One of 2023's big blockbusters ended by leaving viewers wanting more, and by design: when Mission: Impossible — Dead Reckoning Part One wrapped up its 163 minutes of espionage antics, everyone already knew that Mission: Impossible — Dead Reckoning Part Two was on its way. Originally, the latter was meant to arrive in June 2024, less than a year after the first film. But audiences will now need to wait until 2025 — including to see Tom Cruise's (Top Gun: Maverick) latest batch of death-defying stunts. Instead of hitting cinemas on June 28, 2024 in the US, the eighth flick in the spy franchise now has a May 23, 2025 release date. Down Under, that likely means a move from June 27, 2024 to May 22, 2025, given that movies release here on Thursdays rather than on Fridays in America. Both The Hollywood Reporter and Variety are reporting that the film's name may change as well. So, chaotically, it mightn't be called Mission: Impossible — Dead Reckoning Part Two, although it will still follow on from Mission: Impossible — Dead Reckoning — Part One. The change of dates comes amid Hollywood's ongoing actors' strike, adding a new big-name flick to the list of films moving back their releases. Another second part that's done the same: Dune: Part Two. Hollywood's on-screen talents are on strike to fight against diminishing residual payments for performers, and to establish firm rules about the future use of artificial intelligence in the industry, among other improvements to working conditions. When they took action in mid-July, SAG-AFTRA's members joined their counterparts in the Writers Guild of America, who were striking since May but have since resumed work. On Paramount's slate, the next Mission: Impossible isn't the only film that's shifting dates. A Quiet Place: Day One will also now release in June 2024, not March — and the next SpongeBob SquarePants movie will move from May 2025 to December 2025. As for what's in store Mission: Impossible-wise, you can bet that world-hopping intrigue, explosions, chases, fights and Cruise wearing masks all pops up when Ethan Hunt and his Impossible Missions Force team return. So will a cast that also includes Simon Pegg (The Boys), Ving Rhames (Legacy) and Hayley Atwell (Doctor Strange in the Multiverse of Madness). There's no trailer yet for the next Mission: Impossible, but you can check out the full sneak peek at Mission: Impossible — Dead Reckoning — Part One below instead: The next Mission: Impossible movie will release in cinemas Down Under on May 22, 2025. Read our review of Mission: Impossible — Dead Reckoning Part One. Via: Hollywood Reporter / Variety. Images: Paramount Pictures and Skydance.
What has happened to that once glorious Hollywood staple, the romantic comedy? Even at its most saccharine, it was a dependable genre, the type that left you in a kind of terrible movie heaven of enjoyably unlikely plot premises, clueslessly fated lovers, and fairytale endings. Trashy, sure, but reliably trashy — carefree and frothy and silly. Beautiful people, overcoming mindlessly familiar cinematic hurdles and falling in love — it's comforting stuff for hopeless romantics. But a genre that focuses more on seduction and courtship and the happily-ever-after, bridal magazine moments eventually leaves viewers craving something a little more substantial. After all, anyone who lives in the real world knows that the real work in relationships begins at the point where rom coms usually end: the kiss, the wedding, the honeymoon period, the beginning. I Give It a Year goes some way towards reclaiming the rom com genre in favour of the reality and ridiculousness and complexity of relationships and sex and romance. British director Dan Mazer has styled it as a renovated, thinking-person's rom com, one that starts at the wedding and explores the difficulty of staying in love. Rose Byrnes' highly strung Nat and Rafe Spall's man-boy Josh are not meant to be — they marry too quickly and are obviously more suited to the two supporting characters, played by Simon Baker and Anna Faris. Concrete Playground has 10 double passes to give away to see I Give It a Year. To be in the running, subscribe to Concrete Playground (if you haven't already) then email us with your name and postal address at hello@concreteplayground.com.au. Read our full review here. https://youtube.com/watch?v=3UgPWKPDlvA
The pandemic has changed much about travel over the past year and a half, including the way that Australians approach roaming throughout our own country. Booking a ticket to another state or territory is no longer something we all just do whenever we feel like without checking the rules, restrictions and requirements first — because closed domestic borders will do that. But with New South Wales and Victoria both progressing through their roadmaps for reopening following both states' respective (and lengthy) lockdowns, venturing a bit further around the country might soon become a little easier. Exactly what domestic border limits will remain in place, and where, hasn't yet been revealed; however, Qantas and Jetstar have announced that they'll start ramping up their flights around the country anyway. Firstly, the two airlines will increase flights regionally within NSW, starting from Monday, October 25. That's around when the state is expected to hit the 80-percent double-dose vaccination mark, which is when travel throughout NSW will be permitted again. Next, Qantas and Jetstar have brought forward the start date for trips between NSW and Victoria. Instead of recommencing in December, these flights will now resume on Friday, November 5. [caption id="attachment_823330" align="alignnone" width="1920"] Brent Winstone[/caption] So, if you're a Sydneysider eager to escape the city — either within NSW or to Victoria, you're about to have options. For Melburnians, heading north will be possible as well. Obviously, this all depends on the rules both states put in place regarding travel between them, because that's the world we now live in. The airlines haven't changed their flights between Western Australia, Tasmania, Northern Territory and South Australia just yet, though, with trips to WA still remaining sparse for the foreseeable future due to its strict border arrangements all throughout the pandemic. The two carriers won't restart legs from WA to Victoria and NSW (and vice versa) until at least February 1, 2022 for that reason, other than the five return flights it's doing from Perth to both Sydney and Melbourne at the moment for folks with permits — but it's hoping to increase flights between Queensland and WA in the coming weeks. No matter where you live, expect to see a few incentives popping up trying to tempt you to holiday in certain parts of the country. The Northern Territory is doing discounts of up to $1000 for fully vaxxed folks who head to the NT from spots that aren't deemed hotspots, for instance, and there's also $250 tour vouchers up for grabs in Queensland's tropical north. For more information about Qantas and Jetstar's increased domestic flights as NSW and Victoria reopen, head to the Qantas and Jetstar websites.
If you're craving to know what the world's best supper tastes like, you’d best book yourself a flight to Denmark. Restaurant magazine has announced the World’s Best 50 Restaurants for the year and Copenhagen’s Noma has reclaimed the Number One position. Having topped the list in 2010, 2011 and 2012, it fell to second in 2013. Meanwhile, second place went to El Celler de Can Roca in Girona, Spain and third to Osteria Francescana in Modena, Italy. So, how did we fare? The only Australian restaurant to have made the Top 50 is Melbourne’s Attica, which fell from 21 but still came in at 32; also named the Best Restaurant in Australia for the second year in a row. The judges laud head chef Ben Shewry’s "earthly flavours and foraged ingredients", describing the Attica dining experience as "simultaneously sophisticated and deeply grounded". They’re also impressed with Shewry’s commitment to "his principles of sustainability, to his family and to the cooking craft". Meanwhile, Sydney’s Quay, headed by chef Peter Gilmore, slipped from 48 to 60. (Despite the awards being titled ‘World’s Best 50’, the top 100 are named as well). Even though just two of our homegrown restaurants made the list, Aussies chefing abroad have been making an impact. Newcastle’s Brett Graham, who heads The Ledbury, London was pleased to secure tenth place. “It’s a huge surprise,” he said. “We’ve got a great young team, actually half-full of bloody Australians as well, from all over the country.” At the same time, David Thompson’s Bangkok-based Nahm ranked 13th. He expressed that it’s not easy for Aussie restaurants. "One of the difficult things for Australian restaurants is that it’s so distant – or so far away from the circuit of judges," he said. "It’s a matter of luck in the awards ceremony; it really is." Finally, Sydney chef Tetsuya Wakuda came in at 50th with his Singapore-based restaurant Waku Ghin, improving on last year's 68th ranking. Image credit: Ben Hutchison
Back in 2011, San Telmo introduced Melbourne to an authentic taste of Argentina. Sister restaurant Pastuso flew the flag for Peru when it landed on ACDC Lane a few years later. Now, with their latest project Palermo, the owners are again enticing diners on an international food journey, this time trekking through Argentina — with stops in Italy and Spain paying homage to the country's multicultural heritage. It's a warm and moody split-level space on Little Bourke Street, where rich brown tones and leather banquettes provide a fitting backdrop for the kitchen's meat-heavy menu. Named after a well-known neighbourhood of Buenos Aires, Palermo pulls most of its culinary influence from Argentinian cuisine, with a custom asado fire pit and a traditional parilla charcoal grill that are the stars of the kitchen. Carnivores will find themselves in a pretty happy place here. Grazing small bites — like the rich suckling pig croquettes cut through with chipotle mayonnaise ($5 each), or the hearty take on beef tartare, teamed with fried capers and a punchy horseradish purée ($18) — are interesting and meat-heavy. If you're more of an omnivore, there are a couple of lively ceviche options ($19, $20) and an Italian-inspired tomato salad ($17). Do yourself a favour and try the flavour-packed empanadas ($6 each) stuffed with a mix of green olive, boiled egg and beef. But the main lineup is where you'll really see what the kitchen toys can do. Steak lovers are spoiled for choice with the dishes coming off the parilla grill. The Rangers Valley grain-fed skirt steak shows just what can happen when you treat a secondary cut right, though it would have pushed the point even further had it enjoyed a little less time between grill and table. The asado pumps out a few choice meat options, too — think, tender Gippsland Suffolk lamb in both a 250g and a 450g serve — while sides like the grilled broccolini, dressed with breadcrumbs, parmesan, chilli and an anchovy vinaigrette ($13) help to freshen up your plate. The bar offering is worth a visit in its own right; it features wines from across South America and Spain, including a solid spread of malbec. The full-bodied 2014 Ruca Malen is one of three available by the glass. You'll also find a tidy selection of vermouth and signature cocktails like the Palermo Sour ($20) — a blend of grapefruit, vodka and Amontillado sherry. Images: Kristoffer Paulsen
Stepping off the train at Footscray station can feel somewhat like wandering into the twilight zone — it smells different, it looks different and the locals have a distinctive, devilish look in their eyes that is a by product of 1) the ridiculously low cost of vegetables and rave cats in the local area, 2) a sugar high post rampant Olympic Donuts binge or 3) the many splendid delights of a visit to Savers. Despite the fact that the ‘Scray (not to be confused with Scary) is sandwiched somewhere between super posh pockets Kensington, Seddon and Yarraville, you ain’t gonna find no Pleasantville-esque faux grass or Mum’n’bub conventions around here. In short, you’re a long way from Kansas. What you will find is a vibrant, lively African migrant community that brings much literal and metaphorical colour to the neighbourhood. This Saturday the Emerge in the West festival, presented by Multicultural Arts Victoria as part of the larger Emerge Festival, will see the main drag come alive with a bustling street fiesta celebrating the contribution of the large African community to local life. Expect Somali, Sudanese, Ethiopian, Azmari, Burundian, West African and Cape Verdean music, cooking classes, coffee ceremonies, a walking tour and even an African/Aussie fashion parade — we’re picturing a dashiki styled with a cork hat. Plus, despite widely held popular misconceptions, it’s only 11 minutes from the city. Image via eco-friendly-africa-travel.com
With over 8 million people living in its five boroughs, New York is one of the most populous metropolitan areas in the world. So, some of the city's wealthier residents have come up with an inventive way to squeeze into The Big Apple: by building buildings on top of other buildings. Think dens perched on top of apartment blocks, pods stored next to air-conditioning vents and rooftop 'cubes' overlooking the Hudson. These creative structures are not only fantastic to marvel at with their contrasting designs and modern styles, but are also a great solution to housing shortages in large cities. Here are ten of the most creative examples in NYC. Rooftop A-Frame Rooftop House and Terrace Three Story Rooftop House Icosa Village Pod in Williamsburg Loftcube by Werner Aisslinger Midtown Rooftop Garden House on Top of an Apartment Central Park West Rooftop Garden Rooftop House and Garden East Village Cape Cod House Soho House Rooftop
Did your parents ever tell you to stop playing video games and go out and socialise? Well, it seems all those hours in front of a screen were not wasted after all. Pixel Bar lets you put those gaming skills to good use with your mates — with a beer in hand. The venue, located on North Road in Huntingdale, is a wonderland for anyone with a competitive streak. A cornucopia of old-school board and card games are on-hand as well as PCs and a selection of consoles connected to a projector screen. Booze, coffee, milkshakes and jaffles will keep you fuelled for your (pixellated) fight to the death. Pixel also hosts regular trivia nights and game tournaments — covering everything from Super Mario Smash Brothers to Dungeons and Dragons. Its proximity to Monash University means there is a constant presence of procrastinating students, but the doors are open for gamers from all walks of life. No wasted youth here, Mum and Dad.
It's bingo, but not as you know it. On the first Wednesday of every month, Wingo Bingo spectacularly takes over The Beast's CBD spot on Swanston Street. Hosted by the fabulous Gloss, you are in for raunchy laughs, shimmering costumes and, of course, people shouting "Bingo!" To sweeten the deal — even though it's pretty sweet already — there's food, too. At just $25 per person (with a two-person minimum), you'll be feasting on the spot's popular Dorito-crusted chicken wings — and yes, there's a vegan option — plus chippies and a booze-free bev. There are prizes to be won as well, party people — so grab your gang, wear something glittery and strap on those heels for a night out where the name of the game is shameless fun.
Pairing hot dumplings with cold beer is one of life's simple pleasures, and it's one of the reasons that Harajuku Gyoza has become one of Brisbane and Sydney's go-to Japanese joints. When their sixth venue joins the fold in May, it won't just be bringing gyoza and brews to a 150-seat space in Broadbeach on the Gold Coast — it'll be setting up a microbrewery. Given the name Harajuku Gyoza Beer Stadium, it's the first restaurant of its type for the chain, and Australia's first Japanese microbrewery as well. And, it'll be offering plenty of tempting tipples for booze-loving dumpling fiends. Say hello to four 1200-litre red, black, silver and gold beer tanks pumping out six core Japanese craft beers from the Yoyogi Japanese Craft Beer range. Harajuku Gyoza has been brewing its own craft Yoyogi Pale Ale since 2015, but now they'll do so on-site at Broadbeach — and add five others to their regular menu. In addition to quenching Gold Coast diners' thirsts with their year-round selection and special seasonal releases, the new microbrewery will serve up yeasty brews that'll be sent to other stores, and sold wholesale. For anyone wanting more than just a pint, Harajuku Gyoza Beer Stadium will feature an entertaining table that comes with its own ten-litre keg, allowing you to fill up your own drinks as you sit and eat. And while the focus might be on beer, glorious beer, whiskey fans will find a range of rare Japanese varieties, available to purchase by the nip or individual bottle. If that's not enough booze and dumpling fun, the Broadbeach restaurant will also be Harajuku Gyoza's first to have a breakfast menu. Sounds smart — if you've been drinking fresh-made Japanese brews all night, you might want to head back the next morning for a gyoza pick-me-up. Find Harajuku Gyoza Beer Stadium at The Oasis Centre, Broadbeach from later in May. Head to their website and Facebook page for more information.
If life's got you feeling a little stressed of late, your good mates at KFC are here to help you out — albeit in a pretty unexpected way. You can turf your mindfulness phone apps and ditch that meditation class, because the global fried chicken chain has created a new online offering, where you can unwind to the soothing sounds of chicken frying. Launched to coincide with Mindfulness Day on September 12, KFChill is the fried chicken empire's new website offering its own cheeky spin on mindfulness practices, with a series of 'pink noises' that take the listener on a journey through a KFC kitchen. Click through the trio of hour-long sound files to unwind to the noise of chicken frying, gravy simmering or bacon sizzling away in a pan. No word on how effective this actually is for your relaxation levels, though we can guarantee some mad cravings for fried chicken once you're done.
Decadence is also a very relevant feeling at Mámor, where you can forgo a standard afternoon tea for the Lux High Tea and Chocolate High Tea options. Sink into its plush red velvet furniture and feel a little bit beyond your means as you pick your high tea poison. The petit option — which is still quite extra — is more of a traditional situation, with scones included as well as petit fours and artisan chocolates, and bottomless tea or filter coffee and hibiscus lemonade (and sparkling wine available as an extra). [caption id="attachment_686930" align="alignnone" width="1920"] Judy Hudson[/caption] The Luxe option is stepped up a notch or two, with seafood croquettes, parmesan shortbreads, and cakes filling up your savoury stomach and scones and petit fours and chocolates doing the same for your sweet side. And, if you're really raring for a chocolate time (this is a chocolate cafe, after all), go for the Chocolate High Tea option: all your desserts will be rich and chocolatey.
If you've ever ventured down Collingwood's Wellington Street, you have probably been intrigued by a certain eye-catching corner building, decked out with a bold black and white façade. You'd be looking at Chotto Motto. The lively Japanese haunt is a joint effort from Dylan Jones and Tomoya Kawasaki, the latter who is behind fellow mod-Japanese hits Wabi Sabi Salon and Neko Neko. At Chotto Motto, it's the humble gyoza that reigns supreme, specifically crisp-based Hamamatsu-style dumplings that are served as a group, flipped upside down. Grab a 10 or 20-piece feed, in flavours like spicy pork in crispy chilli oil, prawn and ginger with yuzu ponzu, or the vegan-friendly impossible pork with shiso and sesame. Small plates might include the likes of Japanese curry chicken salt fries, king prawn with shredded leak tempura, or seasonal veg wrapped in tofu skin with a side of yuzu pepper. The drinks are fun, also, with a range of cocktails including a yuzu margarita, a Japanese slipper with melon, orange and lemon, and a ume plum negroni with gin, Aragoshi Umeshu Plum Wine and Campari. There is plum wine, sake and beer as well, plus a single option for each colour of wine. The space itself is equally upbeat, between the Japanese slot machine, the neon glow and an assortment of knick-knacks scattered throughout. You'll catch a vibrant mural by Mitch Walder gracing one interior wall, while outside's head-turning paint job is the work of Melbourne street artist Chehehe.
"The mormons are coming", posters popping up in Sydney, Melbourne and Brisbane promised in the 2010s. If you start spotting something similar now, they might feature the words "the mormons are back" instead. After breaking records on its first Australian run, The Book of Mormon is returning Down Under, with the smash-hit musical's suitcases are packed for Sydney. Written by South Park and Team America's notoriously puerile creators Trey Parker and Matt Stone, together with Robert Lopez of genius grown-up muppet show Avenue Q, The Book of Mormon is probably one of the most-lauded comedies ever to have centred on the Church of Latter Day Saints and African missions — and to approached both with Parker and Stone's usual humour. If it wasn't so smart and so funny, few would forgive it. But since it is, The Book of Morman has picked up nine Tonys, four Olivier Awards and a Grammy since it debuted in the US in 2011, when it was called "one of the most joyously acidic bundles Broadway has unwrapped in years". Australia's OG date with The Book of Mormon also earned accolades, including Best Musical and Best Direction of a Musical at the 2017 Helpmann Awards. When the show premiered in the Victorian capital in 2015, it enjoyed the highest-selling on-sale period for a show at Melbourne's Princess Theatre. When it first went to Sydney, it also set a record for the highest-grossing musical in the city's history. A decade ago, Parker and Stone's hilariously irreverent hit production spent a year in Melbourne, then did the same in Sydney, then made two trips to Brisbane — because one wasn't enough. This time, debuting from July 2025, The Book of Mormon is hitting Sydney's Capitol Theatre first up. Exact dates haven't yet been revealed, however, and neither has any planned stops in other Aussie cities. If missed it then or you're keen to see it again, you'll be plenty excited that you're getting a new chance to go learn all the idiosyncratic details of Mormonism, meet war criminal General Butt-Fucking Naked and know the true meaning of the hakuna matata-like saying 'Hasa Diga Eebowai'. The waitlist is open now for the Sydney season, with no word yet as to when tickets will go on sale — or about who'll be taking to the stage in the cast, either. The Book of Mormon will play Sydney's Capitol Theatre from July 2025 — we'll update you when exact dates are announced. To sign up for the ticket waitlist, head to the musical's website. Images: Paul Coltas, London Company.
Growing up is hard to do, many a movie tells us, but often that glimpse at youthful perils comes with the male experience in mind. Girlhood's name gives away the fact that that's not the case here; however, what it doesn't clearly convey is how intimate and organic its look at its titular state is. A mere female-skewed take on Richard Linklater's Boyhood, this isn't. Sixteen-year-old Marieme (Karidja Touré) lives life on the outskirts of Paris, with her future looking as bleak as her present. Choice, control and agency are sorely lacking in days overseen by her hotheaded older brother (Cyril Mendy), so when she sees a chance at freedom through some newfound pals, she takes it. Soon, she's flirting with teenage trouble alongside fast friends Lady (Assa Sylla), Adiatou (Lindsay Karamoh) and Fily (Marietou Touré), including all the usual fun of partying, shoplifting and drinking, as well as dances with even darker territory. That the movie's French-language moniker actually translates as 'gang of girls' gives an indication of the kind of existence Marieme embraces. If such a coming-of-age tale sounds familiar, don't let the appearance of a well-worn plot temper your expectations. In her previous two films — Water Lilies and Tomboy — writer director Céline Sciamma came close to perfecting pictures of adolescence that not only felt genuine but also reached worlds away from the usual mainstream fare. In Girlhood, she achieves that feat. As Marieme attempts to carve out her identity and cope with the path she has chosen, Sciamma is more concerned about expressing her mindset and reflecting how she sees the world than documenting her actions. Accordingly, as the film tackles maturity on the margins by showing the harshness of the situation but never wallowing in it, Girlhood becomes as complex a look at a girl becoming a woman as cinema has seen, and as simultaneously energetic and patient too. It helps that newcomer Touré is the perfect vessel for the filmmaker to fill with age-appropriate angst, and then watch as the young actress paints a portrait of pubescent pain and problems on the screen. The remainder of the inexperienced cast also brings the same sense of authenticity, but the camera and the audience are always drawn to Touré as she works through Marieme's good and bad decisions. Consequently, prepare for a ride through the reality — not the cinema fiction — of coming to terms with the ups and downs of life from the perspective of a teenage girl. Prepare to get Rihanna's 'Diamonds' stuck in your head, too, with the track setting the tone for one of the film's most memorable scenes. For a few glorious minutes, Marieme and her friends shimmy away to the song in a blue-lit hotel room, blissfully escaping their troubles. In the midst of this moving film, that's what you'll want to do as well.
Shocking. Controversial. Bleurgh. These are just some words you will need to describe the films you'll watch during World Movies presentation of Films That Shocked The World. This week of outrageous cinema features five of the most contentious films of all time that have been banned globally, resulted in arrests or court cases, or caused an uproar defending morality (or all of the above). For five nights from Monday, 19 August, you can watch them from the sanctuary of your own home free from judgement thanks to World Movies, the only channel in Australia sanctioned to show R18+ films on national television. So if you've been warned against these films, it is time to take a bold step into the unknown and be amazed and horrified. https://youtube.com/watch?v=0piFZXT8Zxo The Human Centipede (2009) Tom Six's disturbing modern horror classic is a perfect film to commence this confronting week, somehow being both repulsive and beautiful. Despite the centipede technically being a few legs short, the film was claimed to be "100 percent medically accurate", which makes it considerably more terrifying given its scientific merits. The genre-redefining story of a demented German surgeon who kidnaps three tourists before joining their gastric systems to form a 'human centipede' more than deserves to be on this list — but be warned: it is not for the faint hearted and will cause countless viewers to watch from behind the safety of their fingers. Monday, 19 August, 9.30pm https://youtube.com/watch?v=Myzec1dgSqc Kids (1995) It is no surprise that Larry Clark's first feature film was deemed shocking in 1995 given it details the unrestrained behaviour of adolescents towards sex and substances. Written by Harmony Korine (Spring Breakers), its controversial subject material is matched by its directing of teenage sex, explicit dialogue and physical and sexual violence that makes anyone watching feel at least uncomfortable. Be prepared for a confronting tale of modern immorality that was released without classification in the US. Tuesday, 20 August, 9.30pm https://youtube.com/watch?v=cZ-Xp6VC7RQ Cannibal Holocaust (1980) Cannibal Holocaust would be shocking purely for its depiction of graphic murders and execution of live animals during filming. However, the added mystery of whether it was a snuff film in which the actors had been allegedly murdered on screen for authenticity caused the film to be almost immediately banned internationally and its director Ruggero Deodato to be arrested for murder — of which he was later acquitted after the actors were proved alive. This is controversial with a capital C. Wednesday, 21 August, 9.30pm Deep Throat (1972) Whilst the film gained notoriety for being one of the premier pornographic films featuring a (ridiculous) plot of obscenity and relatively high production values, its true shock value derives from the later claims of sexual abuse that linger over the film. Leading lady Linda Boreman (also known as Linda Lovelace) initially claimed the film was sexually liberating but later revealed her lack of consent to many of the sexual acts in the film, only being coerced into them by her abusive then-husband Chuck Traynor. If you decide to watch knowing this information, then apparently you can see the bruises on Boreman's body throughout the film. Thursday, 22 August, 9.30pm https://youtube.com/watch?v=hRubuJki4Mk Baise-moi (2000) Concluding the week of controversial cinema is perhaps the most shocking film of all, Baise-moi. The French favourite about two female prostitutes on a road trip towards retribution for their raping still cannot be shown here in its entirety today given the original features a close-up shot of penetration during rape and a scene showing a gun being pressed into a man's anus before being fired. However, World Movies will still be showing the R18+ cut, which is still many adjective levels above shocking that I would get fired for writing here. Friday, 23 August, 9.30pm
In the same week that Aussie supermarket giant Woolworths finally banned single-use plastic bags, Melbourne's Crown Complex has also dished up some good news for the future of our planet, announcing it has started cutting down on single-use plastics. Coming from the largest casino complex in the Southern Hemisphere, that's no small feat. Crown Melbourne is kicking things off by joining the global Plastic Free July initiative, which sets out to raise awareness about the impact of pesky, single-use plastics and challenges people to do something about it. For the whole month, the entire Crown Casino Complex will crack down on disposable plastics, promising to remove all single-use plastic "where possible" and to "encourage consumers to change their attitudes and behaviours". Straws will only be available on request, plastic bags have been replaced with paper alternatives in all Crown outlets, and various biodegradable and compostable products are currently being tested, with the aim of phasing out plastic cutlery as well. A spokeswoman for Crown told Concrete Playground, "Crown recognises that the process to phase out single use plastics will take several years, and that we are at the start of our journey." The intention is to continue the plastic crack-down long after the month of July, as more testing's carried out and better alternative products are found.
If you've ever wondered how Nicole Kidman would handle a PR scandal, Optics has the answer. Actors crossing boundaries, sports stars behaving badly, wellness entrepreneurs with little regard for their employees' wellbeing: the ABC's new satirical comedy is filled with crises across its six-episode first season, and they all require a woman sporting one of Australia's most-famous names to help smooth things over. Of course, the Nicole Kidman, star of Babygirl, Expats, The Perfect Couple, A Family Affair, Spellbound and Special Ops: Lioness in the past year alone — and plenty more since her BMX Bandits and Bush Christmas days in the early 80s — isn't at the heart of the series. Rather, Optics co-creator, co-writer and co-lead Jenna Owen plays another Nicole Kidman. Alongside Vic Zerbst's Greta Goldman, the show's Nic has big dreams and ambition to burn; however, the Gen Z duo aren't being given their shot at PR firm Fritz & Randell when Optics begins. By the time that the series' first episode is over, though, the office's youngest employees are running the place — after a death in the business, plus oblivious veteran Ian Randell (The Chaser's Charles Firth), son of one of the company's founders, being passed over for fresh faces. With his leadership choice, owner Bobby Bahl (Claude Jabbour, Last King of the Cross) is responsible for a bit of spin himself, but Nicole and Greta are determined to make their mark in the gig. That's the Optics setup, as Fritz & Randell's two new head honchos also navigate airlines chaos, a major telco outage and a publicity stunt gone wrong. Friends for over a decade, and creative partners as Freudian Nip, Owen and Zerbst's shared resume boasts content for Comedy Central and The Feed, collaborating with Firth on The Chaser's War on 2020, popping up as Asgardians in Thor: Love and Thunder, and penning and leading 2024 festive flick Nugget Is Dead: A Christmas Story — alongside Owen's acting credits in Puberty Blues, Squinters, Eden, Joe vs Carole, Wellmania, Queen of Oz and Mother and Son, and Zerbst's voice work on 100% Wolf: The Book of Hath. A show like Optics was always the dream, they tell Concrete Playground. Various stops along their path helped inspire the series, which Firth is also behind, including the trio's intergenerational banter when parodying a year no one wants to remember, plus taking cues for Nicole and Greta from characters from Owen and Zerbst's time at SBS. "They're very much inspired by characters we had been working on at The Feed at SBS," explains Zerbst. "They were more government kind of girls who try to rebrand strategies around different crises — how to rebrand a company after there's been the destruction of a sacred site or how to rebrand Australia as a nation after there's bad publicity. So we always had interests in characters who are commentating on the media circuit and the news stories, and finding creative ways to resell that back to the audience." And Nicole Kidman? "In terms of the names of the characters, I mean there was just a moment, I think it was Jen being like 'I want my character to be called Nicole Kidman' — and we laughed and laughed. And we're like 'we'll change it when it's no longer funny'. And it never stopped being funny, so we were like 'it stays, it absolutely stays'. Now it's here and it's iconic," Zerbst continues. "It stays. I think it's just the optics of being named Nicole Kidman when you're working in something media-facing. And also being someone that's desperately trying — we just kept laughing, we were like 'imagine being desperately trying to make a name for yourself, but your name is already a name of itself'. And we just thought that was a really hilarious foil to this girl that is so desperate, clearly, for attention and status," notes Owen. "So that is the story of that. It's just funny. And I would love to be friends with the real Nicole Kidman." "We're peppering it in for a Nicole Kidman cameo one day. We just need to get her to watch it and go 'that's funny'," says Zerbst. "Get her on board? Absolutely," adds Owen. The IRL Kidman mightn't make an appearance in Optics so far, but the guest cast is stacked: Grey's Anatomy's Kate Walsh ("all of her choices were just total improvisation — we learned so much from her in that capacity," advises Owen) and Furiosa: A Mad Max Saga's Josh Helman ("literally Charles Firth went to see Death of a Salesman and saw him play the son, and he was like 'this is the most-amazing actor'," Zerbst notes) for starters, plus also everyone from Nakkiah Lui (Preppers) and Nash Edgerton (Wolf Like Me) to Rhys Muldoon (Bay of Fires) and Craig Reucassel as well. The scandals faced by Owen, Zerbst, Firth and their impressive list of co-stars — Belinda Giblin (Home and Away) also plays the firm's Executive Assistant and Bali Padda (Over and Out) is Ian's loyal offsider — in Optics should all sound familiar. If they feel like they've been ripped from recent headlines, that's down to the cyclical nature of many of the crises covered, whether footballers are making regrettable decisions at the end of the season, the secrets of Hollywood stars are being exposed or big-name companies relied upon by many are stuffing up. It's also a testament to the show's spot-on satire and savvy choices. Optics is smart and astute — and very funny — about the PR strategies deployed as much as the scenarios its skewering, the publicity-literate nature of today's audiences, and changing workplace dynamics and intergenerational conflict, too. We also chatted with Owen and Zerbst about all of the above. On How Much Time Zerbst and Owen Have Spent Digging Into IRL PR Crises Vic: "It's been mostly when we were writing the show. We've been writing the show over a three-year period, and so we're always kind of across all the little scandals that rear their heads. What we've realised is a lot of patterns emerge in the types of scandals that come up. So we ended up writing an episode that was very much inspired by the Qantas Chairman's Lounge, and we wrote an episode about that, and it just so happened that there was all this news about the Qantas Chairman's Lounge after the episodes were already written. So there's certain things, certain bastions of power, that always have news filtering around them. So we realised that those were the best kind of scandals to dig into." Jenna: "It's truly amazing because, I would hope that people, on top of people loving it, they also go 'wow, geniuses, incredible, never been done before' — because it truly has been lucky, in the sense that this show was written three years ago or has been in the pipeline for a long time. And the resurgence of how many scandals that we were writing three years ago and the way in which they reemerged is actually so comical to us, because it feels like the best publicity for the show. But everything, everything in the show, has reared its head again — if it's not the same scandal re-emerging because someone's jumped on a PR circuit and is doing podcasts, like what's happening with Armie Hammer right now. He's coming out and telling his side, which is making all kinds of new content, which is hilarious." Vic: "Or even the Matilda Djerf scandal, with Djerf Avenue, that was very much of interest to us. The idea of the female CEO or female girlboss going down — there's just so many peaks and troughs of personal identity and branding. Even going back in time, and watching the Martha Stewart documentary and seeing anytime anyone has power, how there is a rise and fall, and scandals ensue when you're dealing with big money, big corporations and big personal branding." On the Timeliness of Some of Optics' Episodes Being Purely Coincidental — Such as Its AFL Scandal Jenna: "Absolutely. The amount of people that sent me, just because they knew it was of interest — we have a few friends that have been in and around the AFL machine — the amount of people that sent me the apology videos that footballers had done, that was just actually insane how much it mimicked what we had written. And I think it makes sense, because did do our research, we did speak to people who are on our side of the business in the show — as in people from crisis management — and we did speak to people who have been involved in the institutions that we're critiquing. So it makes sense, but I think we just never really understood just how cyclical this thing was going to be, and just how much it will re-emerge and re-form. And it's exhausting. I mean literally what's happening with Justin Baldoni and Blake Lively right now is incredible. If you said that we were going to have another metric of the Amber Heard and Johnny Depp situation in its new and evolved form …" Vic: "And even the conversation being tilted towards the idea of public relations or crisis management people, hiring those people. Public relations crisis management workers, what they do, that's become a conversation. It's been really insane timing for the show." On Writing the Show in Highly PR-Literate Times, for an Audience Familiar Not Just with the Type of Crises Featured But Also the Spin Used Jenna: "What I think we fought hard for in this show was arguing, in our rewrites and in our discussions with network, we really did say 'listen, this is how smart audiences are now'. And I think that really helped us. I think that it's a show that doesn't over-explain things, that moves very quickly. Our characters speak very quickly. We implore the audience to just absolutely, we drop them into the world, we don't give them any real setup and exposition. I, personally, love the literacy of the audience. I think Vic and I, in our whole careers, have always assumed that the audience has a pretty high literacy of how media works and deceives you. We have always operated like and written like that. I think with this show, what is amazing is that the This Ends with Us conversation is even a new level, where the entire conversation is almost about how these parties outside of the individuals are operating and manufacturing a story. That's a level above the Amber Heard–Johnny Depp stuff, where that was more of the deep dive of what was going on. This is now fully in the public domain, and upfront in the story. But yeah, we loved that. Because nobody, as a writer and as a performer, you don't want to over-explain things. You don't want to have to hold the audience by the hand. And I don't think that we've done that for one second in this show, and that makes it really enjoyable to write, really." Vic: "It's like all the information is background detail — if you know it already, that's even better for us, because you don't have to explain what that is. And we can just go into what is essentially an intergenerational office comedy, where it's about old school versus new school. And the scandal of the weeks are so interesting but so fun to satirise, because they're based on these true things that the more people know about them, I think the more they'll get out of the show — because they'll see and notice certain things, and then we can twist and make turns. We can invent the WANKA play, if you already have an understanding of what DARVO is. So I think it is helpful, and we love and embrace the media literacy of the audience 100 percent." On Optics' Intergenerational Conflict Springing From Zerbst and Owen's Experience Working with Charles Firth Vic: "It was exactly that. We were working on a webseries with Charles Firth, The War on 2020, and even while we were working on that show we would just have so many funny moments where we would have different media points of reference and different ways of …" Jenna: "Generational touchpoints. And honestly, every day was a delight, in that sort of dialogue that you do see between Greta and Nicole and Ian in the show. That is our entire relationship with Charles. He often will make a reference to something, just like how you see in the show. In the pilot where it's like 'oh, I understand now, it's exactly like the Children Overboard scandal or whatever' — and Vic and I'll go 'huh?'. Of course we understand what he's saying or we know what he's talking about, but we have a different generational touchpoint to him. And so that kind of mutual understanding, which in the show, they mutually understand what's going on but they have totally different touchpoints of how they understand it and frameworks. And I think that's such an exciting thing to have in a show, because it just makes for intergenerational viewing, and that's what we what we wanted with this show. I think when we were trying to get the show up, it really did help that it was the three of us in the pitches, because everyone just went 'oh yeah, I see how this is going to work. I see how this will work'." On Subverting the Usual Workplace Comedy Dynamic with the Younger, More Switched-On Employees Taking Charge Instead of an Oblivious Veteran Vic: "I love that — I love that that's an amazing insight into that flip. I don't even think it was even that conscious for us. I think it came from us navigating this world of this industry, where suddenly we had people listening to us and we felt empowered enough in our voice to talk to people — especially older people, especially older men, in meetings, in pitch meetings — where we felt that we had a lot to say, and we understood social media better than they did. And then it just became that natural dynamic. I think that there is a lot of that shift because a lot of new Gen Z and Millennial workers have a comparative advantage in understanding a lot of the new technologies. There is this shift now in the workplace where young people have certain expertise that is really needed. And it's also something I see watching my dad, who's unable to do any technology, and seeing how he struggles in his workplace. He's a teacher, but he just becomes so disempowered within that. And there's really funny moments of that, but there definitely has been this age switch in the workplace that I think we've wanted to represent." Jenna: "Exactly. There's this line that I never, never even realised was funny, but now I do realise it's funny, in like the last episode, that Vic says 'we deserve this. We've been working at this firm for eight months'. And I'm like 'that's such a dog whistle for the Gen X, for the Boomers to laugh at' — being like 'you entitled millennials'. But the point is, yes, we can understand how dismissive that is of the experience that someone has that they've been working in a job for 20 years. But the point is that the world is changing so fast, and it's extremely jarring for everybody. Vic and I are still trying to catch up — are we on TikTok? Are we on RedNote? We're still caught in that washing machine as well. So I think the point is, yeah, we have been working at the firm for eight months, but the knowledge that we have eclipses those people who have been working at the firm for 25 years because of the way the world shifts and changes. And the companies that make the money or the stories that get picked up are the ones that are adapted to this new media cycle and structure. So it's one of those things that I think people will watch the show and root for people in different ways, and have different opinions on that. I mean a lot of Millennials, I think, will feel like 'yeah, I am the one that got the video for our company's brand up to two-million views and that increased sales by whatever percentage' — but they're still going to be dismissed by their older bosses for being the TikTok girls. This is the kind of conversation that's really interesting. And I think what we always say about this show is we're two parties, Greta and Nicole, and Ian, who fundamentally will work together to make the world a worst place — that's our sort of catch cry for the show. But that's the kind of dynamic and the stuff we definitely wanted to explore." Vic: "And it's also about a fantasy. It's like 'what if you give that begrudging younger employee the ability to have that ultimate power?'. And I think the journey for us is realising 'oh, it's really fun to think, oh, I'd the boss, I'd be amazing'. Then you go 'oh, there's so much more pressure and disaster-level stress that comes with being a boss'. I'm sure a lot of older people will be like 'yeah, you want to be the boss? Well, let's show you how hard it is'. And that's our journey as well, being like 'this is really bad — this is hard'." On the Approach to Moral Ambiguity — and Ensuring That Greta and Nicole Aren't Always the White Knights Doing the Right Thing the Whole Time Vic: "We always knew that we wanted the show to be a critique of the structures, the structures of media, the structures of power, and it was about people struggling within that structure, and people who are trying to uphold the structure, and what happens to you as an individual when you are unable to both live your personal values while also succeeding within a structure. So I think that allowed us to really see that these people can be morally ambiguous, they can try to play, but there's always this internal conflict: 'I want to do the right thing, but I also know that the system will reward me for X behaviour, so you have to do X behaviour'. I think that's the kind of moral tracking we want to follow with the girls. And then you see a character who has maybe more internalised the inner workings of that structure, and then you see how they got there. And I think we always have endless, endless empathy for our characters and endless, endless critique for the structures that make people select for or against behaviours that make them feel uncomfortable with who they are as people." Jenna: "Absolutely. And also it is such a simplification to say that women enter the spaces of moral ambiguity and are the white knights or are the victims. I think that we do need to explore those nuances that exist. Greta and Nicole can both be manipulated and disempowered by the Bobby Bahls that be, but also be acting in a way that is unethical, that doesn't have that moral centre. And just because we're women doesn't necessarily mean that we are going to tap into that moral centre. It maybe means that we have more of a moral centre coming in, but that's how powerful these other external forces are. And this idea, ultimately they do want to succeed as well, and what does it mean to succeed under a system like this? I think Vic and I are both, just from a character point of view, from an acting point of view, there are so many women in this world that inhabit these spaces in a way that is super interesting and morally bankrupt. In PR crisis management, the people that do bury the story about the sexual assault or whatever, a lot of those people are women. A lot of the people in the Justin Baldoni case with Blake Lively, a lot of those people are women. And then if you want to go to the other extreme of that, you can look at someone like Ghislaine Maxwell. We do live in a society where women are trying to succeed under this system at the cost of their own moral integrity. I think it's really exciting to portray that in the space and time that we are now, where we've had so many conversations over here about how women are disempowered. But I think it's also important that we have conversations about how women enact that power, especially white women in this world as well, enact that power as well under these structures. We're excited by that and that's the best thing to act. What could be better?" On Whether Making a Series Like Optics Was Always the Dream When Zerbst and Owen First Met and Started Working Together Vic: "Yeah." Jenna: "Yeah." Vic: "Always. It was always the dream. It was always having a TV show where you come up with episodes, ideas, writing, acting. That was always it — I don't think there was anything else. And especially for the ABC, it means a lot to us to be on an Australian broadcaster — yeah, it means a lot." Jenna: "Absolutely. And it is a dream, and so many people within the industry and outside of the industry are truly amazed that it happened in there, and we have to say so are we. Because we aren't tried-and-true talent. We're not at that stage of our career where we have this guaranteed. We're not household names. And so it is a risk and it is exciting. And I think it's exactly — selfishly, I'm like 'it's exactly what the ABC should be doing'. But it is. It's exactly what the ABC should be doing, not just for us, but for so many more shows and talent and upcoming talent — which is also very funny to say when you've been working for ten years, but it's still true. This was always our dream — always, always our dream. And I do have to say, the level of autonomy that we've been given in this show from Easy Tiger, the production company that we're working with, from The Chaser with them as well, and with ABC, it's so, so rare — to yes, be an executive producer on this show at our age, with our experience, and to be in it and to be writing on it. That's an unheard of level of trust. I do think that you see it in the show. You do see that we've had that level of trust, because it does feel different and it does feel new." Vic: "It does feel very unique." Jenna: "And we've learned so much from this season, and we're just absolutely so excited to implement what we have learnt as well as first-timers into the next season — praise be. It's exciting. For us, we can't even believe the level of autonomy we've been granted, and that was always the dream, because Vic and I, that's how we started. We always had autonomy. We were operating on this small scale. We always wrote our own things. We were given complete freedom. And that's how we got a following, or that's how we had some success. So to be able to continue that on greater scale is what everyone in the world wants." Vic: "Absolutely." Optics streams via ABC iView.
Remember when the Beast won Belle's heart with his impossibly beautiful personal library in Beauty and the Beast? How easy it is seduce a nerd. Now that animated library has a real-life rival in the spectacular Waanders in de Broeren, a converted 15th-century Dominican church in Zwolle, the Netherlands, that houses what must be one of the world's most gorgeous bookstores. Designed by architectural firm BK. Architecten, the development was carried out in exactly the right way. It was mandated that all the building's original features be preserved. This meant keeping the 547-year-old colossal pipe organ and huge stained glass windows just as they were. The firm took to the challenge with gusto: only three hues of building material were used, to reflect the pre-existing look of the church, and the three-level, 700-square metre retail space which frames its central nave is built so as to be easily removable in future, maintaining the church's essential structure beneath. The result is a distinctly light and airy bookstore, with shelves lining the walls and unobtrusive, contemporary stairways leading up to the upper reaches of the arches. If only all shopping venues could be so elegant. Sometimes opulent buildings are given over to unlikely retail tenants — for example New York's Chelsea has one of the most ridiculously fancy pharmacies ever, a CVS inside a grand old bank building on 8th Avenue. This makes buying condoms at 3am seem slightly more classy for locals. But books seem an extra worthy ware: picture yourself browsing in Waanders in de Broeren, imagination set aflame as soon as you enter the space with its lofty and ornately painted ceiling. There's also a wine bar and other shopping available, making this one of the loveliest spaces and best design ventures we've seen in ages — an attractive and respectful fusion of old and new. Via Colossal.
The All Nations Hotel is your classic family-run Melbourne pub. Expect friendly and personable service, good food that isn't made for Instagram and that familiar (and beloved) beer-drenched carpet smell. We wouldn't take the All Nations Hotel any other way. You can easily spend a cheery afternoon drinking and eating at the bar, or out in the beer garden on a sunny day. Get your parma on or opt for some more quintessential British pub grub. The bangers and mash is a favourite amongst regulars and the beef and Guinness pie served with classic mash and peas is always a win. The All Nations Hotel is also a popular spot for watching the footy — as long as you're supporting the Tigers. The owners love AFL so much, they even run a free courtesy bus to the MCG, making sure the fans can have a few drinks and then get to the game without driving. You're sure to make a few new mates during the drive or when sitting at the bar in this friendly local joint.
"If I told you I was going to make a film about a poor black boy raised by a single mother struggling with addiction who has questions about his sexuality, you assume certain things about that film," says Barry Jenkins about Moonlight. He's right. But his second feature isn't the movie you might expect from that description. Watching his applauded and lauded effort — the winner of this year's Golden Globe for best drama, and an eight-time Oscar nominee — proves an experience in witnessing all of those assumptions melt away. Indeed, based on a dramatic work by Tarell Alvin McCraney, and set and shot in the same Florida area where both Jenkins and McCraney grew up, Moonlight is anything but your average coming-of-age movie about dire circumstances. Jumping between three chapters of a young black man's life, it charts the progression of a teased and taunted Miami boy nicknamed Little (Alex Hibbert) into the awkward, still-bullied teen Chiron (Ashton Sanders), and finally into hardened Atlanta drug dealer Black (Trevante Rhodes). As relayed with a commitment to reflecting reality and capturing a rare perspective — and an ability to render its central journey and the accompanying emotions like cinematic poetry — specific moments and interactions shape his growth, worldview and identity. With Moonlight now showing in cinemas, we chatted with Academy Award-nominated writer/director Jenkins about reactions to the film, the importance of representation, making immersive cinema, and more. ON THE REACTION TO THE FILM "The only way I can really sort of reason or rationalise it [the acclaim for the film] is that I remember first falling in love with cinema as a film student. And it wasn't like the big Hollywood cinema. It was mostly foreign cinema. And I remember watching films by Wong Kar-wai or Claire Denis or Jean-Luc Godard, and I remember thinking "wow, this is a world that I'm never going to visit. I'm never going to go to France. I'm never going to go to Hong Kong, and I certainly don't speak these languages." And yet, I could relate to the characters that made the worlds feel extremely small to me. I mean that in the best way — that I wasn't so far removed from these people, these characters. And so it just gives me just such an amazing feeling that now my film is doing the same thing for audiences, because the world this movie takes place in is very small, you know, and these characters are very specific to the time and place Tarell and I grew up in. And yet it's travelling far, far away from Miami and people are seeing themselves in the film, and it is lovely to give back to cinema what cinema, I believe, gave to me." ON THE RESPONSIBILITY OF REPRESENTING CHARACTERS THAT AREN'T OFTEN SEEN ON SCREEN "Here's the thing: there are just certain characters that aren't represented as often as others are in cinema. Or in arts and letters in general, I'll say. And even when those characters are present, they aren't centred. They aren't the focus of the narrative. I think because of that, when you have this kind of lack, when the character is present in the film, is centred, it inherently takes on added importance. Because people, I believe, are very hungry to see themselves represented. And so there was this feeling in the back of my head — I try to keep it in the back of my head — not that what we were doing was important, but that we had to get it right. Because it would do more harm, because of the lack of these centred characters, it would do more harm to finally present the character and get it wrong. You know, I didn't want to do an injustice to people whose stories align with Chiron's." ON CONVEYING CHIRON'S CONSCIOUSNESS — AND BLACK CONSCIOUSNESS — RATHER THAN JUST TELLING HIS TALE "We approached the film as a piece of immersive cinema. And part of that has to do with the structure of the film — because we're not telling a traditional narrative in a traditional format. We felt like it allowed us the space to do certain things that maybe wouldn't fit into a more traditional narrative framework. For us, it was really important to have the audience take the journey with Chiron, and we wanted the visuals to arise from the consciousness of the main character. If I told you I was going to make a film about a poor black boy raised by a single mother struggling with addiction who has questions about his sexuality, you assume certain things abut that film. If I'm working from the idea that I want to make a film that is rooted in the consciousness of the main character — you know, consciousness is a very beautiful, beautiful thing. And this is something I haven't talked about much, but I think the idea of black consciousness or the way black minds work is often not presented. Or not framed in the way that it actually exists. By which I mean, black people dream. We have dreams and we have daydreams and we have dreams when we sleep. And yet, I very rarely see the personification or the presentation of a black person dreaming in a piece of cinema, you know? And that's because we always tie cinema to the conventions of the story form, and not to the consciousness of these characters. But in Moonlight, the visuals, the aesthetic, the craft, arises from the consciousness of the character. So when Chiron is feeling disoriented, you will look directly into his mother's eyes, and her lips are moving but sometimes you can't hear her voice, and then her voice catches up — because the character is being disoriented. You know, we tried to take our cues from moments like that. And it was great, because as a filmmaker, you know that sound and image is the tool that carries both my voice and the character's voices. And that tool should not be beholden to an A, B, C, D, E progression of plot." ON INTERROGATING MASCULINITY AND VULNERABILITY "It was about, you know, reflecting those things in the story of Chiron — and I say reflecting because Tarell and I saw those things living our lives growing up in this place. And this aspect of vulnerability over time is denied to young men, is denied to young boys — and not only boys like Chiron, boys everywhere. What's that saying? 'Boys don't cry.' It was very important to us that this is the currency of this film — it's not a plot-heavy film. I think the story of this film traverses, or travels in, these gestures, quite a bit of these gestures between and amongst men. I've never seen a black man cradle a black boy in a film before. I just haven't. I haven't seen a black man cook for another black man in a film before. I've never seen a black man, I think, cook for anyone in a film before. And these are very simple gestures that, one, are very nurturing, but also, two, are implicitly vulnerable on the part of the person extending the nurturing. They were very important because again, they keyed into this depiction of the full humanity of these characters." ON FINDING THE RIGHT ACTORS TO PLAY CHIRON AT DIFFERENT STAGES "It wasn't this idea of a physical similarity. It was the idea of this sort of spiritual essence that could be viewed in the eyes of the characters. Which is really hitting on this idea of this feeling in their eyes, because of this book by [three-time Oscar-winning editor] Walter Murch that I've always loved called 'In the Blink in an Eye.' And so we just tried to find these guys that had the same feeling. Because, when you look at Trevante Rhodes as Black in the third chapter, it was of the utmost importance to me that you could see that little boy who played him in the first story. You could still see Alex Hibbert. I think we see people that we pass all the time on the subway or the bus or the sidewalk, who look like Trevante Rhodes as Black in the third chapter of this film, and we would never believe that this person would dance in a mirror in his elementary school when he was ten years old. But they're the same person, you know? And when we were casting, it was very important to us that we could see that continuum between the characters." Moonlight is now showing in cinemas. Read our review here.
Step into ancient Rome with this new blockbuster exhibition at the National Museum of Australia in Canberra, on loan from the British Museum. Running till February 3 and showing for only the second time internationally (and exclusively in Canberra), Rome: City and Empire presents a rare opportunity to view sculptures, jewellery, wall paintings, mosaics, ceramics and other precious objects from one of the most innovative and creative civilisations in history. Displaying more than 260 of the British Museum's most-admired Roman objects, the exhibition narrates the story of how the empire grew from an informal collection of villages to a great civilisation that once covered present-day Europe, the Middle East and North Africa. Obviously, the sheer scale of the exhibition can be overwhelming — so many artefacts, so little time. So to help you out, we've curated a list of our top five must-see objects from the vast array of ancient artefacts on display. Grab your ticket, plan a trip to Canberra and dive headfirst into ancient Rome. COLOSSAL STATUE HEAD OF EMPRESS FAUSTINA I Empress Faustina I was a Princess Diana of ancient Rome, known for her charitable work. This colossal marble sculpture of Faustina the Elder has been one of the British Museum's most prominent pieces since its acquisition in 1936. Uncovered at the Temple of Artemis in Turkey, only a fragment of what must have been a monumental statue (potentially four metres high) remains — it's just the head, and it's a whopping 176 centimetres tall. A well-respected public figure throughout her lifetime, Faustina was the wife of Antoninus Pius, the Roman emperor from 138–161CE. Known for her charity work, she was particularly interested in assisting with the education of Roman orphans, specifically young girls. We know, what a woman. Following Faustina's unexpected death just two years into his reign, her devastated husband never remarried. Instead, the emperor turned her into a goddess and cast her portrait on thousands of gold coins — which are some of the most common coins from ancient Rome still in existence today. [caption id="attachment_690063" align="alignnone" width="1920"] National Museum of Australia.[/caption] MOSAIC PANEL Look for the face of Phobos, god of fear, who may have warned revellers against drinking too much. The affluent Romans took the well-established practice of mosaic making and turned it into an art form as seen in this mosaic panel. Once adorning the floor of an opulent Roman dining room in Turkey, this intricate 4th-century stone mosaic features coloured rosette petals surrounding a medallion depicting Phobos, the god of fear — potentially included as a way to deter over-imbibing. As a status symbol of sorts, the wealthy would decorate the floors of their villas with mosaics to add an ornamental element to their homes, a topic of conversation during dining and a way of keeping homes (and bare feet) cool during the hot summers. PORTRAIT BUST OF HADRIAN Hadrian was the first Roman emperor to sport a beard, and potentially, history's original hipster. Described as one of the 'five good emperors', Hadrian was somewhat of an outsider compared to many of his peers. He liked to travel and spent about half of his reign outside of Rome. He also had a particular interest in Greece, which was considered to be the centre of arts and culture. It was rumoured that he even sported a beard to look like Greek philosophers — or perhaps to cover acne scars. This particular bust of the emperor was found at Hadrian's picturesque villa in Tivoli, which today remains one of the finest ancient Roman sites to visit. Carved from marble, Hadrian appears here as a strong commander-in-chief of the military, but for the most part, Hadrian's reign as emperor of Rome was a peaceful one. BRACELET FROM THE HOXNE TREASURE This intricate bracelet (along with a whole chest of treasures) was discovered by a humble metal detectorist in 1992. Next time you see someone searching for hidden goods with a metal detector, don't judge; you never know what you might find. In 1992, farmer Eric Lawes went in search of a lost hammer but, instead, uncovered something much more valuable — the Hoxne Treasure. Yep, this literal treasure chest buried in Suffolk, England, held thousands of precious objects, including gold and silver coins, jewellery and dining materials. The find has been traced back to the early 5th century, a time when the Roman Empire's rule over current day Britain was beginning to collapse. During excavation, archaeologists discovered that the precious items were still carefully wrapped in their original fabric. Alongside its sizeable wealth, the Hoxne Treasure was also an important discovery because it reflected the universal concern of keeping our material possessions safe during times of uncertainty. FUNERARY RELIEF OF A WOMAN Funerary monuments were commonplace among the wealthy and often told the life stories of the entombed. Taking the shape of Herta, a woman from Palmyra, this limestone funerary relief juxtaposes Palmyrene and Roman cultures. Dressed in fine Syrian garments but shown in a Roman-style sculpture, Herta is prepared for the afterlife, decked out in ornate clothing and jewellery. In Palmyra, the aristocrats had their burial compartments sealed with portrait monuments, such as this, often accompanied with inscriptions about their lives. These tombs — including single-storey house tombs, extravagant multi-storey towers and those buried deep into the underground rock — were commonplace until about 270CE. Rome: City and Empire will run until Sunday, February 3, 2019. Tickets can be purchased via the NMA's website.
Melbourne's Midcity Centre on Bourke Street is home to Tokyo Motto, an eatery offering an enticing experience, transitioning from a casual Japanese restaurant by day to moody izakaya bar by night. The brains behind the operation is Spring Chee, a seasoned pastry chef and restaurateur with more than two decades of experience in Melbourne's hospitality scene at venues such as Le Mille Creperie, Sugar Labo and Sweetie Moustache. With Tokyo Motto, Chee brings everyday Japanese-style dining to Melbourne, with a menu focused on championing locally sourced ingredients. During the day, patrons can expect a mix of traditional and not-so-traditional Japanese dishes. A menu highlight is the Japanese curry made with "Golden" curry sauce infused with a blend of stone fruits and fresh bee honey — a recipe discovered by Chee during her travels in Japan. Other menu highlights include the omurice, showcasing a tornado egg omelette and thick-cut katsu — a take on a recent Japanese trend using a pork loin done sous vide-style for 24 hours. For those looking to have some fun, the Ice Cream Spicy Miso Ramen offers a blend of spicy and sweet, thanks to the literal ice cream cone floating in the middle of the spicy ramen bowl. It's all about balance. As evening approaches, Tokyo Motto transforms. Starting from 9pm, the venue becomes an izakaya bar, offering a range of classic izakaya snacks, including everyone's favourite karaage, alongside a selection of Japanese cocktails, beer and sake.
When TERROR NULLIUS roared across screens in 2018, it remixed, repurposed and recontextualised Australian cinema and television's familiar sights and sounds with the nation's political reality, all to create a pointed portrait of the country today. The ochre-hued terrain, the famous faces, BMX Bandits-era Nicole Kidman, the Mad Max franchise's road warriors, Skippy the Bush Kangaroo, Olivia Newton-John in her Grease leathers and the Rage intro — that and more was spliced into "a political revenge fable that takes the form of an eco-horror," as artist duo Soda Jerk describes it. Also featured: footage from 1988's bicentennial celebrations, snippets of Tony Abbott's speeches and examples of Mel Gibson at his abhorrent off-screen worst, to name a mere few of the film's melange of clips and sources. The result was not only a stunning piece of political art, but one of Australia's best movies of the past decade. It's also exactly what Soda Jerk do — and spectacularly — in their sample-based brand of filmmaking. Where TERROR NULLIUS traversed home soil, the pair's five-years-later next effort Hello Dankness turns its attention stateside. Co-commissioned by the Adelaide Film Festival and Samstag Museum of Art, it too is an experience that makes its audience see a wealth of recognisable imagery with fresh eyes, surveying glimpses of American suburbia to carve into the carnival that is America's political landscape-slash-hellscape between 2016–21. Ambition clearly isn't a problem for TERROR NULLIUS or Hello Dankness. Using hundreds of sources, with Hello Dankness featuring more than 300 film and TV clips, plus around 250 audio grabs, having an impact isn't a struggle, either. The former was called "unAustralian" by one of its funding bodies, ridiculously so. The latter enjoyed its international premiere at the 2023 Berlinale and just won the Best Narrative Feature Award at this year's Atlanta Film Festival. It "feels like some kind of stoned fever dream," Soda Jerk note of the movie's success so far. Next, Hello Dankness has stops at Dark Mofo and the Sydney Film Festival in June. This time, Soda Jerk have made what they dub "a suburban stoner musical rendered in the form of a cybernetic Greek tragedy". Here, everything from The Burbs and Wayne's World to Barb and Star Go to Vista Del Mar and The Social Network dance together — plus American Beauty, Friday, Napoleon Dynamite, This Is the End, Euphoria and PEN15 as well — alongside reminders of America's fake news-, conspiracy-, meme-, pandemic and culture war-ravaged society. That's where Donald Trump's Access Hollywood tape and Kendall Jenner's Pepsi ad come in, too. The soundtrack: songs from Cats, Les Misérables, Annie and The Phantom of the Opera, as everyone's favourite movies get the second life that no one other than Soda Jerk could've ever dreamed of to unpack a deeply polarised country and period. "There is no right way to inhabit the film," explains Soda Jerk, chatting with Concrete Playground about the movie's inspirations, ideas and process ahead of Hello Dankness' upcoming Aussie screenings. "There are many lulz to be had, but it's also an unsettling and weirdo ride. We've been genuinely floored by the kind of psyched enthusiasms it has received so far. Some of the screenings have been wild, almost grindhouse vibes," the pair continue. "But we're equally fond of one online hater who wrote that there are some things you should never have to see in your lifetime: one is how chicken nuggets are made and the other is Hello Dankness." ON DECIDING TO MAKE HELLO DANKNESS AFTER TERROR NULLIUS "Hello Dankness emerged in 2016 from a feeling of disbelief at the surrealness of US politics that was palpable at that time. There were Democrats eating babies, pedophiles communicating in pizza code and presidential pee-pee tapes. Conspiracies like these have always existed in the skanky corners of the derp web, but now they were circulating on boomer media sites like Facebook, Fox News and CNN. It was as though all the soberness had been sucked from reality and we had emerged into a stoned new world. So Hello Dankness really evolved as an attempt to document this sense of unreality, the raw feeling of it, and also what it might obscure or reveal about the shifting power contours of this moment. So we began Hello Dankness in 2016 and continued to research it concurrently throughout the two years we were making TERROR NULLIUS. When we wrapped TERROR NULLIUS in early 2018, we shifted to developing Hello Dankness as our sole focus. We spent four years working with ridiculous intensity on Hello Dankness from 2018 to late 2022. The adjacency of the two projects no doubt played a role in shaping their confluences and differences. While each is distinct in tone and genre, they're both national fables that offer a rogue account of political history." ON USING SUBURBIA TO PROBE AND SATIRISE AMERICA'S POLITICAL LANDSCAPE "Initially, we didn't know what form Hello Dankness would take — at one time, it was a cypherpunk political thriller based around Total Recall and 90s anime; at another time, it played out in the dystopian parallel universe of Back to the Future. But these kinds of sci-fi frameworks seemed to betray the sense of perverse ordinariness that also characterised the experience of the period 2016–21. For while so much of the pandemic was deeply upending and unprecedented, it's also true that we mostly experienced it from the numbingly familiar vista of our homes. So, accounting for this domesticity felt important, and this is what initially drew us away from sci-fi world-building and towards the imaginary of American suburbia. But we were also interested in placing the trad mythos of the suburbs under pressure, of thinking about the ways that this collective space has been reconfigured by the internet into increasingly privatised worlds and niche belief systems." ON THE PROCESS BEHIND HELLO DANKNESS — AND FINDING ALL THOSE SAMPLES "We don't work in a linear way; throughout our process we're constantly shifting between scripting, editing and sampling, depending on what's needed at any particular moment. It's a difficult process to untangle, and plays out differently for each project. With Hello Dankness, we had the added challenge that we were attempting to capture the contemporary moment as the ground kept shifting beneath us. From the outset, we knew we wanted to cover the period of the Trump presidency — but as history got sucked into a pandemic sinkhole in 2020 we had to scramble to fold in new events as they unfurled around us. We've been torrent freaks since Pirate Bay was a baby, so we've amassed a formidable archive over the past 20 years of our practice. This personal stash is usually the starting point for our research, and then we begin to target specific trajectories that we want to pursue in more depth. We're high-key obsessive about it, so if we're doing a deep dive into netsploitation flicks, we'll attempt to track down absolutely every source that's available. But sometimes the best samples emerge from happy accidents, so we try to leave room for looseness, too. There is definitely something contingent and compulsive about sampling, like there is with gambling. So much wasted time among sudden staggering windfalls. We're always out there in the trenches, digging for infinitively obscure and unlikely things we might not have seen before. Somehow though, the core samples that end up making their way into the project are usually ones we have a history with. We're like some kind of homing pigeon in that sense, always finding our way back to what we're already intimate with. We just can't seem to fight it." ON MAKING A STONER MUSICAL — AND ALSO A GREEK TRAGEDY "Stoner films and musicals made sense because they are genres that traffic in strange contortions of the everyday. Early iterations of the project also leaned heavily into the janky aesthetics of online culture and led us down many k-holes into YouTube Poop, shitcore music and advanced meme magic. Some of that still remains, but as we progressed the post-internet affectations became less literal and more encrypted. We also had an ongoing fixation with Greek tragedy that ended up shaping our conception of the characters as myths and masks." ON THE ESSENTIAL CLIPS THAT HAD TO BE IN HELLO DANKNESS "Often, the things we fall hardest for are the documentary artefacts. They're really at the centre of the way we work, and what we're trying to do, which is a kind of a contorted historiography in a sense. So with Hello Dankness, these artefacts included things like Alex Jones' InfoWars rants, Trump's Access Hollywood tape and Mark Zuckerberg's Harvard commencement speech. The Pepsi commercial was also very pivotal for us as a kind of muse for the whole project. Then there are the sources that are released while we're working on the film, that can be pretty special too. This was the case with Euphoria and PEN15 — they knocked us over in a good way." ON UNPACKING POLITICS THROUGH POP-CULTURE SAMPLES "What interests us is the idea of politics as a form of memetics, the way political messaging has begun to operate through a logic of virality and contagion. As a reality TV star, Trump's intuition for transforming reality into a compelling spectacle is undeniable. But there is also a quality to Trump that exceeds the image logic of TV. Obama's cool demeanour and deft oration connect him to the era of television, whereas Trump's scattershot presence is more suited to the virology of the internet. Trump is both shitposter and shitpost personified. We think of him as the first meme to hold office in the White House." ON TERROR NULIUS BEING CALLED "UNAUSTRALIAN" — AND THE NEED FOR FILMS LIKE IT AND HELLO DANKNESS "We've been thinking a lot about the kind of cultural shifts that have occurred since all that happened with TERROR NULLIUS. It seems pretty clear that both artists and institutions have become even more risk-averse than they were back in 2018. The spectre of social media retribution hangs like a fearsome cloud over cultural production and we feel that this has had a narrowing effect on the kind of work that's being made. It's also been gutting to witness the hideous creep of political art into content production and corporate brand collaboration. More than ever, we feel that artists need to remain committed to making difficult work, work that is pro-complexity. If political art doesn't make people uncomfortable then it's not a protest, it's a parade." Soda Jerk's Hello Dankness screens at Dark Mofo and Sydney Film Festival in June 2023 — we'll update you with future screenings around Australia and New Zealand when they're announced.
No one likes the middle seat on a plane. Does anyone book flights, select where to sit and genuinely (and willingly) pick being stuck between two other people, with no window to look out and no easy access to the aisle, if there's another option? No, no they don't. Until now, that is, because Virgin Australia has just started throwing some love towards folks who do indeed take everyone's least-favourite spot — via a new Middle Seat Lottery. Running since Monday, October 24, and showering people sitting in the middle with prizes until Sunday, April 23, 2023, the Middle Seat Lottery is as self-explanatory as it sounds. Plonk yourself down in the abhorred seat — with a ticket, of course — and you could score goodies for your trouble. The freebies change each week, but there's more than $230,000 in prizes on offer across the six-month competition — only if you either select the middle seat or you're assigned it. Those prizes include Caribbean cruises with Virgin Voyages, complete with flights to and from the USA; a helicopter pub crawl in Darwin, again with flights there and back included; and a Cairns adventure package, which covers flights, accommodation, bungy jumping, river rafting and other activities There's also flights and tickets to your AFL team's away games in 2023 — and, still on Aussie rules, an AFL Grand Final package, covering a lunch, tickets to the game, being on the boundary line before the match, merch and an after party. One prize will be given out each week, with 26 prizes in total across the competition's duration. And if your week doesn't coincide with a holiday giveaway, platinum Velocity Frequent Flyer status with one million points is also on the freebies list. An hour or so in a seat you wouldn't normally pick for the chance to win holidays, heaps of footy or frequent flyer points to book more holidays? Worth it, probably. To go in the running to win any of the above, you do need to be a Velocity Frequent Flyer member over the age of 18. And, you'll have to fly somewhere within Australia, on a Virgin Australia-operated domestic flight, during the competition period — in a middle seat, obviously. Also, to enter, you then need to use the Virgin Australia app within 48 hours of your flight's scheduled departure time, tapping on the Middle Seat Lottery tile, finding your flight and entering your details. From there, winners will be drawn each week and contacted if they're successful. Virgin Australia's Middle Seat Lottery runs from Monday, October 24, 2022–Sunday, April 23, 2023. For more information, head to the Virgin website. Images: Carly Ravenhall. 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.
Some would say it's a waste of a perfectly good piano, but what Canadian artist Maskull Lasserre does to wood is worth every unused inch. Lassere explores the unexpected potential of the everyday, unassuming wooden object, and with his exceptional carving skills, transforms them into incredible works of art. He reveals strange creatures and skeletons that seems to have been fossilised inside common inanimate objects such as pianos, doors, books or axes. The artist says his work is a demonstration of how once something ceases to be, it becomes something else: "When the remnants of life are imposed on an object, and that’s true especially with the carving work that I do, it infers a past history or a previous life that had been lived, so again where people see my work as macabre, I often see it as hopeful, as the remnants of a life. Despite the fact that the life has ended, at least that life had a beginning and middle as well, so often by imparting these bodily elements to inanimate objects it reclaims or reanimates them in a virtual way." Yes, his name is Maskull Lasserre. What a dude. via Viral Nova explore the unexpected potential of the everyday
Just two years ago, the team behind Dexter and Takeaway Pizza, Adam Goldblatt and brothers Tom and Sam Peasnell, opened an impressive multi-storey venue on Swanston Street. That three-level venue had three different concepts: the meat-focused Cheek and the pink-hued Peaches, which was split into a cocktail bar and a rooftop venue. During the pandemic, the venues were forced to close for ten months, which gave the trio time to think about exactly what they wanted for the well-loved CBD spot. With their ever-popular venues Takeaway Pizza and Dexter thriving up north, they felt it was time to bring some of the Preston neighbourhood essence to the city. The result is Dom's Social Club: an authentic, casual experience that people could return to time and time again. "We wanted the experience of Dom's to be more local, and more social," Sam told Concrete Playground. "It was hard managing three different concepts across the levels, and we wanted to get back to chatting with our customers at the bar and really offering that old-school hospitality vibe." Instead of three separate concepts, the venue focuses on three key elements: classic drinks, handmade pizza and charcuterie to match. And, while Sam agrees it was a big move to shift from the refined meat-focused offering of Cheek to pizzas, the team unanimously agreed it was the right decision. [caption id="attachment_800332" align="alignnone" width="1920"] Julia Sansone[/caption] "Our pizzas are a three-day slow ferment sourdough," Sam explained. "We dimple our pizzas, too, instead of stretching them, so they keep the air and puff up like a focaccia." "Adam was itching to get back to making pizzas after his stint at Homeslice in London, which started out at a market making woodfired pizzas off the back of a trailer and became a phenomenon." The pizza marinara is a favourite on the Dom's menu. It's made with tomato sugo, confit garlic and Alto Robust olive oil from the Great Diving Range in NSW. Pressed like a wine, the olive skin and pips are included for a flavoursome and textural result. With Tom's background in meats, plus a lockdown to perfect his salami making, the restaurant's pizza toppings have no shortage of cured, salty flavours. Choose from the mortadella with fermented honey and thyme, the diavola with hot salami and fefferoni peppers and even the pork cheek and pumpkin number. There's a selection of veggie options, too, including the pea and pecorino pizza with confit garlic, mint, lemon. "Pizza is so easy to cater to everyone," Sam said. "We use all Aussie ingredients, accommodate heaps of dietaries and we'd like to think, now, this is a venue everybody can come to eat, drink a bottle of wine, go upstairs for cocktails and charcuterie on the rooftop, and come back down to play pool later in the evening. We want people to utilise all three levels, and to stay and enjoy." [caption id="attachment_800329" align="alignnone" width="1920"] Julia Sansone[/caption] Moving to the second floor of Dom's, you'll see the dry-aged meats in the fridge, plus a moodier RSL-like space. Stools and a free-to-use pool table fill the room, while glass cabinets packed with spirits surround the bar. Facebook Marketplace and op shop finds decorate the walls, ranging from fishing memorabilia to old beer posters and everything else you might spot in an Aussie dad's work shed. "We're obsessed with old nostalgic things," Sam said. A lot of the renovation was also done by the owners themselves, with the help of their families. "Like our other venues, we thought if we built it we'd be connected to it," Sam said. "So, we had working bees with Mum and Dad, hand-stained the wood that goes across levels, tiled the floor ourselves and fitted out all the decor. It's made the space much more casual and we hope the focus is on the good drinks and good food, not so much about the interior — like what Peaches was before." [caption id="attachment_800321" align="alignnone" width="1920"] Julia Sansone[/caption] With Sam in charge of the drinks at Dom's, the menu is a healthy mix of classic cocktails, local spirits and a dedicated lambrusco page, with the mission to change perspectives on the infamous sparkling red wine. "We've drunk too much bad lambrusco," Sam said. "In the past, it's been sweet, mass produced and not good. But, our lambrusco is seriously good with pizza." "We love Italian grape varieties because they're really good for the climate and use less water," Sam continued. "Plus, everyone has a nostalgic story to tell about lambrusco and I love the idea of that being a conversation starter between one of us and a customer over the bar." On the cocktail menu, Sam recommends Dom's Aperitivo to start the evening. It's made with Italicus (a citrusy, floral liqueur), dry vermouth and Four Pillars olive leaf gin, which is then shaken with citrus and served with a lemon twist or olives. Soon, Sam plans to have a coffee machine up and running for affogato served with home-made ice cream and Australian amaro. "We think genuine, local experiences are really important, especially after lockdown," Sam said. "All of the owners work on the floor, the staff helps develop all the recipes and we hope people will... stick around in our new space we're really proud of." Find Dom's Social Club at 301, Swanston Street, Melbourne from 5pm–1am Wednesday–Saturday. Images: Julia Sansone
The latest venture from The Ascot Lot's Jacob Bettio, Lachlan Taylor and David Bartl, Holmes Hall debuted in November 2020, taking over the sprawling 500-square-metre space once home to Russo's Supermarket. Adjacent to the boys' existing craft bottle shop Fizz & Hop, the historic building has been stripped back to its bones, now featuring plush velvet booths, warm timber accents, terrazzo tabletops, lots of greenery and a touch of neon to complement the original brickwork and concrete flooring. The mess hall and beer garden boasts space to seat 400 punters, while its expansive bar offering ensures none of them will be going thirsty in a hurry. Beer-lovers will find a huge 20-strong tap lineup pouring a diverse rotation of brews, most recently including the likes of Mountain Goat's Botanical IPA and the Petal Head summer ale from Preston's Tallboy & Moose. There's a tight list of wines from both near and far — perhaps the Gilbert skin contact sauv blanc out of Orange — and crafty cocktails ranging from a Nutella-infused espresso martini ($20), to the vegan-friendly Crumbly Cob ($20), which features apple pie moonshine, spiced syrup and Dewar's scotch. Inside, choose from an array of nooks, booths and spaces to settle in and enjoy your sips, or make the most of the summer rays with a table in the sun-drenched beer garden. In the kitchen, chef James Curby is turning out a share-friendly menu of gastropub eats, for both lunch and dinner. Graze your way through plates like the spicy Szechuan-style squid ($12.50), patatas bravas served with olive aioli ($12.50), loaded vegan boards (32) and the Meat Lover's Beer Platter ($45): a hefty assembly of barbecued meats, homemade pretzel and beer jam, with extras like sauerkraut and pickled chilli cauliflower. There's a trio of burgers ($19 each), a verdant summer risotto ($20) and a daily-changing pasta special ($25), while Thai-style chicken ($30) comes tossed in a lemongrass and lime caramel, matched with herby slaw. No one's about to go bored outside of the eating and drinking, either. You can unleash some competitive spirit on the shuffleboard table or rotating pinball machines, and kick back to tunes from resident DJs every Friday and Saturday. Plus, just like its sibling The Ascot Lot, Holmes Hall is set to deliver a jam-packed calendar of weekly happenings and one-off events, promising a different experience every time you step through the doors. Images: Parker Blain.
A lot of time, skill and dedication goes into building up a collection of precious goods. There's going to be a big opportunity to both flex your collection and gawk at others when the first-ever CollectFest rolls around. CollectFest is set to bring together enthusiasts of all fields, whether you're into comics, sneakers, toys and figurines, coins, stamps or more. You'll be surrounded by your people, and everyone will have a reason to celebrate, trade and sell to their hearts' content. CollectFest still has some time before it kicks off, as it's not taking place until Saturday, July 5 and Sunday, July 6, 2025 at the Melbourne Convention & Exhibition Centre. Tickets are projected to sell fast, so be ready when early bird tickets go on sale from Monday, August 12. Stay tuned for more information as it comes. The first-ever CollectFest will take place from July 5–6, 2025, at the Melbourne Convention & Exhibition Centre. Early bird tickets go on sale from Monday, August 12, 2024. For more information or to get tickets, visit the website.
Australia's film and television industry can't help falling in love with the year's biggest homegrown movie, the director behind it, and the actors bringing to life one of the 20th century's music icons and his wife. At the 2022 Australian Academy of Cinema and Television Arts Awards, Baz Luhrmann's Elvis Presley biopic said "thank you, thank you very much" to a swag of gongs, winning 11 from 15 nominations. Yes, Elvis was truly in the building, and revelling in a hunk, a hunk of burning love. Back in October when the list of contenders was announced, Elvis was instantly the frontrunner, with the film maintaining Luhrmann's history of making flicks that earn AACTA's affection. Indeed, Australia's biggest movie and TV awards have also given Best Film to Strictly Ballroom and The Great Gatsby in the past, and showered all of the director's features with nominations. It comes as zero astonishment, then, that his take on the king of rock 'n' roll has come out on top this year. As well as Best Film, Elvis earned the Best Actor gong for Austin Butler for playing the man himself, the Best Supporting Actress prize for Olivia DeJonge for her role as Priscilla Presley and Best Director for Luhrmann. Also among its trophies: Best Cinematography, Best Costume Design, Best Editing, Best Production Design, Best Hair and Makeup, Best Visual Effects or Animation, and Best Sound. Elvis wasn't the only Aussie hit of the past year to win big, however, with Mystery Road: Origin collecting seven awards from 15 nominations in the television fields: for Best Drama Series, Best Lead Actor in a Drama (for Mark Coles Smith), Best Lead Actress in a Drama (Tuuli Narkle), Best Cinematography in Television, Best Direction in Drama or Comedy, Best Editing in Television and Best Sound in Television. In an impressive night for Australia's Indigenous actors, Coles Smith and Narkle were joined by Leah Purcell, who picked up Best Actress in the film fields for The Drover's Wife The Legend of Molly Johnson, plus Heartbreak High's Thomas Weatherall, the recipient of the Best Supporting Actor in a Drama gong back in the TV categories. Elsewhere among the contenders, River won best documentary; The Stranger's Sean Harris won Best Supporting Actor and writer/director Thomas M Wright nabbed Best Screenplay; A Stitch In Time won Best Indie Film; and Brooke Satchwell won Best Supporting Actress in a Drama for The Twelve. Across both film and TV, a heap of international names graced the acting nominations — a common AACTAs trend over the years — including Idris Elba and Tilda Swinton for Three Thousand Years of Longing, both Butler and Tom Hanks for Elvis, Harris for The Stranger, Jackie van Beek and Jemaine Clement for Nude Tuesday, Joanna Lumley for Falling for Figaro and Jamie Dornan for The Tourist — but only Butler and Harris emerged victorious. Elvis' domination in the film categories isn't a surprise for another reason: AACTA history. When the Aussie academy loves something, it goes all in, with Nitram 2021's big winner, Babyteeth picking up seven awards in 2020, The Nightingale receiving six the year before, Sweet Country doing the same the year before that and Lion nabbing 12 in 2017. (Thanks to the likes of Hacksaw Ridge, Mad Max: Fury Road, The Dressmaker, The Great Gatsby and The Sapphires before that, the trend goes on.) Here's a rundown of 2022's major AACTA nominations — and you can check out the full list on AACTA's website: AACTA WINNERS AND NOMINEES 2022: FILM AWARDS: BEST FILM Elvis — WINNER Here Out West Sissy The Drover's Wife The Legend of Molly Johnson The Stranger Three Thousand Years of Longing BEST INDIE FILM A Stitch In Time — WINNER Akoni Darklands Lonesome Pieces Smoke Between Trees BEST DIRECTION Baz Luhrmann, Elvis — WINNER Hannah Barlow and Kane Senes, Sissy Leah Purcell, The Drover's Wife The Legend of Molly Johnson Thomas M Wright, The Stranger George Miller, Three Thousand Years of Longing BEST LEAD ACTOR Austin Butler, Elvis — WINNER Rob Collins, The Drover's Wife The Legend of Molly Johnson Joel Edgerton, The Stranger Idris Elba, Three Thousand Years of Longing Damon Herriman, Nude Tuesday BEST LEAD ACTRESS Aisha Dee, Sissy Leah Purcell, The Drover's Wife The Legend of Molly Johnson — WINNER Julia Savage, Blaze Tilda Swinton, Three Thousand Years of Longing Jackie van Beek, Nude Tuesday BEST SUPPORTING ACTOR Simon Baker, Blaze Jemaine Clement, Nude Tuesday Malachi Dower-Roberts, The Drover's Wife The Legend of Molly Johnson Tom Hanks, Elvis Sean Harris, The Stranger — WINNER BEST SUPPORTING ACTRESS Jada Alberts, The Stranger Jessica De Gouw, The Drover's Wife The Legend of Molly Johnson Olivia DeJonge, Elvis — WINNER Joanna Lumley, Falling For Figaro Yael Stone, Blaze BEST SCREENPLAY Baz Luhrmann, Sam Bromell, Craig Pearce and Jeremy Doner, Elvis Jackie van Beek, Nude Tuesday Leah Purcell, The Drover's Wife The Legend of Molly Johnson Thomas M Wright, The Stranger — WINNER George Miller and Augusta Gore, Three Thousand Years of Longing BEST DOCUMENTARY Ablaze Clean Everybody's Oma Franklin Ithaka River — WINNER TELEVISION AWARDS: BEST DRAMA SERIES Bump Heartbreak High Love Me Mystery Road: Origin — WINNER The Tourist Wolf Like Me BEST TELEFEATURE OR MINISERIES Barons Savage River The Twelve — WINNER True Colours Underbelly: Vanishing Act BEST COMEDY PROGRAM Aftertaste Five Bedrooms Hard Quiz Shaun Micallef's Mad as Hell — WINNER Spicks and Specks Summer Love BEST LEAD ACTOR IN A TELEVISION DRAMA Mark Coles Smith, Mystery Road: Origin — WINNER Jamie Dornan, The Tourist James Majoos, Heartbreak High Sam Neill, The Twelve Hugo Weaving, Love Me BEST LEAD ACTRESS IN A TELEVISION DRAMA Isla Fisher, Wolf Like Me Claudia Karvan, Bump Kate Mulvany, The Twelve Tuuli Narkle, Mystery Road: Origin — WINNER Bojana Novakovic, Love Me BEST COMEDY PERFORMER Wayne Blair, Aftertaste Patrick Brammall, Summer Love Harriet Dyer, Summer Love Tom Gleeson, Hard Quiz — WINNER Charlie Pickering, The Weekly with Charlie Pickering Doris Younane, Five Bedrooms BEST SUPPORTING ACTOR IN A TELEVISION DRAMA Hayley McElhinney, Mystery Road: Origin Jacqueline McKenzie, Savage River Heather Mitchell, Love Me Brooke Satchwell, The Twelve — WINNER Magda Szubanski, After the Verdict BEST GUEST OR SUPPORTING ACTRESS IN A TELEVISION DRAMA Steve Bisley, Mystery Road: Origin Brendan Cowell, The Twelve Daniel Henshall, Mystery Road: Origin Damon Herriman, The Tourist Thomas Weatherall, Heartbreak High — WINNER
Australians really love prawns — and Ballina Prawn Festival knows it. They've dedicated an entire day in honour of everyone's favourite crustacean, and that day is November 11. Set in Ballina's Missingham Park on the banks of the Richmond River, the day will be marked by parades, music, rides and all the prawns you can eat. The festival stalls will be sizzling prawns of all sizes while events happen in every direction, including a prawn shelling competition and a signature dish competition. There will also be a boat parade celebrating the prawn industry, fireworks, amusement rides, live music and sand castle building. Yeah, it'll be the truest form of an Aussie-as day.
If you're keen to glam things up a little this New Year's Eve, nab yourself a table at Melbourne's opulent 1930s-inspired cocktail bar, Nick & Nora's. Yes, the same haunt that celebrated with a big, late-night party the very second lockdown restrictions lifted at 11.59pm on October 27. Now, it wants to help you kick off 2021 in style, too, with a luxurious evening of bubbly, canapes and cocktails. It's a sit-down affair, with a range of seating options to choose from — an early two-hour sitting will set you back $100 per person and see you in and out before midnight, while the four-hour sittings (either 8.30pm–12.30am, or 11pm–3am) will have you ringing in the new year for $250 per person. Whichever package you opt for, the ticket price is redeemable against your total food and drink bill for the evening, with the venue set to serve up its regular menu on the night. Get excited for oysters, caviar, champagne and swanky cocktails like the French Cannon — a blend of Hendricks, Cocchi Americano, bay leaf, yuzu, elderflower, French white wine and passionfruit pearls.
There were some pretty happy snow bunnies across Victoria and NSW this weekend, as many of the states' ski fields scored record-breaking snow falls, just two weeks after the official start of this year's ski season. The powder bucketed down across the weekend, with Sunday morning seeing Victoria's Mt Buller reporting its fifth deepest snow at this point in the season for the past 40 years. Fellow Victorian ski resort Mt Hotham this morning reported an extra 16cm of snow, beefing up its base to 80cm — the biggest its seen for the second week of the ski season in decades. The mountain has had 95cm of snow altogether this season, with 90cm of that falling in the last seven days. Further north, NSW's Perisher scored another 10cm of fresh snow overnight, bringing the total from the weekend's snow storms there to 82cm. And Thredbo is also covered in a hefty blanket of white, with 20cm of fresh snow in the past 24 hours, pulling its season total to 85cm. https://twitter.com/BOM_Vic/status/1007411165943730177 According to the Bureau of Meteorology, Victoria's alpine areas have only seen the start of it, with a further 25cm to 50cm expected to drop over the next three days. Meanwhile, conditions in NSW are set to clear right up, as the storm there reaches its end before the middle of the week. Top image: Thredbo
Australia's leading streetball tournament is back again for 2025, taking over St Kilda's Peanut Farm Reserve from Friday, February 7–Sunday, February 9. Now in its 13th year, Summer Jam has grown from humble beginnings into a globally recognised community event, attracting top players from across Australia and international teams from Japan and New Zealand. With the coveted Streetball Champions title and a $20,000 prize on the line once again this year, this high-stakes tournament has firmly established itself as one of the world's marquee streetball events. The day will include five-on-five championships, a wheelchair championship and a slam dunk competition. But it's not only about watching these games. For spectators, there's plenty more in store — think live music and DJ sets, food trucks, streetwear pop-up shops, openair bars, a barbershop and tattoo parlour, and a few NBA 2K gaming stations.
The site at 20 Bourke Street has spawned its fair share of incarnations over the decades, from cinema to nightclub to gig space. But this year has seen it spin full circle, reborn as a hotel — the same kind of venue it was first built as back in the 1850s. The top-end address is now home to Le Méridien Melbourne — a 12-storey beauty from Marriott Bonvoy that's kitted out with 235 rooms and dressed in a modernised nod to mid-century glamour. Textures abound and neutral hues are celebrated throughout, balanced with refined pops of jewel-toned colour. In the rooms, you'll find the hotel brand's signature beds, Marshall speakers, bath products by Malin + Goetz, bottled cocktails from The Everleigh Bottling Co and even Le Méridien's own exclusive room scent. Art lovers will be impressed by pieces like Wendy Yu's video projection work and a sculptural installation by Marta Figueiredo. Guests can also look forward to gaining access to Le Méridien's Unlock Art program, including a self-guided walking tour and free entry to some of the city's leading cultural attractions. Venture up to the rooftop to find the openair pool and deck, dubbed Le Splash, which overlooks Parliament House. It's got a cocktail bar, a menu of hand-crafted gelati, and an adjoining gym and sauna. A pop-up outdoor cinema will also be debuting on the deck later in the year. More culinary goodness awaits you in the lobby's cafe-meets-wine-bar, Intermission, which is serving Axil coffee and open sandwiches for the daytime crowd, moving into snacks, small plates and vino after dark. Slink down the curved staircase one more level and into the elegant embrace of Dolly — a dinner destination with a 1930's-inspired look and a Euro edge to the menu. The restaurant is named after the zoom camera technique used by Hitchcock in his 1958 thriller Vertigo, while its glossy fit out pays homage to the golden age of cinema. Expect velvet, fluted glass and polished accents. Victorian produce shines through the menu, as does Executive Chef Christian Graebner's classical European training. Artful plates might include oysters finished with a champagne sorbet, smoked venison loin teamed with Davidson plum and a spiced macadamia cream, and salt-baked beetroot featuring caramelised walnut mousse and goats curd. King George whiting is done 'en papillote' with saffron-braised fennel and a mussel broth, while a reworked bombe alaska for two comes jazzed up with popcorn and salted caramel ice cream. And the prix-fixe pre-theatre menu feeds two for $120. Renowned importer Cellarhand has taken over vinous curatorial duties, showcasing lots of local options — think, Dal Zotto and Giant Steps — alongside a strong lineup of champagne. Meanwhile, cocktails are the result of a collaboration with the Everleigh Bottling Co, named after and inspired by music and theatre icons from across the ages. Find Le Méridien Melbourne at 20 Bourke Street, Melbourne. 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.
IPAs, or India Pale Ales, have enjoyed a huge surge in popularity over the past couple of years. Lately, however, a new sub-style has spawned and enjoyed immense popularity — enter, the New England IPA. Named after a style that originated from the six northeastern USA states of New England, NEIPAs have a cloudy appearance and low carbonation, and feature jammy, juicy flavours of apricot, peach and pineapple alongside the heavy citrusy notes that IPA fans crave. More delicate flavours of hops are embraced here, too, rather than the piney, resiny bitterness favoured by their clear-bodied cousins. The beers characteristically pour a murky, mango colour reminiscent of cloudy fruit juice, and feature similar flavours in a beer context. Here follows this beer snob's top picks of the trending NEIPAs, that'll get your head into the clouds as the last warmth of autumn begins to fade. Jedi Juice is Hop Nation's brilliantly titled take on a beer it brewed for GABS (the Great Australian Beer Spectapular). It was originally a specialty brew, but enjoyed such popularity it was reignited as part of the Footscray brewery's core range. Jedi Juice features a gentle citrus aroma and the palate reveals juicy notes of passionfruit, pineapple, nectarine and grapefruit, with a smooth carbonation and a tangy kiss of bitter hops that punch through at the end. At 7.1 percent ABV, and with a white can packaging featuring a tattoo-sportin', blaster-totin' Princess Leia, the force is certainly strong with this one. Best consumed as fresh as possible. SHOPPING LIST Hop Nation Jedi Juice, 375ml can, $7.50 each (available from various stockists across the country) Sauce Brewing Co Bubble and Squeak, 500ml can, $10 each or $35 for four This beer is typically hazy, smooth and creamy with big citrus and tropical fruit notes (think mango and passionfruit) and a low bitterness. Rounding out at 6.5 percent ABV, it's a supremely well-balanced beer that offers new dynamics with each sip. Feral Brewing Co Biggie Juice, 330ml bottle, $7 each or $23 for four (available from various stockists across the country) This beer represents the popularity of NEIPAs in the mainstream beer scene. Under Amatil ownership, Feral is still brewing its Biggie Juice East Coast IPA. Sitting at six percent ABV, Biggie offers a rich bouquet of floral and tropical fruit aromas that follow through with a juicy punch onto the palate. The finish is smooth, with just a hint of bitterness, and a smooth carbonation that makes for an incredibly moreish drop. Hop Topics is our new bi-weekly beer column keeping you up-to-date with the latest beer trends happening around the country. Dominic Gruenewald is a Sydney based actor, writer and self-proclaimed beer snob. Between gigs, he has pulled pints at all the right venues and currently hosts Sydney's longest running beer appreciation society Alestars at the Taphouse, Darlinghurst.
Starring Sydney Sweeney as a virginal American nun in Italy whose new life as a bride of Christ finds her in the family way, Immaculate is the kind of movie that horror fans pray for. In the realm of religious-themed frightfests, which is as packed as Catholic mass at Easter or Christmas, the nunsploitation flick is as unholy as cinema gets. It's eerie and unsettling from the outset, when a fellow sister (Simona Tabasco, giving the film not one but two The White Lotus alumni) tries to escape the My Lady of Sorrows convent, only to be chased by cloaked figures, then buried alive. It ripples with unease from the moment that Sweeney's Cecilia arrives from the US to leering comments. From there, Immaculate spans everything from controlling priests and envious nuns through to winding catacombs, secret laboratories and a crucifixion nail (yes, from that crucifixion). Then there's the unforgettable ending. Immaculate is the type of film that Michael Mohan prays for, too. Chatting with Concrete Playground about directing one of the horror movies of 2024 — and being asked to by Euphoria's Sweeney, who he previously helmed on TV series Everything Sucks! and erotic thriller The Voyeurs — he calls the feature's final two minutes the highlight of his career. "It's such a visceral experience, and the way that people sort of slowly catch on to what's happening in the audience is just so fun to discover," he advises. "Really, the last two minutes are my favourite part of the movie. My favourite thing I've ever directed is the last two minutes of this movie, and it's just something to behold." For Mohan, all hail the reaction that Immaculate is garnering as well, starting with the response when it premiered at SXSW 2024 (the US version, not the Australian fest) in March. "It's made it so that I can't watch the movie with any other crowds, because it was like a drug," he jokes. "To a filmmaker, the experience of watching the movie at SXSW was like the cinematic equivalent of heroin — just because people were screaming, people were yelling, people were making fun of each other for screaming, people were standing up and cheering. It is everything a filmmaker could ever want out of an audience reaction. It was amazing." Immaculate almost didn't happen, however. The tale behind the flick making it to the screen takes almost as wild a ride as the picture itself. It was a decade back, before she was in everything-everywhere-all-at-once mode — this is her third movie since December 2023 to reach cinemas, slotting in alongside Anyone But You and Madame Web — that Sweeney initially auditioned for the picture. Now, she's a producer on it, handpicking both the script as her ideal horror effort, plus Mohan to guide it. A text asking "interested in directing a horror film?" is how she started bringing the filmmaker onboard. Barely 18 months later, Immaculate has moviegoers worshipping. Mohan's path to here doesn't just involve getting Sweeney in front of his lens, then turning her into a helluva scream queen. Short films — both writing and directing them — began gracing his resume in 2003. 2010 coming-of-age comedy One Too Many Mornings marked his first feature, followed by Alison Brie (Apples Never Fall)- and Lizzy Caplan (Fatal Attraction)-led rom-com Save the Date. After that came the 90s-set Everything Sucks!, which he co-created, but it only lasted one season. If it wasn't for that show, though, he mightn't have crossed paths with Sweeney. Call it divine intervention? Notably, Mohan wasn't new to the picture's Catholicism, growing up in it ("I grew up super Catholic, so it was in my bones. I was the leader of the youth group. I'm since a lapsed Catholic," he tells us.) With Immaculate now in Australian and New Zealand cinemas, we chatted with Mohan about that first text message about the movie, working with Sweeney as a producer as well as a star, his initial vision for the film, taking inspiration from 70s horror and the feature's take on religion. Also part of our conversation: Sweeney's versatility, how to get the perfect movie scream — of which she contributes plenty — and the picture's unshakeable imagery, plus more. On Receiving a Text from Sydney Sweeney Asking "Interested in Directing a Horror Film?" "I was just scared because I needed to love the script. I want to make as many movies with her as I can, but I also need to feel like I can bring myself to it and that I'll elevate it. So thankfully when I read the script, I realised there's so much potential here, there are twists and turns that I did not see coming. When I pitched my ideas for where I wanted to take the story to Sydney, she was thankfully very receptive. Even though we didn't have a whole lot of time to massage the script, we just went for it. She sent me the script in August of 2022, and I was then on the ground in Rome basically three months later prepping the movie." On Working with Sydney Sweeney Not Just as an Actor, But as One of Immaculate's Producers "It's interesting. At the start, I took an approach like I was a director for hire, to some degree; however, my stipulation in doing the film is that I wanted her to buy into what my vision of the film was. So I put together a lookbook, like as if I wasn't her friend. And I was like 'here, this is what I would do if I didn't know you. This is what I would do if I were trying to win this job'. And the imagery that I sent her and the things that she responded to were exactly in line with how she saw the movie, too. So going into it, we were both on the same page. At the same time, she's the producer, I'm the director, so we had a push and pull in terms of in terms of what we were doing creatively. Anytime I came to her with a new idea, her first response was always like 'but is it scary? Because it needs to be scary'. Luckily our dynamic is such in that my approach to anything in terms of creative is that if you have the same end goal in mind, there's no right or wrong in the journey going there — there's only who feels the most passionate about something. So if you get into a creative disagreement, if it's something that really matters, I can say to her 'this matters to me more than it matters to you' and she can go 'okay' and let go. For instance, there was a scene I cut out of the movie. She was like 'I really want you to put that scene back in'. And I was like 'I really don't think it needs it'. She was like 'no, this is important. This is important to me'. I'm able to look at her and go 'this is more important to her than it is to me, I'm putting it back in the movie' — and that's how you have such a great give and take in terms of collaboration, where it doesn't feel like there's too many cooks in the kitchen." On Mohan's Initial Vision for Immaculate "The initial vision was just to make something that would hopefully traumatise people. We wanted to really go hard. But we wanted to do it smartly. When the film starts, it kind of feels like a traditional horror movie. Yeah, there are all of these horrific images, there are these great jump-scares and it's bumping along, but then it starts to get a little bit more disturbing. Then it starts to get a little bit more disturbing, until at the end of the movie you're seeing something that is actually a lot more similar to French extremist horror than The Conjuring. And so to be able to craft that arc for the audience, where they feel more and more in peril as they're watching the film, was part of the design." On the Importance of Sydney Sweeney's Versatility in Taking Audiences on the Film's Journey "I love when a movie takes a character from point A to point Z. So, to start her off as this sort of meek and quiet, mild-mannered nun, into what becomes like this insane feral creature covered in blood, screaming at the top of her lungs — that's just dramatics. That's just creating a wider arc. And it's very easy for me to conceive of such a wide arc when I know that the person playing it will be able to knock it out of the park. Sydney's ability to go to completely unhinged places is her superpower as an actor. It is incredible to see because I don't know how she does it. And so for me as a director, just my job is to make sure she stays out of her head, and to gently nudge her this way or that way to shape the performance and find the deeper levels. But it's a like driving a Rolls-Royce when you're directing her — she takes direction perfectly. And we just have this history. It's just really easy for the two of us to work together." On Making a Movie That Feels Like a Blend of Both 70s-Era Horror and Contemporary Horror "That's just what I watch. If you look at my Letterboxd, it's a balance of absolute trash and The Criterion Collection — and I think this film is perfectly in the middle. I just love the horror films of the early 70s. I think that there's something a little bit more fearless about them. If you look at The Exorcist — I mean, everybody has talked about The Exorcist until the end of time, because that scene where she has the crucifix and she's stabbing herself and she's bloody, it is so disturbing. Yet that is a mainstream film. That was a studio movie. And it's almost more scary, the fact that it's really well-photographed, than seeing the grimy independent version of that. So to me, it's bringing that level of elegance, coupled with the lurid — that's just where my voice happens to live." On Immaculate's Unholy Imagery "Similar to Sydney, my cinematographer [Elisha Christian, The Night House] and I have worked together forever. He was my roommate senior year of college. And so something that we're always trying to do is bring a sense of beauty to everything we do, whether it's a horror or whether it's an erotic thriller, or some of the earlier comedies that we were working on. I'm just a huge fan of his work. I love what Elisha has done. Here, it goes back to what I was talking about with The Exorcist — when you take something that is absolutely horrific and you film it with a formalism and a beauty, that's a type of cinema that I feel like is lacking. And so for us to be able to do that, it's really just our natural voice is how we shot this film. All of our inspiration poured into it in a way, and this is how it turned out. Also, the name of the movie is Immaculate, and so we wanted to have it immaculate — and so it could also just be as simple as that." On How to Get the Perfect Horror-Movie Scream "Every actor is different. I can tell you that for Simona, at the beginning of the film, Simona Tabasco, there's a scream that she has to let out — and she brought me aside and she was like 'I'm scared of screaming'. So I was like 'okay, come with me'. We went out into the middle of the field and I was like 'I'm just going to scream with you'. And so I just started screaming, and then she started screaming. And then I started screaming back at her, and then she started screaming back at me, and you lose your inhibitions with it. I think that's the most important part, just making sure that the actors aren't self-censoring themselves. Because when you scream, it's an unnatural thing, especially if you're not actually in pain. So it's just all about letting go, and allowing allowing them to let go. Then in the case of Sydney, she's got a set of pipes and she uses them." On Finding Inspiration in the Production's Italian Location — and in Giallo "With religion, I was trying to bring that sense of majesty to it and that sense of power, because this is a movie that doesn't have a whole lot of backstory for the characters. I wanted to keep it to a tight 88 minutes, and I needed the audience to understand from her perspective why she was so swept up in this world. So we were able to do that visually by finding these locations that were absolutely majestic. At the same time, I'm in Italy making a horror film. The responsible thing to do is to at least honour the elders that came before me. So I did watch a ton of giallo films, not to bite off the aesthetic in the way that like Edgar Wright did in Last Night in Soho, but more to have a little bit of a deeper understanding of some of the more-nuanced aspects of the genre. So, for instance, there's this great film What Have You Done to to Solange?. What I love about that film is how they visually capture the patriarchal dynamics between the men and the women. So there's a scene in ours that's an interrogation scene where Sydney's at one end of the table, and she's framed with the flames behind her, almost like she's coming from hell. Then the men are on the other side of the table, and they're all standing, looking down on her. And you see that throughout the course of the film, this playing with heights. The same with in the ceremony at the beginning, she is kneeling in front of the men who are towering above her. And then at the end of the movie, obviously those paradigms are completely shifted, when she gets the upper hand and she is the one who's the powerful one in the frame. So some of that comes from those giallos that are a little bit more naturalistic. Additionally, there's this great film called The Red Queen Kills Seven Times, and I listened to the score of that film non-stop. I loved it. It helped put me in the vibe of that type of cinema, and I loved it so much that I actually used a cue from that in a key montage about half an hour into the film as well." On Why the Combination of Religion and Horror Keeps Appealing to Audiences "I think especially in Catholicism, it's so dark. Part of the ceremony of a mass is eating the body of Jesus, and it's not a representation — it's the literal body, it's transforming when you pop it in your mouth. It's wild that that's what we believe. It's wild that we take a sip of wine and believe it to be his blood. So Catholicism is metal, and so it lends itself to horror just very, very naturally." Immaculate released in cinemas Down Under on Thursday, March 21. Read our review. Images: Fabia Lavino, courtesy of NEON.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. From the latest and greatest to old favourites, here are our picks for your streaming queue from July's haul of newbies. (Yes, we're assuming you've watched Black Widow already.) BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW I THINK YOU SHOULD LEAVE WITH TIM ROBINSON Coffin flops, sloppy steaks and babies that know you used to be a piece of shit: they're just some of the absurdist and hilarious gems that the second season of I Think You Should Leave with Tim Robinson serves up. Also making an appearance: a secret excuse to help men explain away pee stains on their pants, quite the loud and lurid shirt, and a daggy hat. Back in 2019, the sketch comedy's first season was Netflix's best new show of the year, and easily. History is repeating itself with the series' next batch of episodes, with all of the above inclusions resulting in side-splitting chuckles. To put it simply, absolutely no one excavates, explores and satirises social awkwardness with the gusto, commitment and left-of-centre viewpoint of Robinson. His skits dive headfirst into uncomfortable and excruciating situations, dwell there, and let them fester. He's a mastermind at ensuring that gags go for exactly as long as they need to — whether they're brief or prolonged — and the only criticism that can be found with I Think You Should Leave is that its short 15–17-minute episodes zoom by, so you'll probably watch all six new instalments in one 90-minute sitting. That's perhaps the best hour and a half you could spend staring at the TV right now. Robinson's flexible face is a constant source of surprises, and humour, and his outlook upon the world is both savage and brutally relatable. Binge his gags, then binge them again; that's how savvy this show is, and how addictive. If we can't have more Detroiters, the sublime sitcom that Robinson made after his time on Saturday Night Live, thank goodness we now have this. The second season of I Think You Should Leave with Tim Robinson is available to stream via Netflix. THE PURSUIT OF LOVE Bolters and stickers. They're the two labels given to women in The Pursuit of Love, a lavish, effervescent and also impeccably shrewd new three-part miniseries adaptation of Nancy Milford's 1945 novel of the same name. Befitting its source material's timing, the storyline leads into the Second World War, all as chalk-and-cheese cousins Linda Radlett (Lily James, The Dig) and Fanny Logan (Emily Beecham, Little Joe) grow from teens into women — and the former, the impulsive and passionate daughter of a Lord (Dominic West, Stateless) who doesn't believe in educating girls and hates foreigners, chases romance at all costs. Fanny narrates the story, detailing Linda's ups and downs alongside her own. Her own mother (Emily Mortimer, Relic) is purely known as "the Bolter", having left Fanny with her sister (Annabel Mullion, Patrick Melrose) as she too sought love again and again. It's a label that Linda despises when it's applied to her, though. Whether having her eyes opened to the world by her bohemian neighbour (Andrew Scott, His Dark Materials), falling for the first arrogant boy (Freddie Fox, Fanny Lye Deliver'd) she spends any real time with, or later crossing paths with a motivated Communist (James Frecheville, The Dry) and a French duke (Assaad Bouab, Call My Agent!), she does keep leaping forward, however. In contrast, Fanny literally bumps into Oxford academic (Shazad Latif, Profile) and settles into domestic bliss, all while worrying about her cousin. Mortimer also makes her directorial debut with this swiftly engaging look at well-to-do lives, and unpacking of the way women are perceived — and it's the latter, the vivid staging and cinematography, and the vibrant performances that make this a must-see. The Pursuit of Love is available to stream via Amazon Prime Video. THIS WAY UP Another month, another season of stellar comedy This Way Up. That's not how it aired in Britain, but it's basically how it has panned out for Australian viewers. And, that's a great thing — not only because this smartly written, astute, insightful and delightfully acerbic series about London-based Irish siblings Áine (Aisling Bea, Living With Yourself) and Shona (Sharon Horgan, Catastrophe) keeps viewers hooked episode after episode, but because binging your way through it immerses you wholeheartedly in their chaotic lives and headspace. As the first season established, English teacher Áine is riding the ups and downs of a mental health journey that saw her spend some time receiving in-patient treatment, and has left Shona, the high-powered overachiever of the pair, perennially worried. Even as COVID-19 approaches and begins to affect their lives, that dynamic is still in place. But Áine is now embarking upon a relationship with Richard (Tobias Menzies, The Crown), the father of a French boy (Dorian Grover, The White Princess) she tutors, all while trying to hide it from her bosses and said kid. Shona is the least-fussed bride-to-be there is as she prepares to get married to her long-term boyfriend and ex-colleague Vish (Aasif Mandvi, Evil), and also navigates more than a little awkwardness with her friend and new business partner Charlotte (Indira Varma, Official Secrets). The heart of this series is the push and pull between this sisters, and how they try to weather everything that life throws their way — and it remains firmly intact this time around. The second season of This Way Up is available to stream via Stan. FEAR STREET Maya Hawke. A mall. Retro clothes and tunes aplenty. Combine the three, and that's how Fear Street Part 1: 1994 opens. Yes, that's familiar, because all of the above played a significant part in the third season of Stranger Things, too. But while Hawke is still popping up on Netflix here, she isn't in Hawkins, Indiana anymore. Instead, her character Heather is working at a mall in Shadyside, Ohio. The year is obviously 1994, Heather is doing the closing shift at a book store, and viewers first see her gushing over an eerie title, only for the customer that's buying it to proclaim: "it's trash; lowbrow horror". Fear Street Part 1: 1994 might begin with a wink to its RL Stine-penned source material, but that isn't the only nod it serves up. Directed and co-written by Leigh Janiak (Honeymoon), this slasher flick splashes its debts to everything from Halloween to Scream across every frame. That's part of the package, as is plenty of blood, gore, bumps and jumps. The end result is unmistakably formulaic, but aptly so; every novel in Stine's series also earned the same description, as did every Goosebumps book as well. From this scene-setting opening, there's a masked killer on the loose, more deaths and chaos follows, and a witch's curse pops up. Then, two more movies keep spinning the story. Fear Street Part 2: 1978 takes its cues from Friday the 13th by heading to a summer camp in its titular year, and Fear Street Part 3: 1666 ponders the origins of Shadyside's curse in the 1600s — and binging all three at once is immensely easy. All three Fear Street movies are available to stream via Netflix. Read our full review of Fear Street Part 1: 1994. DR DEATH Cliffhangers aren't a new creation, but Dr Death deploys the tactic masterfully. When each episode of this true-crime series ends, you want more. That's a product of the show's structure as it jumps between different years in neurosurgeon Christopher Duntsch's life, and also a result of the stressful story itself. As played by Joshua Jackson (Little Fires Everywhere), Duntsch is full of charm when he's trying to encourage folks with spinal pain and neck injuries into his operating theatre — or when he's attempting to convince hospitals, particularly in Texas, to hire him. But again and again, those surgeries end horrendously. And if he's not endeavouring to sweet talk someone to get what he wants, and maintain the reputation and lifestyle he demands, his charisma melts into pure arrogance, including when he's dealing with his patients post-surgery and/or their loved ones. That's the narrative that Dr Death charts, all based on Duntsch's real-life tale, with the series following The Case Against Adnan Syed and the first and second seasons of Dirty John in jumping to the small screen from podcasts. If you've heard the Wondery release that shares Dr Death's name, you'll know that this tale is pure nightmare fuel, and the well-acted, well-shot and rightly angry drama plays that way on the screen. The longer he's allowed to operate, the bleaker Duntsch's story gets, all while fellow Texas surgeons Randall Kirby (Christian Slater, Dirty John) and Robert Henderson (Alec Baldwin, Pixie) do whatever they can to bring his misdeeds to light. Dr Death is available to stream via Stan. Read our full review. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK THE WHITE LOTUS With Enlightened, his excellent two-season Laura Dern-starring comedy-drama from 2011–13, writer/director Mike White (Brad's Status) followed an executive who broke down at work. When she stepped back into her life, she found herself wanting something completely different not just for herself, but for and from the world. It isn't linked, narrative-wise, to White's latest TV miniseries The White Lotus. Here, wealthy Americans holiday at a luxe Hawaiian resort, which is managed by Australian Armond (Murray Bartlett, Tales of the City) — folks like business star Nicole (Connie Britton, Bombshell), her husband Mark (Steve Zahn, Where'd You Go, Bernadette), and the teenage trio of Olivia (Sydney Sweeney, Euphoria), Paula (Brittany O'Grady, Little Voice) and Quinn (Fred Hechinger, Fear Street); newlyweds Rachel (Alexandra Daddario, Songbird) and Shane (Jake Lacy, Mrs America); and the recently bereaved Tanya (Jennifer Coolidge, Promising Young Woman). From the outset, when the opening scene shows Shane accompanying a body on the way home, viewers know this'll end with a death; however, as each episode unfurls, it's clear that these characters are reassessing what they want out of life as well. Here, a glam and glossy getaway becomes a hellish trap, magnifying glass and mirror, with everyone's issues and problems only augmented by their time at the eponymous location. In terms of sinking its claws into the affluent, eat the rich-style, this perceptive, alluring and excellently cast drama also pairs nicely with the White-penned Beatriz at Dinner, especially as it examines the differences between the resort's guests and staff. The first three episodes of The White Lotus are available to stream via Binge, with new episodes dropping weekly. TED LASSO A sports-centric sitcom that's like a big warm hug, Ted Lasso belongs in the camp of comedies that focus on nice and caring people doing nice and caring things. Parks and Recreation is the ultimate recent example of this subgenre, as well as fellow Michael Schur-created favourite Brooklyn Nine-Nine — shows that celebrate people supporting and being there for each other, and the bonds that spring between them, to not just an entertaining but to a soul-replenishing degree. As played by Jason Sudeikis (Booksmart), the series' namesake is all positivity, all the time. A small-time US college football coach, he scored an unlikely job as manager of British soccer team AFC Richmond in the show's first season, a job that came with struggles. The ravenous media wrote him off instantly, the club was hardly doing its best, owner Rebecca (Hannah Waddingham, Sex Education) had just taken over the organisation as part of her divorce settlement, and veteran champion Roy Kent (Brett Goldstein, Uncle) and current hotshot Jamie Tartt (Phil Dunster, Judy) refused to get along. Ted's upbeat attitude does wonders, though. In the second season, however, he finds new team psychologist Dr Sharon Fieldstone (Sarah Niles, I May Destroy You) an unsettling presence. You definitely don't need to love soccer or even sport to fall for this show's ongoing charms, to adore its heartwarming determination to value banding together and looking on the bright side, and to love its depiction of both male tenderness and supportive female friendships (which is where Maleficent: Mistress of Evil's Juno Temple comes in). In fact, this is the best sitcom currently in production. The first two episodes of Ted Lasso's second season are available to stream via Apple TV+, with new episodes dropping weekly. MONSTERS AT WORK Some of the best films leave you pondering a simple question: what happened next? Sequels don't always answer that query, though, because often you're wondering what literally followed mere moments after the exact events you've just watched — which isn't necessarily where follow-ups head. Cue Monsters at Work, Pixar's latest addition to its Monsters, Inc franchise. That smart and sweet 2001 movie saw seasoned scarer Sulley (John Goodman, The Righteous Gemstones) and his offsider Mike (Billy Crystal, Untogether) upend their titular employer's setup, their city of Monstropolis and their whole monster-filled world, all by realising that the children they're tasked with frightening would be much happier laughing. 2013 prequel Monsters University then joined them back at that eponymous spot; however, if you've always wanted to know what happened after Sulley and Mike switched to eliciting giggles, that's where this new Disney+ TV series comes in. The pair everyone already knows and loves is adjusting to the new status quo, because the ten-part animated show picks up the very next day after the film that started it all. Also thrown askew: Tylor Tuskmon (Ben Feldman, Mad Men) a horned scarer who just graduated, is all set to spook kids, but finds himself working in maintenance instead. Even as it explores the fallout of Pixar's beloved 20-year-old delight, this series doesn't really need to exist, but it nonetheless delivers an enjoyable extended stint in this creature-filled world. Also entertaining: voice work from Mindy Kaling (Locked Down) and Henry Winkler (Barry) as Tylor's new colleagues. The first five episodes of Monsters at Work are available to stream via Disney+, with new episodes dropping weekly. MIRACLE WORKERS: THE OREGON TRAIL In the first season of Miracle Workers, which hit screens back in 2019, the one and only, always-great Steve Buscemi (The King of Staten Island) played god. It was a stroke-of-genius piece of exceptional casting in an eccentric comedy about heavenly bureaucrats subjected to the supposed Almighty's whims while still trying to keep earth running — and attempting to save it from the deity's destructive tendencies — but the storyline wrapped up in one season. Thankfully, the series still returned in 2020; however, this time it went back to the Dark Ages. Buscemi's role: Eddie Shitshoveler. Yes, that name does indeed describe the character's occupation, and many hilarious hijinks ensued in that addition to this ongoing anthology. Again, the tale ran for a single season, but that wasn't the end of the show either. Now that Miracle Workers has returned once more, it has the subtitle The Oregon Trail. Buscemi is Benny the Teen, an outlaw in pioneer era-America who ends up leading townsfolk from a fading rural locale along the titular track and hopefully to a better life. All of his now three-time co-stars are back as well, with Daniel Radcliffe (Guns Akimbo) playing a priest, Geraldine Viswanathan (The Broken Hearts Gallery) as the unhappy wife of Jon Bass' (Baywatch) snobbish villager, and Karan Soni (Superintelligence) as another gunslinger. Like its predecessors, this season is delightfully absurd, filled with intriguing characters and benefits from committed comic performances, all while parodying its new setting. The first three episodes of Miracle Workers: The Oregon Trail are available to stream via Stan, with new episodes dropping weekly. CLASSICS TO WATCH AND REWATCH THE SPY KIDS FRANCHISE Here's the thing about the best family-friendly movies: if they're great and they truly live up to their genre, then they really are not just suitable for but entertaining to audiences of all ages. Most films that overtly endeavour to entice children's eyeballs do also attempt to keep adults engaged as well — but oh-so-many fail. Robert Rodriguez's Spy Kids franchise is one of the rare examples that works for everyone. It's goofy enough to play as an espionage comedy for viewers young and old, and even its flatter moments are better and have more personality than the bulk of its genre cohorts. Given the cast, which includes Antonio Banderas (Pain and Glory), Carla Gugino (Gunpowder Milkshake), Alan Cumming (Battle of the Sexes), Cheech Marin (The War with Grandpa), Danny Trejo (The SpongeBob Movie: Sponge on the Run), Steve Buscemi (Miracle Workers: The Oregon Trail; see above) and Salma Hayek (The Hitman's Wife's Bodyguard), as well as Daryl Sabara (The Green Inferno) and Alexa Vega (Nashville) as the central kids, there was always going to be plenty to love here. Nostalgia might keep drawing you back to this series, but that's not the only thing that'll keep you interested. The frenetic and kinetic pace, the candy-coloured visuals and the all-round offbeat approach all filter through not only the first three flicks in the franchise, aka 2001's Spy Kids, 2002's Spy Kids 2: Island of Lost Dreams, and 2003's Spy Kids 3: Game Over, but also 2011's Spy Kids: All the Time in the World as well. Spy Kids, Spy Kids 2: Island of Lost Dreams and Spy Kids 3: Game Over are available to stream via Binge, and all four films are also available on Stan. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May and June this year — and our top straight-to-streaming movies and specials from 2021 so far, and our list of the best new TV shows released this year so far as well.
With its golden beaches, lush rainforests and abundant green valleys, North Coast NSW has all the tools to recharge the weariest of souls — or those just in dire need of a holiday. It's also home to some of the state's most renowned producers, who are busily pumping out wine, beer and spirits — which you can sample at cellar doors aplenty — as well as award-winning eateries serving up excellent local produce in stunning locales. So you can make the most out of your next North Coast NSW trip, we've done the hard yards and planned out four adventure-packed holidays. And right now, you can score $100 off select North Coast NSW accommodation when you book through Trip.com. [caption id="attachment_856861" align="alignnone" width="1920"] Koala Hospital, Port Macquarie, Destination NSW[/caption] FLY INTO PORT MACQUARIE TO MEET WILDLIFE AND RIDE WAVES When you're in Port Macquarie, whichever direction you point your compass towards you'll find entrancing rainforests and beaches backing onto sprawling national parks. After touchdown at the city's conveniently located airport, secure a rental vehicle and scoot over to the coast to explore the rainforest canopy and sheltered coastline of Sea Acres National Park. You're bound to spot an ark of critters including goannas, diamond pythons, brush turkeys and even a koala or two. Then, take a free self-guided tour of the Koala Hospital for more cuddly sightings and greater insight into the lives of these beloved marsupials. Motor an hour up the coast to find a marine menagerie in Hat Head National Park. Korogoro Creek is a pristine snorkelling spot where you can spy hermit crabs, flat head, mullet and octopus below the water line, while whales and dolphins might occasionally surface through the waves, too. You'll find excellent surf breaks for experienced riders just south at Crescent Head. And if you're a beginner? Learn to tackle the region's famous tubes with On Point Surf School. After a day on the water, you'll likely need to refuel — venture inland to Bago Maze and Winery to enjoy a wine tasting paired with local cheese and charcuterie before meandering through the venue's carefully sculpted lilly pilly hedge maze. A stay on the Hastings River at Rydges Port Macquarie provides plush interiors with water views, as well as easy access to some of the city's best dining options. Tuck into fresh seafood at The Stunned Mullet or Bills Fishhouse and Bar, which both showcase seasonal local produce. Ensure you leave enough room for dessert, with the creamy artisan scoops at Blue Cow Gelato a tip-top option. [caption id="attachment_856161" align="alignnone" width="1920"] Opal Cove Resort Coffs Harbour, Destination NSW[/caption] FLY INTO COFFS HARBOUR TO EXPLORE ANCIENT RAINFORESTS AND REMOTE COASTLINES Alight the plane at Coffs Harbour Airport with your adventure shoes at the ready. In classic Aussie family holiday tradition, you'll need to kick things off with a choccy-covered banana and a quick round of laser tag at the Big Banana. Then, unwind in the spacious suites at Opal Cove Resort. This expansive seaside venue provides everything you need to relax and recharge, from a sauna and spa to a fully equipped gym and an arcade games room. Start your grand expedition into the great outdoors by ambling through national parks and nature reserves along the Solitary Islands coastal walk. Those tackling the full 60-kilometre trail will move from windswept headlands to undisturbed beaches and lush rainforest paths over three or four days of hiking and camping (depending on your pace). There are also plenty of day-trip opportunities, with spots for ocean fishing, swimming and picnicking. For even loftier views, head to Sealy Lookout (Niigi Niigi) and walk along the Forest Sky Pier which dramatically juts out over the canopy of Orara East State Forest. To put the stunning view into historical context, join a Giingan Gumbaynggirr Cultural Experience tour and learn about the cultural practices and stories of Traditional Owners, the Gumbaynggirr people. If that's still not enough nature for you, head an hour out of Coffs to the otherworldly Dorrigo National Park, where you can walk among 600-year-old trees in the World Heritage-listed Gondwana Rainforest. The small township of Bellingen is a perfect pit stop on the scenic drive here along Waterfall Way. Savour a lunch of shared plates in the artfully restored church that houses Cedar Bar & Kitchen, or stop in at Black Bear Cafe for a quick coffee in the heart of town. [caption id="attachment_856170" align="alignnone" width="1920"] Angourie, Destination NSW[/caption] FLY INTO BALLINA FOR A SURFING AND PADDLING SAFARI Flights landing at Ballina Byron Gateway Airport are often packed with holidaymakers headed for Byron Bay's star-studded beaches. But if you're keen to take the road (slightly) less travelled — that offer equally glorious seaside adventures — head 90 minutes south to the relaxed township of Yamba. Along the route, stop in at Razorback Lookout in Evans Head for spectacular sightlines up the coast before exploring the varied landscapes of Bundjalung National Park. Pack a hiking lunch and walk the ten-kilometre Jerusalem Creek loop, or book a rejuvenating forest bathing tour, which involves Japanese-inspired mindfulness movements honouring different natural elements, with Iluka Nature and Soul at Woody Head campground. Make Yamba Sun Motel your base once you reach town. The comfortable rooms come in a number of configurations and can accommodate both couples and larger families. The Sun also places you in the heart of this close-knit community, with beaches, friendly cafes and local attractions all within walking distance. Start your day with an Allpress Espresso coffee from eclectic local fave Yum Yum Angourie Cafe and General Store, or tuck into a hearty Turkish-inspired breakfast at the charming Beachwood Cafe. Get active on the water with a Yamba Kayak tour, and paddle around the islands and mangrove mazes of the Clarence River. Or, wetsuit up and tackle the Angourie Point surf break. Even if you're not confident on a board, you'd be remiss not to catch the dramatic right-handers roll in at this renowned spot from the safety of the sand. [caption id="attachment_856169" align="alignnone" width="1920"] Fingal Head, David Kirkland[/caption] FLY INTO THE GOLD COAST AND HEAD SOUTH TO CHASE WATERFALLS AND LOCAL FEASTS After touchdown, find yourself some wheels and scoot over the border to explore the nearby NSW coastline. Head southward and you'll immediately hit the Tweed Shire. Here, you'll find fine-dining spots hidden among rolling green valleys, myriad beaches to suit towel-snoozers and wave-riders alike, picturesque cruises along the Tweed River and plenty of cultural experiences to fill up your holiday itinerary. Be sure not to miss the Tweed Regional Gallery and Minjungbal Aboriginal Cultural Centre, before visiting the seemingly never-ending sandy expanse of Dreamtime Beach. For liquid sustenance, head to the cellar door at Husk Distillers, home of the chameleon-like Ink Gin. Then enjoy the hearty fare served up at Potager — much of what you taste in your miso pumpkin and potato gnocchi with coconut ricotta and warrigal greens has been plucked directly from the onsite garden. Less than an hour on the road and you'll be in the heart of Byron Bay. Set yourself up at the glamorously renovated Byron Springs beach house, tucked away on a palm-lined cul-de-sac with easy access to sprawling Tallow Beach and Arakwal National Park. If you can tear yourself away from the hotel's sun-drenched therapy pool, book a tour with Trip.com to uncover natural gems and native refreshments. The Chasing Waterfalls tour will ferry you between glistening cascades, quiet bushlands and rarely visited swimming holes, while the Afternoon Brewery and Distillery session will introduce you to locally concocted craft beers and fragrant spirits. With $100 off select North Coast NSW accommodation via Trip.com until June 21, now is the ideal time to explore all that the region has to offer. Top images: Destination NSW
Every time you sing along to The Little Mermaid, you nod to Danish author Hans Christian Andersen. If you grew up reading The Little Match Girl, Thumbelina, The Emperor's New Clothes, The Princess and the Pea and The Ugly Duckling, you've been familiar with his work on the page, too. And, when Frozen became a huge cinema hit, it took inspiration from the writer's 1844 fairytale The Snow Queen. Basically, Andersen's stories have been a big part of everyone's childhoods — in recent decades and, in written form, for nearly two centuries. So, you've already spent plenty of time escaping into the author's narratives. Once the middle of 2021 rolls around (and once international travel starts returning to normal, of course), you can also wander through a brand new museum inspired by his fairytale world. Set to open in Odense in Denmark, which is where Anderson was born, HC Andersen's House has a hefty aim: to make visitors feel as if they've stepped right into his tales. That's the immersive dream at these types of venues, after all, as also seen in Disney's theme parks, the new Super Mario-themed amusement parks and Studio Ghibli's upcoming site as well. "We have to dive into the fairytales as the very first thing, because they are what everyone knows. The idea is not to retell the stories, but rather to communicate their familiarity and inspire further reading of Andersen," says Torben Grøngaard Jeppesen, the head of Odense City Museums. Accordingly, HC Andersen's House will reflect its inspiration however it can — in its architecture, in the imagery and sounds it puts on display, in the way it uses light throughout the venue, and in the experiences visitors can dive into while they're there. Across a 5600-square-metre site, that'll include a children's house and an underground museum, as well as a sprawling garden that, from the concept images, resembles a labyrinth. And, in a nod to The Little Mermaid, attendees will also be able to look up through a pool of water and peer at the people in the grounds above them. Japanese architect Kengo Kuma leads the design, fresh from his work on the Japan National Stadium for the Tokyo Olympics. For HC Andersen's House, "the idea behind the architectural design resembled Andersen's method, where a small world suddenly expands to a bigger universe," he explains. Odense is already home to a smaller site dedicated to Andersen, which'll be included in the new venue. When HC Andersen's House opens, it'll also incorporate the building where the author was born. HC Andersen's House will open at HC Andersen Haven 1, DK-5000, Odense sometime in the middle of 2021. For further details, head to the venue's website. Images: Kengo Kuma & Associates, Cornelius Vöge, MASU planning.
Each and every year, Sydney Film Festival spends its June run doing exactly what it loves, and letting the Harbour City's movie buffs enjoy the same thing. But even the Harbour City's major annual celebration of cinema only turns 70 once, which means putting together a massive 200-plus-movie program to mark the occasion — starting with these 12 just-announced flicks. SFF's full lineup will arrive in May, ready to treat film fans of Sydney — and Australia — to Festival Director Nashen Moodley's latest selections from Wednesday, June 7–Sunday, June 18. If the first round of titles is anything to go by, and it usually is, there'll be no shortage of highlights. Penélope Cruz, Haruki Murakami, a documentary about documentaries and their impact upon the folks featured in their frames: they're all covered so far. Parallel Mothers star Cruz joins the lineup courtesy of L'immensità, playing a mum again. This time, she's in 70s-era Rome and navigating struggles in her marriage, while also supporting her 12-year-old when they begin to identify as a boy — with director Emanuele Crialese drawing upon his own experiences. Murakami fans, the animated Blind Willow, Sleeping Woman adapts the Japanese author's short story collection of the same name, complete with a quest to save Tokyo. And lovers of docos The Staircase, Capturing the Friedmans, The Wolfpack, Hoop Dreams and The Square should instantly add Subject to their must-see list — it spends time with subjects from all five works, diving into what it means to be the focus of a film, plus the duty of care that documentarians owe the people in their frames. SFF will also screen the latest features by acclaimed filmmakers Jafar Panahi and Christian Petzold, with the former winning a Venice Special Jury Prize for No Bears and the latter nabbing a Berlinale Silver Bear for Afire. Iranian great Panahi directs and stars, playing a fictionalised version of himself as he's fond of doing (see also: Tehran Taxi), and blending truth and fiction to examine how artists can too easily become scapegoats. Undine and Transit's Petzold once again puts actor Paula Beer in front of his lens, with the German director this time helming a tragicomedy about a seaside holiday surrounded by forest fires. On the local front, actor and director Rachel Ward returns to SFF after 2019 opening-night pick Palm Beach, this time with Rachel's Farm, a doco about bringing sustainable farming practices to her northern NSW beef farm. And, in The Last Daughter, Wiradjuri woman Brenda Matthews charts her experience being taken from her family as a toddler, growing up with a white foster family, then being returned to her parents. Taika Waititi graces the SFF lineup as an executive producer, with New Zealand comedy Red, White & Brass telling the true tale of Tongan rugby fans who volunteered to become a marching band for the Rugby World Cup — with no relevant background — just to attend the event. And, still with impressive cinema names, documentarian Frederick Wiseman's A Couple steps into the relationship between Leo and Sophia Tolstoy, while Filipino filmmaker Lav Diaz ruminates upon power in When the Waves Are Gone, which is about two policemen. Rounding of the initial dozen flicks: Bobi Wine: The People's President, about the Ugandan musician getting political and battling his homeland's dictatorship; and While We Watched, focusing on Indian journalist Ravish Kumar's quest to champion independent reporting. As for what else is in store, Moodley advises that 2023's full lineup will "continue a 70-year strong tradition of presenting exceptional cinema from across Australia and around the world to Sydney audiences". "Since 1954, Sydney Film Festival has brought more than 10,000 films to Australian audiences. Year after year, the Festival continues to be a pioneer in the world of cinema, screening bold and inspiring works that provoke thought and push boundaries." "The 2023 program will expand on this legacy, promising to ignite stimulating dialogues and present powerful ideas that will broaden audience perspectives." Sydney Film Festival 2023 runs from Wednesday, June 7–Sunday, June 18, with the full lineup announced on Wednesday, May 10 — check back here then for all the details, and hit up the festival website for further information in the interim.
When we were kids, spending time with our favourite people — our mates — was a regular occurrence. Nowadays, with different schedules and responsibilities, catching up is trickier to coordinate. And organising a group trip? Even harder. Trust us when we say the slog — juggling competing preferences and calculating budgets — is worth it once you're all together. The sense of belonging you'll experience when surrounded by people with shared passions or history is simply unmatched. To minimise holiday admin and finally get your gang on the road, we've investigated destinations around New South Wales that are ideal for a getaway with friends. Whether you're part of an outdoorsy circle or you hang with folks who prefer to spend their leisure time at a constant recline, there's something here to satisfy every taste in vacay.
If you've been keeping an eye on the NGV's programming, you'll know that the gallery's currently playing host to Terracotta Warriors: Guardians of Immortality: a major collection of ancient Chinese statues crafted between 221–206 BCE. And the figures are such a big deal, they've even inspired an unlikely themed high tea, happening at the Sofitel Melbourne in collaboration with the team at Dulux. Here, you can have a crack at painting (and eating) your own mini terracotta warriors, bringing chocolate figurines to life with some artistic flair, a paintbrush and a rainbow of edible Dulux paints. There'll be fountains of the stuff, pouring vibrant colours including Midas Touch, Mint Twist, Symphony Red and China White. To match, Sofitel pastry chef David Hann is whipping up an Asian-accented high tea buffet of sweet and savoury bites, from steamed pork buns to crispy wontons with chocolate, ginger and pineapple. The arty high tea will set you back $99, including a glass of bubbly and unlimited tea and coffee. An extra $19 will get you free-flowing sparkling wine. The Sofitel x Dulux Terracotta Warrior High Tea is happening in Sofi's Lounge every Saturday and Sunday at 2.30pm between May 25–October 13. The NGV International's Terracotta Warriors: Guardians of Immortality exhibition runs from May 24–October 13.
UPDATE, April 9, 2021: Ready or Not is available to stream via Disney+, Foxtel Now, Google Play, YouTube Movies, iTunes and Amazon Video. "In-laws". It's such an ordinary, everyday term, and yet it's usually uttered with such exasperation. Embodying the flipside of deciding to spend your life with someone, it's a reminder that even the happiest of romances always come with considerable baggage. It also sums up Ready or Not perfectly. At its most basic, this twisty and gory horror flick rests on one simple idea: having in-laws is hell. Of course, there's the minor annoyance that arises when your parents-in-law have too many opinions, or your siblings-in-law are obnoxious, or your uncle-in-law gets embarrassingly drunk at Christmas — and then there's discovering that your new family is plotting to kill you on your wedding night. First seen dressed for her big day, smoking a cigarette and pondering taking the plunge, Grace (Samara Weaving) is initially worried that her soon-to-be husband's family won't accept her. Alex Le Domas (Mark O'Brien) been estranged from his parents for years, but the couple is getting married on their sprawling estate anyway — it's tradition — and unease lingers in the air. While matriarch Becky (Andie MacDowell) is welcoming, she's more concerned about bringing Alex back into the fold. Grace's new brother-in-law Daniel (Adam Brody) seems like he's joking when he says she doesn't belong; however his tone has a clear edge. Other relatives, such as Alex's dad Tony (Henry Czerny), are barely polite. As for eccentric Aunt Helene (Nicky Guadagni), her permanent scowl says everything. So far, so standard. That's how tales of regular folks marrying into obscenely rich dynasties often go. But, as an ex-foster kid who's never had much of a family, Grace is determined to win over the Le Domas brood. Accordingly, when she's told they all have to play a game at midnight, she goes along with it. The family made their money in board games, so it's another tradition. It's not what most couples do after they've just gotten hitched, but there are worse ways to spend an evening than playing hide and seek in a lavish mansion — unless weapons, murder and devilish secrets are involved. Arrows start flying, guns keep firing and avoiding the dumbwaiter is plain common sense, with Grace forced to battle for her life while still wearing her wedding dress. Working with a witty script by Guy Busick (Stan Against Evil) and Ryan Murphy, directors Matt Bettinelli-Olpin and Tyler Gillett (Devil's Due) ramp up the chaos and layer in plenty of commentary — and, yes, Ready or Not has much to say. As steeped as the movie is in oh-so-relatable family stresses, it also finds a wealth of subversive and perceptive material in gender roles and class warfare. When Grace's willingness to please and desire to belong sees her treated like prey, the film revels in her transformation from eager and accommodating to plucky and fearsome. And while there's no missing the many digs at the well-off, privileged and entitled, they're no less astute or accurate just because they're obvious. The result: a horror-comedy with bumps, jumps, laughs and vicious satire all in one gleefully manic slash 'n' stalk package. The concept of hunting humans is hardly new (see: The Most Dangerous Game, Turkey Shoot, Series 7 and Bacurau), and neither are family dysfunction nor just-married jitters (see: too many pictures to mention), but it makes a smart and amusing combination. Ready or Not's setting helps immensely, with the film trading on the mystery and intrigue that bubbles in all whodunnits and horror flicks in a stately home — and making ample use of secret corridors and endless rooms as well. Also assisting nicely is the playful You're Next-style vibe and Heathers-esque attitude; if can't have some ferocious fun with this premise, when can you? While Ready or Not holds nearly a full deck of winning cards, two other elements stand out. As the cast flings axes and slings snappy dialogue, Bettinelli-Olpin and Gillett always ensure that Grace's actions and choices feel realistic, rather than convenient, exaggerated or implausible; she's trying to fight, flee and survive, after all, and the situation is over-the-top enough as it is. Led by Australian talent Weaving, the film's cast is also excellent in general. MacDowell rarely dallies with her dark side, and she's a delight to watch in villainous mode. Brody, when he toys with his usual nice-guy image, is in sparkling form too. Naturally, though, Ready or Not belongs to its fierce bride and the actor behind her. After working her way from Home and Away to Three Billboards Outside Ebbing, Missouri to this, Weaving is a formidable and engaging presence — and, as this savagely entertaining flick demands, she's also one hell of a horror movie hero. https://www.youtube.com/watch?v=ZtYTwUxhAoI
To promote season four of The Walking Dead, FOX Portugal came up with the simplest of concepts: if you want blood, folks, then you gotta give it. That's right, they opened a pop-up store in which blood serves as currency. It's the first of its kind in the world. All you have to do is walk in and bare your forearm. The attendant produces a needle, fills a vial and sends it to the Portugese National Blood Bank Institute. You walk away with brand new, uber-gory merch and someone, somewhere, gets a much-needed transfusion. The more blood you give, the more goods you score. The store attracted customers at the rate of a World War Z zombie swarm. Blood donations reportedly increased by 571 percent in comparison with last year, and 67 percent of those giving the needle the green light were first-time donors. At the same time, The Walking Dead enjoyed a 17 percent boost in ratings. Given such overwhelmingly successful statistics, additional incarnations of the store are now set to pop-up in nations all over the world, including The Netherlands, Turkey, Brazil, Argentina, Columbia and the United States. The Walking Dead Blood Store was created in conjunction with creative agency Torke + CC, whose motto reads "handcrafted ideas to rule the world." https://youtube.com/watch?v=Wf6ZXq71ujw Via PSFK.
Right at the end of 2024, Hotel Esplanade (The Espy) opened a new sun-drenched venue in the former Ichi Ni site, which closed back in February 2024. Walk into the new Espy Sunroom this summer, and you'll see how the 252-person space has been totally transformed. Gone are the bright red drapes, dark wood panelling and Japanese paintings that once adorned Ichi Ni. In their place, there's a far more open and brighter restaurant and bar with a lot less going on — simply decorated with hanging plants, lightly painted concrete walls, and a smattering of high and low tile-topped tables. The interior will certainly get packed in summer, but its openair terrace will have the most sought-after seats — boasting its own retractable roof for when Melbourne's weather isn't behaving. Here, you'll be sipping on spritzes and signature cocktails while eating crowd-pleasing eats that you'll recognise from the neighbouring pub's menu. Get around a huge seafood platter (packed with scallop ceviche, kingfish crudo, king prawns and oysters), pizzas, grilled barramundi, potato cakes with salt and vinegar and a classic chicken parma. As this is part of The Espy, you can also expect a banging live music and entertainment lineup throughout the week. Wednesdays are for trivia run by local Smarty Pints Co, Fridays nights are when live bands and DJs play late into the night, Saturdays see the house DJs accompanied by live musicians, and Sundays are all about funk, house and soul music. The Esoy Sunroom isn't reinventing the wheel in any way, but it is hitting all the right spots for a popular seaside bar and restaurant — serving up summery bevs, crowd-pleasing eats and plenty of good vibes. You'll find the new Espy Sunroom at 11-12 The Esplanade, St Kilda, open every day of the week from midday until late. For more information and to book a spot, you can visit the venue's website.
Christmas markets are always excellent for those of us who tend to leave gift purchasing until the last minute — and, thankfully, Etsy is setting up their markets all over Australia in the final weekend of November. Etsy Made Local is a grassroots initiative that celebrates crafters, collectors and artisans in local communities, and provides them with the opportunity to sell their creations both online and in a physical space. So whether you're on the hunt for handmade wares or vintage goods, these guys have got you covered. The markets will be held in Brisbane, Perth, Adelaide, Melbourne, Sydney and Canberra. Because each market focuses on the best local talent, each market will be filled with different stallholders and unique creations. Supporting creative small businesses and scoring a killer Christmas gift is a win for everyone involved, so head to Collingwood's Rupert on Rupert on Saturday, November 28 and get your festive shopping done early, for once.
Charles and Ray Eames had a bit of a backwards Lannister twins problem. Everyone thought they were siblings. Both were famous for their innovative design work, but people who hadn't met them would just go on ahead and assume they were brothers. They weren't. They were husband and wife. Nowadays they're often best remembered for designing chairs. They did, for sure, make some wonderful chairs. But it wasn't just furniture where they excelled. The Eames office designed almost everything. The Eameses' work was so either ahead of its time or so timeless that lots of its products are familiar objects today. The Eameses' grandson, Eames Demetrios, is about to make a brief visit to Sydney at both the Sydney Film Festival and for Vivid Ideas to talk about both his grandparents' work and his own. To help you get your head around the breadth of their combined output, we've assembled just a few examples of the family's pioneering work. Chairs The Eameses spent over a decade experimenting with shaping wood. They'd invented a surprisingly striking splint out of moulded plywood for the US army during the Second World War. When they'd moved into their new apartment in 1941, their idea of fun was to squeeze a plywood moulding machine into their spare bedroom. They'd made it themselves out of scrap wood and a bicycle-driven pump and called it 'Kazam!'. They took turns riding the bike. After the war they moved to a real studio at 901 Abbot Kinney Boulevard in LA and stayed there for the rest of their working lives, still working with plywood. One of the products of their iterative wood obsession, in 1956, was the Lounge Chair and Ottoman. The lounge was designed for furniture company Herman Miller. While the lounge chair still looks pretty space age, their Molded Plywood Chairs (below) are much more familiar. The Eameses' work in chairs went on to be so successful that today these pieces just seem, well, normal. The SFF Hub plans to have a bunch of these Herman Miller chairs on display over the duration of the festival. The Eames' Lounge Chair and Ottoman will be there, as will the Moulded Plywoods and a new version of the classic Shell Chair. You can place an order for a chair online, though, it should be noted that the price is usually where these chairs' similarity to school chairs suddenly ends. https://youtube.com/watch?v=0fKBhvDjuy0 The Long Zoom The beginning of Contact does it, as does the end of Men in Black: the almost-infinite, long zoom across the universe has been a movie staple since the '90s. The shot was pioneered by the Eameses in their 1977 film Powers of Ten, which ostensibly explored the geographic power of adding and subtracting a zero to long numbers. As the film whips out from the Chicago lakeside into the depths of space, and back again, its effortless play with scale and relentless zoom whip you into a exponential sense of pleasant disbelief. Charles Eames had done some film work, though Hollywood didn't end up being his thing. But, about the time George Lucas had the predecessor to ILM filming their Death Star in a parking lot — and well before computer-based special effects — the Eameses were polishing off a nine-minute tracking shot that traversed the known universe. Eames Demetrios will be presenting Powers of Ten alongside a selection of his grandparents' extensive corpus of short films at Eames on Eames, including Design Q&A ("known to specialists") and Music of the Fifties ("just never seen" and "fascinating because it is, in many ways, the beginning of the music video"), not to mention a restored version of the multiscreen Glimpses of the USA. Multiscreen In an age where lining up multiple screens is about as hard as putting two phones side by side, it's hard to imagine how big a deal it was to see a multiscreen image. During the cold war, the USA put on an American trade exhibition in a Moscow park, which would later become famous for the 1959 Kitchen Debate between then Vice-President Nixon and the Soviet leader, Premier Khrushchev. Not too far away from this culinary power centre, the Eameses had been commissioned to make "a major propaganda exercise designed to inject the elixir of consumerism into the heart of the Soviet empire". So they made a film. Glimpses of the USA was a massive array of seven screens designed to overwhelm Muscovites with the breadth of experience in American life. Seven landscapes, seven cityscapes or seven people popped across the screen, in quick succession. It was designed to dazzle: and it worked. Apparently, the final sequence was so powerful it brought tears to even Nikita Khrushchev's hardened eyes. Interactive Museum Exhibitions Interactivity doesn't give you bragging rights at museums these days. But in 1975, though computers had come a long way since the President of IBM ostensibly said "I think there is a world market for about five computers," they were still pretty much unheard of for the museum experience. Ray and Charles Eames put together a concept film for a makeover of New York's gargantuan Metropolitan Museum. They laid out a vision of a connected experience, where visitors could call up their favourite artwork on a computer and its display would automatically show them related items from the collection. Back then, this vision didn't wash. Reports from 1977 talk about electronic controversy: "concerns about an art museum weakening its raison d'etre by activities not concerned with the experience of original art but, instead, films, facsimiles and electronic gadgetry." The funding was withdrawn, and the touted makeover never happened. Nowadays, this 'electronic gadgetry' is just called the Metropolitan's 'website'. Innovator in the Centre Reviewing the recent documentary, Eames: The Architect and the Painter, New York Times film critic A.O. Scott compared the Eameses' influence to Steve Jobs' for the sheer breadth of the influence their design work on our everyday lives. Scott took this comparison further, saying they were also happy to be the centre of the credit: "Like Walt Disney — and like Steve Jobs — Charles Eames did not share credit. His name alone went on the studio's products." Eames Demetrios disagrees. His counterpoint to Scott easily works through the details of his grandparents' crediting history, with the opinion that a story like Charles' alleged surprise that Deborah Sussman wanted credit for Day of the Dead is "demonstrably untrue". But he adds, "I don't think it was told in malice, because it represents an emotional truth, which is that it is a very hard to feel you are getting your due when you are living/working inside someone else's worldview — especially a powerful one like the Eameses." In the absence of space for his full reply here, Demetrios points to the chapter '901 Culture' in his book An Eames Primer for more detail. A Virtual World Eames Demetrios' films started out relatively tame. Common Knowledge presaged the production method of local film 52 Tuesdays, by giving a documentary portrait of dozens of people every few weeks for a year in 1988, but he "kept thinking it would be really amazing to be able to visit a story physically. To create a parallel world that people could visit." Demetrios created the virtual world of Kcymaerxthaere, a story whose locations have leeched across out of fiction and into the physical world. "It is kind of like a novel with every page in a different place," he says. "Most of the installations are markers (in bronze or stone) that tell a piece of the story." Since 2003, the project has installed 99 sites across 22 countries. There are ten in Australia. He has aspirations to install one in the Red Centre but is open to suggestions from Sydneysiders about a site closer to home. "The key is that we need permission to install the marker permanently (or for at least 99 years)," he adds. Sydneysiders can take a turn at interpreting this world at Storytelling to Generate Fresh Perspectives at Vivid on Sunday, June 7. Eames will be telling some stories from Kcymaerxthaere, after which participants will be invited to make their own "disputed likenesses" (images based on the stories) on postcards to be sent off to previous participants. Local participants will get postcards from other workshops before too long. Melburnians can check out a Kcymaerxthaere exhibition opening at Pure and General from June 11. Good design is good hosting is good grandparenting Charles Eames saw the designer as a host, focused on getting the details right for the recipient of whatever thing he was designing. This need to design "to the need" is pervasive in the Eameses' work and its cultural spread is echoed in modern tech firms' ambitions to sweat the details. It's the same sort of obsession with details at the heart of the story of Steve Jobs anxiously calling Vic Gundotura to tweak the yellow in a Google logo. "Charles and Ray are far more famous today than they were in their lifetimes," says Demetrios. "The notion of a rockstar designer did not exist then." Their legacy is only now getting some of the mainstream attention it deserves, three years after the release of the documentary Eames: The Architect and the Painter. But it wasn't just their design skills that lasted. Their parenting and grandparenting skills kept two generations of children interested in working to preserve their legacy. Demetrios also sees time with his grandparents as the roots of his design education. "My theory is that we learned about design backwards when we were growing up — we learned all the lessons about life that we now realise were lessons about design too. Things like the fact that Charles and Ray were excellent hosts. Picnics were important; presentation was important; experience was important. "As we are older, we understand that they were teaching by example one of their key ideas: 'The role of the designer is essentially that of a good host, anticipating the needs of the guest.'" 'Interactive display' image, actually a multitouch sequencer, by Daniel Williams. The couple's grandson Eames Demetrios will be guiding audiences through a screening of some of his grandparents' short films during the Sydney Film Festival at Eames on Eames and getting a few thoughts off his chest at Vivid Ideas.
Sunny summer days and the new year are (unfortunately) still a fair while away, but you don't need the clichéd calendar date to set some new goals. In fact, if the global pandemic has thrown a bit of a spanner in your routine, now may be just time to get back into gear. As they say, there's no time like the present — there you go, another cliché to follow instead. But rather than focusing on a singular aspect like diet or exercise, why not look at your health holistically? Yep, we're talking 'healthy living' and, no, it's not just for Byron Bay dwellers and yoga lovers (not that we're jealous or anything). Simply put, it's about balance — from what you eat right down to getting enough sleep. To help you kick-start — or restart — your health resolutions, we've teamed up with the folks at nutritious ready-made meal delivery service Macros to bring you six simple lifestyle changes. Because we all know healthy habits don't happen overnight. SIGN UP TO A SUBSCRIPTION-STYLE MEAL DELIVERY SERVICE First things first: food. No one's saying all those takeaway dishes and baked treats over lockdown weren't delicious, but, by now, you may be craving something more nourishing. Food is what fuels us, so changing your diet is one of the biggest hacks to the so-called healthy life. It may be obvious, but there's a reason it can be tricky. Not all of us have MasterChef-like skills and meal prepping takes time. Not to mention how pricey clean eating can be if you don't know where to begin. One way to cut out the guesswork and set yourself up with a fridge full of dietitian-designed and super-tasty dishes is by signing up to a meal delivery service. Macros, for example, ensures every meal is prepared by chefs and delivered fresh, not frozen, so you can simply pop it in the microwave when you're ready to eat. Think the likes of massaman beef curry, cottage pie, spaghetti bolognese and herb-crusted salmon, ready in a matter of minutes. Macros has seven different plans to cater to your goals, too. If you don't live at the gym, then Macros' 'Weight Loss' plan, with low-carb meals that have less than 350 calories (if you're counting), is a solid option. Otherwise, the 'Balanced' plan is great for those looking to switch to a cleaner diet, without shedding kilos. You can also tailor your plan to suit your dietary needs, be it plant-based, dairy-free, low-carb or paleo. And, to top it off, it's a pretty affordable option, with meals starting from $8.70. Right now, you can also nab $50 off your first order, too — just sign up here. GIVE MINDFULNESS A GO If you consider mindfulness a bogus pastime, think again. From simply soaking in the tub to daily meditation, taking time to clear your head and reduce stress is a solid base for a healthier lifestyle. Think of it like this: if food is your body's fuel, then mindfulness is your mind's tonic. And, to really achieve a healthy lifestyle, you need both, on top of physical exercise, of course. Plus, amid COVID-19, we're increasingly realising what it means to keep calm during a crisis. So, where to start? Mindfulness and meditation apps are both beginner-friendly and convenient — and these days there are plenty to pick from. Headspace is one of the better-known ones and for good reason; it makes mediation accessible, even if you're a bit of a novice. Or, you can be guided by neuroscientist and philosopher Sam Harris with his app Waking Up. If getting enough shut-eye is an issue, try Calm, which includes meditation sessions, audio snippets of Bob Ross's The Joy of Painting and stories narrated by none other than Matthew McConaughey. Practices such as tai chi and yoga can help improve mental clarity, too, by combining meditation with movement — so, if you find sitting still hard, maybe give these a try. You can even add adorable animals into the equation and get bendy with baby goats, or your pooch as you downward dog in your living room, both of which are a surefire way to get a quick serotonin hit. GET PICKLING Feel bloated or sluggish? It could be your gut telling you something — literally. While everyone's body is different, fermented foods can be great for most people's gut health and keeping everything regular. The age-old preserving technique naturally ferments food, creating healthy probiotics that help strengthen your gut microbiome. It's a good way of extending food's shelf life, too. Instead of raiding the health food store and splashing some serious cash, you can make your own with everyday fridge and pantry items. Beets, beans, cucumbers, onion, fennel, cabbage, zucchini, carrots... you get the idea. Most pickling involves vinegar (white or apple cider), salt, a bit of sugar, spices and the veg of your choosing. Alternatively, get yourself a SCOBY (symbiotic culture of bacteria and yeast) and some black tea and try making your own kombucha. If you'd rather learn from the pickling pros, Sydney-based cafe and picklery Cornersmith runs a bunch of hands-on and, at the moment, live Zoom classes, where you can pick up tips on how to ferment, pickle and preserve pretty much anything. HAVE FUN WITH YOUR WORKOUT ROUTINE No one said exercise had to be boring. You may have your go-to activity, but, sometimes, getting out of the bed in the morning or hitting up the gym after work can be a struggle. We get it, life gets in the way. However, to avoid fitness fatigue, why not inject some fun into your routine? Feel like a big kid again and bounce non-stop at an indoor trampoline park, or scale to new heights at a rock climbing gym. For the latter, you'll need a partner in crime, so you can socialise while you sweat, otherwise, for a more solitary climb, try bouldering. Martial arts is another great way to train, from karate to jiu-jitsu, taekwondo and krav maga, all of which have become increasingly popular over recent years. Keen to improve your rhythm? Dancing is a great way to get your heart pumping, as well as tone muscle, whether it's ballet, salsa, ballroom or hip-hop dancing. You can even get your groove on in your living room with 80s-style aerobics by way of Retrosweat or Aerobics Oz Style. And, if you're lucky enough to live near the ocean, stand-up paddle boarding is great for your core, or you could give surfing lessons a crack. Basically, there's no end to the fun you can have while also training and conditioning your body. GET OUTDOORS AND HIT THE TRAILS It's hard to beat a vigorous bushwalk or long-distance run along the coastline, with the sun shining, the wind in your hair and stunning surrounds to distract from your own panting. Plus, it leaves you feeling pretty rejuvenated. While, yes, the physical exercise plays a massive part, being outdoors is undeniably good for the soul. And, after spending more time indoors this year, many of us have a new appreciation for being surrounded by nature. So, next time you're thinking of jumping on the treadmill, why not run in your local park? Or, if you can, take a hike in a national park, do laps in an ocean pool, kayak down a river or head out on a scenic bike ride. If you're after something a bit more restorative, forest bathing or shinrin-yoku (nature therapy) is another way to get a dose of vitamin D, just with less cardio. You simply spend time in nature, whether it's taking a stroll in any natural environment or finding a lush and peaceful spot in which to meditate. The physiological and psychological activity has benefits such as improving your immune and nervous systems, reducing blood pressure and heart rate, and improving mental health, energy levels and sleep patterns. Combining mindfulness with nature, the Japanese practice is the perfect antidote to our tech-filled and often sedentary lifestyles. TREAT YOURSELF While pampering may seem a tad extra, giving your body a little TLC is also called self care. So, treat your body like the temple it is and give it a rest every now and again. From beauty therapies to relaxing remedies, there are plenty of ways you can look after your body — outside and in. Feeling a bit lacklustre? Mani-pedis, haircuts and facials are sure to give you a boost. Then there are massages, of course, with benefits including reduced blood pressure, easing migraines and headaches, aiding pain relief and stiffness, and lowering stress levels. But, different styles address different issues, so it's important to listen to your body. Swedish and aromatherapy massages, for example, are great if you're stressed out; whereas lymphatic ones help rid your body of toxins by draining your lymphs. If you've been upping your exercise or have muscular pain, then consider deep tissue, sports, reflexology or Thai-style massages, which will help alleviate aches, increase flexibility and reduce recovery time. A healthy lifestyle starts with the food that fuels you. To help make that part easy and fuss-free, Macros delivers nutrition-packed meals straight to your door. And, if you need to, you can also pause or skip a week of your subscription at no extra cost. Better yet, Macros is currently offering $50 off your first four deliveries. So, start your health kick ASAP and sign up here.
