt, favoured by artists, film stars and discerning Parisians. Ready to swoon? See more romantic designer dens for Valentine’s Day or explore other collections at Mr & Mrs Smith.
Warwick Thornton, Cate Blanchett, Deborah Mailman, Nick Cave and Warren Ellis: name a better Australian quintet. The director of Samson & Delilah and Sweet Country, the two-time Oscar-winner and recent Tár tour de force, the local screen mainstay, and the Bad Seeds bandmates and seasoned film composers all combine not for the ultimate Aussie dinner party, but for The New Boy. None are debuting in their jobs. All are exceptional. They're each made better, however, by the luminous and entrancing Aswan Reid. As well as playing the titular part, the 11-year-old first-time actor lives it among such a wealth of acclaimed and experienced talent — and he's such a find in such excellent company, while saying little in words but everything in every other way, that Thornton's third fictional feature owes him as much of a debt as its applauded and awarded household names. There's a spark to Reid from the moment that he's first spied grappling with outback law enforcement under blazing rays as Cave and Ellis' (This Much I Know to Be True) latest rousing score plays. His sun-bleached hair couldn't be more fitting, or symbolic, but it's the confident way in which he holds himself as New Boy, plus the determined look on his face, that sears. Wily and wiry, the feature's eponymous figure is toppled by a boomerang, then bagged up and transported to the remote Catholic orphanage doted on by Sister Eileen (Blanchett, Nightmare Alley) in the 1940s. The cop doing the escorting notes that the kid is a bolter, but the nun is just as fast in her kindness. She sees what Thornton wants his audience to see: a boy that beams with his presence and through his sense of self, even though he's been snatched up, taken from his Country and forced into a Christian institution against his will. Sister Eileen is as drawn to him as the movie, but — and not just due to the red wine she likes sipping and the subterfuge she's keeping up about the resident father's absence — she isn't as certain about what to do. The path that any new arrival at the monastery is supposed to follow is preordained: uniforms, a dorm bed, porridge, helping in the fields, obedience and church. New Boy barely subscribes, donning only shorts, sleeping on the floor and cutting in front in the food line, which Sister Eileen permits. The abbey's two other adults, the nurturing Sister Mum (Mailman, Total Control) and farmhand George (Wayne Blair, Seriously Red), are welcoming yet know the reality that's facing all of the boys in their care, particularly the First Nations kids. In the priest's name, Sister Eileen might write letters to the government urging them not to send her charges away when they're considered old enough to work — the endgame to the state, especially with the Second World War impacting labour — but Sister Mum and George are lived proof that acquiescing and assimilating is the only outcome that will be accepted. There's a spark to the new boy, too, and literally. He's meant to pray away his Indigenous spirituality in the name of dutiful conformity, and in favour of Christianity, but the faith and culture that's as old as Australia's Traditional Owners glows. He's curious, though, including about the ornate, life-sized wooden cross that's sent from France for safekeeping during the war. He wants to undo its nails, free Jesus from crucifixion and give it the property's snakes as gifts. As Thornton peppers in religious imagery, New Boy displays more in common with its carved figurine than Sister Eileen knows how to handle. This is a tale of survival and, while always its namesake's story first and foremost, it also sees two sides to it: the First Nations lad ripped away from all he knows, as well as the nun that's gone renegade within a system that sees her as lesser because she's a woman. Writing and directing — as he did with Samson & Delilah, but not Sweet Country — Kaytetye man Thornton takes inspiration from his own experience as a child sent to a missionary boarding school ran by Spanish monks. In the process, he makes a moving and needfully blunt statement about the clash that's too often been enforced upon the country's First Peoples since colonisation. Indeed, simmering with anger but also hope, The New Boy is a clear, unshakeable rebuttal of the perennially ridiculous idea that only one faith, culture or way of life can exist. And, crucially, it feels as personal as Thornton's work gets; he isn't in front of the lens as he was with the also-remarkable The Beach, where he charted his own escape away from the incessant hustle and bustle of modern life, but the sensation that emanates from the screen is overwhelmingly the same. Thornton works as his own cinematographer on The New Boy, another trademark touch — see also: anthology film The Darkside, documentary We Don't Need a Map, plus the episodic Mystery Road and Firebite — which allows him to load every inch of every immaculate frame with deep and blistering emotion. There's no such thing as a passive image anywhere in any film by any director, but Thornton's beautifully shot movies ensure that his viewers can't evade the landscape that's been forever changed by white settlement. Here, he roves over the plains outside of South Australia's Burra, where every structure for the feature was erected from scratch, and where shimmering yellow fields of wheat grow atop the ochre earth that's been inhabited by Indigenous Australians for thousands of years. He sees how the terrain has been reshaped, but never forgets who was there first. With his oh-so-perceptive eye, Thornton's visuals stunningly do what New Boy does: expresses everything with little speaking necessary. In her first on-screen role in a solely Australian film since 2013's The Turning, Blanchett talks, of course. Where much of the picture around her bubbles with loaded patience, and Reid's innate naturalism, The New Boy's biggest star is the storm amid the deceiving calm. Consumed by her struggles with her own faith while tasked with instilling it into her charges, and also now challenged by the new boy that defies her sense of logic, Sister Eileen rarely stops moving, fretting, surveying, asserting, preaching and confessing — and Blanchett is magnetic to behold. That said, it's a performance with a needed counterbalance. Without Reid's serenity, Blanchett might've come on too strong. Without Reid, too, the fact that the eponymous character's quest to endure is tinged with hard-won optimism amid its palpable fury mightn't have shone through. No matter what happens, or how rarely he's accepted for who he is, New Boy always persists.
If Harry Potter and Singing in the Rain were mashed up, this gadget would be the key prop. It might look like a magic wand, but it acts like an umbrella. By sucking in air at one end and pushing it out at the other, the motorised head creates a jet airflow, pushing raindrops away from you. Hence, you’re kept dry, without the inconvenience of carrying around a soggy piece of fabric that will invariably whack your fellow pedestrians in the face. Created by Nanjing-based inventor Chuan Wang, the air umbrella is currently funding on Kickstarter. It began life as a prototype back in November 2012. Wang then spent time working with PhD graduates from the Beijing University of Aeronautics and Astronautics to reduce the size, while maintaining an effective level of airflow. A controller at the base of the handle enables the user to manipulate the umbrella’s force, to meet the rain’s intensity. With ten days to go, the Kickstarter campaign has exceeded its target goal, thanks to 97 backers pledging to the tune of $10,283. Three sizes are available, the ‘A’, which is selling for $88; the ‘B’, priced at $98; and the ‘C’ at $108. The smallest measures 30 centimetres and weighs in at 500 grams, while the largest is extendable, to a length of 80 centimetres, and weighs 850 grams. The invention has some weaknesses. For one, it looks dodgy as. Dyson should really put this sleeker concept into production. Two, it eats battery life faster than Facebook for iPhone. Despite the significant size of the rechargeable lithium pack, umbrella ‘A’ offers only 15 minutes of protection at a time, while ‘C’ provides 30 minutes. Via PSFK.
This month, life is going to be a little more normal for Melburnians. Two new phases of eased COVID-19 restrictions have come into effect over the past fortnight — at the end of October and again on November 8 — and another is slated for November 22. And, as part of the just-implemented set of changes, the city's cultural institutions can reopen — so get ready to visit galleries and museums. While Premier Daniel Andrews said that the reopening of these kinds of entertainment venues became permissible from 11.59pm on November 8, Melbourne's major cultural institutions are staggering their relaunch dates across the next month or so. Similarly to restaurants, bars, pubs and cafes, they'll need to adhere to strict social-distancing guidelines, with 20 people per venue or 20 per space (if that applies) permitted inside at present. Times will need to be staggered, too, so that there's a minimum interval of 30 minutes between sessions to avoid crowds milling around in foyers. Come Monday, November 16, you'll be able to head to Melbourne Museum, the Immigration Museum and Scienceworks, with tickets going on sale at 1pm on Friday, November 13. Bookings are obviously essential given the restricted patron numbers. Over at National Gallery of Victoria, it's splitting its relaunch dates. At The Ian Potter Centre: NGV Australia, the doors will swing back open on Monday, November 23 — with retrospective exhibition DESTINY, featuring the work of artist Destiny Deacon — and free tickets are available to book from Monday, November 16. At NGV International, however, patrons won't be able to head back in until Saturday, December 19, with the site reopening in line with its huge NGV Triennial. Given that Premier Andrews only announced this past weekend that galleries and museums could welcome back Melburnians this week, expect more reopening dates to be announced over the coming weeks — just in time for you to escape the summer heat while looking at stunning art and informative exhibitions. For more information about Melbourne Museum, the Immigration Museum and Scienceworks's reopening, head to the Museums Victoria website. For further details about the National Gallery of Victoria's reopening plans, head to its website as well. Top image: Scienceworks 'Beyond Perception' courtesy of Museums Victoria.
Last time Spike Lee stepped behind the camera, he took on American race relations in the 1970s, with the equally scathing, impassioned and amusing BlacKkKlansman winning him the Cannes Grand Prix and an Oscar for Best Adapted Screenplay for his troubles. Two years later, the acclaimed filmmaker is back with his latest feature, which once again tackles inequality and its consequences — this time in Vietnam War heist flick Da 5 Bloods. Dropping on Netflix on June 12 — and just dropping its first trailer, too — Da 5 Bloods follows four African American veterans who head back to Saigon decades after the conflict. They're looking for the remains of their squad leader, who was killed in action, but they also have another mission: searching for the buried gold they stashed away all those years ago. As the trailer makes clear, Lee was never going to explore the controversial war without also examining the role played by African American soldiers at the time. That just wouldn't be a Spike Lee joint. So, as well as charting the exploits of his characters both now and during the conflict, Da 5 Bloods interrogates the political and social reality behind their military service — including the fact that they were fighting for a country that didn't treat them equally, let alone care whether they lost their lives in combat. Lee's latest flick also assembles a mighty impressive cast, including Black Panther's Chadwick Boseman as the unit's fallen commander — plus, as the older versions of the surviving squad members, The Good Fight's Delroy Lindo, Broadway veteran Norm Lewis, and The Wire duo Clarke Peters and Isiah Whitlock Jr. Whether the latter will exclaim "sheeeeeeeee-it" is yet to be seen, although Lee is clearly a fan. https://twitter.com/SpikeLeeJoint/status/1262194706416455680 Da 5 Bloods also features French actors Jean Reno and Mélanie Thierry, When We Rise's Jonathan Majors and Richard Jewell's Paul Walter Hauser, as well as Breaking Bad and Better Call Saul's Giancarlo Esposito — who reteams with Lee after starring in the director's School Daze, Do the Right Thing, Mo' Better Blues, and Malcolm X in the late 80s and early 90s. Check out the Da 5 Bloods trailer below: https://www.youtube.com/watch?v=D5RDTPfsLAI Da 5 Bloods hits Netflix on June 12.
If you're watching a film in a darkened theatre without some sort of snack in your hand, are you really at the cinema? Lovers of popcorn and choc tops certainly don't think so. And while whipping up a bowl of popped corn kernels in the microwave is a rather easy way to help recreate that movie magic at home at the moment, enjoying a choc top — a proper cinema-quality choc top, not just your own attempt — isn't quite that simple while Australian picture palaces are temporarily closed. To help satisfy Australia's choc top cravings during the COVID-19 pandemic, Hoyts has been delivering them (and popcorn and other movie snacks as well). Other cinemas have been selling the desserts, too, such as Melbourne's Cinema Nova and Sydney's Golden Age Cinema and Bar. But if you'd just like to grab a few from the supermarket, you'll now find Bulla's choc tops in Coles' freezer aisle for a limited period. It's the first time that Bulla's choc tops have been available outside of movie theatres, with different flavours on offer in different states. Ice cream fiends in New South Wales, Victoria and Tasmania can lick their way through mint, vanilla, salted caramel, and cookies and cream varieties, while Queenslanders, Western Australians and South Australians can opt for mint, vanilla, choc fudge and boysenberry. https://www.instagram.com/p/CArIHWhgWUg/ Bulla and Coles haven't revealed just how long the choc tops will be on the freezer shelves; however the fact that the majority of cinemas aren't aiming to reopen in Australia until mid-July might be a good guide. Find Bulla's choc tops in the Coles freezer aisle for a limited time. For further details, visit the Bulla or Coles websites.
If a tree falls in a forest and no one is around to hear it, does it make a sound? If 50 of the world's most renowned street artists transform a derelict, glamorous 19th-century bathhouse-turned-nightclub into a temporary gallery space but no-one sees it, does it even exist? Paris's historic Les Bains-Douches building is steeped in history — built in 1885 as a civic bathhouse where Marcel Proust reportedly enjoyed a morning dip, the grandiose space became a pumping discotheque in the late '70s, until some overzealous renovation attempts led to the iconic club's closure in 2010. It's set to reopen as a mystery venue in 2014, but for now owner Jean Pierre-Marois has invited a stable of prominent urban artists, commissioned by the Magda Danysz Gallery, to reimagine the soon-to-be demolished space. Les Bain's fleeting metamorphosis as a gallery space will never open to the public; instead it's memorialised exclusively in the online exhibition platform Un Artiste Un Jour ('One day one artist), as captured by photographers Stephane Bisseuil and Jerome Coton. Perhaps a throwback to the pleasure-seeking days of disco when Les Bains was a playground for the debauchery of Andy Warhol, Yves Saint Laurent, Jean-Michel Basquiat, Grace Jones, Kate Moss, Mick Jagger and Johnny Depp, the beautifully decaying artwork is here for a good time, not a long time. Hedonistic? Perhaps, but what is art if not beauty for beauty's sake alone. Take a sneak peek below, no fake ID necessary. Lek and Sowat Thomas Canto Jeanne Susplugas Joachim Sauter Sten Lex Zeer Image credits: Sambre, Lek and Sowat, Thomas Canto, Jeanne Susplugas, Joachim Sauter, Sten Lex, Zeer by Jerome Coton and Stephane Bisseuil. See more images here.
It's been a big year for Melbourne's iconic cocktail haunt The Everleigh, first scoring a nomination at The Spirited Awards for Best International Cocktail Bar, and in July unveiling a sleek new look after a much-hyped makeover. So it's only fitting that the world-class bar has some very big things planned for it's sixth birthday party later this month. One and all are invited to join in the fun on Sunday, September 24, as The Everleigh welcomes its sixth year in fine form, with a 1960s Vegas-themed birthday extravaganza. Infused with all the glitz and glamour of this golden era and taking cues from the city's iconic Sands Hotel, it'll be one for the press pages. Prepare yourself for an evening of live performances, show girls, big bands and of course, plenty of exceptional drinks. The Everleigh will be showing off its new-look digs in all their elegant, old-world glory, including the latest addition, The Starling Room. Starting scouting out some worthy party threads now — you'll need to dress to impress Marlene Dietrich and Frank Sinatra, specifically. Image: James Morgan.
It's been an unusual year, and so it would make sense that one of the annual events we look forward to each year is shaking (or stirring) things up in 2020. Negroni Week, sponsored by Campari, is back from September 14–20 — and this year you can support your local bar from a distance, by learning to make your own at home. Campari has collaborated with 50 leading bartenders across Australia — including Black Pearl's Matt Linklater, PS40's Michael Chiem, Nick & Nora's Kayla Reid and Old Mate's Brittany Rowe — to create a free Negroni Cocktail Book that you can download and follow to recreate some of your favourite twists on the classic negroni. The Negroni Cocktail Book is a gift from the bartenders who've invented new ways to serve us during lockdown. There are two parts to the book; the first has ten classic recipes, like an americano, a coffee negroni and a kingston, and the second has 50 cocktail recipes from the masters, think one influenced by the bullet coffee trend, one that tastes like french toast, and heaps of others inspired by the cocktails in the negroni family. And, as those bartenders have done so much for us over the years, it's also good to give something back. This year's Negroni Week is raising a glass to the hospo industry, which has faced months of legislation, uncertainty and waves of financial instability, by partnering with Help Out Hospo. You can pay it forward to those workers hit hard by the pandemic by making a donation to Help Out Hospo, here. The initiative was created during the pandemic with all profits going to out-of-work hospitality staff. So far it's raised nearly $60,000. Download the free Negroni Cocktail Book here. Remember to Drinkwise.
So, you're a parent and a foodie. Quite the juggling act. But there comes a tipping point in every child-rearing connoisseur's journey: babysitters are an added expense to the cost of a night out, and preparing a separate meal for the rugrat(s) calls for time you can't spare right now. You're going to have to take the little treasures out with you. And the following is your key to doing so with no regrets. We've teamed up with Holden Equinox, the SUV for parents with nothing to prove, to find the Melbourne cafe and restaurants where you can indulge your foodie longings while also catering to the kids. This city's culinary reputation isn't a throwaway line; we're envied worldwide for our quality, variety and all-seeing eye. And when it comes to great food, everyone is catered for. These ten venues across Melbourne are the kinds of places plenty of people frequent kid-free, but whose extra touches make family outings that little bit more special. ILONA STALLER Ilona Staller might be named after an Italian porn star, but this fun Balaclava restaurant and bar has firmly established itself as a go-to spot for families. The food is mod-Melbourne, from tasting plates to well-executed bistro classics — try the pappardelle with slow-braised lamb shoulder. The cocktails are delightful and there's an impressive list of by-the-glass wines, while the kids' menu doubles as a puzzle page that will occupy them as they await their popcorn chicken and chips ($12 with ice cream for dessert). 282 Carlisle Street, Balaclava PANTRY Now two decades young, Pantry — a hip and happening cafe by day and stylish diner by night — is a place made for repeat visits. For parenting folk, this could mean twice in one day. True to its bayside location, the vibe is beachy and casual, with top-notch food across six menus (including one for kids), and a cocktail and craft beer list that's in the ballpark of the city's more booze-focused venues. 1 Church Street, Brighton STOMPING GROUND BREWERY & BEER HALL The rise of brewpubs has allowed more locals the chance to taste Australia's best beer straight from the source. Melbourne brewer Stomping Ground fulfils its core function with around 20 all-tastes-catering brews, but the voluminous warehouse-turned-beer hall also serves great grub (stout-braised ribs, saison-infused mussels, grilled barramundi — oh, and the beer ice cream is a must-try) and allows parents the chance to properly enjoy said food and drink by virtue of a split-level cubby house that distracts the tiddlywinks. 100 Gipps Street, Collingwood 8BIT This burger craze is getting a little tiresome, but it does offer parents ample excuse to indulge. After all, how can you go wrong bringing your kids to a place with a weekly rotating chocolate bar shake? 8bit's delicious American-style burgers are whipped up in minutes, and actually, there's a refreshingly anti-Instagram slapdashedness to them. The venue's rustic-retro feel also extends to a stand-alone arcade machine (Pac-Man, Galaga, etc) which will delight 1980s kids as much as it bores those of Gen-Z and Gen-Alpha vintage. 8 Droop Street, Footscray LONG STORY SHORT "Here comes our food — quick, get your phone out!" is a common catchcry, and even casual Instagrammers could be excused for uttering it at Long Story Short, with its Scandi-chic interior and Asian-leaning brunch menu packed with bright colours, exotic elements and some pretty nifty tricks. Case in point: the fairy floss dessert burger ($19). It's the sort of thing that helps pay for dentists' holiday homes, but your kids' eyes will light up – trust us. For early-doors drinks, there's a grab-bag of craft beer, some European bubbles and vino, and classic cocktails galore. 40 Crockford Street, Port Melbourne LEMNOS TAVERNA Lemnos Taverna owner Theo Kolliniatis transports the many childhood hours spent in his uncle's restaurant on the Greek island of Santorini into the kitchen of this bustling, wholesome High Street eatery. Each day is a lesson in organised chaos, as attentive waiters bring a succession of succulent meats, chargrilled seafood, bread and, of course, to-die-for saganaki to white-clothed tables occupied by young couples and cross-generational families. Yes, it gets loud, but, hey, can't this also be said of home? 445 High Street, Prahran GO WEST EATERY & TUCKSHOP The Village People were onto something back in 1979, if the fast-growing population — and gentrification — of Melbourne's outer-western suburbs is anything to go by. The Go West cafe in Rockbank is bright and homely, with lots of space to manoeuvre a double pram or gaggle of geese kids. The menu divides its focus between superfood breakfasts, linger-worthy brunches and tuckshop-style snacks, while the homemade sausage roll/milkshake combo is a winner for kids. Coffee comes via Rosso Roasting Co, and 'anti-coffee' options include the exquisite Calmer Sutra chai latte. 27 Woodlea Boulevard, Rockbank MR WOLF "Come early with the kids; stay late with a bottle of wine", is Mr Wolf's catchphrase. While it's hard to be both family-friendly and an after-dark destination, this stylish, Karen Martini-owned venue does it exceedingly well. Martini's kitchen effortlessly conjures the good stuff; think crispy-edged thin-crust pizzas, antipasti, slow-braised meats, and dark and daring deserts. It's this sort of high-quality, simple fare and warming vibe that sets Melbourne apart from the rest of the country. 9-15 Inkerman Street, St Kilda DONOVANS Despite a long-held reputation as a go-to bayside foodie spot, Donovans has always taken pride in its home-like vibe. The place has rebounded with a vengeance after a devastating fire in 2014, continuing to bang out the tried-and-true: charcoaled grain-fed steaks, glammed-up fish and chips, a peerless chicken pie — all washed down with Australia's best wines. The kids' menu, too, hits the spot, as does the location. Take a walk on the beach afterwards. Luna Park's toothy smile also beckons. 40 Jacka Boulevard, St Kilda PHAT MILK Phat Milk is easily missed, but beyond this Travancore cafe's small rustic frontage is a large whitewashed back room and courtyard that's equally a hit with young couples and families. The menu has a strong Middle Eastern influence. Try the excellent breakfast platter for $15 or, for a lunch that you won't forget in a hurry, the falafel burger with harissa mayo, pickled cucumber and a side of fries. Kids' options cater to junior palettes both adventurous and fussy, while their coffee rivals anything else in inner-western Melbourne. 208 Mt Alexander Rd, Travancore Drive your family on adventures in and outside of town in the Holden Equinox, the SUV for parents with nothing to prove. Find out more on the Holden website.
When it opened 88 years ago at Milsons Point, Luna Park Sydney wasn't the world's first Luna Park, or even Australia's. But Harbour City residents and tourists alike have enjoyed its presence around multiple closures, reopenings and revamps ever since. Come December, the amusement park will unveil its latest reason to stop by and enjoy its attractions: Dream Circus, an immersive experience that's revamping the site's big top. If you've ever wanted to feel like you've walked into a movie, this is the Luna Park Sydney feature for you. Dream Circus will be filled with 360-degree projections, holograms, motion-activated LED screens, surround sound and lighting to immerse you in a Hollywood-style experience. It'll become Sydney's first permanent immersive-experience attraction, the venue advises — and a world-first type of attraction as well. Attendees can expect to enter a narrative journey, where characters and a spectacle that engages the senses will combine. The experience will take over the 3000-square-metre big top, with its sights filling a surface area of over 3500 square metres — and with Artists in Motion, TDC and Auditoria, who have ABBA Voyage, King Kong on Broadway, works at Vivid and Walking with Dinosaurs to their names, behind it. Luna Park Sydney expects people to flock to see the results when Dream Circus opens on Friday, December 22, just in time for the Christmas holidays, anticipating that 50,000 people will check it out over summer. The new attraction will help the site embrace the future, while still loving its status as an art-deco amusement park that dates back almost a century. "We are proud to build for Sydney one of the most technically advanced environments in the country. The result will be a venue without equal — capable of featuring the best immersive experiences, never-before-seen immersive live music and special events" said Luna Park Sydney CEO John Hughes. "As a world-class amusement park, we need to be more than rides, and expanding our depth of offering through world-class immersive experiences will mean that Sydneysiders won't have to travel the globe to experience these incredible environments. We want to be a reliable, magical, and affordable destination for all generations of Sydneysiders and visitors to our city". Dream Circus launches at Luna Park Sydney, 1 Olympic Drive, Milsons Point, on Friday, December 22 — visit the park's website for more information and tickets.
Aussie hospo mainstay Maurice Terzini (Icebergs Dining Room and Bar, RE and Jackson on George) teamed up with Joe Jones to open this sleek new bar in Melbourne's CBD at the end of 2023. The duo took over the underground space at Queens and Collins — where Reine & La Rue recently opened to huge acclaim — and are serving up some pretty damn good cocktails. Each of Jones' creations is next-level, but we have been enamoured by his martinis ever since Purple Pit opened. We frequently head straight here for a dirty gin variety when in the CBD. It's got to be Melbourne's best. But there is a lot more to Purple Pit than its martinis. Here, an extensive selection of Euro-centric cocktails and "champagne food" are served in a lavish brutalist space where post-punk tunes roar late into the night. What exactly is "champagne food"? For Terzini and Jones it's small aperitivo-style dishes and luxe late-night bites that you want to nosh on while sipping on fine wine and cocktails. This includes house-made calzones filled with either mortadella, ricotta and fermented chilli or a playful take on the Big Mac flavours. These are great, but Purple Pit's food shines brightest with the smaller dishes. You'll be calling for more hot and salty focaccia when mopping up every last bit of burrata and seasonal accompaniments, and the scallops are a must-order. Feeling a little fancy? Pair your cocktail with a bump of caviar and some fresh oysters. You won't be filling up on food here, as it is more of a sip-and-snack situation where drinks are the heroes. Either drop by before or after dinner in the CBD for some of Melbourne's best cocktails.
It is little wonder that, for many of us, bikes are our preferred means of transport when getting from A to B. They're cheaper, greener, and ensure the health and general perkiness of various muscular groups. Yet while we love our bikes, we rarely share the affection with the cycling paths we ride on — indeed quite the opposite. But that may be about to change. French industrial designer, Ines Le Bihan, has recently developed Bicycle Road, a modular bike path with benefits galore. The Bicycle Road consists of small square-shaped panels which are easily assembled and disassembled, which means they take the labour, disruption and cost out of painting pesky white lines. The Bicycle Road is also well-equipped to deal with seasonal changes and to cope with the natural inclinations of the road. It also promises to be a safer alternative. And Greener. What is not to like about the Bicycle Road — it promises to be a greener, safer, more economical alternative to the less than adequate bike tracks that currently trail around our city street. We may even end up loving our bike tracks as much as our bikes. Maybe.
The new Melbourne Place hotel has finally opened, and with it, its slew of top-notch hospo venues. The rooftop bar and restaurant Mid Air is already full of sunseekers, and now Marmelo and Mr Mills — the final two pieces of the drinking and dining puzzle — have officially opened. Run by Ross and Sunny Lusted (Sydney's Woodcut and Aman Resorts), both venues are real standouts — with Marmelo serving up Portuguese eats in a fairly formal setting and Mr Mills leaning into the late-night basement bar vibes with an Iberian Coast-inspired menu. But it isn't strictly traditional Portuguese food coming over the pass at Marmelo, as Ross is strongly inspired by the kind of Portuguese food he had when growing up in South Africa. There's also an emphaisis on serving up dishes that were strongly influenced by colonisation, which introduced spices from as far as the South China Sea, India, Africa and the Americas into Portuguese cooking. Known for cooking with wood and charcoal, Ross has also centred Marmelo's open kitchen around a custom-built charcoal grill and woodfired oven. All of this results in mains like wood-roasted cockerel with African spices, chilli and fried potatoes; bone-in pork loin with bitter greens, burnt orange and bay leaf; and arroz de marisco (similar to a paella) with grilled, poached, and cured seafood for two. The menu also features snacks like silver-served anchovy fillets and two savoury takes on the much-loved pastel de nata. The first version comes with crab meat and custard, and the second is filled with sheep's cheese crisp and salted pork. You can also head down a grand chartreuse-hued staircase to find the duo's Mr Mills basement bar. It's an altogether moodier and cosier space with intimate booths as well as the option to dine at the bar or open kitchen (a big win for solo diners). Small plates of Iberian classics like swordfish in olive oil with ash-grilled peppers sit alongside more substantial dishes including mussels escabeche with pickled carrots, ananda capers and bitter leaves, and Mr. Mills fillet steak with whipped anchovy, potato crisps, fried egg. Pair these bites with local and international wines, plus a selection of classic and signature sips — like the anchovy oil martini, bergamot and green apple margarita, and spring rhubarb and bay leaf americano. Sunny Lusted shared, "Ross and I feel a real synergy with the vibrancy of Melbourne and all of its culinary offerings, so it is an honour to be welcomed so warmly into the local dining community. "Ross and I can't wait to share our take on the food and hospitality of the Iberian peninsula, here in this beautiful city." Marmelo and Mr Mills can both be found found within Melbourne Place at 130 Russell Street, Melbourne. For more information, visit the venues' website.
Every year, the World's 50 Best Bars ranking outlines the innovative drinking spots and watering holes that should be on everyone's must-visit list, with three Sydney bars — Maybe Sammy, Cantina OK! and Bulletin Place — making the cut in 2020. That's one way of scoping out the top establishments and folks currently doing their thing in the hospitality industry; however, the organisation behind that rundown has just come up with another: the 50 Next, which picks the standout next-generation leaders currently shining bright in the food and drink world. The inaugural list has just dropped, and Australia is represented here, too — with four Aussies named as part of the class of 2021. Fish Butchery's Josh Niland, ex-Oakridge Wines pair Jo Barrett and Matt Stone, and agriculturalist and farmer Josh Gilbert have all been highlighted as part of a selection that includes people from 34 countries. The 50 folks were chosen from a pool of 700 candidates, as sourced via applications, nominations and by scouting done by the Basque Culinary Centre. Sydney's Niland — who is fresh off of winning the James Beard Book of the Year Award in 2020 for The Whole Fish Cookbook — has been showcasing his seafood prowess to Sydneysiders for more than half a decade. The chef first opened restaurant Saint Peter in 2016, then launched fishmonger Fish Butchery in 2018. Nose-to-tail seafood is his focus — so using not only the usual parts that end up in dishes, but the rest that's often disregarded as waste. Niland was named in the 50 Next's 'gamechanging producers' category. [caption id="attachment_771911" align="aligncenter" width="1920"] Rob Palmer[/caption] Jo Barrett and Matt Stone scored nods in the 'hospitality pioneers' field, with the acclaimed chefs considered among the forefront of change in the industry. In their current project, Future Food System, they're working with artist, activist and zero-waste restaurant pioneer Joost Bakker to reconceptualise the way food is grown, all in an attempt to move away from the reliance upon large-scale agriculture. That's meant living together in a house in Melbourne's Federation Square, and serving a daily dish from ingredients grown on the property. Hailing from Gloucester in New South Wales, Worimi man Gilbert has been dubbed one of 50 Next's 'empowering educators' thanks to his focus on interweaving Indigenous knowledge and generational learning into farming practices. His work spans his senior consultant role with Pricewaterhouse Cooper's Indigenous Consulting program, and his efforts as an advocate for agricultural, environmental and Indigenous change — including busting stereotypes and demonstrating how the food industry can help battle climate change. 50 Next lists its fifty impressive next-gen leaders, but doesn't rank them, and aims to promote "positive, sustainable and visionary thinking". As well as the aforementioned categories, it recognises hospitality figures it deems 'tech disruptors', 'entrepreneurial creatives', 'science innovators' and 'trailblazing activists'. This year's selection features 24 women, 19 men and seven groups, with everyone included aged between 20–35. Check out the full 50 Next lineup via The World's 50 Best website.
The role of Andie Whitford, the lead part in High Country, was written for Leah Purcell. It's easy to understand why. There's a quiet resolve to the character — a been-there-seen-that air to weathering tumult, too, and to knowing that she'll always have to fight hard for what she wants — that's long been a part of the Indigenous Australian star's acting toolkit across a three-decade career. Purcell first appeared on-screen in 90s TV shows such as GP, Police Rescue and Water Rats. In the past year before High Country, The Lost Flowers of Alice Hart and Shayda also popped onto her resume. In-between, the 2000s brought Lantana, Somersault, The Proposition and Jindabyne — and the 2010s added Redfern Now, Last Cab to Darwin, Janet King and Black Comedy. Across three formats, as a play, a book and a movie, she also interrogated and reimagined Henry Lawson's The Drover's Wife in blistering fashion, and while writing, acting and directing. It's thanks to Wentworth that High Country came Purcell's way, however. Creators Marcia Gardner and John Ridley worked with her there, then made this the trio's next shared project. The nuts and bolts of the series are solid anyway, but it joins the ranks of Aussie detective and mystery tales made all the better due to their main talent. Mystery Road, which High Country co-star Aaron Pedersen (High Ground) has led in films and on TV, was the same. Jack Irish, featuring Guy Pearce (The Clearing) as its namesake and also Pedersen as his righthand man, equally fits. So does The Dry and its sequel Force of Nature: The Dry 2, both with Eric Bana (Blueback) — the latter of which also used Victoria's alpine region as a backdrop, as does High Country. Andie is a seasoned police detective who takes a job back in uniform overseeing the town of Broken Ridge, which is located in the mountainous Victorian spot that gives the show its moniker. While High Country might be the second Aussie effort in 2024's early months to embrace this part of the nation — among a small but growing wave of rural-set Down Under movies and programs that aren't traversing red earth, such as the Tasmanian-set Deadloch, The Gloaming and The Kettering Incident, too — it's no mere rehash there, or anywhere. High Country's framework, down to its character types, is easily recognisable. Gardner and Ridley know what everyone does, though: that a great story can make any whodunnit-driven procedural feel different, as can excellent casting. A big reason for Andie's move: stability and work-life balance, aka relocating for the sake of her personal life with spouse Helen Hartley (Sara Wiseman, Under the Vines) and daughter Kirra (Pez Warner, making her TV debut). An existence-resetting tree change is meant to be on the cards, then, in a place where leafy vantages stretch over mountains and down into valleys as far as the eye can see. But her arrival, especially being installed as the new police chief, doesn't earn the sunniest of welcomes. Then there's the missing-person cases that swiftly start piling up, some old, some new, some previously explained by pointing fingers in specific directions. An absent doctor (Francis Greenslade, Irreverent) and the car he leaves behind is Andie's entry point, but that isn't the beginning or the end of the tale. Also key to the series are Andie's retiring predecessor Sam Dryson (Ian McElhinney, The Boys in the Boat), who is fixated on the past disappearance of a young boy — and former teacher Damien Stark (Henry Nixon, The PM's Daughter), who he's certain is responsible, has become the town outcast as a result and contends that he's psychic. Andie is soon perched between them. She values Sam's advice, yet spies how fixated he is in his vendetta (one wall in his house is right out of the obsessed-cop playbook). At the same time, she enlists Damien as a consultant to help on active cases, hoping that he'll accidentally reveal his involvement in the process. Ranger Owen Cooper (Pedersen) is one of the few other Indigenous faces in town; his teenage son Ben (Pedrea Jackson, Sweet As) quickly befriends Kirra. Throw in Rose De Vigny, the financially challenged proprietor (Linda Cropper, How to Stay Married) of a haven for artists, plus cop colleagues of varying help and loyalty (Romance at the Vineyard's Matt Domingo and Wyrmwood: Apocalypse's Luke McKenzie), and Broken Ridge doesn't lack in players. Rabble-rousing siblings (Boy Swallows Universe's Nathaniel Dean and The Clearing's Jamie Timony), town bigwigs (Geoff Morrell, The Lord of the Rings: The Rings of Power) — the list goes on. Crucially, no matter how many of High Country's characters feel as if they could've walked in from fellow Aussie fare, where the show takes them is always its own journey. The same is true of Andie, and not just within a homegrown context; Jodie Foster (Nyad) in True Detective: Night Country and Kate Winslet (The Regime) in Mare of Easttown have charted comparable paths, but never this exact route. Pivotal to giving High Country its own flavour is its sense of place — not merely as a source of picturesque sights, which Andie often takes in as a newcomer to these parts, but in getting entrenched in the ragtag Broken Ridge community. When Sam reflects early that disappearances and deaths are just what happens here, Andie is horrified. Digging into the motivation behind his words becomes another of her missions, and the series'. With a wealth of fellow Wentworth alum behind the camera — Kevin Carlin (Ms Fisher's Modern Murder Mysteries) and Beck Cole (Deadloch) direct; Craig Barden (The Rooster) and Darrell Martin (White Fever) are High Country's cinematographers — this is a probing affair. The surroundings that make us, and also hide our secrets, prove a canvas, a minefield and a map. Discovering what they contain in this small-town thriller makes for addictive viewing, unsurprisingly. And in Purcell as Andie, High Country has a discerning and determined guide to fuel not just one season and its mysteries, but hopefully much more to follow. Check out the trailer for High Country below: High Country streams via Binge. Read our interview with Leah Purcell Images: Sarah Enticknap / Narelle Portanier.
UPDATE Friday, September 3: Victoria is currently under stay-at-home orders, with all venues restricted to offering takeaway and delivery. Right now, you can get your Sonny's fix by ordering takeaway here, or hitting up UberEats or Doordash for delivery. You can stay up to date with the developing COVID-19 situation in Victoria, as well as current restrictions, at the Victorian Department of Health and Human Services website. Making its home within legendary rock 'n roll pub The Curtin, Sonny's is a finger-lickin' casual eatery specialising in proper old-school, US-style burgers and fried chicken. Here, in the front bar, red-and-white gingham and red plastic baskets work as a fitting backdrop to a menu of American classics, served alongside a lineup of Aussie tap beers. Southern-style chook is brined for 24 hours and then pressure fried to crisp perfection, while the burgers are unashamedly beast-like. Stock up on napkins before you dive right on into options like the four-piece feed — 1/2 a Bird ($16.50) — loaded bacon or vegan fries ($15), a classic cheeseburger ($13.50), or the standout spicy fried chicken burger piled high with zesty slaw and whole-egg mayo ($14.50). To match, you'll find all the southern favourites, including an ultra-creamy mac 'n cheese ($7), iceberg wedge salad ($7) and gravy-drenched mash ($7). Be sure to add on some deep-fried pickles ($9) and popcorn cauliflower ($9) for full effect. It's delightfully far from virtuous, though if you're feeling guilty, you can always burn off some of your feed with an energetic session in the band room next door.
Although headlines spout statistics and assumptions about refugees, it's rare that we get insight into an individual's experience. But Melbourne-born doco maker David Fedele is changing that. His 2014 film The Land Between took audiences into the world of asylum seekers living in the mountains of northern Morocco and risking death to enter the Spanish enclave of Melilla. Now, he's collaborating with refugee Adama Konate to bring us a unique film, Clandestine Crossing. Konate, who lives in France, will be returning alone to his home country, the Ivory Coast, where he'll re-trace the journey he risked eleven years ago as an asylum seeker. This time, though, he'll be armed with a camera. So, through his eyes, we'll experience his dangerous flight across the Sahara Desert to Morocco, through seven countries and often in the hands of people smugglers. It's a path taken by thousands of asylum seekers every year. "As far as I know, it's never been done before," Fedele said. "When most people leave their country, the last thing they're doing is thinking of making a film… Yet, here is a refugee prepare to take a risk. Why? Why is this so strong for him? He obviously feels strongly about the issues. It's also really interesting, because he wants to tell his own stories. "Adama came up with this idea three years ago and hasn't been able to get it out of his head… Our intention is to start from a place of understanding and empathy. We want to film openly, to understand the reality of why people leave and the reality of the challenges the face." To make Clandestine Crossing happen, Fedele and Konate are running a crowdfunding campaign via Indiegogo. Throw a few bucks their way to score a reward — from a digital download to a Skype chat with the directors.
Rejoice, fans of excellent television, fried food and pop culture-themed pop-ups alike — Los Pollos Hermanos is coming to Sydney. Ever since the TV-viewing world was first introduced to Gus Fring's fast food chain, every fried chicken fiend has been hankering for a piece of their juicy poultry. Yes, we all know that it's a fictional chicken empire in a television show, but Breaking Bad was just that damn addictive. With Los Pollos Hermanos' head honcho once again crossing paths with Jimmy McGill/Saul Goodman (Bob Odenkirk) and Mike Ehrmantraut (Jonathan Banks) in the third season of ace Breaking Bad prequel spin-off Better Call Saul, subscription streaming video provider Stan is making everyone's dreams come true with two days of chicken goodness. The pop-up will take over Potts Point's Thirsty Bird for lunch and dinner on April 11 and 12 — and it that's not that's not exciting enough, good ol' poultry-cooking, drug baron Gustavo himself, aka actor Giancarlo Esposito, will be there. Is everything to your satisfaction? It's the event we've all been waiting for since the idea that Los Pollos Hermanos could actually become a real-life restaurant first came up, and it's timed to coincide with Better Call Saul's season three premiere on April 11. Attendees are encouraged to dress up in their very best Better Call Saul-themed outfit, so expect to see plenty of pretend dodgy lawyers around. No word yet if anything blue will be on the menu. Find the Los Pollos Hermanos pop-up at Thirsty Bird, Shop 3, 2-14 Bayswater Road, Potts Point from 11.30am-3.00pm and 5.00pm-8.30pm on April 11 and 12. For more information, check out the event Facebook page. Image: Robert Trachtenberg/AMC/Sony Pictures Television. Copyright: © 2017 Sony Pictures Television Inc. All Rights Reserved.
When The Afterparty arrived on Apple TV+ in 2022, riding a wave of revived murder-mystery comedy love that Knives Out and Only Murders in the Building had helped wash over screens big and small, it made one big risky move. Throwing a motley crew of characters together, then offing one? Tried, tested and a favourite for a reason. The ensemble cast attempting to sleuth its way through a shock death? Flawless. The genre-bending setup that saw each episode in the season parody a different style of filmmaking? Perfectly executed. Having the words "how great is this party?" uttered over and over again? That's what could've proven dicey if The Afterparty wasn't in fact great; thankfully, it very much was. There's a reason that phrase kept being uttered, because superfluous detail isn't this show's style: as in all great whodunnits, everything happens, is mentioned or can be spotted with cause. Creator Christopher Miller and his fellow executive producer Phil Lord, a duo with Cloudy with a Chance of Meatballs, 21 Jump Street and 22 Jump Street, and The Lego Movie on their resumes as co-directors, know the format they're working with. Crucially, they know how carefully their audience will scrutinise every clue and element. And, in the show's first season and now the just-arrived second season — which streams from Wednesday, July 12 — they also know how to equally honour and spoof. Fittingly, The Afterparty feels like a murder-mystery comedy party as a result. Affectionate, adoring, irreverent, willing to get loose and shake things up: that's the vibe and approach. In season one, the series' title was literal thanks to a high-school reunion with fateful post-soiree hijinks. In season two, a wedding brings a disparate group together — and, following the nuptials and reception, The Afterparty's moniker comes into play again. To the horror of the returning Aniq Adjaye (Sam Richardson, I Think You Should Leave with Tim Robinson) and his ex-classmate, now-girlfriend Zoe Zhu (Zoe Chao, Party Down), another body then puts a dampener on the festivities; however, this second go-around doesn't get a-solving just in one night. Aniq and Zoe have recovered from their last confrontation with a killing at a celebration by diving into their romance, but it's the latter's younger sister Grace (Poppy Liu, Dead Ringers) who's getting hitched. Her groom Edgar (Zach Woods, Avenue 5) sports both family money and a cryptocurrency-aided bank-balance boost, he's an all-work-no-play socially awkward type as a result and, when he's alive, he's more fond of his pet lizard than most humans. Then he's found face down after the afterparty, plus his reptilian friend as well. Experiencing a hefty case of déjà vu — season two's episode, which focuses on him, is even called 'Aniq 2: The Sequel' — Aniq calls in the also-returning Danner (Tiffany Haddish, The Card Counter). His plan: to get his now former-cop pal to help him find the culprit before the real police arrive. This season's suspect pool spans another murderers' row of talent. Liu is distraught as Grace, but perhaps not as upset as one might expect in the circumstances. Elizabeth Perkins' (Barry) Isabel is standoffish and snobbish before her son is dead, and doesn't improve amid her gin-sipping afterwards. As Edgar's adopted sister Hannah, Anna Konkle (PEN15) plays the family eccentric — and as his business partner Sebastian, Jack Whitehall (Jungle Cruise) trots out a charm offensive. On Grace's side, Vivian Wu (Irma Vep) and Ken Jeong (Community) dote as the elder Zhus, and also worry about their baobing business. John Cho (Cowboy Bebop) plays absentee uncle Ulysses, and Paul Walter Hauser (Bupkis) a pining ex. All could have motivation to help shuffle Edgar off this mortal coil. As is The Afterparty's template, all have different perspectives on his demise, as well as the events leading up to it and then following his next-morning discovery. Miller has set himself a trickier task with season two, since The Afterparty's debut run took most of the obvious genres, worked in a murder-mystery and got lampooning. Aniq's new dedicated chapter is a rom-com follow-up, which the cast and writers alike have a ball playing with. From there, everything from Wes Anderson flicks, period romances and black-and-white gumshoe noirs to Hitchcockian suspense, Jane Austen romances and melodrama get a spin. The perceptive thinking behind the show's gimmick remains astute, demonstrating how differently each and every one of us sees not just shared events, but our overall lives. The Rashomon effect, cycling through varying takes on the same incident, also muses cleverly on cause and effect. And the execution largely remains smart and savvy; having to dive deeper with its genre homages only sometimes dulls the series' usually sharp writing. Swapping and hopping between stylistic filters has helped The Afterparty counteract the threat of formula and familiarity, too. Each batch of episodes takes place in one setting, after all, and retraces the same death again and again. Even if flitting between erotic thrillers and heists (and more) wasn't on the agenda, season two's main players would be a treat together — and most make the utmost of their stint in the spotlight. Cho scores a glorious 'Careless Whisper' dance, Hauser is a comic delight in his hard-boiled spoof, and Konkle makes certain that following in The Royal Tenenbaums' footsteps doesn't feel like a social-media meme or AI copy. Still, as the mismatched duo going all Hercule Poirot and Captain Hastings, Richardson and Haddish are the show's MVPs — and hilarious. Odd-couple detectives are a sleuthing staple, but when they're done this well and with such fine-tuned performances, including in a caper comedy with Miller and Lord's penchant for mile-a-minute gags, they're the scaffolding that everything else hangs off. Richardson plays Aniq as sincere yet shrewd, fretting over impressing the potential future in-laws and doing everything he can to get in their good graces — and the Detroiters, Veep, Ted Lasso and I Think You Should Leave star is indeed the life of this party. Haddish's timing never falters, nor her pace and energy, nor her ability to ensure that Danner is never a stock-standard inspector in any way. Death at a Funeral has already been done, and twice, but a must-attend bash awaits however and wherever Miller reteams his two leads for a hopefully soon-to-be-greenlit third season. Check out the trailer for season two of The Afterparty below: Season two of The Afterparty streams via Apple TV+ from Wednesday, July 12. Read our full review of season one.
Australia's most famous sporting arena will play host to a mini music festival as part of this year's Melbourne Music Week. The Delta Riggs and Pierce Brothers will headline a slew of local talent rocking out on the MCG. Let's just hope they do a better job than Meat Loaf. Set to take place on Sunday, November 13 — just a few short weeks after a Grand Final pre-show featuring Sting, Vance Joy and The Living End — the Love Live Music event will welcome the likes of Woodlock, The Pretty Littles, The Vanns and Brooke Taylor to perform on the stadium's hallowed turf. According to the MCG website, punters can expect "a mix of Melbourne musicians playing everything from acoustic tunes and smooth jazz to upbeat pop and indie rock". Tickets to the event will cost $55 (plus booking fee), with doors open at 2pm for a 2.30pm start. In between the acts, ticketholders will be able to tour parts of the 'G that are normally off-limits, including the player change rooms and the Robert Flower Terrace with views of the CBD. Love Live Music is one of a number of Melbourne Music Week headline events. Other highlights include a set by The Drones at the Melbourne Town Hall that will incorporate the venues' massive Grand Organ, as well as a showcase of women in music featuring Julia Stone, Ella Hooper, Mama Kin, Montaigne, Mojo Juju, Elizabeth Rose and more. The full program will be announced on October 4. Image: Sascha Wenninger.
In real life, technology is bound to keep bringing out the worst in people, or vice versa, in 2024. If you want to see Charlie Brooker's take on how humanity's use of gadgets and innovations can go nightmarishly wrong, however, you'll need to wait until 2025. That's when Black Mirror will return for its seventh season, two years after 2023's sixth season. Given that there was a four-year gap after season five, that's positively speedy. Season seven's batch of Black Mirror episodes will also be bigger than the past two seasons, serving up six instalments — which only season three and four have done in the past. There'll be another link to season four, too, with one chapter in the seventh season set to be a sequel to its Star Trek-riffing USS Callister episode. Netflix confirmed Black Mirror's 2025 comeback, number of instalments and return dive into USS Callister's realm as part of the platform's unveiling of what's next set to hit its catalogue from the UK. If you're after more details about Brooker's huge hit, though, that's all there is for now. Cast members, other storylines, if any cast members from USS Callister — which featured Jesse Plemons (Love & Death), Cristin Milioti (The Resort), Jimmi Simpson (It's Always Sunny in Philadelphia), Michaela Coel (Mr & Mrs Smith) and Billy Magnussen (Lift) — will be back: that's all still unknown, as is whether Brooker took any inspiration from his headline speaker gig at the first-ever SXSW Sydney in 2023. Still, you can start preparing yourself for next year's dose of dystopian dread, and speculating about what might get the Black Mirror treatment this time. The show's sixth season pondered streaming algorithms with Salma Hayek Pinault (Magic Mike's Last Dance) and Annie Murphy (Kevin Can F**k Himself), true crime with Samuel Blenkin (The Witcher: Blood Origin) and Myha'la Herrold (Bodies Bodies Bodies), and an alternative 1969 with Aaron Paul (Westworld), Josh Hartnett (Operation Fortune: Ruse de Guerre) and Kate Mara (Call Jane). Also on its list: a paparazzi tale with Zazie Beetz (Atlanta), Clara Rugaard (I Am Mother) and Danny Ramirez (Stars at Noon) — and the first Red Mirror episode, going full horror, with Anjana Vasan (Killing Eve), Paapa Essiedu (Men), Katherine Rose Morley (The Syndicate) and David Shields (Benediction). Season seven has an announcement video, which you can watch below, alongside the trailer for USS Callister: Black Mirror season seven will stream via Netflix sometime in 2025, but doesn't yet have an exact release date — we'll update you when one is announced. Read our review of season six, and our interview with Charlie Brooker. Images: Netflix.
The Barossa Valley's rolling, winery-filled countryside has scored a sleek new addition, in The Villas — a secluded, luxury retreat championing environmentally responsible architecture. Two thoughtfully designed structures have made their home in the quaint town of Marananga, an hour's drive from Adelaide, on the site beside owners Grant and Cathy Wills' historic former schoolhouse. Each of the standalone eco-villas boasts a warm, minimalist feel, the spaces kitted out with a plethora of luxury trimmings — think, queen-size beds fitted with French linen, wifi, fully-equipped kitchens, and rainwater showers and soak tubs. All topped off with views across the one-hectare of private property (yours to explore) filled with sugar gums, eucalypts and — often — 'roos. The work of Sydney firm Stephen Sainsbury Architects, the villas are a South Australian first. They're constructed using a minimal impact and environmentally sustainable system called "Ecoshelta", which has been used to build off-the-grid retreats across NSW and Tasmania. This retreat is also a prime basecamp for any winery hopping adventures, perched within walking distance of no less than five local cellar doors, not to mention the famed Seppeltsfield Road Distillers. With more than 150 wineries in the region, you certainly won't be short a good glass of plonk. A stay at The Villas starts from $385 a night with a two-night minimum. Price of the stay includes a complimentary breakfast made using local produce. Find The Villas at 468 Seppeltsfield Road, Marananga, South Australia.
It's a tradition we all know well: go to IKEA with the intention of picking up some new water glasses, spend two hours wandering the labyrinth and filling a basket with tea light candles (you can never have too many), bath rugs (so soft!) and plants (you'll keep this one alive, promise), then sit down for a plate of delicious meatballs and mash. During COVID-19, IKEA has had to temporarily shut its in-store restaurants, in line with the government's closure of non-essential indoor venues. But, so you can get your fix at home, it has just released the recipe to its blessed meatballs. The Swedish flatpack experts are also now offering contactless delivery (in Australia) and have a podcast that reads through the IKEA catalogue, so you can really relive your time strolling through its endless corridors. But, we'll skip the smalltalk and get straight to what you're all looking for: the recipe. IKEA'S MEATBALLS Serves four 500 grams beef mince 250 grams pork mince 1 onion, finely chopped 1 clove garlic (crushed or minced) 100 grams breadcrumbs 1 egg 5 tablespoons of milk Salt and pepper to taste For the cream sauce Dash of oil 40 grams butter 40 grams plain flour 150 millilitres vegetable stock 150 millilitres beef stock 150 millilitres thick double cream 2 teaspoons soy sauce 1 teaspoon dijon mustard To make the meatballs Combine beef and pork mince and mix with your fingers to break up any lumps. Add finely chopped onion, garlic, breadcrumbs and egg and mix. Add milk and season well with salt and pepper. Shape mixture into small, round balls. Place on a clean plate, cover and store in the fridge for two hours (this will help them hold their shape while cooking). In a frying pan, heat oil on medium heat. When hot, gently add your meatballs and brown on all sides. Add to an overproof dish and cover with aluminium. Place in a hot oven (180°C conventional or 160°C fan) and cook for a further 30 minutes. To make the cream sauce Melt butter in a frying pan. Whisk in flour, stirring continuously for two minutes. Stir in vegetable and beef stock. Stir in double cream, soy sauce and dijon mustard. Bring to a simmer and allow sauce to thicken. Serve with your favourite potatoes — either creamy mash or mini new boiled potatoes.
Belles Hot Chicken has flirted with all sorts of chook-centric creations over the years, but, this time round, it's teaming up with a famed American chip for an extra-spicy limited-edition menu. Head Chef and Co-Founder Morgan McGlone has just gone and dropped the group's first-ever collab with Cheetos — and not just any ordinary Cheetos either, Flamin' Hot Cheetos. The red-hot menu is available for three weeks from Wednesday, August 28 and features three dishes all made with Flamin' Hot Cheetos: a Flamin' Hot chicken sanga ($13) with Cheetos-crusted chicken thigh, jalapeño and slaw on a toasted milk bun; the Hillbilly Taco ($12), made from white bread topped with Cheetos-coated Cloudy Bay clams, Alabama white sauce and pickled chilli; and Flamin' Hot mac 'n' cheese bites ($9) served with chipotle sauce. To drink, there are $10 Pabst Blue Tall Boys (473 millilitres), $10 glasses of BK Wines pét-nat and $10 alcoholic lemonades, too. While the menu will end after three weeks, Flamin' Hot fans will be happy to know that the spicy Cheetos are now available to purchase at Woolworths, Coles and some petrol stations and convenience stores. The Flamin' Hot menu is available at Belles Hot Chicken Fitzroy, Collins Square and Elizabeth Street, with the mac 'n' cheese bites exclusively at the Fitzroy store.
When Australia has just thrown one of the world's biggest LGBTQIA+ parties, what comes next? Incorporating hits from 2023's Sydney WorldPride into 2024's Sydney Gay and Lesbian Mardi Gras. For everyone who loved revelling on the sand at the fest's Bondi Beach Party, we come bearing excellent news: it'll be back next year for 15,000 attendees. Mardi Gras' full 2024 lineup spans 100-plus events across the Harbour City, taking place from Friday, February 16–Sunday, March 3. While 2023's iteration marked the 45th anniversary, don't go thinking that turning 46 isn't being taken just as seriously — all around the theme "our future". "For 45 years, the energy, vibrancy, and unity of Sydney Gay and Lesbian Mardi Gras has made it a globally significant event. And each year, our commitment to bringing forth an even more fabulous celebration grows," said Sydney Mardi Gras CEO Gil Beckwith. "In 2024, we embrace our roots and look forward with eager anticipation to our future. Our mission is clear: to echo the voices of our communities, to champion progress and instigate impactful change." "Beyond the individual events, and there are many, the 2024 festival underscores our commitment to inclusivity, unity and remembrance. The 2024 festival celebrates our past, our present and most crucially, the promising future we're building. Here's to another unforgettable Sydney Mardi Gras," continued Beckwith. As well as the return of Bondi Beach Party, Mardi Gras will also give Sydney WorldPride's Ultra Violet a second run, celebrating LGBTQIA+ women in an event that takes place as day turns to night at the National Art School. Similarly huge: a one-night-only special performance of musical & Juliet, which will occur just days after the production arrives for its Sydney season. Also on the lineup: the Welcome to Country via citywide event Festival First Light; floating venue Glass Island hosting trans and gender-diverse celebration Hot Trans Summer; and Diamond Dance, which will mark Pollys Club's 60th year. Or, there's talks and ideas series Queer Futures, the Marks Park Dawn Sunrise Service of Reflection to honour 70s- and 90s-era victims of homophobic and transphobic violence, two-week fringe fest Oxtravaganza in Darlinghurst and the boozy Darlo Big Drag Brunch. Yes, the parade is back — so mark Saturday, March 2 in your diary and prepare for a big night with 200-plus floats on Oxford Street. Plus, Mardi Gras' premium parade viewing areas will feature again to help the hundreds of thousands of folks heading along get a prime view of the 12,000-plus marchers. Throw in the also-returning Mardi Gras Film Festival, Progress Pride Flag Raising, Fair Day, Paradiso Pool Party, Kaftana Pool Party, Laugh Out Proud and Sissy Ball — and Queer Art After Hours as well — and Sydney will be jam-packed with things to do and ways to celebrate, as it is during every Mardi Gras. Other highlights include a dance party at ivy Pool Club, SEA LIFE Aquarium hosting drag storytime and a queer formal, with more events still to be announced as Mardi Gras gets closer. Sydney Gay and Lesbian Mardi Gras 2024 will run from Friday, February 16–Sunday, March 3, 2024. For more information, or for tickets, head to the event's website. Select images: Jeffrey Feng Photography, Lexy Potts
Whether Idris Elba will ever get to slip into James Bond's tuxedo is still yet to be seen, but the British actor adds another prime example of why he'd be excellent as 007 to his resume with Hijack. He plays suave and smooth, calm and collected, and resourceful and reliable in the plane-set Apple TV+ thriller series — as well as enterprising and creative while endeavouring to save lives and bring down nefarious forces alike. He's also basically in Idris Elba on a Plane, sans slithering snakes; Idris Elba Cancels the London-Bound Apocalypse, but without kaiju and giant robots; Die Hard with Idris Elba, though never just crawling around in a singlet; and, given that the seven-parter unfurls in real time, 24: Idris Elba as well. Unsurprisingly, Elba is excellent in a taut, tension-dripping nail-biter that's easy to get addicted to. Fresh from battling lions in Beast, granting wishes in Three Thousand Years of Longing, returning to Luther in Luther: The Fallen Son and popping up in Extraction II, The Wire alum plays Sam Nelson, a seasoned negotiator on his way home to the UK from Dubai. It can't be underestimated or understated how crucial that Hijack's biggest star is here. Cast the wrong person as Sam, and the show might've plummeted. When terrorists take over the flight, the series' protagonist boasts the ability to get everyone from pilots and crew to agitated flyers, wannabe saviours and air traffic control on his side. Sometimes, the hijackers join in on following his lead and taking his advice. Even if action movies have long relied upon heroes with such swagger and sway, trying to pull it off here without someone of Elba's charm and confidence would likely struggle (see: the Liam Neeson-led Non-Stop, and recent Gerard Butler flick Plane). When he disembarks Kingdom Airlines Flight 29, Sam just wants to try to patch things up with his estranged wife Marsha (Christine Adams, The Mandalorian) and spend time with his teenage son Kai (Jude Cudjoe, Halo) — aims at the top of his list before he has any inkling that this won't be an ordinary journey. Then fellow Brit Stuart (Neil Maskell, Small Axe) and his gun-toting team (Here Comes Hell's Jasper Britton, The Duke's Aimée Kelly, The Souvenir: Part II's Jack McMullen and TV first-timer Mohamed Elsandel) seize control of the aircraft before the first hour of the flight has passed. To stay alive, and to also attempt to keep the other passengers safe, Sam has no choice but to step in. Action formula dictates that he does indeed have a particular set of skills that come in handy in the situation: his way with words. Onboard, anxiety spreads fast from the pilot (Ben Miles, Tetris) down. Tracking an hour of the ordeal per episode, Hijack gets its audience experiencing the stress, chaos and life-or-death stakes in tandem with Sam and the rest of the flight's hostages — and, crucially, establishing the in-the-air space and figures that the series has to play with. The show jumps between seating classes, exploring how the ordeal affects everyone from the comfortable to the crammed-in. It ensures that viewers understand who's sitting where, and how their different personalities might have an impact. The series stalks through the aisles, making sight lines and escape routes plain, and also hovers in crew areas. In other words, it puts its various pieces in place, proving expertly aware that suspense springs not just from waiting and anticipating, but from knowing which elements could factor in. Hijack makes slick and skilled use of its main setting, but it isn't a one-location-only affair. Also getting nervous: people on the ground across several countries, all attempting to work out what's going on. Marsha and Kai are among them; the former notes that "when it all kicks off, Sam's the best at handling it", but also asks her new cop beau Daniel O'Farrell (Max Beesley, Operation Fortune: Ruse de Guerre) to investigate after she receives a cryptic text from the air. The police officer enlists British counter-terrorism via his ex-partner Zahra Gahfoor (Archie Panjab, Snowpiercer), while various aviation bases also start realising that all isn't right, including at Heathrow where Alice Sinclair (Eve Myles, We Hunt Together) is a flight controller. Creators George Kay (Lupin) and Jim Field Smith (Litvinenko) are masterful with tone and twists, keeping the pressure up from go to whoa and never letting the plot cruise on autopilot. Together, Kay (who writes) and Field Smith (who directs) also created the interrogation-focused Criminal, and bring the same flair for teasing out pivotal details — not just in conversation, but visually as Hijack flits between the plane and terra firma. This isn't a whodunnit, put it does reward sleuthing, tasking its audience with puzzling together what's really going on, who can truly be trusted and how the show might land. Again, Apple TV+ is in its mystery element, as everything from Severance, The Afterparty, Black Bird and Bad Sisters to Servant, Hello Tomorrow!, High Desert and Silo keeps illustrating. In hooking viewers, and quickly, Kay and Field Smith are also well-versed in the kind of series they want Hijack to be. Pivotally, they're clearly familiar with the conventions and cliches that the show is leaning into, what's soared there before, and how to do it well. Having Sam rely upon the power of persuasion first and foremost might seem like a small touch, but it's an important one: Hijack wouldn't last seven hours, or keep watching eyes invested, if guns just kept blasting and fists flying. Even an aircraft-set John Wick instalment mightn't make that work ( although who wouldn't want to see that franchise — and only that franchise — try?). All the focus on talk also gives Hijack another vital angle: it sees its characters as people, rather than merely using them a means to move the plot along. Accordingly, it dives into their complications — some more than others, and no one more than Sam, but enough to examine the many complex ways that humans behave, especially in such high-strung circumstances. This is a show that's well aware that we all have baggage, and that it's with us at every turn. Thankfully, most of us aren't forced to work through it at 35,000 feet while being held hostage, but that exact scenario with Elba at its centre makes for riveting viewing. Check out the trailer for Hijack below: Hijack streams via Apple TV+.
Melburnians can now dine in at restaurants, cafes and pubs — but with restrictions in place around what you can and can't do when you get there, you may prefer to bring the experience home. If you're enjoying the comfort of your own space, with the freedom to cosy up to your loved ones, or to invite a bunch of friends over for a socially responsible dinner, you can still order from a number of excellent Melbourne bars and eateries that are happy to bring restaurant quality dining to you, or bottled cocktails if that's more your vibe. In partnership with Belvedere, we've found eight venues delivering quality meals and cocktails (as well as other celebratory drinks) so you can level up your next night in, and stay nice and cosy indoors.
What is personal style? For many of us, it's about the clothes we wear or the accessories we pick — the impression we give of ourselves when heading out the front door each day. But for many creatives, it's about all that alongside the personal artistic expression they reveal to the world through their work. This concept has been captured by Danish jewellery design house Georg Jensen in its new campaign Art of Style, giving insight into how some of our favourite creative personalities let their style trickle into their artistic process — and vice versa. One such featured personality is Australian artist Amanda Shadforth, who revealed in a video for the campaign that she unleashes her creativity both in her art studio and through her chosen jewellery. She even created a bespoke art piece inspired by the retailer's collection. The two go hand-in-hand — similar to Georg Jensen's core design values, Shadorth's style is classic and understated, and her artistic inspiration comes from nature. In collaboration with Georg Jensen, we've delved deeper into some of the key characteristics of Shadorth's style and handpicked some of our favourite pieces from the Offspring, Mercy, Reflect and Curve collections that work together to reflect it. EMBRACE THE IMPERFECT Any fan of Shadforth's work knows she has an eye for organic shapes drawn from nature — her bespoke art piece for Georg Jensen does away with traditional fine art techniques and digital influences. Shadforth says that's one of the main things that draws her to the design house: the perfectly imperfect, organic shapes that feel like they're a natural expression of the human body. "Some of the pieces actually feel like they could have been part of nature once," says Shadforth. If you're also a fan of wearing pieces that reflect the calm dynamism of nature, opt for Georg Jensen's Mercy collection. This range, by acclaimed American designer Jacqueline Rabun, uses sterling silver and 18k gold to create unique pieces reflecting the shifting sculptural forms of nature and the human experience. Our pick: The Mercy Double Ring in sterling silver. This piece at first gives the appearance of two rings, but on closer inspection reveals itself to be one continuous, flowing shape. The curve of this double ring almost appears like ocean waves or the essence of time, captured on the wearer's fingers. RRP: $475 Pair it with: The Mercy Earrings in 18k yellow gold Another Rabun design, these striking earrings are made from one organic flowing shape, twisting through the ear hole and hugging the lobe — almost acting as an extension of the ear. According to the designer, the strands are inspired by the twists and turns of time. RRP: $1175 DON'T BE AFRAID TO MIX AND MATCH Shadforth reveales she uses everything from giant stainless steel trowels to tiny delicate brushes to create depth and texture in her artworks — she even makes her own equipment when she needs a particular way of applying paint. Her affinity for mixing and matching is echoed in her favourite pieces from Georg Jensen's collections, where style 'rules' are made to be broken. If you've previously considered yourself a solely silver or gold girlie, change things up and create a fresh, contemporary look by mixing metals, stacking and layering pieces from different collections — perhaps a mix of delicate understated pieces and striking standouts. The classic chain designs seen in Rabun's new Reflect collection for Georg Jensen can be paired with her larger statement forms of the egg-shaped Offspring collection, or Regitze Overgaard's bold and sculptural Curve bangles, earrings, pendants and rings. Our pick: The Large Offspring Ring in sterling silver: an eye-catching conversation starter in the Offpsiring collection's signature oval shape, this chunky piece lends itself perfectly to stacking with more delicate shapes and offsetting with different metals. RRP: $345 Pair it with: The Medium Curve Bangle in 18k yellow gold and sterling silver. The line dividing the gold and silver in this statement bangle contrasts with its soft, organic shape — and proves that any outdated rules you might have about mixing gold and silver can be nixed. Instead, combining different metals creates a look as individual (and striking, of course) as the wearer. RRP: $7700 PAIR FEMININE AND MASCULINE STYLES Again showing that mixing and matching is key, Shadforth describes her style as a paradox between masculine and feminine. She has a "tomboyish" tendency to gravitate towards trousers and blazers, which she pairs with classic, understated pieces. Jewellery is an effective way to achieve such a mix — since the dawn of civilisation, it's been used as a tool by both sexes to embellish and stand out. Achieve it yourself by taking classically unisex shapes like the chains and striking rings from Georg Jensen's Reflect collection and pair them with the feminine shapes celebrated in the Curve collection or the egg-shaped Offspring collection. Our pick: The Reflect Ring in sterling silver. Designed by Rabun and formed by two ends of a piece of sterling silver wrapped around each other, this striking unisex ring can be a bold statement piece or used to stack with other forms. RRP:$375 Pair it with: The Offspring Bangle in sterling silver. Delicate silver bangles are, of course, always in vogue, but this one adds a modern, feminine twist on a classic shape thanks to its wave-like curve. Combine it with the Reflect Ring for a contemporary mix of thick and thin metals. RRP:$475 SHE'S SO GOLDEN There's no doubt that chunky gold jewellery is having a moment — but loyal fans of this glittering shade know that it never really goes out of style. Shadforth opts for gold in both her artistic and fashion expressions — her art piece in collaboration with Georg Jensen uses a thick application of dark ochre, amber and gold tones that give the piece real warmth. And you only have to take a look at some of Shadorth's other stunning works to know it's a theme that carries through much of her oeuvre. If you're keen to give gold a go, opt for timeless pieces in yellow gold that can be easily stacked with other metals and shapes. Our pick: The Mercy Earrings in 18k yellow gold with diamonds — because when is that combination ever not fabulous? Inspired by the passage of time, these delicate twisted hoops manage to be both classic and contemporary — and can be passed down through generations. RRP: $3350 We'd pair them with: The Large Reflect Bracelet in 18k gold. The classic link bracelet has been given a modern and luxurious makeover with this Rabun-designed gold chain piece. With a bit more 'tude than other chain bracelets tanks to its interlocking links, it definitely doesn't come cheap, but again is timeless enough to be passed down from mother to daughter over many years. RRP: $14,000 Feeling inspired? You too can express your own art of style through Georg Jensen's Mercy, Reflect, Curve and Offspring collections — the pieces are designed to be layered and stacked together, across collections and combined with different metals. For more information, head to the website.
Handheld camerawork can be a gimmick. It can be distracting, too. When imagery seems restless for no particular reason other than making the audience restless, it drags down entire films. But at its best, roving, jittery and jumpy frames provide one of the clearest windows there is into the souls that inhabit the silver screen in 90-minute blocks or so, and also prove a wonderful way of conveying how they feel in the world. That's how Compartment No. 6's cinematography plays, and it couldn't be a more crucial move; this is a deeply thoughtful movie about two people who are genuinely restless themselves, after all. Finnish director Juho Kuosmanen (The Happiest Day in the Life of Olli Mäki) wants what all of the most perceptive filmmakers do — to ensure his viewers feel like they know his characters as well as they know themselves — and in his latest cinematic delight, he knows how to get it. How Kuosmanen evokes that sense of intimacy and understanding visually is just one of Compartment No. 6's highlights, but it's worthy of a train full of praise. With the helmer's returning director of photography Jani-Petteri Passi behind the lens, the film gets close to Finnish student Laura (Seidi Haarla, Force of Habit) and Russian miner Ljoha (Yuriy Borisov, The Red Ghost). It peers intently but unobtrusively their way, like an attentive lifelong friend. It jostles gently with the locomotive that the movie's central pair meets on, and where they spend the bulk of their time together. It ebbs and flows like it's breathing with them. It rarely ventures far from their faces in such cramped, stark, 90s-era Russian surroundings, lingering with them, carefully observing them, and genuinely spying how they react and cope in big and small moments alike. Pivotally — and at every moment as well — it truly sees its key duo. With their almost-matching names, Laura and Ljoha meet on a train ride charting the lengthy expanse from Moscow to Murmansk. She's taking the journey to see the Kanozero petroglyphs, ancient rock drawings that date back the 2nd and 3rd millennium BC, and were only discovered in 1997; he's heading up for work. Laura is also meant to be travelling with Irina (Dinara Drukarova, The Bureau), her Russian girlfriend, but the latter opted out suddenly after an intellectual-filled house party where mocking the former for her accent — and claiming she's just a lodger — threw a pall of awkwardness over their relationship. Making the jaunt solo is still sitting uneasily with Laura, though. Calls along the way, answered with busy indifference, don't help. And neither does finding herself sharing compartment number six, obviously, with the tough- and rough-around-the edges Ljoha. It's been 71 years now since Alfred Hitchcock gave cinema the noir thriller Strangers on a Train. It's been 27 years since Richard Linklater also had two unacquainted folks meeting while riding the rails in Before Sunrise, which started a terrific romance trilogy starring Ethan Hawke and Julie Delpy. Accordingly, the idea behind Compartment No. 6 is instantly familiar. Here, two strangers meet on a train, a connection sparks and drama ensues. Kuosmanen, who nabbed an award at Cannes for The Happiest Day in the Life of Olli Mäki and then earned the 2021 competition Grand Prix, which comes second only to the prestigious Palme d'Or, for this, is clearly working with a well-used setup. But even though this isn't a movie that's big on surprises, it's still a stellar film. It's also a reminder that a feature that's personal and raw, also attuned to all the tiny details of life in its performances, mood and style, and firmly character-driven, can make even the most recognisable narrative feel new. Laura and Ljoha are a chalk-and-cheese pair. He gets drunk almost instantly; is crude and rude to his unimpressed fellow compartment dweller from the get-go; and his hunched, agitated, me-against-the-world posture seethes with boorish anger. But the duo are also virtually trapped in close confines — wandering the train's corridors and using its bathrooms are hardly escapes, even for a few minutes, on a trip that takes several days. They're both lost, lonely and yearning, too, in their own fashions but also in a more similar manner than they each initially expect. So, they rub each other the wrong way at first, then settle into chilly animosity, then begin to thaw. Schnapps plays a part, as does the dining car. Pitstops along the way, stolen possessions and language trickery do as well. Needing love and companionship, even just fleetingly, has the biggest influence. Kuosmanen cowrote Compartment No. 6's screenplay with Andris Feldmanis and Livia Ulman, co-scribes themselves on Estonian TV show Kättemaksukontor — and adapts Rosa Liksom's novel of the same name. In the process, the director and his collaborators move the story by around a decade from the end of the USSR to the end of Boris Yeltsin's time in power. That means that Laura and Ljoha follow in Before Sunrise's Celine and Jesse's footsteps by mere years on-screen (Titanic gets a mention, helping anchor the movie in time), but they're always roaming and locomoting through their own film. Compartment No. 6 is that lived in, that astutely drawn and that naturalistically played, as aided immensely by its meticulous production design. Just as the handheld camera places viewers in the characters' headspace with precision, the immaculate like-you're-there touches that fill every frame are equally as immersive. It's easy to see Hollywood wanting to hop on Compartment No. 6's tracks, riding its way to an English-language remake. If that happens — probably more like when — good luck to whoever's behind it in repeating such casting perfection. All of the expertly and expressively deployed cinematography in the world, or even just across a 35-hour-plus trip to the top of Russia, can't bond an audience to fictional characters if they don't already feel so real that you could be them; the latter springs from extraordinary performances, of course, which Kuosmanen guides out of Haarla and Borisov. In their time together, Laura and Ljoha shift, ruminate and open up, including to themselves. That's a delicate journey, as relatable as it is, and also immensely complex to portray with emotional resonance, honesty and nuance. Compartment No. 6's untethered imagery sees that. It revels in it. That's what two strangers on a train enjoying an unexpected bond en route do with each other's company, eventually — and, again, this unconventional love story has everyone watching share the same sensation.
When 2023 arrived, it marked two decades since composer Stephen Schwartz and playwright Winnie Holzman took a book inspired by The Wizard of Oz, put it to music and turned it into one of Broadway's biggest hits of the 21st century. Next, when 2024 rolls around, it'll give Melbourne musical theatre fans their latest chance to see that very show right here at home — because Wicked is flying into the Victorian capital from March. Even if you haven't seen the blockbuster show before, including on its past Aussie run from 2008–11, then you've likely heard of it. Following the Land of Oz's witches — telling their untold true tale is the musical's whole angle, in fact — Wicked has notched up more awards than you can fit in a hefty cauldron over the years. That includes three Tonys from ten nominations, a Grammy, an Olivier Award and six Drama Desk Awards. Also huge: its worldwide footprint, playing in 16 countries around the globe since its 2003 debut. And, when it makes its way to the Regent Theatre for its second stop on its current Aussie run, following its present Sydney season, it'll do so after enchanting itself into fourth place in the list of longest-running Broadway shows ever — even surpassing Cats. Story-wise, Wicked starts before The Wizard of Oz and continues its narrative after Dorothy Gale lands, adapting Gregory Maguire's 1995 novel Wicked: The Life and Times of the Wicked Witch of the West. The text itself has sold 5.5 million copies, including five million since the musical first opened. Here, before Dorothy blows in, two other women meet in the Land of Oz: Elphaba and Galinda. One will later be known as the Wicked Witch of the West, while the other will become Glinda the Good Witch. Exactly why that happens, and how, and the pair's relationship from rivals to unlikely friends to grappling with their new labels, fuels the show's tale. Popping on your ruby slippers, clicking your heels three times and defying gravity at the Melbourne stage show means seeing Courtney Monsma in her debut lead role as Galinda/GLinda, Sheridan Adams as Elphaba, Robyn Nevin as Madame Morrible and Todd McKenney as the Wizard — plus Liam Head as Fiyero, Adam Murphy isasDr Dillamond, Shewit Belay as Nessarose and Kurtis Papadinis as Boq. Wicked has been brought back to Australia by John Frost for Crossroads Live Australia, Marc Platt, Universal Pictures, The Araca Group, Jon B Platt and David Stone — and is taking to the stage again before the in-the-works two-part film adaptation starring Cynthia Erivo (Pinocchio) as Elphaba and Ariana Grande (Don't Look Up) as Galinda, and directed by Jon M Chu (In the Heights, Crazy Rich Asians), is due to start reaching cinemas in 2024. Wicked will play Melbourne's Regent Theatre from March 2024. For more information or to join the ticket waitlist ahead of sales — with pre-sale tickets from Monday, October 16 and general sales from Friday, October 20 — head to the production's website. Images: Jeff Busby.
In Spider-Man: No Way Home, everyone's favourite friendly neighbourhood web-slinger still does whatever a spider can. (Don't expect the catchy cartoon theme song, though.) To be precise, Spidey's latest outing — starring Tom Holland (Chaos Walking), as every live-action film in the ever-sprawling Marvel Cinematic Universe that's featured the superhero has — sees him do whatever spider-men have for decades. The masked crusader shoots webs, flings them about New York and swings around the city. He helps people, battles crime, literally hangs out with his girlfriend MJ (Zendaya, Dune) and saves the world, too. As the movie's trailers revealed, Spider-Man also fights whoever his on-screen predecessors fought. The twist that isn't a twist because it's part of the flick's marketing: that villains from Tobey Maguire and Andrew Garfield's stints as Spidey show up here. Those familiar faces, including Willem Dafoe (The Card Counter) as the Green Goblin, Alfred Molina (Promising Young Woman) as Doctor Octopus and Jamie Foxx (Soul) as Electro, aren't Peter Parker's initial problem, as viewers of 2017's Spider-Man: Homecoming and 2019's Spider-Man: Far From Home will already know. No Way Home picks up immediately after the latter, after Spidey's secret identity has been blasted across the internet by online conspiracist J Jonah Jameson (JK Simmons, Ride the Eagle). The media swiftly make Peter "the most famous person in the world", the public get hostile and his college prospects — and MJ and Ned's (Jacob Batalon, Let It Snow) as well — take a hit. The only solution he can see: asking Doctor Strange (Benedict Cumberbatch, The Power of the Dog) to cast a spell to make everyone forget who he is. With drastic magic comes drastic consequences, hence those recognisable nefarious folks who know Spidey — and definitely know that he's Peter Parker — yet don't recognise the MCU's version. Marvel's next flick after this one is Doctor Strange in the Multiverse of Madness, so the franchise is about to go big on alternate worlds, but No Way Home still doesn't actually jump into that domain first. It's a curious choice on the whole huge saga's part to take cues from the animated delight that is Spider-Man: Into the Spider-Verse, which relished having multiple spider-realms, got inventive with both its concept and visuals, won an Oscar and is easily the best spider-flick to-date, all without sitting within the MCU itself. Indeed, the live-action franchise's third stand-alone Spider-Man movie can't shake the feeling that it's playing catch-up. Directed by Jon Watts, as all three recent web-slinging films have been, No Way Home does more than give flesh, blood and spandex to an ace idea already brought to the screen a mere three years back. It also delivers the heftiest helping of fan service that the Marvel Cinematic Universe has ever dished up. The franchise has long enjoyed hitting all the obvious crowd-pleasing notes, but Martin Scorsese's 2019 comment that compared MCU fare to theme parks rings particularly true here — unsurprisingly given this Spider-Man outing wants to elicit the loudest of screams and shouts from its audience. Buy the ticket, take the cinematic ride, ooh and aah over every clear spin and foreseeable twirl: amid the stock-standard CGI-packed action scenes and triple-layered Spidey nods to iterations past, not all that long ago and present, that's what No Way Home seeks from its viewers. And, it takes the rollercoaster approach to evoking that reaction, rolling its story down the most glaring of tracks. You can anticipate each jolt and shake on any given amusement ride, see every up and down coming, and still relish the experience — and that's what No Way Home is hoping for. It wants to be the fun flick that gleefully makes Spidey fans' dreams come true, and to coast on the buzz of all those fantasies fulfilled. That's all busy and nostalgic and undemandingly entertaining but, even though No Way Home isn't short on twists that haven't been laid out in the trailers, this is one of the least surprising MCU films yet. Three-time Spider-Man screenwriters Erik Sommers and Chris McKenna make every expected move they can with this greatest hits package, both within the usual Marvel formula and with the parts of their script that are meant to startle and astonish. As a result, No Way Home's best moments swing in one of two directions: weighty or silly. Much of the movie hovers in the middle, resembling the empty space between an arachnid's silky threads, but when it either burrows deep or keeps things goofy, there's enough that sticks. Pondering the cost of being Spider-Man, the film doesn't fling itself into new territory — and yet it manages to add extra strands to the 'being a superhero is tough' scenario by recognising how such woes keep recurring. Finding laughs in the whole situation isn't unique either, and No Way Home isn't as funny or as loose as Homecoming or Far From Home. Still, that's the vibe that suits Holland; in his stretch in the red-and-blue suit, he's always played Peter like an excited, awkward and overwhelmed teen who's daffily grappling with what it all means, which is particularly pivotal here. There is one brief glorious moment during No Way Home's climax — a trio of shots, all edited together rapidly and framed to match each other — that perfects what Watts is aiming for overall. It's astute, amusing, enjoyable and, although still undeniably obvious, thoughtfully taps into the existential Spidey struggle while simultaneously proving loving and playful. It's the full web, even spanning just seconds, but that term doesn't fit the bulk of the feature that sprawls around it. No Way Home isn't without its charms — Holland and Zendaya's chemistry still sparkles, it's a definite treat to see Dafoe and Molina back in the fold, and, as blasts from the pasts keep popping up, Watts cleverly juggles the varying tones of all three different web-slinging franchises — but this spider-sequel is always happiest when it's trying to catch the audience's claps and cheers just like flies.
When it comes to renting, things are rarely positive. But, in some good news for renters — which may or may not make up for all the times your landlord has refused to fix your broken shower head — the Victorian Government looks set to introduce a swathe of rental reforms into parliament. And, if passed, they could make renting a fairer playing field for Victorians. After initially announcing the reforms back in October last year, Premier Daniel Andrews has now — in the lead-up to the November state election, no less — unveiled 130 reforms that will aim to increase renters' rights and protect tenants in vulnerable positions. According to Fairfax, the reforms may be introduced into parliament as early as this week and, if passed, it would be the most substantial change to the Residential Tenancies Act since it was introduced over 20 years ago. The reforms will see updates to existing legislation to better reflect the current market and make it easier for people to enter into it — a problem that isn't just exclusive to first home buyers. Anyone who's recently had to fork out a small fortune to pay bond will be happy to know that, under the proposed changes, bond amounts would be capped at four weeks' rent and landlords would be prevented from hiking up your rent more than once a year, too. The Andrews Government's reforms would also give you more freedom to make a house into a home — you'd be able to make small modifications such as nailing hooks into the wall. Though minor, perhaps nothing says "this feels like home" than finally being able to hang up that festival poster you've been hanging onto since 2011. And it'll be way harder for landlords to ban pets, too — they'd have to get an order from VCAT, so it's likely you'd be able to add a fur baby to your fam if you so wish. In addition to all that, there are also a variety of further reforms to do with right of entry and leftover goods from renters at properties. And, on recommendation of the Royal Commission into Family Violence, tenants will be able to terminate rental agreements in a situation of domestic or family violence, with victims not being held liable for debts that aren't their own. Of course, the reforms won't be reforms until they are passed through both houses of parliament — the government needs the support of both the opposition and the Greens to get them through the Upper House. Stay tuned. Image: Donaldytong via Wikimedia Commons.
Flinders Lane has long been a hotbed for some of Melbourne's most creative (and most talked-about) kitchens, from Coda and Cumulus Inc. to Chin Chin and, for those of us with longer memories, the avant-garde Verge. So it makes sense that when Sri Lankan sensation Ministry of Crab was looking for a permanent Melbourne site, the crew looked to the buzzy thoroughfare. The team found a home in the century-old and recently restored Invicta House and, as well as opening the ninth branch of the celebrated crustacean-centred restaurant, it also promised a second restaurant to open in due course. That time is now, with the bold arrival of II.II.VI. Pronounced 'two two six', a riff on the restaurant's street address, the moody, fire-driven restaurant has taken over the basement of Invicta House, with the Roman numerals in the name nodding to the ancient tradition of wood- and charcoal-fuelled fire cooking. [caption id="attachment_1008095" align="alignnone" width="1920"] Tim Sonmez Photography[/caption] A sculptural bull guards the dramatic tunnel that leads into a subterranean dining room that's heavy on the moodiness. Ambient lighting, plush oxblood leather banquettes, deep blue accents and custom art deco-inspired lighting provide a contrast to textures that evoke fire, meat and smoke, as well as the raw industrial bones left over from the building's past life as a silk factory. At the heart of the room, a theatrical open kitchen puts a custom parrilla grill, robata and charcoal oven at centre stage, highlighting the restaurant's 'flame-first' philosophy. Leading the charge in the kitchen are Executive Chef Kerry Lam (Koko at Crown, Calia Group) and Head Chef Haitham Richani (Gradi Group, Barmah Park Restaurant & Cellar Door, Hopetoun Tea Rooms; pictured below). Their menu draws from Japanese robatayaki, South American asado and Basque grill traditions — all delivered through a contemporary Australian lens. For the opening period, only a bar menu is available — this serves as a good hint at what's to come when the full menu launches. The tight, ingredient-focused selection features bites like blistered cast iron bread, smoky skewers and prime cuts of steak from Westholme and Mayura. The main event, however, will be the two- or three-course dining experience still to come, featuring premium ingredients like Abrolhos Island scallops and dry-aged MB9+ wagyu, as well as decadent desserts like a flamed and spiced rum baba. It's food that's both thoughtful and visceral — and a worthy new addition to Flinders Lane. [caption id="attachment_1008096" align="alignnone" width="1920"] Tim Sonmez Photography[/caption] [caption id="attachment_1008094" align="alignnone" width="1920"] Tim Sonmez Photography[/caption] [caption id="attachment_1008092" align="alignnone" width="1920"] Tim Sonmez Photography[/caption] [caption id="attachment_1008091" align="alignnone" width="1920"] Tim Sonmez Photography[/caption] II.II.VI is now open at 226 Flinders Lane, Melbourne. It's open Wednesday–Saturday, 5pm–midnight. For more information, head to the venue's website. Top image: Tim Sonmez Photography.
The team behind restaurants San Telmo, Pastuso, Palermo and Asado have spent the better part of the past decade taking Melbourne's tastebuds on a culinary jaunt around South America. Flavours of Peru and Argentina are championed across the four menus, but now, the San Telmo Group is switching continents entirely to pull inspiration from the other side of the globe for its latest venture — Robata Japanese Grill. The kitchen is embracing the art of charcoal grilling with as much enthusiasm as the rest of its stable, but Japanese techniques and traditions are clearly at the forefront here. A custom-built robatayaki grill sits centrestage in Robata's kitchen, and mindful produce selection remains at the forefront of the menu. Former San Telmo Head Chef Stephen Clark is taking the reins and guiding the grill offering, drawing on his own experiences eating his way across Japan. "The grill has always been my greatest inspiration, and it's still front and centre even in this new chapter of my career," Clark says. "I've always loved Japanese cuisine. It's simplicity, variety and focus on freshness. This menu will offer new flavours and dishes that fans of The San Telmo Group have not seen on our menus before." Rocking a playful, minimalist space on Exhibition Street, the restaurant takes its cues from the streets of Tokyo. Futuristic elements and neon lights aplenty lend a very different feel to that of Robata's siblings, with fresh interiors courtesy of acclaimed Melbourne firm Ewert Leaf. The izakaya-style menu is headlined by a slew of yakitori and kushiyaki skewers, cooked over charcoal. Choose from the likes of chicken meatballs with cured yolk and tare sauce, Skull Island prawns with lemon, nori-salted turnip, and pork belly dressed in yuzu kosho (a type of chilli paste). Other snacks run to the likes of sashimi, onigiri and a soy-laced beef tartare, while bigger bites might include a tonkatsu pork cutlet matched with cabbage and mustard, and the Rangers Valley skirt steak done with shio koji (a fermented grain marinade). Add a side of charred broccolini and shiraee (smashed tofu salad), and a sparkling sake and sakura sorbet for dessert. An expertly curated drinks lineup ensures you'll be washing down your feed with some top-notch drops, whether that means a Coedo craft brew or a bottle of Yarra Valley chardonnay. The bar's pouring a strong spread of imported sake and the full range of Nikka Japanese whisky, while a cocktail selection features sips like an umeshu sour, a shochu-infused espresso martini and the sake martini with salted plum. Find Robata Japanese Grill at 2 Exhibition Street, Melbourne. It's open from 5pm–late Wednesdays and from 12pm–late Thursday–Sunday.
It's time to make the pilgrimage to the Supernatural Amphitheatre once again, because Golden Plains has announced its 2019 lineup — and the ballot is still open. Taking place over a long weekend, Meredith's other beloved festival returns from March 9–11, 2019. And heading the bill are beloved acts the Beach House, Four Tet, The Internet and Marlon Williams. As always, all musicians will appear on one stage in the Supernatural Amphitheatre, so no frantic timetabling needed, and Aunty has just released the bulk of her star-studded lineup. Leading you out through the stratosphere is psychedelic soul collective Acid Mothers Temple & The Melting Paraiso UFO. One of the more obscure acts on the bill, the Japanese rock band is joined by a slew of big names, including American dream pop duo Beach House, New Zealand balladeer Marlon Williams and trailblazing R&B band The Internet. Also on the program is Detroit funk sing Amp Fiddler, electronic musician Four Tet, Brisbane electro pop band Confidence Man and legendary Scottish rock band The Jesus and Mary Chain. Through all these epic sets, Golden Plains is set to be the same festival you know and love — no dickheads, no need to hide your goon sacks, no commercial sponsors. Tickets are $399.30 for everyone, and including camping and parking. If you can't wait until next year, best get yourself a ticket to Meredith in December as well. GOLDEN PLAINS 2019 LINEUP Beach House Happy Mondays Four Tet Confidence Man The Internet The Jesus and Mary Chain DJ Harvey Marlon Williams Magic Dirt Acid Mothers Temple & The Melting Paraiso UFO Liz Phair Khruangbin Amp Fiddler Rhyne Millú & Pjenné Gregor Hatchie Hieroglyphic Being Honey Raw Humps Horatio Luna DRMNGNOW Flohio The Living Eyes Danny Krivit Shannon & the Clams Golden Plains will take over the Supernatural Amphitheatre in Meredith on March 9, 10 and 11. The ballot for GPXI is open now until 10.13pm on Tuesday, October 23. Visit goldenplains.com.au for details. Images: Theresa Harrison
Two years after The Mandalorian gave the Star Wars franchise its first live-action TV spinoff — and a year after the show's second season hit streaming — The Book of Boba Fett is about to deliver a new dose of bounty hunter thrills. This time, Disney+'s latest addition to a galaxy far, far away will focus on the famed eponymous character that dates back to the 70s, with New Zealand actor Temuera Morrison (Occupation: Rainfall) donning Boba's helmet and armour in the new streaming series. Morrison played the role in The Mandalorian, too, after initially joining the franchise back in 2002, in Star Wars: Episode II — Attack of the Clones, as Jango Fett — the OG bounty hunter who provided the genetic template for Boba. So, this is a series with a history in multiple ways. Set to start streaming on Wednesday, December 29, The Book of Boba Fett will follow its namesake and mercenary Fennec Shand (Ming-Na Wen, Mulan) as they head to Tatooine. There, they're trying to control the territory once overseen by Jabba the Hutt and his crime syndicate. Unsurprisingly, that requires navigating the galaxy's chaotic underworld — and, as the just-dropped trailer for the series shows, that whole process isn't going to go smoothly. If you watched The Mandalorian, you should already be primed to spend more time with Boba. If you're just a dedicated Star Wars fan in general, clearly that's long been the case. And while this will only mark Disney+'s second jump into the Star Wars realm, plenty more is in the works. So, in the next few years, you can look forward to another season of The Mandalorian, a prequel to Rogue One: A Star Wars Story focusing on Cassian Andor (Diego Luna, If Beale Street Could Talk), a series about Obi-Wan Kenobi starring Ewan McGregor (of course), and other shows about fellow Star Wars characters Ahsoka Tano (Rosario Dawson, Zombieland: Double Tap) and Lando Calrissian (as initially played Billy Dee Williams, and also by Donald Glover in Solo: A Star Wars Story). There's also a new mystery-thriller from Russian Doll's Leslye Headland on the slate, too, called The Acolyte. Check out the trailer for The Book of Boba Fett below: The Book of Boba Fett will start streaming via Disney+ on Wednesday, December 29. Top image: © 2021 Lucasfilm Ltd.
No one watched Breaking Bad and felt the urge follow in Walter White's footsteps, but we just might get the chance anyway. The acclaimed TV show is returning with a leap into virtual reality. Prepare to put on a headset, enter a crime-filled world and get your New Mexico-set drama fix. Thank Sony PlayStation's push to expand their VR realm beyond gaming, and thank Breaking Bad creator Vince Gilligan for continuing to keep adding to the series — first Better Call Saul, and now this. Alas, don't go expecting to step into Albuquerque, Los Pollos Hermanos or an underground lab just yet, with the project still in its early stages. A release date hasn't been announced, but it won't be coming to a console near you this year. So, just what a Breaking Bad VR experience actually entail? Will you be throwing pizza onto a roof? Riding around in a campervan? Trying to pick non-poisoned packets of Stevia? Details are yet to be revealed — including whether it will recreate something from the show, or add to it — but it's safe to say you'll probably exclaim "yeah science!" at some point. Via Polygon / Variety.
It might've hit our streaming queues way back in mid-2019, but we all remember how Stranger Things wrapped up its third season. Change swept through the 80s-set Netflix sci-fi series in a big way — seeing multiple characters head out town and venture towards several destinations will do that — leaving us all wondering how things will play out in season four. In 2022, we'll finally find out after a hefty delay due to the pandemic. And to help fill the gap, Netflix has dropped another teaser trailer that offers a glimpse of what's to come. Yes, another one. This time around, the brief clip heads to California, which is where Eleven (Millie Bobby Brown, Godzilla vs Kong), Joyce (Winona Ryder, The Plot Against America), Will (Noah Schnapp, Waiting for Anya) and Jonathan (Charlie Heaton, The New Mutants) have washed up. Eleven is settling in as well as she can settle in anywhere, as she explains in a letter to Mike (Finn Wolfhard, The Goldfinch) — but she also can't wait until she can see him in person again. It's the latest Stranger Things season four trailer in a long line of them, starting back in February 2020. Since then, a couple more teasers dropped in May this year, then another one back in August, followed by yet another in September. So, we've now caught a glimpse of what happens to beloved police chief Jim Hopper (David Harbour, Black Widow) after season three's big cliffhanger and Russian-set post-script, and spent time with Steve (Joe Keery, Spree), Dustin (Gaten Matarazzo, The Angry Birds Movie 2), Lucas (Caleb McLaughlin, Concrete Cowboy) and Max's (Sadie Sink, The Last Castle) in a haunted house in Hawkins. We've also headed back to Hawkins Laboratory and its whole eerie setup and, now, seen a new Californian future as well. Of course, it's worth remembering that when Netflix announced the show's renewal for a fourth season back in 2019, it did so with the catchphrase "we're not in Hawkins anymore". That clearly applies in a number of different ways. If you're wishing it was 2022 already, you're not alone. Check out the latest Stranger Things season four sneak peek below: Stranger Things season four will be able to stream via Netflix sometime in 2022 — we'll update you with an exact date when one is announced.
Digitise your notes and hold them forever without losing the art of touching ink to paper. The line between the digital and non-digital world becomes ever thinner and more transparent with the influx of nifty new technologies like Moleskine's Smart Notebook. This notebook changes the world of handwritten notes as it allows you to photograph them, upload them onto note-taking program Evernote, and view them on a smartphone, tablet or computer. The notebook is for sketches or brainstorms which require old-school pen and paper, but can still conveniently be stored digitally. The Smart Notebook makes your notes, sketches, lists etc. incredibly "accessible, searchable, and shareable." After you've uploaded your notes onto Evernote, you can store them easily, look through them on screen, and easily share them with friends, family or work colleagues. Moleskine's notebook also comes with stickers or tags, so that you can group relevant notes together and make it much easier to sift through and search for various notes or drawings. On the Evernote app, it is easy to search for tags or keywords to easily find past notes. It also does helpful things, like automatically straightening images according to the lines of the notebook. Each Moleskine Smart Notebook comes with a three month Evernote subscription, so you can could theoretically make use of their service by simply buying a new book every three months.
There's no Academy Award solely for vocal performances. If there was, Lupita Nyong'o might've added another of Hollywood's prized statuettes to her mantle when the 2025 ceremony rolls around. A decade after taking home an Oscar for 12 Years a Slave, her first feature, and following standout work in everything from Black Panther and Us to Little Monsters and A Quiet Place: Day One since, she's the voice of Roz — short for ROZZUM unit 7134 — in the big-screen adaptation of Peter Brown's The Wild Robot. Unsurprisingly, she's marvellous and moving, taking viewers on an emotional journey even while playing a robot without facial expressions. When Roz is fresh out of the box, powering up on an animal-filled island devoid of humans in a futuristic vision of earth, Nyong'o lends her vocals to the perky Siri and Alexa peer that audiences will wish spoke back to them from their own devices. As the task-oriented mechanical helper learns that there's more to life than her programming — as she befriends a gosling that she names Brightbill (Kit Connor, Heartstopper) and a fox called Fink (Pedro Pascal, Drive-Away Dolls), too, and wins over other wild critters who are initially fearful of the metallic interloper — the warmth that begins to infuse Roz's tones couldn't feel more genuine. The Wild Robot doesn't only prove a gem thanks to Nyong'o's pivotal performance, but it wouldn't be even a fraction of the film that it is without her. In 2024, the actor has had two movies in cinemas. In A Quiet Place: Day One, speaking was one of the worst things that anyone could do. In The Wild Robot, Nyong'o's entire portrayal comes down to talking. "I love that you made that comparison. I hadn't even thought about it that way," she tells Concrete Playground when we point out the contrast, and also ask what she seeks out in new projects at this point in her career. "What gets me excited? I think about the character that I've been offered to play, and I think about what I will require to play the character — and what I could learn as well from playing the character, what I'm curious about. If the character makes me ask questions of the world and of myself and I'm excited to find out the answers, then I want to play that character," Nyong'o explains. When The Wild Robot came her way, she didn't say yes immediately, however. For Nyong'o, voicing Roz was always going to need to be a creative collaboration; just showing up to speak her lines and leaving it at that isn't how she wanted to work. "I don't know how to be just a voice for hire. I have opinions and I want to share them, and I want to make sure that the person I'm sharing them with wants to hear them," she notes. Nyong'o joined the film after meeting with director Chris Sanders and understanding his vision. "You shape these things together. You go on this journey together, and she is a creative force just like every other artist in this film, for sure," he tells us. "And I have to say, she's an absolute genius. Taking Roz apart bit by bit to understand her thinking kept me honest as a writer," he continues. The Lilo & Stitch, How to Train Your Dragon and The Croods director — and voice of Stitch — couldn't be more enthusiastic about the latest picture that now sits on his packed resume (also on his filmography from the 90s when he was starting out: production design on The Lion King, visual development on Beauty and the Beast, and story credits on both alongside Aladdin). Before signing on for The Wild Robot, Sanders describes himself as "book-adjacent" to Brown's illustrated tome, as his daughter had read it. "I saw it sitting around the house and I'd actually forgotten about it until the day I came into DreamWorks to look at what was in development. And there was the book, and they described it, and I thought 'that's the one I'm interested in'," he advises. As the feature's writer and director, he's crafted a version that takes inspiration from Hayao Miyazaki's enchanting Studio Ghibli fare, classics such as Bambi and the work of painter Claude Monet, too — and a gem for all ages. How does Nyong'o tackle a voice-acting part — and, whether she's seen on-screen or heard echoing from it, how does she find the right voice for a character? What kind of thinking and planning goes into expressing Roz's inner journey? How important was it to Sanders that the film didn't shy away from animals being animals, not just in appearance but also into recognising the food chain and cycle of life? We chatted with the pair about all of the above as well, and more, including how animated movies trade in big emotions —because we all have that flick, or several, that we'll never forget — and how that sits in your mind when you're making one. On How Nyong'o Approaches a Voice-Acting Part, Especially Playing a Character Without Facial Expressions Lupita: "I think the animators did a great service to Roz — and a great service to an audience — by not giving her facial features. Because then we stay truer to the fact that Roz is not a feeling entity. She is a robot and has a goal — she's goal-oriented and her goal, luckily, is to be of service to whomever purchased her. So that lends itself to kindness. And she's also very adaptable, so she's able to adapt to the behaviours and expressions of the wild animals that she is now living with. And through that, you can adopt sensibilities akin to emotional expression. I like figuring that out cerebrally. How do I play a character without emotions but still be able to convey a bunch of emotions, and then trust that an audience will project their emotions onto her? We are given that license because she doesn't have facial expressions, so she's not doing it for us. We were very much a part of the performance." On Finding the Right Voice for the Right Character Lupita: "It starts off with understanding the given circumstances of the character. What are the facts, right? And so for Roz, one of the main facts that was very important was that she is a programmed robot. That was very informativem and it led me to listen to automated voices like Siri and Alexa, the voices on TikTok and Instagram — they were an inspiration, their relentless, positive vibrancy was the inspiration there. For someone like Red in Us, I knew that there had been a strangulation at some point, and so that fed my imagination on what could that sound like if you were strangled. Things like that. Then I also work very closely with a vocal coach, and I worked with her on both Us and The Wild Robot, and that's really helpful to just externalise my ideas and make sure that I'm doing it in as healthy a way as possible to stave off injuries." On What Sanders Was Excited to Bring to the Screen in Adapting The Wild Robot Chris: "The story for sure. I've always wanted to do a robot movie. And the other thing that I never thought I'd get a chance to work on would be an animal movie like this. This is a lot like Bambi — the forest, the animals, the creatures. And it's a real forest, they're only slightly anthropomorphised. Bambi is a huge favourite. It always will be. One of the things I think that you cannot understate is the emotional power of that film. It has a staying power and a beauty that we wanted to emulate. Aspire to it, actually, is a better way to say it — that and the art of Miyazaki films. These are things that have a huge influence on us as animators and filmmakers. So we had big boots to fill if we were going to equal the power and the scale of those of those stories. Our animators really took to it, by the way. I didn't understand until they started working on the film the level of excitement that they had to do animals that were animals. That kind of movement, I guess, is really a huge thing for an animator. They're usually doing animals carrying cell phones and they have jobs, etcetera. Animals that are animals, there's a purity to the motion that I was really struck by. The animation went unusually quickly because of the lack of things, like jackets and coats and stuff. And so it was a joy to see all of this come to life day by day." On the Importance of Not Shying Away From the Reality of Animals Being Animals Chris: "It was critical because if there isn't consequence, then the story is just not going to work. We don't want to shy away from any of those things because we need that kind of ballast. I would actually harken back to things in The Lion King — if you don't have consequences, you're not going to have that emotional resonance, and I don't think you going to have a movie that works. So death shows up several times in this movie. The first time, of course, is the critical and pivotal event where Roz accidentally, quite literally, runs across this goose's nest by accident and that sets this whole story in motion. Later on, we revisit it, but we often revisit it with humour. We get a laugh out of it. It's a dark kind of humour, but boy is it effective. The animals on this island have programming, and that's the way that Roz looks at it. She's a creature of human programming, and she sees the animals as running programs as well. I thought that was a really interesting way to look at the world, and one of the load-bearing ideas and themes of the film is the idea that someday you may have to change your programming in order to survive. In our lives, we are creatures of habit, we resist change, and we may have to change the way we think. I think that sometimes we're so fearful of losing ourselves for some reason. I think we're very protective of ourselves. I can only speak for myself, but I get that — but whenever I've been forced to see things in a different way, I've been better for it." On What Goes Into Conveying Roz's Inner Journey Through a Vocal Performance Lupita: "I would say the intention was set at the beginning. Before I took on the role, I asked Chris why he thought I would be good for it, and he said he liked the warmth of my voice. So that was very good information for me, so that I knew what I had for free to offer Roz, and so that was where we would end up — that's the voice when Roz has taken on and embraced the role of mother most fully, that she sounds most like me. And then in the process, a two-and-a-half-year process, the script is developing, and along with it our understanding of who Roz is and how we experience her evolution is also developing. That was really quite technical, and we had certain markers, certain benchmarks for where the quality of my voice was shifting. And I did it quite technically, so it dials up in a way that when you're watching the performance is perhaps, hopefully, quite subtle and unnoticeable — until you meet the robots that are more like the other robots like her, towards the third act of the film." On the "Miyazaki by Way of Monet" Visual Approach to the Natural World Within the Film Chris: "All these things we've been talking about, what a perfect line of questioning actually, all these things are linked together like spokes of a wheel. I felt that it was absolutely critical, and I pushed very hard for this level of sophistication in the look of the movie. Think back to what we were talking about with Bambi, that level of sophistication, I felt, would make our audience see this film in the right way, if that makes sense. This is a film that kids will love. Kids should go see it. Families should go see it. But it's not a little kids' film — it's a film. And that's how Walt Disney looked at those stories as well, he always said so. So that level of sophistication helps us to get into the film in a certain way, and it really immerses us in a way that I've never seen a film like this accomplish. I have gotten so much feedback since we finished the film that it really blurs the line between a live-action film and an animated film, frankly, the way that you see it — and that was very deliberate. And I have to credit the artists and the incredible advances that DreamWorks had made technologically that allowed this look. The funny thing is all that technology opened this film up so that humans are more present than ever before. Literally everything is hand-painted. It would be as if I took out a brush and started painting dimensionally in space. That's exactly what they were doing. So there are no forms underneath the trees or the rocks. It's free handed. So the beauty that you get from that, there's no substitute for it. There's an analogue warmth that we reconnected with on this journey that we've taken through CG." On How Animation Allows Audiences to Have Big Feelings — and Thinking About That When You're Making an Animated Film Lupita: "You have to keep the audience in mind. One of the things that I remember us discussing, Roz has a lot of robotic language, just mumbo jumbo that she says — and you want to keep that in a way that allows for children to grow their vocabulary, and also a way for adults to understand and appreciate what she is saying. But you can't make it too difficult that you lose the children altogether. So those were fun workshops where we tried different words. I remember in the script, there was a time when a character asks Roz something and she goes 'hmm, let me see'. But 'hmm', that's a very human expression, and so I said 'processing' and everybody broke out laughing, and it became part of Roz's vocabulary. For children, that is perhaps maybe a new word — children never say processing, I can't imagine they do. But in that sense, you've expanded their vocabulary and stayed true to the character." Chris: "It's something I don't know if I'm really thinking about it, but in a sense I'm striving for it as I'm working on scenes. I'm scaling things. I think one of the neat things about taking a story like Peter Brown's to the screen is the potential for how big these feelings can be. I'm always going for audacity and scale. And I will run a scene over and over and over in my head, modifying it before I even commit anything to paper a lot of the time, until I'm feeling I've found every edge of the boundaries of that particular moment, and I've built it as large as it possibly can be. Because why wouldn't you, you know? Why wouldn't you? And then the really amazing thing is, I take it only so far, and then we have our actors and our and our animators — and eventually the cinematographer, the lighting, and then eventually Kris Bowers [who composed The Wild Robot's soundtrack]. I cannot overstate his contribution as well. I credit him for, I think, the gosh-darn best score I've ever heard in a movie ever." On What Nyong'o Makes of Her Career Over the Past Decade Since 12 Years a Slave Lupita: "I was sitting at the premiere of The Wild Robot at TIFF [the Toronto International Film Festival], and there was a moment, I think it was a moment when Brightbill is flying away and a feather floats into Roz's hands. And it's a very emotional moment within the story. But in that moment, I was just caught, I was struck by the truth that I have been living out my dreams and this project is another dream come true. I was just filled with gratitude, because not everybody gets to live out their dreams so exactly. And I've had that wonderful, wonderful privilege, and I just don't take it for granted. It's been deliberate. It's sometimes been scary. I've had to say no before I knew I could in order to wait for the project that felt like it would give me the kind of expansion I was looking for. And those times that I've said no have paid off. And looking at the last ten years, I'm very, very proud of the work that I've been able to do, and I look forward to continuing to live out my dreams one decision at a time." The Wild Robot opened in Australian cinemas on Thursday, September 19, 2024.
