They topped Triple J's Hottest 100 in 2002. They've featured Dave Grohl on drums. Their third studio album Songs for the Death is one of the all-time-great 00s records. They're Queens of the Stone Age, of course, and now they're bringing their latest tour Down Under in 2024, with the band heading our way for the first time in six years. The Josh Homme-fronted group's The End Is Nero tour will be their first trip to Australasia since 2018, and comes after their eighth album In Times New Roman... released in June this year. Homme, Troy Van Leeuwen, Michael Shuman, Dean Fertita and Jon Theodore are giving their latest shows an apocalyptic theme, which fans can look forward to seeing at 11 stops in February and March. [caption id="attachment_923130" align="alignnone" width="1920"] Andreas Neumann[/caption] On the itinerary: kicking off the tour in Perth, then heading to Adelaide, Hobart, Torquay, Melbourne, Sydney, the Gold Coast and Brisbane — plus Auckland, Wellington and Christchurch. The Hobart gig will take place on the Mona Lawns, with the date coinciding with Mona Foma 2024 — and yes, they're the Tasmanian fest's first act, with the rest of the event's lineup yet to be revealed. Concertgoers can look forward to a setlist that steps through QOTSA's 27-year history, including their Hottest 100 winner 'No One Knows', plus everything from 'Go with the Flow' and 'Make It Wit Chu' to 'Emotion Sickness' and 'The Lost Art of Keeping a Secret'. In support: Pond and Gut Health on most Australia shows, with The Chats, Spiderbait and Lola Scott joining them in Torquay and on the Gold Coast. In NZ, Pond and Earth Tongue will do the honours. [caption id="attachment_923129" align="alignnone" width="1920"] Wünderbrot via Wikimedia Commons[/caption] Queens of the Stone Age formed in Seattle in 1996 after Homme's prior band Kyuss split up, is linked to the Palm Desert music scene and have seven Grammy nominations to their name. Despite the long gap since their last trip Down Under, they're no strangers to playing Australia, including a joint tour with Nine Inch Nails back in 2014. See QOTSA in February after catching Foo Fighters on their November–December Australian and New Zealand tour and you'll have quite the 00s rock experience. QUEENS OF THE STONE AGE 'THE END IS NERO' AUSTRALIAN AND NEW ZEALAND TOUR 2024: Saturday, February 10 — Red Hill Auditorium, Perth Tuesday, February 13 — The Drive, Adelaide Friday, February 16 — Mona Lawns, Hobart Sunday, February 18 — Lookout, Torquay Common, Torquay Monday, February 19 — Sidney Myer Music Bowl, Melbourne Wednesday, February 21 — Hordern Pavilion, Sydney Saturday, February 24 — Lookout, Broadwater Parklands, Gold Coast Sunday, February 25–Monday, February 26 — Fortitude Music Hall, Brisbane Thursday, February 29 — Spark Arena, Auckland Friday, March 1 — TSB Arena, Wellington Sunday, March 3 — Wolfbrook Arena, Christchurch Queens of the Stone Age are touring Australia and New Zealand in February and March 2024, with presales from 11am local time on Wednesday, October 25 and general ticket sales from 1pm local time on Monday, October 30 — head to the band's and ticketing websites for more information. Top image: Raph_PH via Wikimedia Commons.
Cut Copy burst onto the scene, and into our hearts, with their chart-topping album In Ghost Colours all the way back in 2007. Six years later, they're dropping their newest offering, Free Your Mind, on November 1. Ahead of the group's international tour, we met up with Dan Whitford, the man behind the mic, to chat about the band's newest tunes, his feelings about success and why dance music isn't going around in circles. Free Your Mind is thematically stronger than the previous two albums. You've said that you never intended to make a concept album, but it has kind of come out that way. Did the concept evolve as a natural progression from the writing? Initially, it was an effort to get started, and we were hoping to have a few gems that we could work up into contenders for a record, but there's only so long you can go without considering that they all have to fit together on a record at some point. There was probably a point where we went, "Okay, how do these songs relate, and what are we doing?" We started out with a very open-ended plan, like, "Don't overthink anything, if you have an idea, try it," and that was sort of what we tried to do through most of our recording. But I think we then got to a point where we had a few different directions with these tracks, we were asking, "What's the common thread?" So I think it just ended up feeling like there was this sort of slightly euphoric, kind of uplifting, but also kind of a loose psychedelic feeling to most of the tracks. The sound of the record, as well as the theme, is retrospective as well as prospective. Are you looking to the music of the past to build your future music? Yeah. I think that dance music, probably all music … has always done that. Each era, from disco onwards … even in the disco era, you'd be taking an old song, and doing the new version of that for this period in time, and then the same with the 1990 version of a disco song, and now there's the 2001 version of the 1990s song. I think dance music naturally looks forward because it's a fairly fickle thing. Stylistically, it's always looking to evolve, but it's also very retrospective. I think that's something that Daft Punk, for instance, have done more than any other … artists in the past, and that's being so diversely influenced by not just dance music history, but pop music history like Beach Boys and KISS, some of these things that are glam rock. These are things that don't normally fit into dance music, but they pulled in for the hell of it, and created something new. I think we're nostalgic about some of these periods of music with this record, and I think the combination of things that we pull in hopefully ends up being something that people haven't heard. You've never actually trained to play any musical instruments. How do you think that this lack of training affects the way you write music? It's good because you don't have any preconception about what you're doing. My training was listening to records. My record collection … taught me how to play music and make music, so you're assimilating all these influences and creating your own thing from there. I think it's good not to have too many rules about what art should be, because I think you're inevitably limited by that. I know music is a popular art form, so I know that if you're making, say, a Lady Gaga song, then there are probably a few rules … if you want to get played on the radio, but I think that in a general sense, having fewer rules makes more interesting music because the possibilities are more endless, more infinite. So I feel there's a benefit to never really knowing what I was doing. In Ghost Colour and Zonoscope were both hugely successful. Is that something you think about when writing now? I think it's a trick having all … these artificial pressures on what you're doing creatively, and I think the best stuff, for me, is created amongst the band when we're just doing the stuff that we like. I guess you've just got to trust your own creative instinct and aesthetic to hopefully be something that's good. Ghost Colours went number one, but we never thought in our wildest dreams that it was even going to be in the charts, let alone in the top ten or number one, that was just ridiculous. We did that without thinking about it, so sometimes the best thing is to really not even consider it. I guess there is some pressure there, but I guess that, at the end of the day, we just come back to making the music that we like, and if there are ever points where we get confused, usually we just come back to, "What do we like?" And that's the best guide, and probably what the right choice is. Cut Copy's new album, Free Your Mind, is out November 1 through Modular. https://youtube.com/watch?v=xPRJVKtrCCk
The humble roast chook has plenty of fans across the country, but if you consider yourself a die-hard chicken aficionado, you'll feel like a winner (winner) when ordering your chicken dinner at this St Kilda eatery. Korr Jee Chicken is a casual dining venture from Will Tang (Vue de Monde, Bar Lourinha), a chef formerly specialising in fine dining fare. But at his lively and brightly coloured spot, Tang has set out to transform the picture conjured with the words "chicken shop" — instead showing that casual, quick dining doesn't have to compromise on freshness or care. Actually, the chickens whipped up here may have undergone as much prep than some of the world's finest steaks. According to the restaurant, every roast chicken goes through a 26-hour preparation process where it's brined in a selection of species, before being dry-aged and finally slow-roasted. The end result is a juicy, succulent chook — a far cry from the supermarket bagged chickens mum used to serve at home (which still have their place, of course). You can get your chicken in half ($18) or quarter ($11) servings, or share a whole one ($30) among a group. Or, sure, tackle it yourself. We're not here to judge. Alongside this crowning jewel of the table, diners can order a number of elevated sides, including a coleslaw constructed from freshly sliced cabbage, sauerkraut and charred corn in a house-made dressing ($11), oven-baked crusty garlic loaf ($8) or triple cooked hand-cut chips with house-made aioli ($9). They've even got their own peri peri sauce — a delicious twist on a well-known classic. The eatery may be casual but there's still an extensive beer and wine list, or you can opt for one of their speciality cocktails ($20) like their suze negroni, peach margarita, or a hot toddy to protect from winter's chill. Wednesdays see them slinging $1 wings, and on Fridays, $25 cocktail jugs see in the weekend in style.
Here's a trend: co-stars from Baywatch, the movie not the series, making separate biopics about wrestlers. When Zac Efron (The Studio) did it, The Iron Claw was the result, and the film about Kevin Von Erich and his family was excellent. Next, it's Dwayne Johnson's (Red One) turn in The Smashing Machine, with MMA fighter Mark Kerr in the spotlight. Johnson, aka The Rock, leaping into the ring is far from a new development, of course — but the wrestler-turned-actor is now drawing upon his sporting background and talents in the other well-known side of his career. That said, even if you've watched plenty of his WWE exploits, and then his film and TV roles in everything from The Scorpion King, the Fast and Furious franchise, Ballers and Pain & Gain to San Andreas, the recent Jumanji flicks and Black Adam, you haven't seen Johnson like this before. The Smashing Machine hits cinemas in October 2025. Opposite Emily Blunt (The Fall Guy) as Dawn Staples — with the pair reuniting after 2021's Jungle Cruise, and set to team up again next for Martin Scorsese (Killers of the Flower Moon) — Johnson helps bring the story of a wrester-turned-UFC star to the screen. In the just-dropped first trailer for the flick, Kerr is determined to keep chasing the unparalleled high that comes with winning, even while he's in pain and as it's clearly taking a toll on his relationship with Staples. The term "unrecognisable" gets thrown around a lot when actors transform for a role; however, every time Johnson's face is on-screen in the first sneak peek at The Smashing Machine, that description proves true. If the name of the movie sounds familiar, that's because there's a 2002 documentary of the same moniker that's also about Kerr. As a biopic, The Smashing Machine hails from writer/director Benny Safdie, making his first solo directorial effort after spending his filmmaking career so far co-helming with his brother Josh. On their shared resume: Daddy Longlegs, Lenny Cooke, Heaven Knows What, Good Time and Uncut Gems. It's been six years since Benny was last behind the camera on a feature, but he's been popping up in acting parts elsewhere, including in Pieces of a Woman, Licorice Pizza, Stars at Noon, Obi-Wan Kenobi, Are You There God? It's Me, Margaret, Oppenheimer and The Curse — the latter of which he co-wrote and co-created with The Rehearsal's Nathan Fielder. Benny's brother Josh also has a new film out in 2025, also focusing on sports and also helmed on his lonesome. In Marty Supreme, Timothée Chalamet (A Complete Unknown) is in the lead — and ping-pong is the focus. Check out the trailer for The Smashing Machine below: The Smashing Machine releases in cinemas Down Under on Thursday, October 2, 2025.
Traditional horizontal gardens are a fantastic aesthetically pleasing addition to any house, park or natural area. Yet by simply rotating these gardens 90° to make them vertical, their purpose, possibilities and magnificence can completely and utterly transform. Vertical gardens are a recent craze, which are taking the world by storm. Gardens on museum walls, on the outside of buildings, in shopping centres or as feature pieces are popping up in almost every major city of the globe. Aside from adding a wonderful visual and organic element to the concrete shackles of urban centres, vertical gardens also offer a host of environmental benefits. Adding a vertical garden to any space can help improve air quality and respiratory functions, keep the air cool and humidity comfortable through the process of transpiration, reduce harmful levels of CO2 and provide natural insulation and acoustic absorption; not to mention the instinctive elated sensation humans feel when in close proximity to plant life, called biophilia. Here are ten of the most beautiful, useful and impressive vertical gardens from around the world that will make even the most elaborate horizontal garden look boring and mundane. Miami Art Museum Patrick Blanc is the world's most renowned vertical garden specialist and his incredible creations have spread like wildfire across the globe. With his designs appearing in every continent, and his recent publication, 'The Vertical Garden: from Nature to the Cities' being widely acknowledged as the expert book on this new trend, you simply can't go past Blanc's inspired works of art. This amazing garden from the Miami Art Museum is one of Blanc's projects, designed together with Herzog & De Meuron. Who needs the Hanging Gardens of Babylon when we have our own hanging gardens of Miami? Alpha Park II Les Clayes sous Bois At 2,000m², the Alpha Park II Les Clayes sous Bois just West of Paris will become the largest vegetal facade in the world. The shopping centre is being reopened sometime this month with its new organic coating of various plants and flowers. Melbourne Greenhouse Restaurant Joost Vertical Gardens are an up-and-coming business in Australia, which specialises in living walls and columns. Their vertical gardens have appeared in art exhibitions, sculptural installations and high-end architectural fitouts, highlighting their aesthetic value and practical purpose. Through popular demand, Joost's unique designs are now available online and by consultation for restaurants and both domestic and commercial spaces. Vertical Garden Institute Philip and Vicki Yates set up the Vertical Garden Institute in 2007 after witnessing the awe of Blanc's huge vertical garden in Spain. They wanted to promote vertical gardens through sales, research, education and the development of vertical garden partnerships throughout the globe. This vertical art garden was released in July 2010. Berlin Another stunning design from Patrick Blanc, this garden wall in Berlin is a beautiful and eco-friendly addition to the city's streets. Increased temperatures in cities can partially be attributed to the absorption of heat by concrete buildings and roads. However, the natural processes of transpiration in plants ensures that they never go 5°C above the atmospheric temperature, thus helping to keep the urban area cooler. Madrid Caixa Forum This feature wall in the capital of Spain is a magnificent piece of natural artistry that provides a perfect place for tourists and locals alike to marvel at. The building was a former power plant built in 1899 and a rare example of industrial architecture in the old part of the city. The vertical garden is another design from Patrick Blanc and reaches four stories high, with over 15,000 plants from over 250 species. Tokyo AKROS Fukuoka Prefectural International Hall This 15-stepped terrace was shifted from a 10,000m² park in the city centre of Tokyo by US architect, Emilio Ambesz. To stand out from other city park areas, Ambesz opted instead for a garden resembling a mountain, culminating in a belvedere, which offers magnificent views of the harbour. The building is 14 floors above ground and 4 below, making it one of the largest vertical gardens in the group. Bangkok Siam Paragon Shopping Center The vertical garden craze has also reached Thailand, with this example of beautiful plants lining the balconies of the Siam Paragon Shopping Centre in Bangkok. Gardens appear not only in this courtyard of the shopping mall but they also decorate the elevator shaft as well as even some of the shopping booths. Living Walls, Netherlands Rather than being concrete, this colourful wall is made up of a thin layer of felt and rock wool material. To keep the vertical garden alive and vibrant, it also has water pumping through the material. This Dutch house is a perfect example of how easy it is to spice up any building with some floral flair. Bilbao Guggenheim Art Museum Outside the Guggenheim Art Museum in Bilbao, Spain, one would find a giant 43-foot tall 'plant puppy' made out of a steel substructure and an array of colourful vegetation. Jeff Koons created this cute and vibrant vertical garden masterpiece in the mid-1990s and we just couldn't go past this impressive creation. Especially since it made its own notable visit to the lawns of Sydney's MCA in 1995.
For most, thinking about surrealism means imagining melted clocks, sky-high elephants, cloud-filled eyes and giant apples. Thanks to Salvador Dalí and René Magritte, they're some of the art movement's most-enduring images. While Australia is no stranger to exhibitions about the former, the Art Gallery of New South Wales is currently hosting the nation's first-ever retrospective dedicated to the latter, complete with some of the Belgian artist's best-known pieces. Magritte opened on Saturday, October 26, 2024 as part of the 2024–25 Sydney International Art Series, and runs until Sunday, February 9, 2025 as a Harbour City exclusive. If you're keen to peruse this stunning collection of the surrealist's work, you'll need to see it in the New South Wales capital. More than 100 pieces feature, with 80-plus of them paintings — and if you need proof of why he's considered one of the most-influential figures in 20th-century surrealism, it's all over AGNSW's walls. Stare at The False Mirror at Magritte, for instance, and you'll see an instantly recognisable masterwork that's as dreamy as art gets — all while the masterpiece of a painting from 1929 peers right back. One of Magritte's most-famous creations, it features a massive eye looking at the viewer, while also filled with a cloudy blue sky. It's an unforgettable work, and it's one of the stars of AGNSW's exhibition. Another striking painting that can be gazed upon currently in Sydney: Golconda, Magritte's 1953 work that brings two other pieces of popular culture to mind. Just try not to think about Mary Poppins and The Weather Girls' song 'It's Raining Men' while you feast your eyes on the sight of bowler hat-wearing men streaming down from the heavens. Then there's 1952's The Listening Room (La Chambre d'Écoute), which shows an oversized apple, its green flesh filling an entire room. Fruit might be a regular still-life subject, but there's nothing standard about Magritte's use of apples throughout his art. Like bowler hats, they're among his favourite motifs. Archival materials, photographs and films also feature, in a showcase that's filled with the expected highlights — 1928's The Lovers, 1933's The Human Condition, 1947's The Liberator, 1951's The Kiss and 1954's The Dominion of Light among them — but also probes deeper than the works that everyone immediately knows by sight. Visitors embark on a chronological journey through Magritte's career, starting with his avant-garde early efforts in the 20s, then covering four decades from there. "Many years in the making and drawing upon our unsurpassed international network of collaborative partners, Magritte considers the towering artist's innovative contributions to the broader surrealism movement, while also highlighting the uniqueness and individuality of his artistic vision," explained Art Gallery of New South Wales Director Dr Michael Brand, when Magritte opened in October. "Fundamental to this exhibition is our anticipation to share not only the well-known paintings you would expect to see in a Magritte retrospective but also to shine a light on some surprising aspects of his artistic output, particularly from the period when the artist, working from occupied Belgium during and immediately after the Second World War, created some of the most intriguing and subversive paintings of his career," Brand continued. "Magritte was ahead of his time. He saw himself as a 'painter of ideas' and his legacy extends far beyond the world of art. Today we find his work echoed in diverse creative fields, from fiction and philosophy to cinema and advertising. We can imagine his delight at the ways in which his images continue to circulate and take on new meanings in the 21st century," added Nicholas Chambers, the exhibition's curator as well as Art Gallery of New South Wales' Senior Curator of Modern and Contemporary International Art. [caption id="attachment_959955" align="alignnone" width="1920"] René Magritte 'Golconda (Golconde)' 1953, oil on canvas, 80 x 100.3 cm, The Menil Collection, Houston, V 414 © Copyright Agency, Sydney 2024, photo: Paul Hester.[/caption] [caption id="attachment_959956" align="alignnone" width="1920"] René Magritte 'The listening room (La chambre d'écoute)' 1952, oil on canvas, 45.2 x 55.2 cm, The Menil Collection, Houston, gift of Fariha Friedrich, 1991-53 DJ © Copyright Agency, Sydney 2024, photo: Adam Baker.[/caption] [caption id="attachment_959954" align="alignnone" width="1920"] René Magritte 'The false mirror (Le faux miroir)' 1929, oil on canvas, 54 x 80.9 cm, Museum of Modern Art, New York, 133.1936 © Copyright Agency, Sydney 2024, photo © The Museum of Modern Art, New York/Scala, Florence 2024.[/caption] Magritte is on display at Art Gallery of New South Wales, Art Gallery Road, Sydney, until Sunday, February 9, 2025. Head to the gallery website for tickets and further details. Installation images: installation of the Magritte exhibition at the Art Gallery of New South Wales, 26 October 2024 – 9 February 2025, artworks © Copyright Agency, Sydney 2024, photo © Art Gallery of New South Wales, Mim Stirling.
Given the Fast and Furious franchise's title, you'd think that driving speedily and passionately is what this big-budget film series is all about. Chaotic and OTT car antics play a hefty part, as the 2001 original, its seven sequels to-date and its 2019 spin-off have all shown via a constant onslaught of hectic stunts. But if there's one thing that this Vin Diesel-starring and -produced saga loves just as much as vehicular mayhem, it's family. Over the years, Diesel's Dominic Toretto has extended the term 'family' to include not only his girlfriend-turned-wife Letty (Michelle Rodriguez), his sister Mia (Jordana Brewster), her husband Brian (the late Paul Walker) and their various offspring, but their extended motley crew of fast-driving pals as well. Dom talks about family rather often, usually over a few Coronas with said friends and family. The gang has even faced off against a family of adversaries, courtesy of brothers Owen and Deckard Shaw (Luke Evans and Jason Statham), and their mother Magdalene (Helen Mirren). So, when it comes to Fast and Furious 9, it's unsurprising that the franchise is leaning heavily on one of its favourite concepts. Obviously eye-catching, jaw-dropping stunts also feature — complete with a rocket car (yes, really) — but somehow, the saga hasn't expended all family-related options just yet. As both the initial trailer back in early 2020 and the long-awaited, just-dropped second trailer for the delayed flick reveals, the villain this time is John Cena, who joins the series as Dom's younger brother Jakob. When the film hits cinemas in June after being postponed for more than a year due to the pandemic, don't expect a happy sibling reunion. This flick's outlandish set pieces will pit Dom and the crew against Jakob, who has teamed up with returning criminal mastermind Cypher (Charlize Theron). Basically, they could've called this film Fast and Furious: More Stunts and More Family, which is exactly what both trailers so far serve up. Of course, that's what's made this franchise a huge box-office success for two decades now — and those action scenes, while typically defying logic, physics and gravity, are always expertly, astonishingly and entertainingly choreographed. As well as Diesel, Rodriguez, Brewster, Cena, Theron and Mirren, Fast and Furious 9 also stars franchise mainstays Tyrese Gibson and Ludacris, plus Game of Thrones' Nathalie Emmanuel (who joined the series back in 2015's Furious 7 and is now considered part of Dom's family). And, it features the highly anticipated return of Sung Kang as Han, which is quite the narrative development if you've been following every quarter mile this series has ever sped across. After a two-film absence, the movie also marks the return of The Fast and the Furious: Tokyo Drift, Fast & Furious, Fast Five and Fast & Furious 6 director Justin Lin. Check out the new trailer for F9 below: https://www.youtube.com/watch?v=xzVw9QTBKJk Fast and Furious 9 releases in Australian cinemas on Thursday, June 17. Image: 2021 Universal Studios. All Rights Reserved.
It's been a year filled with drinking at home, rather than out on the town, yet Melbourne's bar scene has continued to shine. Luke Whearty's famed local cocktail haunt Byrdi has just been named among The World's 50 Best Bars' extended 51-100 list for 2021, ranked the 56th top bar on the planet. It was the only Aussie venue to make this year's secondary lineup, which was revealed overnight. The 51-100 list comes one week ahead of the release of The World's 50 Best Bars main award list, which is set to happen at a ceremony in London on December 6. The annual ranking list is a huge deal among the international bar industry, voted by a panel of over 600 drinks experts, including bartenders, writers, consultants and mixology specialists. The 2021 51-100 list was heavy on entrants from the States, with seven USA bars including New York newcomer Double Chicken Please and LA's Thunderbolt. Five London bars also ranked among the secondary list and Nairobi's Hero Bar became the first-ever African bar outside of South Africa to make the cut. [caption id="attachment_748363" align="alignnone" width="1920"] Byrdi, by Kate Shanasy[/caption] Last year, on its debut entry, Byrdi came in 80th on the extended list, ranking close to fellow Melbourne bars The Everleigh (73), Above Board (84) and Black Pearl (98). Sydneysiders Maybe Sammy, Cantina OK! and Bulletin Place all placed among 2020's top 50, which means we could see plenty more Aussie representation among next week's top 50 lineup reveal. Byrdi was launched in 2019 by Whearty and co-founder Aki Nishikura, who were also behind Singapore's multi award-winning — and World's 50 Best Bars regular — Operation Dagger. You'll find the Melbourne favourite nestled within the CBD's Ella precinct, whipping up some truly exceptional, innovative drinks. Byrdi was one of the many bars sating cravings for well-crafted cocktails during lockdown this year and last, with lots of punters making use of its home-delivery service. Stay tuned and we'll share the winners of the World's 50 Best Bars 2021 list when they're revealed next week. For the full 51-100 list of the World's 50 Best Bars 2021 (and past years' lists), see the website. The top 50 rankings will be revealed from 8.15pm GMT on December 6, via Facebook and YouTube. Top Image: Byrdi cocktail, by Kate Shanasy
For playing Princess Diana in Spencer, Kristen Stewart earned an Oscar nomination. For doing the same in Diana the Musical, Jeanna de Waal just won a Golden Raspberry Award. Given out the day before the Academy Awards and rewarding the worst in cinema for the past year — rather than the best and brightest like their counterparts — the Razzies have named their picks from 2021's flicks. And yes, singing through the life of Princess Di wasn't considered movie magic. A filmed version of the stage production, Diana the Musical earned five awards in total — after leading the nominations with nine. The Golden Raspberries also considered it the Worst Picture of the year, and gave it the Worst Director, Worst Supporting Actress and Worst Screenplay prizes as well. If you haven't seen it yet, you might to stick with The Crown. Also winning big: needless Space Jam sequel Space Jam: A New Legacy, which picked up three awards from four nominations. It received the Worst Actor prize for LeBron James, as well as the Worst Remake, Ripoff or Sequel award, plus Worst Screen Couple. With those two movies scoring eight awards between them, there wasn't much room for many other winners at the 42nd Razzies (although, are Razzie recipients really considered winners?). But Jared Leto's awful efforts in House of Gucci still scored him the Worst Supporting Actor prize, even over Diana the Musical's Gareth Keegan. One person who was always going to end with a Razzie to his name this year was Bruce Willis. The awards even created their own category for him — because he released eight flicks last year, and all of them were terrible. Wondering which one was deemed the worst of the lot? That'd be Cosmic Sin, which saw Willis pick up the accolade for Worst Performance by Bruce Willis in a 2021 Movie. Ahead of likely winning an Oscar today, Will Smith also earned some love from the Razzies as well. The former Fresh Prince received the only Golden Raspberry anyone ever wants to get, though: the Razzie Redeemer, for actors who've come back from a spate of Razzie-worthy roles. Smith's win came for King Richard, the part he's expected to get that Academy Award for. Check out the full list of nominees and winners below: GOLDEN RASPBERRY NOMINEES AND WINNERS 2022: WORST PICTURE Diana the Musical — WINNER Infinite Karen Space Jam: A New Legacy The Woman in the Window WORST ACTOR Scott Eastwood, Dangerous Roe Hartrampf (as Prince Charles), Diana the Musical LeBron James, Space Jam: A New Legacy — WINNER Ben Platt, Dear Evan Hansen Mark Wahlberg, Infinite WORST ACTRESS Amy Adams, The Woman in the Window Jeanna de Waal, Diana the Musical — WINNER Megan Fox, Midnight in the Switchgrass Taryn Manning, Karen Ruby Rose, Vanquish WORST SUPPORTING ACTOR Ben Affleck, The Last Duel Nick Cannon, The Misfits Mel Gibson, Dangerous Gareth Keegan (as James Hewitt, the muscle-bound horse trainer), Diana the Musical Jared Leto, House of Gucci — WINNER WORST SUPPORTING ACTRESS Amy Adams, Dear Evan Hansen Sophie Cookson, Infinite Erin Davie (as Camilla), Diana the Musical Judy Kaye (as both Queen Elizabeth and Barbara Cartland), Diana the Musical — WINNER Taryn Manning, Every Last One of Them WORST PERFORMANCE BY BRUCE WILLIS IN A 2021 MOVIE Bruce Willis, American Siege Bruce Willis, Apex Bruce Willis, Cosmic Sin — WINNER Bruce Willis, Deadlock Bruce Willis, Fortress Bruce Willis, Midnight in the Switchgrass Bruce Willis, Out of Death Bruce Willis, Survive the Game WORST SCREEN COMBO Any klutzy cast member and any lamely lyricised (or choreographed) musical number, Diana the Musical LeBron James and any Warner cartoon character (or Time-Warner product) he dribbles on, Space Jam: A New Legacy — WINNER Jared Leto and either his 17-pound latex face, his geeky clothes or his ridiculous accent, House of Gucci Ben Platt and any other character who acts like Platt singing 24-7 is normal, Dear Evan Hansen Tom and Jerry (aka Itchy and Scratchy), Tom & Jerry WORST DIRECTOR Christopher Ashley, Diana the Musical — WINNER Stephen Chbosky, Dear Evan Hansen Coke Daniels, Karen Renny Harlin, The Misfits Joe Wright, The Woman in the Window WORST REMAKE, RIPOFF or SEQUEL Karen (inadvertent remake of Cruella deVil) Space Jam: A New Legacy — WINNER Tom and Jerry Twist (rap remake of Oliver Twist) The Woman in the Window (ripoff of Rear Window) WORST SCREENPLAY Diana the Musical, script by Joe DiPietro, music and lyrics by DiPietro and David Bryan — WINNER Karen, written by Coke Daniels The Misfits, screenplay by Kurt Wimmer and Robert Henny, screen story by Robert Henny Twist, written by John Wrathall and Sally Collett, additional material by Matthew Parkhill, Michael Lindley, Tom Grass and Kevin Lehane, from an "original idea" by David and Keith Lynch and Simon Thomas The Woman in the Window, screenplay by Tracy Letts, from the novel by AJ Finn RAZZIE REDEEMER Will Smith for King Richard
Remember the good old days when you'd meet up with your mate for a beer at the pub, grab a late-night feed and dance till dawn all in one night? Yeah, us too. But just because we can't go out right now and enjoy our city's best restaurants and bars doesn't mean you have to live life in the slow lane. You can still bring the good times to your living room. Want to take your cooking game to the next level? Now's the time to get creative in the kitchen — with some expert guidance, of course. Or you could order a DIY meal kit from your favourite dining spot so you can just worry about all the fun times to be had. Because, when you're at home, you make the rules. If you don't know where to start when it comes to customising your best night in, we've got you covered. We've partnered with Miller Design Lab to celebrate creativity and self-expression when it comes to dining (and drinking) at home. Miller Design Lab is a space built by Australia's leading minds in design, art, technology, fashion and, of course, culinary geniuses. Together, we're celebrating our nightlife and its impact on culture by bringing exceptional experiences to you — like turning your crib into a fine dining restaurant. So, pop on your apron, grab a cold one from the fridge and look no further. [caption id="attachment_505797" align="alignnone" width="1280"] Dinosaur Designs[/caption] START WITH THE ESSENTIALS First up, having the right tools is non-negotiable. Sure, you may have the skills, but you can't create the Sistine Chapel without any paint — and same goes in the kitchen. If you're looking to become a whiz with a wok or perfect the art of baking, you best invest in some good cooking utensils. That said, we're assuming you can cook an egg and peel a potato, so we'll rush through a list of staples: pots, pans, spatula, chopping board, a strainer, vegetable peeler, can opener, cutlery and a wooden spoon. You get the idea. And, unless you plan on turning everything into soup, you'll need a good set of knives. According to Momofuku master David Chang, you only really need three knives: a paring knife, a serrated bread knife and a chef's knife. The first two can be bought pretty cheaply, but you'll want to fork out a bit more on the chef's knife. And as tempting as it may be after MasterChef, don't even think about buying an ice cream machine until you have the basics. Now, the fun stuff. You'll need some nice-looking plates and glassware to take your feast to the next level. There are a bunch of local ceramicists and designers making stunning tableware, including Mud, Studio Enti, Dinosaur Designs and Maison Balzac's colourful goblets and fun champagne flutes, plus independent potters such as Milly Dent, Sarah Schembri and Hayden Youlley. [caption id="attachment_724464" align="alignnone" width="1920"] Dan Hong by Nikki To[/caption] SHARPEN UP YOUR SKILLS WITH A TOP CHEF No matter if you're a kitchen novice or know your way around a Le Creuset, we can all learn some tips and tricks from some of the world's most creative chefs. Massimo Bottura is currently hosting nightly cooking tutorials. While the Michelin-starred chef behind Italy's famed Osteria Francescana is in lockdown, he's teaching you the joys of Italian cooking for free with his Kitchen Quarantine lessons. Designed to help spread feelings of connectivity, curb boredom and teach a few new tricks at a time when an increasing chunk of the world's population is in lockdown, self-isolation or self-distancing, these cooking tutorials go beyond textbook cooking. And of course, with Bottura's famously cheery personality, the guy's just a total joy to watch. Because Italian cuisine is the ultimate at-home comfort food, you should learn how to make pasta from a well-seasoned cook: nonna. Actually two nonnas, Nonna Nerina and Nonna Giuseppa. For a lesson on Australian home cooking, turn to Aussie legend and culinary icon Maggie Beer, who is also live streaming every day. Dubbed Cooking with Maggie, the free series of videos show you how to make an easy rustic-style dish in under 20 minutes — from eggplant and eggs to a caramelised onion and persian feta side dish. Another Aussie chef dishing up the goods is Dan Hong (Mr Wong, Ms G's, Queen Chow) via his Instagram. Tune in and you'll learn how to make his famed cheeseburger spring rolls, salt and pepper squid and slow-roasted short rib. For any other kitchen-related (and entertaining) content, check out these eight tasty food podcasts. [caption id="attachment_718506" align="alignnone" width="1920"] Southside Charmers by Kitti Gould[/caption] TRACK DOWN THE BEST (FREE) RECIPES Now that you've learnt from some of the best, you'll want to pick a recipe to tackle on your own. After all, it's time for you to add your own flavour. But before you attempt the best gnocchi ever made or bake even more sourdough, you'll want to do your research. Luckily, you don't have to look too far to find recipes. But, not all are created equal — so, it's about where to look. US-based Bon Appétit — as the name suggests — is a go-to for any culinary query, including a bunch of lip-smacking recipes. Feel like a lobster roll for dinner? No problem, it's got it here. Craving a mean steak? It's got a whole dedicated section. New York Times Cooking also has thousands of the best recipes from the global newspaper. You'll find food editor Sam Sifton's suggestions — from earl grey madeleines to a weeknight fried rice and trini chana and aloo (chickpea and potato curry) — plus a heap of pantry, slow cooker, easy-to-bake and essential Indian recipes. Basically, whatever you've got a hankering for, chances are it's got it. For something more local, podcast Highly Enthused often has a round-up of good recipes. You can listen to it here. [caption id="attachment_751198" align="alignnone" width="1920"] Quattro Deli by Trent van der Jagt[/caption] GET THOSE HARD-TO-FIND INGREDIENTS You're spicing things up, which means you'll probably have some things on your grocery list that you won't find at Woolies or Coles. From artisanal cheeses to Lao Gan Ma chilli sauce and rare spices, such ingredients require you to know where to track them down. At the moment, Sydneysiders can head to Two Providores's Marrickville warehouse every Saturday to pick up everything from top-notch oils to bacon jam, New York-style rare roast beef and hard-to-find flours. For fresh seasonal produce, it's hard to go past Glebe mainstay Galluzzo Fruiterers, which is currently delivering to locals every Monday–Friday. Quattro Deli in Chatswood is dedicated to sourcing the best local and imported specialty items — think Italian gorgonzola, buffalo mozzarella, mortadella, olives, spreads and even vino — and is delivering deli-to-door at the moment. And for all things cheese, Penny's Cheese Shop and Paesanella Food Emporium are great go-tos. For Asian groceries, your best bets are Boon Cafe at Jarern Chai Grocer and Thai Kee IGA Supermarket. For those in Melbourne, a good one-stop-spot is South Melbourne Market, which has launched a drive-thru pick up point. Vegans will find pretty much everything imaginable in Shannon Martinez's and Mo Wyse's spin-off vegan New York-style delicatessen, Smith & Deli. You can place orders for pick up or delivery via Mr Yum. For charcuterie, Obelix & Co has got you pretty well covered and is offering local delivery and if you're after some fancy fromage to go with it, hit up Milk the Cow, which is delivering also. Asian grocers such as TANG, Hometown Asian Supermarket and Minh Phat are all open and well-stocked, too. In Brisbane, Hong Lan Asian Food & Seafoods is one of the best Asian grocers in town. Rosalie Gourmet Market is an institution for a reason — it's packed with everything from oils to pastries, chocolates and fresh flowers. Black Pearl Epicure has your cheese needs sorted with over 300 types and for Italian goods, head to Amici Deli in Chermside. Plus, a bunch of restaurants in Sydney, Brisbane and Melbourne have turned into mini grocers, many supplying the goods usually saved for industrial kitchens. If you can't leave the house right now, Simon Johnson is delivering across Sydney and Melbourne, too. ORDER IN — AND SKIP STRAIGHT TO THE GOOD TIMES In Sydney, you're spoiled for choice when it comes to DIY meal packs. Ragazzi — the CBD's new pasta bar by the Love, Tilly Devine crew — has ready-to-cook pasta and wine packs (serves two), which are available for pick or delivery within five kilometres of the restaurant. Chippendale's fine diner Ester has weekly takeaway packs, offering a range of ready-to-eat and almost ready meals — with the likes of steamed blood sausage buns, shallot and sichuan pepper tart tartin and leftover sourdough ice cream on the menu. You can pick it up from the restaurant every Saturday between 3–5pm. Mr Wong's, Bert's and Fred's also have packs available for delivery across Sydney metro. Melburnians can order restaurant-quality oysters straight to their door thanks to supplier Mimosa Rock Oysters. They come live though, so you'll have to know (or learn) how to shuck. If you can venture out of the house, you'll find a raft of 'heat and eat' food packages available at Neptune Food & Wine. And while not exactly DIY, Attica — one of the top restaurants in the country — is now offering takeaway and has opened a pop-up bakeshop. If you're in the mood for a big warming bowl of noodles and live in Brisbane, Taro's has DIY ramen packs to go. It even has a how-to video if you need. King Street's French fine diner, Montrachet, is offering a selection of semi-prepared dishes in takeaway packs that can be collected from its Bowen Hills digs (orders must be made before 7pm for collection the next day). Plus, The Balfour Kitchen has a stack of ready-made meals like a Burmese pork curry, spaghetti with Korean bolognese, prawn and ginger wontons and thrice-cooked duck fat potatoes. For dessert, a bunch of spots across Sydney, Melbourne and Brisbane are slinging some top-notch cookie dough for those of us who aren't the next Betty Crocker. To see where you can pick some up, head here. For more ways to celebrate your city's nightlife and recreate its energy in your own space, head this way.
There’s an interesting trend in today's disaster movies. Yes, they all feature disaster, but less obvious (though almost always present) is the Estranged Family Subplot. If you don’t think you’ve seen it, you have, because just in recent years it’s been in Twister, 2012, The Day After Tomorrow, Deep Impact, Volcano, War of the Worlds, Independence Day and, now, San Andreas. What is it? A separated couple — usually with divorce papers freshly drafted — sees one of the pair now involved with a wealthier, more glamorous partner, while the other tries to reconnect with their angsty teenage child/children. Disaster then strikes, the new partner proves to be a vacuous douche who satisfyingly bites it and a series of deadly trials and tribulations ultimately brings the original family unit back into line. Point is: if you’re currently estranged from your ex but desire reconciliation, get yourself over to a tectonic hot-zone ASAP, because as they say: ‘nothing rekindles the flame better than literally everyone else around you dying in a horrible painful disaster’. As far as disaster movies go, San Andreas doesn’t break the mould; it just settles for breaking everything else per the catastrophe movie social contract. Our hero, a rescue helicopter pilot named Ray Gaines (Dwayne Johnson, aka ’The Rock’), is called into work after a giant earthquake lays waste to both San Francisco and his plans for a bonding weekend with his daughter Blake (True Detective's Alexandra Daddario). For the record, yes, Ray’s estranged wife (Carla Gugino) is also moving in with her wealthy new boyfriend (Ioan Gruffudd), and divorce papers have been dispatched. Estranged Family Subplot checklist: complete. Despite being a rescue pilot for the State, Ray opts to rescue only those people who feature in his family photo, meaning the bulk of the film involves him driving, boating or flying past hundreds of thousands of dying people in the hope of finding his own daughter. Disaster movies, of course, are all about the special effects, and in San Andreas they are genuinely spectacular, with giant quakes rippling through entire cities like waves beneath sawdust. Skyscrapers topple, boulevards buckle and a tsunami stares down the Golden Gate Bridge like it’s some sort of Godzilla. In what marks a major departure for the genre, scientists are again the ones who predict it all (chief amongst them, Paul Giamatti), but this time there’s no 'this is mankind’s own fault’ lecture. It’s pure and simple Mother Nature vs People, and Mama’s well pissed. San Andreas is a film where big muscles and big chests (both male and female) dominate the screen, which in the 3D format is almost comical at times. Performances are rarely noteworthy in disaster movies, but in this case Game of Thrones’s Art Parkinson deserves a mention as the romantic interest’s younger brother Ollie. Beyond that, though, San Andreas’s star is the disaster itself, and, thankfully, an earthquake can’t mutter incomprehensibly corny lines like its victims so often do. ‘Big, Dumb and Fun’ should almost be its own genre by now, and San Andreas is nothing but.
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. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from May's haul of newbies. NEW SHOWS TO CHECK OUT WEEK BY WEEK OBI-WAN KENOBI More Ewan McGregor in anything is always a good thing, including in returning to a galaxy far, far away (and long ago). But before Disney+'s new Star Wars series Obi-Wan Kenobi gives the space opera franchise's fans that gift as part of the platform's third live-action spinoff from the blockbuster movie saga (following The Mandalorian and The Book of Boba Fett), it has another present to bestow. Across a few minutes in the show's "previously on" prelude prior to its opening episode, it recaps what viewers need to know about the Jedi and his time with Anakin Skywalker (Hayden Christensen, The Last Man) before now. That means that viewing the terrible prequel trilogy is no longer ever necessary, because the main point of the entire three films has been condensed down into this quick montage. Elated, you should be — and may the force be with the time you'll never waste rewatching them again. There's obviously more to Obi-Wan Kenobi than that. Set ten years after Star Wars: Episode III: Revenge of the Sith, it finds Obi-Wan (McGregor, Halston) living as Ben Kenobi on Tatooine, all to keep an eye on a young Luke (Grant Feely, Creepshow) from afar. But the Empire is after the former Jedi master, and all Jedis — with a particularly determined Inquisitor, Third Sister (Moses Ingram, Ambulance), especially vicious in her efforts to hunt him down. That's all as expected; however, the storyline involving the kidnapping of young Leia (Vivien Lyra Blair, Waco), who is growing up with the Organas (In the Heights' Jimmy Smits and 11%'s Simon Kessell) as her adoptive parents, is far more of a surprise. Also boasting everyone from Joel Edgerton (The Green Knight) and Kumail Nanjiani (Eternals) to Sung Kang (Fast and Furious 9) and Benny Safdie (Licorice Pizza) among its cast, this six-part limited series slots easily into the ongoing sci-fi franchise at its big-screen best — including both looking and feeling the part. Obi-Wan Kenobi streams via Disney+. THE STAIRCASE On December 9, 2021, novelist and aspiring politician Michael Peterson called the North Carolina police to report that his second wife Kathleen had fallen down the stairs. It was late, and he was distraught. She was unconscious but still breathing, he said, and he pleaded for medical help ASAP. While waiting for the ambulance, he rang back to say that Kathleen was no longer breathing. When the paramedics arrived, she was dead. But the scene they found was shockingly bloody, and questions about Michael's story were asked immediately. Protesting his innocence, and originally supported by all five of his biological, adopted and step children, he was arrested and charged with his wife's murder. And yes, if this all sounds familiar — and not just from news headlines two decades back — it's because it was originally chronicled by 2004 French-made true-crime documentary miniseries The Staircase. Now, HBO's eight-part dramatised version — also called The Staircase — is relaying the same story. Whether or not you already know the full tale, the result is still gripping, tensely shot and edited, and also masterfully acted. Colin Firth (Operation Mincemeat) plays Michael, albeit with a far-from-convincing American accent. Aussie actors abound, too, with Toni Collette (Nightmare Alley) as Kathleen, plus Olivia DeJonge (Better Watch Out) and Odessa Young (Shirley) as two of the family's daughters. With Juliette Binoche (How to Be a Good Wife), Michael Stuhlbarg (Call Me By Your Name), Parker Posey (Lost in Space), Sophie Turner (Game of Thrones), Dane Dehaan (Lisey's Story) and Patrick Schwarzenegger (Moxie) all also popping up — and Rosemarie DeWitt as well, playing Collette's sister again after United States of Tara — getting absorbed in this retelling comes quickly and swiftly. The Staircase streams via Binge. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW CONVERSATIONS WITH FRIENDS Peeking into intimate connections and making audiences feeling as though they've been lifted from their own lives, or from emotions they've navigated and weathered, is one of Sally Rooney's key skills as an author. It's true of both Conversations with Friends and Normal People in print, and it's a knack that the same creative team — Rooney as an executive producer, co-screenwriter Alice Birch (Lady Macbeth) and co-director Lenny Abrahamson (Room, Frank) — have brought to TV adaptations of both. In text and flickering across the screen, the two tales step into complicated romances that simmer with intensity. They confront class clashes and the difficulties that spring from them as well. And, they force contemplative women to confront what they want, who they are, how they'll grow as people and the others they might give their hearts to. In the instantly addictive Conversations with Friends, 21-year-old Frances (quietly magnetic newcomer Alison Oliver) is first poised as the other half in a couple that's not a couple, at least anymore; she went to school with and used to date the outspoken and outgoing Bobbi (Sasha Lane, American Honey), but now the two university students are best friends and spoken-word poetry partners. It's during one of their performances that successful writer Melissa (Jemima Kirke, Sex Education) spots the duo's act, compliments them afterwards and invites them over for a swim, then back to her well-appointed house for a drink. Enter Nick (Joe Alwyn, The Souvenir: Part II), Melissa's actor husband, who holds himself like he'd rather be anywhere but there but is too polite to upset the status quo. He's as reserved and introverted as Frances — and they catch each other's eyes, while Bobbi and Melissa gravitate towards each other. Conversations with Friends streams via Prime Video. Read our full review. PREHISTORIC PLANET Five episodes, one comforting voice, and a time-travelling trip back 66 million years: that's the setup behind Prehistoric Planet, an utterly remarkable feels-like-you're-there dive into natural history. Having none other than David Attenborough narrate the daily activities of dinosaurs seems like it should've happened already, of course; however, now that it finally is occurring, it's always both wonderful and stunning. Filled with astonishing footage on par with the visuals that usually accompany Attenborough's nature docos, all thanks to the special effects team behind The Jungle Book and The Lion King, it truly is a wonder to look at. It needs to be: if the Cretaceous-era dinosaurs rampaging across the screen didn't appear like they genuinely could be walking and stalking — and fighting, foraging for food, hunting, flying, swimming and running as well — the magic that typically comes with watching an Attenborough-narrated doco would instantly and disappointingly vanish. Welcome to... your new insight into Tyrannosaurus rex foreplay, your latest reminder that velociraptors really don't look like they do in the Jurassic Park and Jurassic World flicks, an entertaining time spent with al kinds of animals, and your next favourite dinosaur project with an Attenborough attached. Each of Prehistoric Planet's five instalments focuses on a different type of terrain — coasts, deserts, freshwater, ice and forests — and chats through the creatures that call it home. Set to a spirited original score by Hans Zimmer, fresh from winning his latest Oscar for Dune, there's a formula at work. That said, it's no more blatant than in any David Attenborough-hosted show. Viewers watch as some dinos look after their young, others try to find a mate, plenty search for something to eat and others attempt not to be eaten. The same kinds of activities are covered in each episode, but the locations and dinosaurs involved all change. Prehistoric Planet streams via Apple TV+. Read our full review. STRANGER THINGS Finally back for its fourth season after a three-year wait (yes, finally), Stranger Things ventures beyond its trusty small-town setting of Hawkins, Indiana, and in several directions. It keeps its nods and winks to flicks and shows gone by streaming steadily of course — but expanding is firmly on its mind. Once again overseen by series creators The Duffer Brothers, its latest batch of episodes is bigger and longer, with no instalment clocking in at less than an hour, one in the first drop running for a feature-length 98 minutes, and the final two not set to release until Friday, July 1. Its teenage stars are bigger and taller as well, ageing further and faster than their characters. The show has matured past riffing on early-80s action-adventure movies, too, such as The Goonies; now, it's onto slashers and other horror films, complete with new characters called Fred and Jason. And with that, Stranger Things also gets bloodier and eerier. That said, it's still the show that viewers have loved since 2016, when not even Netflix likely realised what it had unleashed — and no, that doesn't just include the demogorgon escaping from the Upside Down. But everything is growing, as Eleven (Millie Bobby Brown, Godzilla vs Kong), her boyfriend Mike (Finn Wolfhard, Ghostbusters: Afterlife), and their pals Will (Noah Schnapp, Waiting for Anya), Dustin (Gaten Matarazzo, The Angry Birds Movie 2), Max (Sadie Sink, Fear Street) and Lucas (Caleb McLaughlin, Concrete Cowboy) all visibly have. Eleven, Will, Jonathan (Charlie Heaton, The Souvenir Part II) and Joyce (Winona Ryder, The Plot Against America) have branched out to California, and Mike comes to visit. Back in Hawkins, Dustin, Lucas, Max, Steve (Joe Keery, Free Guy), Robin (Maya Hawke, Fear Street) and Nancy (Natalia Dyer, Things Seen & Heard) have a new evil to face. And, as for Hopper (David Harbour, Black Widow), he's stuck in a Russian gulag. The first seven episodes of Stranger Things season four are streaming via Netflix. Read our full review. EMERGENCY The 'one wild night' genre isn't solely comprised of films about high school or college parties — Martin Scorsese's ace After Hours isn't, for example — but it's still filled with them. Emergency is the latest, but it's also a movie with something to say beyond the usual life lessons about valuing your real friends and working out who you genuinely are when you're at that awkward time learning about what being an adult means. It also takes a huge cue from a fairy tale that everyone knows, and adapts it to reflect an inescapable part of America today. How does being a person of colour change your options during a supposedly carefree night of partying? How does it influence your choices when something unexpected happens to someone else and you want to help? And what would happen if Goldilocks and the Three Bears was about a drunk white high schooler who passes out inside a house shared by one Latino and two Black college seniors? These are Emergency's questions. The answers to the above queries come courtesy of filmmaker Carey Williams (R#J) and screenwriter KD Dávila (Salvation), who adapt their short film of the same name. Their focus: pals Sean (RJ Cyler, The Harder They Fall), Kunle (Donald Elise Watkins, The Underground Railroad) and Carlos (Sebastian Chacon, Penny Dreadful: City of Angels), on what's supposed to be a huge night hopping between seven different campus shindigs. Then, they find Emma (Maddie Nichols, The Outsider) passed out on their lounge room floor. The Princeton-bound Kunle wants to call 911, but Sean knows how it'll look to the authorities — even though they're trying to do the right thing, have never met the girl before and don't know how she ended up in their house. Savvier than it is funny, Emergency is an oh-so-topical satire first and foremost, and doesn't hold back for a second. Emergency streams via Prime Video. UNDONE Returning for its second season three years after its first — which was one of the best shows of 2019 — the gorgeously and thoughtfully trippy multiverse series Undone is fixated on one idea: that life's flaws can be fixed. It always has been from the moment its eight-episode initial season appeared with its vivid rotoscoped animation and entrancing leaps into surreal territory; however, in season two it doubles down. Hailing from BoJack Horseman duo Kate Purdy and Raphael Bob-Waksberg, it also remains unsurprisingly concerned with mental illness, and still sees its protagonist caught in an existential crisis. (The pair have a type, but Undone isn't BoJack Horseman 2.0). And, it deeply understands that it's spinning a "what if?" story, and also one about deep-seated unhappiness. Indeed, learning to cope with being stuck in an imperfect life, being unable to wish it away and accepting that fate beams brightly away at the heart of the show. During its debut outing, Undone introduced viewers to 28-year-old Alma Winograd-Diaz (Rosa Salazar, Alita: Battle Angel), who found everything she thought she knew pushed askew after a near-fatal car accident. Suddenly, she started experiencing time and her memories differently — including those of her father, Jacob Winograd (Bob Odenkirk, Better Call Saul), who died over 20 years earlier. In a vision, he tasked her with investigating his death, which became a quest to patch up the past to stop tragedy from striking. Undone didn't necessarily need a second season, but this repeat dive into Alma's story ponders what happens in a timeline where everything seems to glimmer with all that its protagonist has ever wanted, and yet sorrow still lingers. Once again, the end result is deeply rich and resonant, as intelligent and affecting as sci-fi and animation alike get, and dedicated to thinking and feeling big while confronting everyday truths. Undone streams via Prime Video. Read our full review. RETURNING FAVES DROPPING EAGERLY AWAITED NEW EPISODES WEEKLY BARRY Three seasons into the sitcom that bears his name, all that Barry Berkman (Bill Hader, Noelle) wants is to be an actor — and to also no longer kill people for a living. That's what he's yearned for across the bulk of this HBO gem, which has given Saturday Night Live alum Hader his best-ever role; however, segueing from being an assassin to treading the boards or standing in front of the camera is unsurprisingly complicated. One of the smartest elements of the always-fantastic Barry is how determined it is to weather all the chaos, darkness, rough edges and heart-wrenching consequences of its central figure's choices, though. That's true of his actions not only in the past, but in the show's present. Hader and series co-creator Alec Berg (Silicon Valley) know that viewers like Barry. You're meant to. But that doesn't mean ignoring that he's a hitman, or that his time murdering people — and his military career before that — has repercussions, including for those around him. One of the most layered and complex comedies currently airing, Barry's third season is as intricate, thorny, textured and hilarious as the first two. Indeed, it's ridiculously easy to see how cartoonish its premise would be in lesser hands, or how it might've leaned on a simple odd-couple setup given that Anthony Carrigan (Bill & Ted Face the Music) plays Chechen gangster Noho Hank with such delightful flair. But Barry keeps digging into what makes its namesake tick, why, and the ripples he causes. It does the same with his beloved acting teacher Gene Cousineau (Henry Winkler, The French Dispatch) as well. With visual precision on par with Breaking Bad and Better Call Saul, it's also as phenomenal at staging action scenes as it is at diving deep into its characters — and, as every smartly penned episode just keeps proving, it's downright stellar at that. Barry streams via Binge. HACKS In 2021, Hacks' first season quickly cemented itself as one of 2021's best new TV shows — one of two knockout newbies starring Jean Smart last year, thanks to Mare of Easttown as well — and it's just as ace the second time around. It's still searingly funny, nailing that often-elusive blend of insight, intelligence and hilarity. It retains its observational, wry tone, and remains devastatingly relatable even if you've never been a woman trying to make it in comedy. And it's happy to linger where it needs to to truly understand its characters, but never simply dwells in the same place as its last batch of episodes. Season two is literally about hitting the road, so covering fresh territory is baked into the story; however, Hacks' trio of key behind-the-scenes creatives — writer Jen Statsky (The Good Place), writer/director Lucia Aniello (Rough Night) and writer/director/co-star Paul W Downs (The Other Two) — aren't content to merely repeat themselves with a different backdrop. Those guiding hands started Hacks after helping to make Broad City a hit. Clearly, they all know a thing or two about moving on from the past. That's the decision both veteran comedian Deborah Vance (Smart) and her twentysomething writer-turned-assistant Ava Daniels (Hannah Einbinder, North Hollywood) had to make themselves in season one, with the show's second season now charting the fallout. So, Deborah has farewelled her residency and the dependable gags that kept pulling in crowds, opting to test out new and far-more-personal material on a cross-country tour instead. Ava has accepted her role by Deborah's side, and is willing to see it as a valid career move rather than an embarrassing stopgap. But that journey comes a few narrative bumps. Of course, Hacks has always been willing to see that actions have consequences, not only for an industry that repeatedly marginalises women, but for its imperfect leading ladies. Hacks streams via Stan. Read our full review. GIRLS5EVA When it first hit streaming in 2021 with an avalanche of quickfire jokes — as all Tina Fey-executive produced sitcoms do, such as 30 Rock, Unbreakable Kimmy Schmidt, Great News and Mr Mayor — Girls5eva introduced viewers to its eponymous band. One-hit wonders in the late 90s and early 00s, their fame had fizzled. Indeed, reclaiming their stardom wasn't even a blip on their radars — until, unexpectedly, it was. Dawn Solano (Sara Bareilles, Broadway's Waitress), Wickie Roy (Renée Elise Goldsberry, Hamilton), Summer Dutkowsky (Busy Philipps, I Feel Pretty) and Gloria McManus (Paula Pell, AP Bio) had left their days as America's answer to the Spice Girls behind, barely staying in contact since the group split and their fifth member, Ashley Gold (Ashley Park, Emily in Paris), later died in an infinity pool accident. But then rapper Lil Stinker (Jeremiah Craft, Bill & Ted Face the Music) sampled their single 'Famous 5eva', and they were asked to perform backing vocals during his Tonight Show gig. Jumping back into the spotlight reignited dreams that the surviving Girls5eva members thought they'd extinguished long ago — well, other than walking attention-magnet Wickie, who crashed and burned in her attempts to go solo, and was happy to fake it till she made it again. That's the tale the show charts again in its second season, which is back with more rapid-fire pop-culture references and digs; the same knowing, light but still sincere tone; and a new parade of delightful tunes composed by Jeff Richmond, Fey's husband and source of music across every sitcom she's produced. One of the joys of Girls5eva — one of many — is how gleefully absurd it skews, all while fleshing out its central quartet, their hopes and desires, and their experiences navigating an industry that treats them as commodities at best. The show's sophomore run finds much to satirise, of course, but also dives deeper and pushing Wickie, Dawn, Summer and Gloria to grow. Obviously, it's another gem. Girls5eva streams via Stan. Read our full review. RECENT AND CLASSIC FLICKS TO CATCH UP ON — OR REVISIT NO SUDDEN MOVE Any film by prolific director Steven Soderbergh (Unsane, Kimi) is a must-see event, even if it bypasses cinemas — as No Sudden Move sadly did. This crime thriller would've looked dazzling on a big screen, and for a plethora of reasons, but it's as excellent as ever even while watching on your TV. Soderbergh is no stranger to helming capers — he has Ocean's Eleven, Ocean's Twelve and Ocean's Thirteen on his jam-packed resume, plus both Out of Sight and Logan Lucky — and No Sudden Move is as energetic as the rest of his heist fare. Here, he also revels in period details, with this Ed Solomon (Bill & Ted Face the Music)-scripted tale unfurling in the 1950s. As he's known to do, Soderbergh both shot and edited the movie himself, too, and that exceptional craftsmanship is another of this playful neo-noir's many delights. Spinning an engaging story steeped in Detroit's crime scene, No Sudden Move has something to say as well. Don Cheadle (Space Jam: A New Legacy) in is career-best form as Curt Goynes, who gets out of prison, then gets enlisted for a job by a middleman known as Jones (Brendan Fraser, Trust). That gig? With two colleagues (The French Dispatch's Benicio Del Toro and Succession's Kieran Culkin), he's tasked with babysitting the Wertz family (Archenemy's Amy Seimetz, A Quiet Place Part II's Noah Jupe and debutant Lucy Holt), all so the Wertz patriarch (David Harbour, Stranger Things) can steal a document from his work. There's no shortage of plot — No Sudden Move keeps twisting from there — but capitalism's worst consequences also bubble prominently underneath. Soderbergh and Solomon savvily tease out the details, though, keeping their audience guessing as much as their characters. No Sudden Move is available to stream via Netflix and Binge. EVERY JAMES BOND MOVIE Break out the martinis and prepare for a shaken but not stirred couch session: Bond, James Bond, is coming to your lounge room. Just in time for wintry binge-viewing marathons, the famed espionage franchise has hit Prime Video, spanning every flick in the series from the now 60-year-old Dr No through to 2021's No Time to Die. Sean Connery smouldering his way through everything from that first-ever Bond instalment through to Diamonds Are Forever, Roger Moore stepping into 007's shoes between Live and Let Die and A View to A Kill, Timothy Dalton's two-film run in The Living Daylights and Licence To Kill — they're all included. So is Pierce Brosnan's stint as the secret agent between GoldenEye and Die Another Day, and Daniel Craig's five contributions from Casino Royale onwards, wrapping up with what might be the best Bond film yet. Aussie actor George Lazenby's one-movie appearance as Bond in On Her Majesty's Secret Service is also on the bill. That's all 25 official movies in total covered, but there is also a 26th movie, Never Say Never Again, that you might want to watch. Made in 1983, it stars Connery as the suave spy. But, because it was made by a different company from the rest of the Bond movies, it's not considered part of the franchise itself — however, it is also on Prime Video now. Exceptional Bond flicks, terrible ones, everything in-between: if 007 is involved, it's now in this one spot. For everything other than No Time to Die, this isn't the first time the franchise has all sat on one streaming platform, and we've all seen various flicks hop between different services over the years. That said, the Bond movies aren't likely to move from Prime Video moving forward given that Amazon recently purchased MGM, the nearly century-old film studio that's behind all things 007. The entire Bond franchise streams via Prime Video. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October, November and December 2021, and January, February, March and April 2022 — and our top new TV shows of 2021, best new television series from last year that you might've missed, top 2021 straight-to-streaming films and specials and must-stream 2022 shows so far as well.
We've passed the winter solstice and the temptation to hibernate is growing ever stronger — so, you probably need a little something extra to tempt you off the couch. Handily, online reservation platform The Fork has a winning idea up its sleeve: it's offering a huge six weeks of dining specials nationwide. Kicking off on Monday, July 1, The Fork Festival will see over 250 top restaurants across the country offering sit-down meals for half the usual price. Yep, 50 percent off your total food bill, folks — think of it as the proverbial carrot luring you out of the house. To snag a half-price meal, you just need to make a reservation through The Fork website or app at one of the participating eateries for any service (breakfast, lunch or dinner) during the six weeks. [caption id="attachment_574140" align="alignnone" width="1280"] Comuna Cantina[/caption] There are some great venues coming to the party, too. In Sydney, you'll find discounted eats at the likes of Pilu at Freshwater, Queen Chow Manly, Potts Point wine bar Monopole, Din Tai Fung (Chatswood, Central Park, Miranda), waterside spot Berowra Waters Inn, Fratelli Fresh (Alexandria and Crows Nest) and Surry Hills' Caffe Bartolo. Melbourne spots include Prahran's Casa NOM, Burma Lane in the CBD, South Yarra's Abacus and Pretty Boy Italian Steakhouse. Brisbane folk can score discounts at the likes of Comuna Cantina, River Quay Fish and The French Bistrot, and Perth diners should put Angove Kitchen & Espresso Bar, Prince Lane and Street Eats Eatery on their radar. You might want to revisit an old favourite or you could get a little adventurous and road-test somewhere new. Either way, there's ample time to squeeze in a fair few discount feasts before the festival wraps up on August 11. The Fork Festival runs from July 1–August 11. The full list of participating restaurants will be released on the website on June 30. Top image: Caffe Bartolo by Kitti Gould; Casa Nom by Griffin Simm.
What if a trio of old guys robbed a bank? That'd be funny, wouldn't it? That seems to be the only line of thinking behind Going in Style, which remakes a 1979 flick of the same name and brings together a thoroughly likeable cast of elderly actors, but doesn't rise above "aren't geriatrics hilarious?"-style humour. Attempting to bulk up its premise with a hefty tug at the heartstrings and a weak statement about ruthless financial institutions proves about as effective as chewing steak with dentures. Sure, you can give it a shot, but everyone knows that it's not going to work. Michael Caine, Morgan Freeman and Alan Arkin play old friends Joe, Willie and Albert, who toiled away for decades together at a Brooklyn steel works, only to find themselves stripped of their pensions after a corporate takeover by an overseas company. But after Joe witnesses a slick holdup at his uncaring bank — an establishment that tricked him into a loan with a nasty interest rate, is now threatening to take his house away, and happens to be handling the pension debacle — the three hatch a plan to reclaim their entitlements via a caper of their own. Given the talent the film puts on screen, Going in Style probably could've worked quite well without throwing in the sob stories. Alas, the script by Hidden Figures writer-director Theodore Melfi is determined to justify the characters' newfound criminal urges in the most blatantly sappy and cliched ways that it can. Accordingly, Joe has to save the home where his daughter and granddaughter also live, while Willie is in dire need of a new kidney. Former musician Albert takes longer to warm to the stickup idea, probably because he isn't blighted with his own sad tale; instead, he's more preoccupied with his new romance with a grocery store clerk (Ann-Margaret). The fact is, Caine, Freeman and Arkin are all much, much better than the material they're saddled with. If there's any fun to be had here, it's in watching the three Oscar winners sit in a diner bickering and bantering. Any time they're tasked with supposedly comic hijinks, you're left wishing they were all in a better film; a horribly executed sequence in which they attempt to shoplift from a local supermarket as a practice run for their big heist is a prime example. Still, they fare much better than their poor co-star Christopher Lloyd, whose hammy performance might make you exclaim "great Scott!" in horror. Although he's helmed two movies already, in Garden State and Wish I Was Here, Actor-turned-director Zach Braff is still best known for starring in the small screen hospital comedy Scrubs. Perhaps it's not a coincidence, then, that his latest effort feels more like a bland, formulaic sitcom pilot than it does a feature film. https://www.youtube.com/watch?v=s6Qq3pIWMHk
The year that Adam Elliot's Mary and Max reached cinemas, Sarah Snook earned her first on-screen credit in an episode of All Saints. A decade and a half later, the Oscar-winning Australian animator and the Succession star have joined forces on Memoir of a Snail. Elliott finally has a new stop-motion feature sliding into picture palaces, with Snook lending her voice to the lonely Grace Pudel, the coming-of-age tale's protagonist with a story to spin. Fresh from locking in its Australian premiere as the opening-night flick at the 2024 Melbourne International Film Festival, Memoir of a Snail has just dropped its first trailer to give audiences a glimpse at what's in store. Get ready for Elliot's distinctive animation style — because no one makes clay in shades of brown, black and grey look as expressive as the Melbourne talent — bringing Grace's existence to life. Get ready for snails almost everywhere, too, including as clocks, music boxes, hats and ornaments. "Dad used to say that childhood was like being drunk: everyone remembers what you did except you," explains Snook as Grace to begin this debut peek at Elliot's long-awaited sophomore feature. "But I remember everything," she continues. As Grace talks through the details, snails don't merely feature heavily, clearly giving the picture a metaphor for its lead character — in the movie, the book-loving, shy and anxious Grace is also relaying her experiences to a snail called Sylvia. As it charts a trail of loss, angst, friendship and learning to embrace life, that Memoir of a Snail is bowing on home soil at MIFF couldn't be more fitting. It's "about Melbourne, made by Melburnians and voiced by Melburnians," said Elliott when the festival revealed the flick as its launch pick. To make that connection clear even just in this initial teaser, the trailer includes St Kilda's Luna Park. Joining Snook in the voice cast is a who's who of Australian talent, such as Kodi Smit-McPhee (Elvis), Eric Bana (Force of Nature: The Dry 2), Tony Armstrong (Tony Armstrong's Extra-Ordinary Things), Nick Cave (The Electrical Life of Louis Wain), Jacki Weaver (Hello Tomorrow!) and Magda Szubanski (After the Trial) — and also French actor Dominique Pinon (The Walking Dead: Daryl Dixon). After playing MIFF, Memoir of a Snail will hit Australian cinemas in general release on Thursday, October 17, 2024, with this year not only marking 15 years since Mary and Max, but 20 years since Elliot won the Academy Award for Best Animated Short Film for Harvie Krumpet. Check out the trailer for Memoir of a Snail below: Memoir of a Snail releases in Australian cinemas on Thursday, October 17, 2024.
Melbourne's famed floating bar has returned to the Yarra a lot earlier this year — instead of launching just before the start of summer, it has opened its doors today, Thursday, September 27 — just in time for the long weekend. And this time, it's bigger and better than ever before. Arbory Afloat, which made its debut in 2015, has reclaimed its prime position in front of on-shore sister venue Arbory Bar & Eatery on the Yarra. But this year it has gained a considerable extra 19 metres in length — that's on top of the 50 metres and 407-person capacity it had last year. The temporary bar and restaurant has again been designed by Lucienne Hemmingway of Curious by Design, and is inspired by train trips through the Cinque Terre, where the beaches and cliffs are surrounded by citrus and fig trees. And real citrus and fig trees you will find on the floating bar, nestled amongst lush garden beds, white furnishings and pops of green and orange. Chef Nick Bennett has again designed the menu, too, which is also inspired by the seaside villages on the Italian Riviera. A woodfired pizza oven, taking pride of place in the open kitchen, will be pumping out Neapolitan-style pizzas, including the Suina topped with buffalo mozzarella, porchetta and crackling, and the Lele with cime di rapa, prawns and chilli. You'll also find lots of seafood, pasta, light salads and sandwiches stuffed with cured meats and cheeses on the menu. Would it be a visit to seaside Italy without spritzes? We think not. And luckily, there'll be plenty. Blood orange and Aperol spritzes will be on tap, sitting pretty on the drinks menu alongside less-Italian cocktails such as piña coladas and watermelon sangria. Those wanting something simpler can choose from one of eight different G&Ts. Find Arbory Afloat at Flinders Landing. It's open from 11am–1am daily. Images: Simon Shiff
In Stay of the Week, we explore some of the world's best and most unique accommodations — giving you a little inspiration for your next trip. In this instalment, we go to The Lindis in Canterbury, New Zealand, where you'll find small but mighty luxe pod accommodations overlooking the Ahuriri Valley's dramatic landscape. If you're itching to get away and ready to book an Aotearoa holiday now, head to Concrete Playground Trips to find a fabulous line-up of deals on roadtrips around New Zealand — including car rental, accommodation and breakfast. WHAT'S SO SPECIAL? These nature pods are inspired by the tiny homes you've seen popping up all over Australia and New Zealand — but so much more luxurious. The design of the rooms, the epic views and the access to the nearby lodge all make for a spectacular stay. THE ROOMS What the Lindis pods lack in size (they're about 18 square metres), they more than make up for with amenities. Each totally private room boasts a king-size bed with lush linens, ensuite with premium toiletries and private bathtub, an outdoor sitting area and, crucially, heating for when the outside temperature drops. But one of the best features comes in the form of the pod's structure itself. Three of the sides are covered in double-glazed mirrored glass than spans from floor to ceiling — perfect, in other words, for sitting in bed and marvelling at the incredible valley views before you. The Lindis pods are also entirely separate from everything else on the property, but you are within a short walk of the property's main lodge. Head here for the property's main dining room, a bar, lounge areas, a games room and a billiards room. FOOD AND DRINK One thing to note up front: at The Lindis, daily breakfast, lunch, pre-dinner drinks and canapes, multi-course dinner and the minibar is all included in the price of your stay. Because a truly relaxing getaway should involve needing to make as few decisions as possible. On the menu, you'll find produce that's either locally sourced or harvested from the property's on-site garden, from wild venison to porcini mushrooms and even locally caught seafood. The ever-evolving menu can also be paired with a nightly rotating selection of New Zealand and international wines. THE LOCAL AREA The Lindis is located in the Ahuriri Valley on New Zealand's South Island. Up here you'll spend your time among rugged mountain ranges, wetlands bursting with wildlife, tussock grasslands and vast beech forests. If you're looking for peace, quiet and reconnecting with nature, you're in the right place. THE EXTRAS Sure, you could take in the rugged terrain from your bed or outdoor terrace, but The Lindis also offers plenty ways that allow you to experience the land from up close. Take yourself on a hike or e-bike ride through the valley, or saddle up for a horseback tour for a truly unforgettable experience. Want to see it from above? The Lindis also offers helicopter flights so you can truly feel on top of the world. If you're after something more leisurely, book a picnic or barbecue package. And, when the sun goes down, join the team for a spot of spectacular stargazing. Head to The Lindis website to book a stay at one of its luxurious pods. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world.
The force is strong with this one — the Lego-building force, that is, with the largest collection of life-sized Lego Star Wars models ever assembled, as well as the biggest touring Lego exhibition, hitting Australia in 2025 (and world-premiering Down Under). Melbourne has locked in the first-ever Lego Star Wars: The Exhibition season. And yes, of course it'll open on Sunday, May 4. Melbourne Museum will be filled with more than eight-million bricks, all making models based on the George Lucas-created space saga. What music goes best with turning all that Lego into a Star Wars fan's dream? 'Luke's Theme', aka the franchise's main tune? 'The Imperial March' when things get tricky? 'Parade of the Ewoks', just because? That's a question for Ryan McNaught aka Brickman, who has indeed been spending time turning plastic rectangles, squares and other shapes into a recreation of a galaxy far, far away. The exhibition is set to take 25,000-plus hours of building, which is occurring at McNaught's headquarters in Tullamarine. Here's a question for attendees, too: which tunes will pair well with walking through this Lego Star Wars wonderland? The full list of models that'll feature hasn't been unveiled so far, but one will be life-sized — and that'll be a Lego Star Wars first. A huge 64,759 bricks are being used to craft the three-metre-high X-wing Red-5, taking 382 build hours. Attendees can also expect to see battle scenes between Luke Skywalker and Darth Vader, plus Qui-Gon Jinn and Darth Maul duelling, and also Emperor Palpatine's throne flanked by two Royal Guards. If you're keen to check it out, you'll need to be in the Victorian capital to wander through Lego Star Wars: The Exhibition. As well as the hosting the world-premiere season, which will run until Monday, January 26, 2026, the stint at Melbourne Museum is an Australian exclusive. While you're there, you won't just be looking at all things Star Wars in Lego — you'll be able to get building yourself. Images: Museums Victoria.
Featuring a wide range of international brands and its own contemporary creations, it's no surprise that independent jewellery label Jolie & Deen found success on Chapel Street. Founded by Melbourne sisters Karuna and Kishori in 2010, Jolie & Deen is all about feminine pieces that are simple and elegant with a hint of quirkiness. The duo draw much of their inspiration from trips around the globe, as their designs respond to and evolve alongside the latest trends. Plus, if you consider all of the rings, necklaces, earrings, hair clips and bracelets are made from high-quality sterling silver and gold plating, the collection has quite an affordable price tag, too. Images: Parker Blain.
There are many ways to spend Halloween, from dressing up and eating too many lollies to partying and hitting up spooky events. But watching John Carpenter's Halloween on October 31 remains one of the greatest ways to spend the occasion for one simple reason: 43 years on, it's still an absolute masterpiece, as well as one of the best horror movies ever made. This year, you can also pair Jamie Lee Curtis-starring 70s classic with the latest entry in the franchise that it's spawned over the past four-plus decades. Obviously, you can match up the OG Halloween with any of the flicks in the saga each and every year — but in 2021, Halloween Kills is finally hitting cinemas. Since that first movie back in 1978, the Halloween series has been through quite a few ups and downs. Clocking up ten follow-ups and 11 movies in total until now, the slasher franchise has delivered excellent and terrible sequels, veered into remake territory, both killed off and brought back its heroine, and completely erased parts of its own past several times. And, like its mask-wearing villain Michael Myers, it always finds a way to go on. Since 2018's Halloween, that's been especially great news, with the Jason Blum-produced 11th flick in the franchise proving a smart, thrilling horror delight, and ranking second only to the movie that started it all. Indeed, the film was such a success that two more sequels are headed our way from the same team (aka Blum, writer/director David Gordon Green and co-scribe Danny McBride): Halloween Kills and Halloween Ends. Originally, Halloween Kills was due to hit screens last year, in October — when else? — but, as announced in 2020 by franchise creator John Carpenter, it moved back its release to October this year. That's now fast approaching, with fans soon able to make a return trip to Haddonfield. Yes, that means that Curtis' spirited Laurie Strode will have another altercation with her lifelong nemesis, too — because, when it's at its best, that's what this franchise is all about. Picking up where its immediate predecessor left off, Halloween Kills will also take a few cues from another movie in the series, as its initial trailer and just-dropped latest sneak peek shows. Not one but two teasers last year set the scene for the saga's 12th entry, but the latest clips dive deep into the storyline. Following the events of the most recent film, Laurie ends up in hospital with life-threatening injuries just as Michael starts stalking through Haddonfield again — which is the same storyline that Halloween II followed exactly 40 years ago. Thankfully, if the last flick is any guide, Halloween Kills shouldn't prove a needless remake. Green and McBride did a stellar job of nodding to the past while finding a new way forward with 2018's Halloween, after all — and leaving horror fans definitely wanting more. This time, too, Laurie and her daughter Karen (Judy Greer, Valley Girl) and granddaughter Allyson (Andi Matichak, Son) team up with other survivors of Michael's rampages and decide to hunt down their attacker. Check out the latest Halloween Kills trailer below: Halloween Kills will release in Australian cinemas on October 28, 2021. Top image: Ryan Green/Universal Pictures.
We've only just put another frosty winter to bed, but already Melbourne's thoughts are on those sweet summertime vibes to come, helped along by the launch of new rooftop drinking destination, Top Yard. Taking over the sky-high level above Geddes Lane nightclub Inflation, the bar and club is the brainchild of local chef Adam Inglis, who has set out to create a space for after-work drinks and laidback weekend visits alike. Open for good times from Thursday through Sunday each week, Top Yard boasts impressive 360-degree views across the city, to be enjoyed alongside an offering of cocktails, burgers and DJ-fuelled dance floor sessions. It's a playful, Astroturfed space that riffs on the classic Aussie backyard, decked out with vibrant umbrellas, festoon lights and a lively colour palette that pays homage to acclaimed local artist Howard Arkley. Sticking to the Australiana theme, the cocktail list comes courtesy of Will Cabantong (Bond, Baroq House), loaded with recognisable flavours in Nan-worthy iterations, like The Lamington and Iced Vovo. Those wishing to relive their early 20s can also buy a Passion Pop Punch. If not, you'll find a an approachable wine program, focused on solid local drops that won't break the bank. To match, there's a banging burger offering, run by a couple of ex-Tuck Shop Take Away chefs. You'll find cheekily named creations like the Mia Wallace, loaded with Swiss cheese and truffle mayo, the Beatrix Kiddo, and the Not Cho' Cheese — rocking two beef patties, bacon, chipotle mayo and Doritos. As for the entertainment, expect a high-energy music program by Melbourne DJ Tom Evans, with a calendar of day parties and Sunday sessions set to launch once the mercury heats up. Find Top Yard at Geddes Lane, Melbourne.
For more than two decades now, the sound of much in the science-fiction, fantasy and horror genres on-screen — small and big alike, and across not only TV and movies but also video games — has hailed from Bear McCreary. The show that kickstarted his career: Battlestar Galactica. In his mid-twenties, McCreary began living his score-composing dream when assisting on the 2004 miniseries led to a job on the 2004–09 TV series that followed. Next came Terminator: The Sarah Connor Chronicles, another entry on a resume that's now filled with bringing his own sonic spin to well-known realms again and again. With Agents of S.H.I.E.L.D., McCreary stepped into Marvel's orbit, for instance. Before it was a television sensation, The Walking Dead came from graphic novels. Outlander stems from the books of the same name. Everything from the Snowpiercer TV series and Isaac Asimov adaptation Foundation through to prequel series The Lord of The Rings: The Rings of Power, streaming's Percy Jackson and the Olympians and Halo as a television show — plus movies Godzilla: King of the Monsters, Child's Play, and both 10 Cloverfield Lane and The Cloverfield Paradox — also fit. "I did the show for The Omen," McCreary notes to Concrete Playground, mentioning more. "I did a game in the Star Wars universe." "That's quite a list," he continues. "It's funny, now that you put it all together, it's like 'wow, maybe more often than I haven't, I've been'," McCreary says of his long lineup of projects based on recognisable titles so far. "But that really is a commentary on our industry today, which involves so much recycling of older IP." [caption id="attachment_1013960" align="alignnone" width="1920"] Timothy Norris/Getty Images for The Recording Academy[/caption] For God of War and God of War Ragnarök, McCreary has two BAFTA Games Awards. His three Grammy nominations in three successive years — 2023–25 — come from Call Of Duty: Vanguard, God of War Ragnarök again and the latter's DLC pack God of War Ragnarök: Valhalla. The Emmys have recognised his work on Human Target, Black Sails and Outlander with nominations, and on Da Vinci's Demons with a win for Outstanding Original Main Title Theme Music. McCreary has also scored five films in a row for director Christopher Landon: Happy Death Day and its sequel Happy Death Day 2U, Freaky, We Have a Ghost and 2025's Drop. He's been reading scripts for the upcoming third season of The Rings of Power when we chat, and his efforts are now echoing from the third season of Foundation, too. But 2025 has also been about a first for him; although he's far from new to performing his music in concert, he's been embarking upon his first proper tour. After dates in Europe and North America across April and May, McCreary is playing four Australian dates between Wednesday, July 23–Monday, July 28: at The Forum in Melbourne, Sydney's Enmore Theatre, Eatons Hill Hotel in Brisbane and Perth's Astor Theatre. [caption id="attachment_1013953" align="alignnone" width="1920"] Ted Sun[/caption] When you primarily compose for the screen, what does it mean to be able to play your music live to an audience in concert? "There's a fundamental thing about making music that I love and crave. And when you write music for the screen, you get it in a weird way — and that is that audience feedback," McCreary advises. "You get it over time. You get it online, interacting with people out in the world that may figure out who you are — but for the most part, you don't experience your music with other people. You just sort of trust that it's out in the universe and people like it or they don't; they're having an experience." "So I wanted that visceral, immediate sense of community and interaction. And playing music live for an audience, it happens immediately. You can feel it. There's an electricity in the air. And I was craving that. I had performed a lot, maybe 15 years ago, when I had done Battlestar Galactica — I performed that music live with increasing frequency. And I sort of stepped away from that in order to solidify my career in film, television and video games. But it was time to get back to it. It was time to get back to my roots," he says. Australian audiences aren't just being treated to music from many of the above titles live when McCreary takes to the stage, however. In 2024, he also released The Singularity, his star-studded debut rock album. How did his big break on Battlestar Galactica help lead him to here — and before that, how did being self-described lifelong "soundtrack-collecting nerd" and "sci-fi/fantasy/horror nerd", too, as well as the type of kid who recorded the soundtrack to Back to the Future in the cinema as a six year old, set him on this path? We also spoke with McCreary about that, finding inspiration for his projects, the intimate relationship that audiences have with music for the screen, evolving the sound of a series, repeat collaborations, a future stage musical and much, much more. On Battlestar Galactica Becoming McCreary's Big Break "I really have to go back to when I was five. I was obsessed with film music, even when I was five or six years old. I started collecting soundtracks. I started trying to write my own music when I was like seven or eight. And by the time I was 13, I was writing music all day, every day — and bringing in everybody around me that I could. My friends in high school, I would force them to be in bands and come over to record. When I got to college, I started doing student films with increasingly large student orchestras. Anybody that I met that could make a movie or play an instrument, I tried to work with them. So by the time I was an assistant on Battlestar Galactica at the age of 21, 22, I'd put in my 10,000 hours a couple times. So as I recall, I had the opportunity to score one episode of the show while they were looking for a real composer — because no television series of that scale would hire an unproven 23-year-old child. Whether or not I'd worked on the miniseries, I mean, it just didn't matter, they were looking for somebody else. And I did the first episode of the show — I did work with Richard Gibbs [The Simpsons, 10 Things I Hate About You] on the miniseries and learned a lot during that experience, and contributed some to the sound of Battlestar Galactica. And then I had the chance to do one episode, and I guess the rest is history. I remember at the end of that episode, the producer sat me down and said 'well, why don't you come in tomorrow? Let's take a look at the next episode'. And there it was." On Why McCreary Was Drawn to Film Scores as a Child "When I was a baby, my mum would take me to movies. She took me to movies that you shouldn't take a baby to go see — dramas like The Natural and Gandhi. I saw The Empire Strikes Back when I was two. I was so small that I think I wasn't tall enough to see over the seat. My mum would set her purse down, because the flip seat would otherwise smash me. So I do think that for some of these movies, I sat there staring at the back of a chair, listening to the movie. And when I was six, a film called Back to the Future came out. And that one really caught my ears. And I asked my mom to take me a second night. So we went back the next night after I saw Back to the Future. This time, I snuck in a cassette recorder — my little Fisher-Price cassette recorder — and I held it up over my head and I recorded the movie so that I could hear the music, and fast forward past all that annoying dialogue and sound effects. So even at age six, I was trying to filter out the other sounds in a film so I could hear what was going on in the music. Why that is, I don't know. But you can easily imagine how you take a kid that's wired that way, and I'm definitely on path to become a soundtrack-collecting nerd, which I still am — if you combine that with the piano playing that I started learning at that time, it was almost like 'ohh, it's chocolate and peanut butter, let's put those together. I can use those skills to explore this passion'. So it really was something I knew that I wanted to do from a very young age." On Where McCreary's Inspiration Comes From, Especially When Working on Projects with Such Pivotal Source Material "I definitely feel very fortunate that I can take on projects that inspire me. And every once in a while somebody will call me about a project, and I will confess to them that I think their story is really solid and their vision is really clear, and I'm just not excited by what they want and that they deserve to have someone who's passionate about the kind of story they want to tell. That happens pretty rarely, because I started my career with Battlestar Galactica. And then I went to Terminator: The Sarah Connor Chronicles, and then The Walking Dead and Outlander and Marvel's Agents of S.H.I.E.L.D. And I've worked with Godzilla and Star Wars and Lord of the Rings and God of War. I grew up a sci-fi/fantasy/horror nerd, so I very much planted my career in the orchard I wanted to grow in. So I'm very fortunate to be inspired by the material that I'm offered, but also I am inspired by going back to the music that I loved as a kid. I think there's some scientific truth that the ages 12 to 16 are where our brains form, and we form a bond with media at that age that is lifelong. And I do find myself returning to that material and even applying it to modern material. When I scored The Lord of the Rings: The Rings of Power, I was inspired by Howard Shore's music for the films to a degree, but I was 21 when those came out. I was more inspired by James Horner [Titanic, Avatar], John Williams [Star Wars, Indiana Jones, Jurassic Park], Basil Poledouris [Conan the Barbarian, Starship Troopers], Jerry Goldsmith [Planet of the Apes, Star Trek], Ennio Morricone [The Good, the Bad and the Ugly, Once Upon a Time in the West]. I think if you put my scores for Rings of Power up against those older scores from the 80s and 90s, there's a more obvious connection there. That's where my heart lies. So I want music to make you feel the way the music from my childhood made me feel." [caption id="attachment_794091" align="alignnone" width="1920"] Jackson Lee Davis/AMC[/caption] On Thinking — or Not — About the Intimate Relationship That Audiences Have with Music for the Screen "I try not to think about that, because it adds undue pressure. Ultimately, my job is I need to write that scene and make it work, and if I start thinking about writing something that transcends that, it just adds undue pressure. When I wrote The Walking Dead main title, if I had been thinking 'well, this needs to last 15 years — or more, the rest of your life. This little idea, is it good enough? Is it good enough to last forever?', I would freak myself out, right. 'No, it's not. It can't be that good.' No, I just needed to tell this 30-second story for The Walking Dead main title. And that 30 seconds arguably is the most-successful 30 seconds I've written in my entire career. So I try not to think about those things, but I am grateful for those transformative relationships, because I have those. So many of my favourite scores are for films that I have not seen as many times as I've listened to the scores. Or the scores transcend even the movies. The movies not might even be that good, but the scores become invaluable to me. And I try to have space in my heart for being grateful for that. If that happens, if I can write this scene, do my job, but also be open to the fact that maybe some six-year-old kid will hear that and want to record it and listen to it again — if I could be part of somebody else's journey the way that Alan Silvestri [Back to the Future, Predator] or Elmer Bernstein [The Magnificent Seven, Ghostbusters] inspired me — that's a pretty magical thing. And I try to be grateful for the possibility without applying pressure to myself that I have to do that." On the Sense of Responsibility That Comes with Working on Projects with Inbuilt Fanbases Attached Because They've Existed in Some Form Before "That definitely comes with, I don't want to say pressure, but a thing to be mindful of. And I always try to look at something through the lens of a fan and deliver what is most effective for the most-passionate fans, and yet will not be distracting or kitschy for someone who does not know that material. I think I was very successful in that in particular with Battlestar Galactica and Godzilla: King of the Monsters. Both had big, brassy fanfares that were — in one, the Godzilla march was written in the 50s by Akira Ifukube; Battlestar Galactica was written in the 70s by Stu Phillips, obviously as a response to Star Wars. And nothing could have been further from the trend in scoring when I did Battlestar or Godzilla than big brassy marches. But in both cases, I struggled and found ways to very earnestly and lovingly take that music and bring it into something that sounds very modern — that doesn't sound like a cameo or an homage, it just sounds like the score. And if you know, you know. And that's what, I guess, I pride myself on that. I try to be very respectful of the older material, and maybe part of it is karmic — eventually people will be doing new versions of all these things, right? I'm a steward of this material for a while, and I hope at some point in the future, when somebody does a remake or continuation of something I worked on, that I'll be afforded the same consideration." On the Thrill of Being Able to Add Your Voice to a Genre or Title That You've Always Loved, Like Fantasy and Lord of the Rings "It's pretty incredible. It's almost unlike anything else. Just earlier today, I was reading scripts from the new season. And I've had the same experience every time I read the scripts: 'I get to do that? I get to do that! Wait, I get to do that!'. I'm giddy. It's like a joyous experience. It fills me with joy. I've never really felt pressure, except in the second season, I think, when I wrote a song called 'Old Tom Bombadil' — I did feel the weight there. Tom Bombadil [played by Rory Kinnear, Toxic Town] appears in the show. He's a beloved character who goes very deep in the lore. If you loved these movies and you don't know who we're talking about, that's how deep it goes. He was not in the Peter Jackson films. Probably the most-glaring omission from those films. So for him to be in our show is a big deal — and he sings. When you read the book, like half his dialogue is in verse. And I realised that aside from writing a song for a television show, I was potentially codifying, in an official adaptation of Tolkien's material, a melody for Tom Bombadil that people would hear in their heads when they read Fellowship of the Ring. That is the first time that I've really felt that weight — of working outside the medium. I'm not even thinking about the show. He appears very briefly in the show. It's not really that big a deal. But the idea that if this melody is good, it might resonate with people the next time they read Fellowship of the Ring — and at that time I was writing it, I was reading it to my daughter. And so before the show even came out, I got to give it a test run. When we got to the Tom Bombadil pages and I caught myself going 'ohh, he started to sing. Should I? Should I try it? Should I try my melody? Here it goes'. And I just rolled those lyrics right off the tip of my tongue, using that melody, and it worked. And I was pretty happy. I was pretty happy with that." On Bringing a Sense of Weight, Urgency and Epicness to a Score, Such as Foundation "I am still looking to the masters that I grew up listening to. And in the case of Elmer Bernstein, I came of age with him as a mentor. I knew him personally. I think it's fascinating your question — because how does the Foundation main titles start? Sparkling flutes and clarinets. Cellist. Glockenspiel. This very light, delicate, sparkling cloud of particles. It's not heavy at all. And you get acclimated to that texture — and then halfway through, when the bottom drops and suddenly 'boom', now we're getting epic. It feels more epic, because I actually reacclimate your sense of frequencies. I sort of took those frequencies away for a while. So it's through that kind of contrast that I think you can achieve real dynamics and emotional impact. And with Foundation, that's the name of the game. We're telling a story that takes place over like a millennium, and asking the audience to keep track of characters spanning centuries. So I'm really trying to tread lightly where I can, so that I can come back in with devastating impact." On Evolving the Sound of a Series Across Multiple Episodes and Seasons "I have found I have to be very open-minded. Not evolving the sound is much harder for me than evolving it. Granted, I've never done like a Law & Order show that goes on for my entire life and is very similar every week, so I'm already taking on shows where the characters change a lot. And look, my first show was Battlestar Galactica, and I learned this real fast — I had a theme for Starbuck [Katee Sackhoff, Fight or Flight] and I really wasn't looking ahead. So she escapes from the planet in episode 104, big triumphant moment, and I've got this theme that I kind of decided 'oh, that's her theme'. And then in the eighth episode, she starts torturing this guy, Leoben [Callum Keith Rennie, Star Trek: Discovery]. And suddenly I'm realising the range that our show has, and we are creating complex characters. Just four episodes later, after her triumphant fanfare, I wanted to use that same theme but tell a very different story — and I had to really work because I hadn't prepared for that. I really wasn't looking ahead. So having learned from that, I am often looking ahead now. Knowing what's coming really helps, but also just being flexible. You don't always know what's coming. Certainly when I started the first episode of Walking Dead, no one would have been talking about season ten. No one would have been thinking 'in a dozen years'. We were just thinking 'we've got six episodes here, how can we we stretch this formula for six episodes? Here we go'. And I ended up doing 100, I don't even know — I've lost count. Many, more than 100." On Returning Collaborations with the Same Filmmaker, Such as Christopher Landon's Movies From Happy Death Day to Drop "I adore Chris Landon. I love that relationship. And so many of my favourite composers had these long-term relationships. And I've studied their scores. I think subconsciously, we all have. Spielberg-Williams. And George Lucas and John Williams. Hisaishi and Miyazaki on all the Studio Ghibli movies. Danny Elfman and Tim Burton. Fellini and Rota. There are so many more. And we start understanding that this director's style, this director's voice, is aided by this composer's sound. And with Chris, he is the feature film director with whom I have worked the most. We've currently done five films together in the span of not ten years. So I cherish that relationship. And I'm always trying to keep up with Chris. He is such a visionary. He's always combining different genres. It's a slasher and teen drama. Now we're going to throw in Back to the Future time travel. Now I'm going to do Freaky Friday meets Friday the 13th. And I'm just like 'okay, okay, hold on. Hold on, Chris. Give me a minute. Let me catch up. Let me catch up with you'. Drop was — maybe it was in some ways the easiest, and in some ways the hardest, because it completely shook up the rhythm. I read his script for Drop, and I called him and I said 'Chris, I think you're just making a movie — you're making a movie with one tone. I can't believe it. This is essentially a high-concept 90s thriller. That's it'. And he goes 'yeah, isn't it fun?'. So it really took me a minute to recalibrate and just do one genre with Chris Landon. That was a nice, welcome surprise. [caption id="attachment_1013961" align="alignnone" width="1920"] Jeremychanphotography/Getty Images[/caption] On the Ultimate New Composing Music Challenges for McCreary "I think to be completely honest with you, I am so grateful to have worked on all of the things that I already described. Any one of those is a dream project. I think it's why you can see me working in other mediums where I am not established — where I'm the very small fish in a big pond. I put out my first metal record last year, The Singularity. And on that I collaborated with Serj Tankian from System of a Down, Slash, Jens Kidman from Meshuggah, Kim Thayil from Soundgarden, Corey Taylor from Slipknot and all these people. And I learned so much about rock 'n' roll. And I've been working on a show, a musical intended for Broadway, working with some incredibly talented people for the last six, seven years. We're going into a number of readings over the next two years. And again, I'm learning on the job — and how to write a Broadway show. So in many ways, when it comes to being fundamentally challenged and pushed out of my comfort zone, I kind of am looking at records — and I made a graphic novel out of The Singularity — and just other mediums. Because as fun and thrilling and exhilarating as scoring film is, I've been doing it professionally for 20 years. And if you factor in all my childhood experiments with trying to do it, I mean it's 30 years, right? So if you give me footage and tell me what you want, I have a lot of experience, no matter what the footage is, in doing that. So I think also ultimately, that's why I'm going on the road — is it's another huge challenge, just suddenly bringing this music out on the road, bringing it to an audience and playing it for an audience that maybe isn't used to hearing this music live. That's really scary. I feel like I'm up on the tightrope there. So those are the kinds of projects I think you'll see me adding to my portfolio as time goes on. But I love I love scoring. It's like my happy place. I've been working on a movie all week for a director I've never worked with before who I admire greatly and it's just, it's the best feeling. So you know me, I'm just multitasking and juggling all this stuff all the time." Bear McCreary is touring Australia between Wednesday, July 23–Monday, July 28, 2025 — head to his website further details and the tour website for tickets.
It's time to mark your calendars for the National Cherry Festival, the ultimate celebration of all things cherry. This annual event is set to take place in Young, NSW (the cherry capital of Australia!) from Friday, December 1 to Sunday, December 3. In case you've never been, the National Cherry Festival is a three-day extravaganza that brings together cherry growers and enthusiasts from all over Australia. Get ready to indulge in delicious cherry treats, including fresh cherries, cherry pies, cherry ice cream and more. You can also enjoy cooking demonstrations, cherry-picking competitions, live music performances, and even a seed-spitting competition. For those looking for a more relaxing experience, there will be a Cherry Blossom Walk, showcasing the stunning cherry blossoms that bloom during summer in Young. It's also a chance to meet and learn from local artisans showcasing their products and crafts, the history of the region, the cherry-growing process, and the impact of cherries on the local economy. Since Young is a four-hour drive out of Sydney, be sure to book local accommodation in advance and get the full weekender experience to celebrate of the sweetest summer fruits. For more information on the festival and how to enjoy it, visit the website. We advise against wearing white clothing.
Christian McCabe and Dave Verheul haven't been sitting on their hands since closing their much-loved eatery The Town Mouse earlier this year. It seems they've actually been quite busy. In excellent news for anyone mourning the loss of the Carlton restaurant, the pair has just opened a rustic new eatery, dubbed Lesa. The boys have transformed the space above their Russell Street wine bar Embla into the ultimate escape from all of that CBD hustle and bustle. Exposed bricks and reclaimed farmhouse benches lend a warm, rustic feel, completed by wooden banquettes with black leather cushions. A window at the back of the space looks through to McCabe's prized wine room, its sprawling collection heroing minimal intervention drops and Old World iterations. The duo has created a slower, more intimate sort of dining experience, with both food and a setting to linger over. Lesa has forgone an a la carte offering in favour of a four-course set menu, with a six-course and late-week lunch options to be added in the upcoming weeks. A woodfire takes pride of place in the kitchen, preparing dishes such as slow-roasted pumpkin, aged pork loin and hapuka with fermented fennel butter. Not everything touches fire, however, first courses feature raw flounder — paired with hazelnut, green almond and pear leaf — and veal tartare with braised saltbush. At the other end of the menu, you'll find salted bergamot meringue, preserved nectarines with buttermilk and a tart of délice de Bourgogne — a French cow's milk cheese from Burgundy. Well, for now, the menu will change regularly. Embla was one of our favourite bars of the year when it opened in 2016, so expect big things when you head upstairs to Lesa. Find Lesa at Floor 1, 122 Russell St, Melbourne. Images: Kristoffer Paulsen
Here's a reality check: your career will likely span upwards of 40 years of your life. That's a long time spent at work. Given that empirical fact, ideally, you want to be in a position where you can actually get the most out of your job in terms of satisfaction, pay and its alignment with your personal goals. We have one word for you: upskill. Your working life is rarely one continuous upwards trajectory. Yes, there are successes — but, equally, there are slumps. One way to avoid these and pivot your way out of job stagnation is through targeted education. Taking a course related to your career goals helps you expand your realm of knowledge beyond your original training, keep up to date with the latest research and methodologies in your field, and show your present (and prospective) employers your ambition and drive for self-improvement. To help you do this, we've picked five university subjects with no prerequisites that you can take as one-off courses to help you get ahead in your job. PROGRAMMING: LEARN HOW TO CODE Digital skills! These are in increasing demand across a broad range of industries, from media and advertising to design and technology. Retraining is essential in today's world — technological changes are constantly challenging the basic skillsets required in the workforce, and there is always something new to learn. Keep up and adapt with RMIT's introductory programming course. You'll learn the basics of coding and sequencing as well as ethical considerations in programming. So when someone in the office needs someone to go in and tweak the website's code, you'll be able to smugly run to their aid. What's the subject? Introduction to Programming at RMIT. Enrol here. UX DESIGN: KNOW HOW TO CREATE A USER-FRIENDLY PRODUCT Demand for good UX (that is, user experience) designers is most definitely on the rise — it's something we use every single day. That's because UX designers create frontend designs for users that are attractive and functional — it's what makes apps like Instagram or Airbnb intuitive and useable. In this course, you'll learn the basics of UX design. Then, from there, you can experiment on your own or even opt to take on further study. Because this is a relatively new occupation, doing this course will give you the ability to differentiate yourself in an emerging area of expertise. Salaries depend on experience, but on the whole they're way above the national average, with senior UX designers earning up to $120,000 per annum. Not bad. But even if you don't become a UX designer per se, knowing the basics helps facilitate communication with any UX designers you hire or work with. Knowing what you're talking about cuts out unnecessary back and forth communication thanks to a shared language and will allow you to get the project done much quicker, saving you time and patience and your company money. What's the subject? User Interface and Experience Design at Curtin University. Enrol here. BUSINESS INNOVATION: GET THE KNOW-HOW TO TAKE YOUR BUSINESS TO THE NEXT LEVEL This course is a perfect booster if you work in an existing business, or if you're thinking of starting one on your own. You'll learn how to tackle business issues in a creative, innovative and — most importantly — practical way. Across the course you'll scrutinise real-world examples of innovation in the workplace that you can then apply to your own practice. You'll also learn how to pitch a concept (which we're going to say might be more useful than listening to episodes of StartUp). What's the subject? Innovative Business Practice with Swinburne University. Enrol here. PEOPLE MANAGEMENT: LEARN HOW TO FOSTER A THRIVING (AND DIVERSE) WORKPLACE If you work in HR or you lead a team or company, this one's for you. Equity and diversity are important principles getting a lot of airtime right now — and for good reason. The workplace only stands to benefit from diverse perspectives and bigger companies are constantly looking at how to create a more consciously egalitarian environment. If you know this is true but don't quite know how to put it into practice in an ethical and balanced way, this course should put you in a position to do so. It looks at the founding principles of HR management that will allow you to recruit, foster and maintain a happy, healthy, diverse and productive crew of colleagues. Anyone involved in recruiting and people management — and the companies they work for — only stand to gain from this training. What's the subject? Human Resource Management Principles with Griffith University. Enrol here. LEADERSHIP: BECOME A BOSS PEOPLE ACTUALLY LIKE If you want to increase your existing skills as a manager or are looking to be promoted through the ranks of corporate leadership, this course is a strong option. You'll learn about different team management styles and assess the varying ways that project teams can be structured. Relationship management and team development is absolutely vital in proving yourself as an effective team leader, and this course can help complement your at-work practical leadership experience. Essential stuff. Plus, if a promotion comes up, you'll be a prime candidate for the role. What's the subject? Project Leadership & Teams with University of South Australia. Enrol here. Start looking at all the subjects on offer online from leading Australian unis through Open Universities Australia and you could have a new skill by the end of the year. Hop to it.
If there's one thing that can get a Sydneysiding burger fiend all jittery, it's a Mary's burger. Opened in an old Newtown warehouse in 2013, this humble burger joint has developed a cult-like following in Sydney over the last couple of years — they've even opened a second chapter in the CBD and made our ten best burgers in Sydney list. But now it's time for Melburnians to take a bite of the Mary's hype, putting aside our Huxtaburgers for a day and heading down to a one-day-only pop-up at fellow Americana lovers, Belle's Hot Chicken. On Sunday, May 24, Mary's will be making 200 burgers (that's right, 200 only) at BHC in Fitzroy, kicking off at around 4pm. We're guessing all focus will be on their famous Mary's burger, renowned for its mouth-wateringly tender med-rare beef patty slathered in liquefied cheese — whether the top notch veggie burger makes it down remains to be seen. But you're going to want to get there early; you can't pre-book a spot and these are seriously sought-after burgs. This marks the second Sydney/Melbourne swapsie for Belle's Hot Chicken, who took a pop-up to Bondi Icebergs earlier this year. Mary's Burgers pops up at Belle's Hot Chicken, 150 Gertrude Street, Fitzroy, Sunday, May 24 from around 4pm. Get. There. Early. Via Good Food.
Blessed be your streaming queue one last time, or at least until a TV version of The Testaments arrives. The Handmaid's Tale is finishing in 2025, concluding with the page-to-screen hit's sixth season. As both the first teaser trailer and the just-dropped full sneak peek at the award-winning series' last run illustrate, June (Elisabeth Moss, The Veil) is again up for a fight. Since 2017, watching The Handmaid's Tale has meant wishing for one thing: the end of Gilead, the totalitarian, male-dominated society that rules the show's dystopian version of the United States. In the award-winning series adapted from Margaret Atwood's 1985 book, that outcome is finally coming in a way, at least for viewers for now. When June says that "this is the beginning of the end" in the new trailer, ideally she means for the way of life that she's been forced to endure — but whatever happens, this specific Gilead story will wrap up. "Now it's time for them to be afraid of us," June also states. For the show's protagonist and her fellow red-wearing women, revolution is coming. Rallying against the oppressive status quo however possible has sat at the heart of this series since day one — and in its last season, June is back waging war. As the initial teaser trailer for season six had June note, outlining the ways that the regime has tried to push her and her fellow women down, including via their restrictive attire, "the dress became a uniform — and we became an army". If you haven't read The Testaments, and therefore have no idea where Atwood has guided her franchise on the page from here, it's set 15 years after the events of its predecessor and also includes familiar characters. How that'll play into the end of The Handmaid's Tale on-screen obviously hasn't been revealed. Season six's plot will chart June's battle to take down Gilead, though, plus Luke (O-T Fagbenle, No Good Deed) and Moira (Samira Wiley, Breaking News in Yuba County) joining the resistance, Serena's (Yvonne Strahovski, Teacup) efforts to change Gilead, tests for Nick (Max Minghella, Maximum Truth), and reckonings for Commander Lawrence (Bradley Whitford, The Madness) and Aunt Lydia (Ann Dowd, The Friend). The sixth season of The Handmaid's Tale debuts on Tuesday, April 8, 2025. Down Under, it streams via SBS On Demand and Neon. Praise be for what looks like one helluva last hurrah for the show. Madeline Brewer (Space Oddity), Amanda Brugel (Dark Matter), Sam Jaeger (Wolf Man) and Ever Carradine (The Neighbourhood) also all return among the cast, with Josh Charles (Moss' The Veil co-star) a new addition. Check out the full trailer for The Handmaid's Tale season six below: The Handmaid's Tale season six debuts on Tuesday, April 8, streaming Down Under via SBS On Demand and Neon.
Summer might be in full swing on both sides of the ditch, but it's never too early to start thinking about your music festival plans for the year ahead, as well as how to spend the frostier months. One solution that ticks both boxes: Queenstown winter music festival and ski trip Snow Machine, which is returning in September 2023 for its huge second year. It's the hottest festival for the colder months, packed with five snow-filled days of music and adventure at two mountain-topping ski resorts this year. On the just-dropped lineup sits a heap of must-see names, including Art vs Science, Hayden James, Hilltop Hoods, The Jungle Giants and Peking Duk, all helping give Snow Machine's winter wonderland a thumping soundtrack. After launching in Japan in 2020, the festival was actually supposed to make its arrival in Aotearoa in September 2021 but was cancelled due to the pandemic. It finally debuted in September 2022, and now makes a comeback from Tuesday, September 5–Sunday, September 10, 2023. Attendees will be treated to action-packed days on the slopes, après ski events on both Coronet Peak and The Remarkables, and a hefty roster of international acts against the idyllic backdrop of New Zealand's adventure capital. Also dropping in to share the stage will be Benee, Broods, Coterie, Danny Clayton, Jacotène and Jimi The Kween, as well as Kate Fox, Neil Frances, Northeast Party House, Pete Murray, Set Mo, Shapeshifter, Stace Cadet (doing a DJ set), Sweet Mix Kids and Zahn Walker. Other than the wintry backdrop, one of the things that sets Snow Machine apart from other music fests is being able to book your entire getaway with your ticket. Packages span both five and seven nights of accommodation, and include a four-day festival ticket and five-day ski pass. If you'd rather make your own way or pass on the skiing, there are 'ticket only' options — and VIP packages if you really want to do it in style. Festival goers are also encouraged to immerse themselves in the adventure capital by adding on heli-skiing, jet boating, bungy jumping, canyon swinging and skydiving — and that's on top of Snow Machine's huge welcome party, and vintage retro day dedicated to old-school ski suits. Also returning in 2023: the second annual Polar Bare, which endeavours to set a world record for the most amount of people heading down the slopes their swimwear. SNOW MACHINE 2023 LINEUP: Art vs Science Benee Broods Coterie Danny Clayton Hayden James Hilltop Hoods Jacotène Jimi The Kween The Jungle Giants Kate Fox Neil Frances Northeast Party House Peking Duk Pete Murray Set Mo Shapeshifter Stace Cadet (DJ set) Sweet Mix Kids Zahn Walker Tom Tilley and Hugo Gruzman present First Base Snow Machine will be held from Tuesday, September 5–Sunday, September 10, 2023 in Queenstown, New Zealand. Presale tickets go on sale from 12pm AEDT on Tuesday, January 17, with general tickets available from 12pm AEDT on Wednesday, January 18. For more information, visit the festival's website. Images: Pat Stevenson/Ben Lang. 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.
Collingwood has a new event space and cafe that provides support to homeless and disadvantaged youths. Cromwell Streat is the latest project from local social enterprise Streat (and, yes, it's located on Cromwell Street), which, since 2009, has offered opportunities and hospitality training to at-risk young people, via employment in their numerous cafes as well as fundraising initiatives such as the Melbourne Central Sleepover. Streat was gifted use of this epic 150-year-old heritage-listed mansion by a very generous supporter and — having secured funding through a successful crowdfunding campaign — was able to turn it into a multi-purpose space. It's not only a cafe, but an artisan bakery, coffee roastery, function space and youth training academy, too. The 80-seat eatery also features a big outdoor area (with hammocks!), all-day breakfast and lunch from 11am. Pastries and fresh loves of bread are available from 7.30am and Streat's own blend is going into coffee cups.
There's a reason that ramen is one of Japan's most famous culinary creations. With its steaming, flavoursome broth, slender noodles and servings of thinly sliced pork — if you're keeping things traditional — it's a tasty, hearty dish that aficionados could easily eat each and every day. While slurping down a bowl like you're under doctor's orders may seem like a foodie fantasy, one one particular restaurant wants to make that all-ramen, all-the-time dream a reality. Behold, the ramen subscription service. At Tokyo's Yaro Ramen from November 1, patrons can fork out a flat monthly fee, visit a store daily and get their fix. Yes, it's really that simple — and, it's also ridiculously affordable. Launched as part of the brand's new app, the subscription feature costs 8,600 yen, or less than AU$100. A bowl of regular tonkotsu ramen usually costs 780 yen, or around AU$9, so signing up for a daily bowl pays off pretty quickly. Ramen lovers can choose between three different types, including one that comes sans broth if you're just in the mood for meat, veggies and noodles, from 15 different locations around the city. Other than needing to be in Tokyo to take advantage of the service, you do have to be fall between the ages of 18 and 38 to quality, in a deal targeted towards students and singles. Coming hot on the heels of the country's new unlimited road trip pass for visiting travellers, you now have yet another reason to head to Japan — and, if you're jet-setting on a budget, your next holiday just got a whole lot cheaper. Via Japan Today.
The Pebble E-Paper Watch campaign, run in April last year, is the most highly funded in Kickstarter history. Having set their initial goal at $100,000, the creators raised a whopping $10,266,845. The second most successful, if you're curious to know, is that of 'OUYA: A new kind of video game console'. Selling itself as 'the first watch built for the 21st century', the Pebble is compatible with both iPhone and Android. It's also fully customisable. The wearer can choose from an array of watch faces, making changes as often as desirable. The designers write that they 'strove to create a minimalist yet fashionable product that seamlessly blends into everyday life'. The selection of apps is growing all the time, from biking and running monitors to golf rangefinders to music software. Bluetooth enables connection with a nearby smartphone, which means that the Pebble can access GPS, and communicate notifications from social networks and email accounts. The phone weighs in at 32 grams and its black and white screen offers a resolution of 144 x 168 pixels. Drawbacks include the tendency to reduce a smartphone's battery life, by up to 10%. Plus, owners of a Blackberry, Windows 7 or Palm phone don't have any chance of compatibility yet. Following delays, the first Pebbles were shipped to Kickstarter supporters in January this year. On July 7, they (the watches, not the supporters) became available on shelves in America's consumer electronics store, Best Buy. [via mashable]
You probably don't need an excuse to take a summer road trip, so instead let's call this a little added incentive. From December 16 to January 29, the team from Burn City Smokers are hosting a BBQ Beach Boutique on the Mornington Peninsula. Grab your car keys — and maybe a bib too. Setting up shop in Counting House restaurant smack bang on the Mornington Esplanade, the pop-up kitchen will operate from 7.30am each day. Kick things off with toasties and soothing Bloody Marys before returning later in the day once they crack open the smoker. Think beef short rib, brisket burgers, mac 'n' cheese and corn on the cob. They'll also by serving liquid refreshment, courtesy of local labels like Mornington Bewery, Quealy Wines and Port Phillip Estate. If you want to make a weekend of it, check out our Weekender's Guide to the Mornington Peninsula.
Whatever you've been dreaming about getting for Christmas, here's one thing that you don't have to write a letter to Santa for: a festive action-comedy about a Christmas Eve heist where a certain red suit- and white beard-wearing fellow kicks ass and tries to save the day. Making Violent Night an extra present of a film when it hits cinemas in December (when else?) is the man getting jolly, too: Stranger Things favourite David Harbour. The actor behind Hopper will get ho-ho-hoing in the seasonal flick — and dispensing with mercenaries like he's a Father Christmas version of John Wick. Hawaiian shirts are out, clearly, replaced by the expected Santa getup. The same no-nonsense attitude remains, though, as seen in the movie's just-dropped first trailer. Harbour as the merriest figure there is rescuing Christmas when a kid calls for his help? That's the basic plot, but there is slightly more to it. Those aforementioned mercenaries break into a wealth family compound on the night before the big festive day, taking everyone hostage. But Santa also happens to be there — and uttering lines like "time for season's beatings" as he gets to work. Those John Wick comparisons are by design, with 87North, the producers of franchise plus Nobody, Atomic Blonde, Deadpool 2, Bullet Train and Fast & Furious Presents: Hobbs & Shaw, behind the film. And yes, there's more than a little bit of Die Hard thrown in as well — just in a home rather than Nakatomi Plaza. Brooklyn Nine-Nine's Jake Peralta would approve. On-screen, Harbour is joined by John Wick's John Leguizamo, plus Cam Gigandet (Without Remorse), Alex Hassell (Cowboy Bebop), Alexis Louder (The Terminal List), Edi Patterson (The Righteous Gemstones) and Beverly D'Angelo (Shooter). And behind the lens, Norwegian director Tommy Wirkola (Hansel & Gretel: Witch Hunters, the Dead Snow franchise) is in the director's chair — and the script is penned by by Pat Casey and Josh Miller, after writing the terrible Sonic the Hedgehog and Sonic the Hedgehog 2. Check out the trailer below: Violent Night opens in cinemas Down Under on December 1.
The inner north's famed craft beer scene is about to score a major new arrival — and it's all thanks to an old favourite. Small Collingwood brewery Molly Rose is stepping things up a few notches, taking over the two adjoining Wellington Street buildings to create a sprawling new home with a suite of supercharged offerings. Set to open in mid February, the newly expanded venue will be a haven for beer lovers and foodies alike, complete with a new bar and mammoth new beer garden, plus a lounge, a chef's table restaurant and a private dining room. Oh, and plenty of room for additional brewing operations, too. While the new site's central bar is set to hero Molly Rose's own core range — like the Skylight IPA and the lemon farmhouse ale — and its innovative limited-release creations, the fun won't end there. It'll also showcase a curation of brews from across the world, an Australian-led wine list and a lineup of signature cocktails. [caption id="attachment_807467" align="alignnone" width="1920"] Amanda Santamaria[/caption] Driven by another of owner Nic Sandery's passions, Molly Rose 2.0 will also be taking a deep dive into the art of food and beer pairing. This vision will be brought to life with the help of chef Ittichai Ngamtrairai — aka Biggy. He'll draw on his experience in renowned Melbourne kitchens like Nomad, Matilda 159 and Marameo, as well as time spent at Sydney's LuMi, where he trained in fusing classic Italian flavours with Asian technique. To that end, expect a fresh take on modern Australian cuisine across a menu filled with house-made elements and Biggy's own fermented seasonings. You're in for plates like Sri Lankan string hoppers, stuffed chicken wings, and squid elevated with saltbush and mountain pepper. There's more to come, too — slated to join the offering from autumn is the 20-seat chef's table, where Biggy and Sandery will be showcasing a dedicated menu paired with finely-tuned beer matches. Find the new-look Molly Rose at 279 Wellington Street, Collingwood from mid February. Images: Amanda Santamaria.
Moon Dog recently shared its detailed plans to build a new 800-person wild west-themed Footscray brewery bar, but it has also quietly announced two additional locations that are in the works. Doglands, an enormous 1,500-person bar, will be coming to the Marvel Stadium concourse sometime soon, hopefully breathing some life into the oft-forgotten Docklands. [caption id="attachment_844719" align="alignnone" width="1920"] Sam Schultz[/caption] We are yet to know the theme and exact layout of the new brewery bar, but if it is anything like Moon Dog World or Moon Dog Wild West, it will be big, fun and full of beer. Also on the cards, is a waterside site in Frankston. For this new venture, we have no information yet other than the fact it will be in Franga but you can guarantee the team will be pouring a heap of their award-winning beers and much-loved seltzers from each spot. [caption id="attachment_850486" align="alignnone" width="1920"] Moon Dog World in Preston[/caption] For more information about Moon Dog's upcoming bar openings, keep an eye out on the venue's website. Top image: Moon Dog World by Kate Shanasy and construction at the new Moon Dog Wild West site by Sam Schultz.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE CONJURING: THE DEVIL MADE ME DO IT Starting in 2013 with The Conjuring, expanding with 2014's Annabelle, and also including The Conjuring 2, both terrible and much better sequels to Annabelle, the dismal The Nun and the formulaic The Curse of the Weeping Woman, The Conjuring Universe now spans eight evil-fighting flicks — and they're all as straightforward as it gets when it comes to battling the nefarious. Circling around real-life paranormal investigators Ed and Lorraine Warren, the franchise posits that the supernatural exists, darkness preys upon the innocent and its central couple usually has the tools to combat everything untoward. That template remains firmly in place in The Conjuring: The Devil Made Me Do It. With director Michael Chaves (The Curse of the Weeping Woman) and screenwriter David Leslie Johnson-McGoldrick (Aquaman) doing the honours — taking their cues from James Wan, the Australian Saw and Insidious co-creator who helmed the first two Conjuring flicks — it once again serves up the usual bumps, jumps and scares that have haunted this franchise since day one. That said, the third Conjuring flick within the broader Conjuring realm does attempt a few changes. Rather than getting creeped out by haunted houses, it gets spooked by a kid and then a teenager who are both possessed. True to form, bone-shakingly horrific things can't simply occur without some kind of excuse and entity at play. The Warrens (Patrick Wilson, Aquaman, and Vera Farmiga, Godzilla: King of the Monsters) are first tasked with saving eight-year-old David Glatzel (Julian Hilliard, WandaVision) from a demon after his family moves to stereotypically sleepy Brookfield, Connecticut. Their efforts seem successful, even if Ed has a heart attack mid-exorcism, but the evil force they're fighting has really just jumped ship. Arne Johnson (Ruairi O'Connor, The Spanish Princess), the boyfriend of David's sister Debbie (Sarah Catherine Hook, NOS4A2), is quickly besieged by strange occurrences. He's soon also covered in blood after stabbing his landlord to Blondie's 'Call Me'. The death penalty beckons; however, the Warrens convince Arne's lawyer to plead not guilty by reason of demonic possession — the first time that ever happened in the US — and then commit to unearthing whatever paranormal details they can to save his life. The trailer for The Devil Made Me Do It teases legal thrills, but in a bait-and-switch way, because this film is barely concerned with Arne's court case. The true tale, which was previously dramatised in a 1983 TV movie starring Kevin Bacon, merely provides an easy setup for souped-up demonic antics and a routine, happily by-the-numbers, never remotely terrifying threequel. Indeed, the fact that more flicks will undoubtably still follow is the scariest thing about the film. Read our full review. LAPSIS 9 to 5 and Working Girl hail from the genre. Everything from Office Space to The Assistant do, too. But films about working in offices, TPS reports and navigating the desk-based daily grind might eventually become a dying breed or a nostalgic retro curiosity. Because art always mirrors life, the gig economy may swoop in and draw the silver screen's focus instead. Sorry We Missed You already has in a resonant warts-and-all manner, and Lapsis now endeavours to do the same via a smart and searing sci-fi satire. There's much to ponder, probe and dissect about the mode of employment that's becoming the status quo, after all, and that isn't bound to change as it spreads and grows. Corporations don't just dictate workers' behaviour during office hours now, supplying a reliable wage and perks such as holiday and sick leave in return. Attempting to monopolise entire fields such as food and package delivery, transportation and caregiving, big companies (you know the ones) hire independent contractors, scrap the benefits, and keep them toiling on-demand or on-call just to earn the bare minimum. This new kind of technology-driven rat race has been normalised, and quickly — and what it means for the labour force, employment, capitalism, corporate greed, class structures and basic human rights demands to be interrogated in thousands of movies as sharp and scathing as this one. In Lapsis and its alternative vision of New York via writer/director Noah Hutton, quantum computing is the next big thing. It requires a network of giant metallic cubes connected via thick black wires, with stringing them together the gig economy's new growth area. It's such an in-demand field and so lucrative for workers, in fact, that cablers can earn thousands of dollars just for a weekend's work. They can also pay off their mortgages within months — if the advertisements spruiking the supposed new employment dream can be trusted, that is. Technology-phobic delivery driver Ray Tincelli (first-timer Dean Imperial) is sceptical, so much so that he won't even use a quantum computer himself, even though they're essential to viewing up-to-date websites and just generally existing in Lapsis' parallel world. But his unwell brother Jamie (fellow debutant Babe Howard) suffers from a pervasive form of exhaustion called omnia, and requires expensive medical treatment. After finding a way into the cabling industry via acquaintance Felix (James McDaniel, The Deuce), Ray's need to make a quick stash of hefty cash quickly overrides his misgivings. Read our full review. BREAKING NEWS IN YUBA COUNTY Celebrity worship is one of popular culture's stupidest side effects. Stars get paid well beyond the average person and live far more lavish lives, but yes, they're people too. And, even if you round up a hefty number of famous faces in the one movie — award-winners and -nominees among them — they can still make absolutely terrible career decisions. Case in point: Breaking News in Yuba County, exactly the type of film that dispels any ridiculous notion that well-known actors opt for better choices than the rest of us. No one has done themselves any favours by featuring in this equally derivative and preposterous mess. No one will by watching it either. Director Tate Taylor might have both The Help and Get On Up to his name, but this addition to his resume sinks lower than The Girl on the Train, Ma and Ava. First-time screenwriter Amanda Idoko pens a script that aims for quirky crime-comedy with a side serving of societal satire, but really just repackages every tired cliche and trope her chosen genre has ever brought to the screen, and every obvious observation about small-town life, middle-aged women and the media as well. Also, every performance seems pitched at a different type of picture to each other — and, even in the silliest cases, none of them gel with the film's perky, almost sitcom-esque aesthetic. Allison Janney (Bombshell) plays Sue Buttons, dutiful wife to local banker Karl (Matthew Modine, Operation Varsity Blues: The College Admissions Scandal). He's inattentive at the best of times, and she's too meek-mannered to say anything — but when she sneakily follows him to a hotel on her birthday, which he seems to have forgotten, their marriage takes a turn. Soon she's telling whoever will listen that Karl has gone missing. Her sister (Mila Kunis, The Spy Who Dumped Me) is a local news reporter, so TV attention follows. But Sue really just wants to be on one particular host's (Juliette Lewis, Music) show, and to elicit the kind of reaction the town has been giving the parents of a missing young girl. That's only part of Breaking News in Yuba County's narrative, though. Karl'x brother (Jimmi Simpson, Unhinged) is trying to go on the straight and narrow to please his pregnant wife (Samira Wiley, The Handmaid's Tale), but his ex-boss (Awkwafina, Raya and the Last Dragon) and her henchman (Clifton Collins Jr, Waves) would prefer otherwise. Jokingly at first, so would his new employer (Wanda Sykes, Black-ish), who is bored of just owning and running a furniture store. The more all of these characters' paths intersect — and those of a local detective (Regina Hall, Little), one of Karl's colleagues (Chris Lowell, Promising Young Woman) and his mistress (Bridget Everett, Unbelievable) as well — the more obvious three things are. Firstly, Idoko has clearly seen To Die For and Fargo more than once. Secondly, her script feels like it was written in the 90s, too, and then barely read again before filming started. And thirdly, this doesn't even approach the same league as its influences, or work as a goofier farce either. BYE BYE MORONS When Bye Bye Morons begins, it's with the kind of overdone setup that hardly screams 'Best Picture winner'. The film did indeed garner that gong at this year's César Awards — and six others as well — and, thankfully, twists its template beginnings into something far more intriguing than it initially seems set to deliver. When hairdresser Suze Trappet (Virginie Efira, Police) is told that she's afflicted with an auto-immune disease that stems from the chemicals she uses at work, and that it'll soon take her life, she's shocked and horrified. She also has unfinished business to attend to, after giving up a baby for adoption almost three decades earlier. That quest brings her into the path of civil servant Jean-Baptiste Cuchas (Albert Dupontel, also the movie's writer and director), who is being replaced by new technology at his paper-pushing job and happens to be staging a suicide attempt when Suze visits the office trying to track down her child. Soon, they're unlikely allies alongside a blind archivist (Nicolas Marié, Knock), and they're all endeavouring to thwart the multiple systems and bureaucracies that have defined and dictated so much of their lives. As its name makes plain, subtlety isn't Bye Bye Morons strong point, but when it finds its heartfelt groove, this French comedy also finds its charm. It helps that Dupontel has cast his feature superbly, including via his own involvement. The See You Up There filmmaker and star turns in a performance that's far more nuanced than the overwhelming bulk of the movie itself, as does the always-watchable Efira — with the pair playing exasperated ordinary folks who leap into outlandish territory not so much out of necessity, but in utter and gleeful defiance of the misfortune-laden cards that the world keeps dealing them. It also helps that, scripting with contributions from collaborating writers Xavier Nemo (Girafada) and Marcia Romano (Losing It), Dupontel fleshes out his characters more than his scenario. In fact, he makes his own on-screen job easier as a result. And, he gives his audience a much-needed anchor amidst all the broad, loose, chaotic and often over-the-top comedy he repeatedly swings in Suze and Jean-Baptiste's direction. Bye Bye Morons isn't short on plot, but when the feature is at its sweetest and most poignant, it's because viewers have become invested in its protagonists, their plight and their connection, rather than the ins and outs of their intertwined crusades. In fact, when the film is at its silliest — and when it attempts to wring easy comedy out of its absurdist and anarchic energy — it's a far less entertaining affair. BREAKING BREAD Food unites us all, or so the oft-spouted rhetoric tells us — and now documentary Breaking Bread does as well. On paper, it mightn't seem hard to demonstrate that every single one of us shares a need for sustenance and a love of culinary delights; however, debut writer/director Beth Elise Hawk doesn't merely explain what we already literally know in our guts. Instead, the filmmaker focuses on Dr Nof Atamna-Ismaeel. Originally a microbiologist, she became the first Arabic contestant to win Israeli's version of Masterchef back in 2014. After that pioneering feat, she set her sights on another: founding the A-Sham Arabic Food Festival in Haifa. Unity is baked into the fest's very existence, with the event bringing together chefs of both Arabic and Jewish descent to cook a range of Levantine dishes, and then share their creations with eager attendees. And, the festival's purpose is never far from view on the plate or in discussions with the participants. The common sentiment: while the conflict in Israel commands the bulk of the attention directed the country's way, that isn't the lived reality for most of the region's residents. Breaking Bread releases in Australia just as headlines again document rising tensions and increasing combat in the area, but Atamna-Ismaeel and her fellow chefs endeavour to espouse the opposite in their delicious-looking meals. The usual food documentary advice applies here, unsurprisingly, because watching on an empty stomach will only get tastebuds watering and hunger pangs grumbling. Hawk isn't above using slow-motion culinary shots that actively attempt to entice salivation, and to use them to pad out the already brief 86-minute feature. That said, every glimpse in the kitchen or at a plate is handsomely filmed, framed and staged, and is never too far away from lively conversation as well. Indeed, the movie's wide range of dishes might whet the appetite, but they're really just the entree. Alongside the engaging Atamna-Ismaeel, the festival's chefs speak through their backgrounds, cooking dreams, experiences with conflict and generational traumas in their own talking-head segments. The doco hears multiple accounts of how the simple act of eating, or of combining different types of food, can and has brought people together, and yet that kind of sentiment will never prove repetitive. Perhaps because of Atamna-Ismaeel's TV background, it's easy to see how a longer project that spent an entire episode or several with these interviewees would provide a satisfying meal — and get its audience thinking even further about the region, food and unity. MINAMATA It has been ten years since Johnny Depp starred in The Rum Diary, openly inviting comparisons to — and happily standing in the shadows of — his role in fellow Hunter S Thompson adaptation Fear and Loathing in Las Vegas 13 years earlier. Minamata boasts no ties to the gonzo journalist, but it does initially endeavour to ape Depp's past work; playing a hard-drinking member of the press will do that. This drama draws its details from reality, though, not mere impersonation. Its subject: photographer W Eugene Smith, and his late-career series of snaps in the titular Japanese town. Informed of a story worth his and the world's attention by a translator, Aileen Mioko (Miami, Tezuka's Barbara), who'll later become his wife, Smith (Depp, Waiting for the Barbarians) convinces his Life magazine editor (Bill Nighy, Emma) to dispatch him to capture the results of chemical company Chisso's dumping of mercury in the local water. It's an important story, both for the celebrated Second World War photographer at the waning end of his career and for the movie now telling the tale, although second-time director Andrew Levitas (Lullaby) stages his earnest adaptation of Aileen and Eugene's book in a blunt manner. It doesn't help that his film arrives after the far superior Dark Waters and its own story of corporate poisoning, or that Depp is once again the point focus in a story where his character is a white outsider looking in, as he also was in the woefully misguided City of Lies. As it charts Smith's quest to bring the coastal spot's plight to the world, as aided by activist Kiyoshi (Ryô Kase, To the Ends of the Earth), Minamata does boast one crucial factor — other than its grim real-life basis. Whether seen for the first time or the thousandth, Smith's photos of Minamata residents afflicted with mercury poisoning (or Minamata disease, as the severe neurological condition particular to the town has been dubbed) are nothing short of striking. Indeed, they say so much in their single frames that a movie like Minamata was always going to feel as if it's merely sketching in filler details around these unforgettable images. As a director working with first-timer David Kessler's script, Levitas clearly understands this, and obviously appreciates the weight and importance of Smith's revelatory snaps. Accordingly, the film is as much an origin story for these famous pictures as it is an explainer for the context around them. The most recognisable photo of all — Tomoko Uemura in Her Bath, which depicts mother Ryoko Uemura bathing her daughter Tomoko — understandably garners the most focus. It's here that Minamata is at its most urgent and affecting, but so much that surrounds it proves the antithesis of Smith's shots: derivative and cliched. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; and May 6, May 13, May 20 and May 27. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella and My Name Is Gulpilil.
If you're a fan of the Apple iPad be sure to pencil March 7, 2012 into your diaries. According to tech site iMore.com, this is the day that Apple will unveil the iPad 3 — or iPad HD. These predictions are in sync with AllThingsD's earlier report that the iPad 3 will be announced in the first week of March. In addition, Apple insider, Jim Dalrymple of The Loop, has indirectly accepted this rumoured announcement date with a solid "Yep." Citing "sources who have been reliable in the past", iMore suggests that features of the next-gen iPad are to include 4G LTE networking, a 2048 x 1536 Retina Display and a quad-core A6 processor. These are considerable upgrades when considering the current iPad 2's specs. Other circulating rumours anticipate an improved camera (either 5 or 8-megapixels), a HD front camera and the possibility of a mini 7" iPad. Considering Apple's world domination in the business of technology, one thing that's for certain is that you'll have to fight off a hoard of iPad-loving vultures before you can get your hands on Apple's newest edition to the iPad family.
In the dramedy that bears his name, which streams in Australia via Stan, Ramy Youssef is a quintuple threat. The standup comic and Mr Robot and Don't Worry, He Won't Get Far on Foot actor created Ramy. He plays the eponymous Ramy. He also executive produces the series and, across all three seasons to-date, he frequently writes and directs. It's a show about a Queens-born first-generation American Muslim raised in New Jersey to Egyptian parents, too, as Youssef himself is. Indeed, there's no doubting that Ramy springs from a personal place, a feeling that echoes in every one of its 30 episodes so far. There's a difference between bringing your own exact existence to the screen and conveying the truth behind your experiences, however. Ramy falls into the second category. As the series charts its titular figure's struggles, specifically as his faith conflicts with his lifestyle, it doesn't pretend for a second that its two Ramys — Youssef off-screen, Hassan on-screen — are one and the same. Instead, it proves deeply steeped in the lived reality of feeling torn between two cultures, and so specific in the details that stem from that fact, while also universal and relatable in its emotions and insights. That's been the case since Ramy's first Golden Globe-winning season in 2019, and none of the above changes in the newly released third batch of episodes, which rank among the show's finest moments yet. In this ten-episode latest run, the lives of Ramy and his loved ones are rarely blessed with fine moments, no matter how eagerly and desperately they seek them. Youssef's on-screen alter-ego keeps threatening his own heart, mind and soul with his choices, and being disappointed with the outcome. Season two ended with a brief marriage to Zainab (MaameYaa Boafo, The Mysterious Benedict Society), the daughter of Sheikh Malik (Mahershala Ali, Swan Song). With one lustful bad decision, Ramy blew up his personal and religious connections, leaving him alone in a car with only an incarcerated pal's dog for company in its last scene. A year has passed on-screen now, but the fallout still lingers because nothing is easy to escape in this series. Zainab won't talk to Ramy, but there's a cash payout that needs settling for breaking their marriage contract. Accordingly, Ramy has thrown himself into making his Uncle Naseem's (Laith Nakli, Ms Marvel) diamond dealership a success — as a distraction, and to take care of his debt — and, as the season continues, he branches out on his own with Jewish friend Michael (Michael Chernus, Severance) and his Israeli-syndicate backers. He now has money, as well as his own place. Soon, he has his own jewellery business, and the boost to his ego that its triumph brings. But none of this herald's happiness, or comfort, or the ability to truly work out who he wants to be as he still tussles with balancing his beliefs with impulses, and overcoming his selfishness in general. It's easy to think of Uncut Gems while watching Ramy stake his sense of self on the money and hustle of the jewellery game, but that isn't the only Safdie brothers film that springs to mind in season three. Youssef doesn't sport bleached hair as Robert Pattinson did in Good Time, but he has a similarly careening vibe — and the same propensity to always put himself first, usually by making the worst move he can, while thinking he's helping others. In the new season's Ramy-focused instalments, the show sports the same feverish energy, too; there's no heists here, but that's the engrained mood. Actually, is Ramy heisting himself all along? He thinks he can bluff his way to contentment by getting big in the jewellery game and boosting his bank balance, but he's just as conflicted in this run of episodes as he's always been. One of Ramy's strengths has always been its willingness to see its protagonist, his flaws and poor choices with clear eyes, while remaining empathetic to his attempts to honour his faith — even as he makes such terrible decisions. Also one of the series' highlights: that it isn't simply about Ramy, with full episodes surveying his family and friends' lives as they grapple with their own woes. For his sister Dena (May Calamawy, Moon Knight), striving hard to take the bar exam isn't paying off, especially when her parents Maysa (Hiam Abbass, Succession) and Farouk (Amr Waked, Wonder Woman 1984) are open about how differently they see her and her future to Ramy's — and she's reassessing not only her dreams, but what's behind them. That's one of the third season's big themes, with a question bubbling up again and again: are the lives that the Hassans have been working towards truly what they want, and what'll bring them emotional, physical, psychological and spiritual fulfilment? That query ripples with an immense sense of melancholy with the elder Hassans, who are adjusting to Farouk being out of work, a bad financial investment that might mean they have to sell the family home and decades of feeling like they're treading water. And, it informs the subplot with Naseem, who is visibly hurt by Ramy leaving him behind, and also frantic about potentially being outed when one of his app-driven hookups turns out to be friends with Dena. Storylines involving Ramy's friends Steve (Steve Way, Nepotism), Ahmed (Dave Merheje, Mr D) and Mo (Mohammed Amer, Mo) are all guided by a similar train of thought, thoughtfully so. Season three serves up character study after character study, and with humour and insight in tandem, including laughs that echo because sometimes that's the only way to cope with life's chaos. Three seasons in, the fact that Ramy boasts one of the best casts on TV isn't new news. That said, an appearance by Bella Hadid as Steve's new The Office-worshipping girlfriend plays awkwardly, but James Badge Dale's (The Empty Man) bit part as televangelical-style Muslim convert is a cringe-inducing scene-stealer — as is Christopher Abbott's (On the Count of Three) efforts as one of Ramy's wealthy customers. No matter who pops up around them, though, the show's core group of actors keep turning in standout work. That Ramy keeps remaining a stunningly perceptive and engaging exploration of the battle to remain true to oneself — and one's hopes, dreams and religion — is firmly a communal effort. That it's a rich, authentic, poignant and devastatingly potent comedy that just keeps getting better and diving deeper is as well. Check out the trailer for Ramy season three below: Ramy streams via Stan.
If you've got a hard-earned thirst for some spiffy beer merch, the folks at Victoria Bitter have you covered, and that's been the case for a couple of years. Already decked out most of your wardrobe with VB gear, but still looking for something to splash around in at the beach? Then you'll be pleased to discover that the famed Carlton & United Breweries beer has just joined forces with Budgy Smuggler on a new range of swimwear. Available via Budgy Smuggler's website, the Victoria Bitter collection includes briefs for men — budgie smugglers, obviously — plus one-piece swimmers for women, with both types available in multiple designs. If you're keen to have the classic beer logo emblazoned across your body, you can choose between green and white backgrounds. You can also opt for a 'sticker bomb' design, which features multiple different VB logos, or pick one with cartoon beers as well. Whether you're a beachgoer or you prefer lazing around a pool, you'll need a towel, too, with four different types available with the same imagery. They'll set you back $55 each, while the mens' bathers cost $65 and womens' togs cost $100. If you're keen on other VB-themed items as well, you can still head to the brand's site to check out its retro-styled collection, which nods firmly to the brew's lengthy history quenching the thirst of hardworking Aussies. There are crewneck jumpers, t-shirts, hoodies, beanies and caps, all emblazoned with that instantly recognisable logo. Alongside all the clothes, you'll also find VB jigsaw puzzles — plus glasses, water bottles, coolers, speakers, bar mats and even fridges. And, as part of its ever-expanding range of merch, don't forget that VB also has its own scent now, too. The Victoria Bitter Collection is available to purchase from Budgy Smuggler's website. Top image: VB.
What would the global culinary scene of the last 20 years be without René Redzepi? Whether or not you've had the good fortune to dine at Noma since 2003 — including at its pop-ups in Sydney, Kyoto, Tokyo and Tulum — the mind behind the three-Michelin-starred Copenhagen eatery has helped shape the restaurant industry in the 21st century. For more than half of that time, the Danish kitchen wiz has also been cooking up a television docuseries that asks similar questions, but about the ingredients that we consume. What would the world be without chilli? What is the impact of our appetite for tuna? How has salt helped shape our history? Bananas, pigs, rice, coffee, corn: in Apple TV+'s Omnivore, they're all also in the spotlight. It was over a decade ago, when Noma was firmly established as a sensation — it's been voted the planet's best by The World's 50 Best Restaurants five times, from 2010–12, and also in 2014 and 2021 — that Redzepi came up with the idea for the series that debuts on streaming on Friday, July 19, 2024. As happens with renowned chefs, TV offers were coming his way, but never for the type of project that'd see him happily spend time away from his celebrated fine-diner. Taking inspiration from natural history documentaries, especially David Attenborough-fronted greats such as Planet Earth, gave rise to a show that treats the nutritional staples that fuel humanity with the same care and reverence. [caption id="attachment_966274" align="alignnone" width="1917"] Ditte Isager[/caption] With Redzepi leading the way within the series and Australian ex-Noma Chief Operating Officer Ben Liebmann an executive producer — the latter alongside Anthony Bourdain: Explore Parts Unknown alum Matt Goulding — Omnivore's first season whittles down its key ingredients to the eight mentioned above. "It was a giant process," Redzepi advises Concrete Playground in an interview with both him and Liebmann. More than 120 choices were under consideration, but that's one of the program's delicate balancing acts. Another is in the buffet of stories and details that it dishes up about each type of food, telling viewers the origins and history of every ingredient, stepping through the impact and importance at both a mass and a personal level, unpacking the relationship between the item in question and the climate, and recognising that none of it exists in a vacuum without having ripples around the planet. Just like off-screen, of course, Redzepi knows how to create a winning recipe. As it travels the globe, pairing meticulous footage of each ingredient's life cycle with portraits of folks whose existence revolves around them, this isn't a talking heads-led show. It observes. It appreciates. Redzepi is also heard more than he's seen. It's his second television project in as many months, however, as everyone who watches The Bear — so, everyone — will know. Given how long that Omnivore has been simmering, that timing is purely coincidental. Also, even being in The Bear briefly took some convincing. "It's a nice to have, not a need to have, for me," he shares. "I only did it because they really asked me to. I know them very well. We've known them long before The Bear was a thing, and they were in Copenhagen and they shot all these scenes, and they said 'hey, can we please have you there?'," Redzepi tells us. "And I wasn't going to be in the show. I said 'I don't know how to act. Don't ask me this.' But then they they thought it would be a great idea, and I did it. And then many people mentioned it, even though I just look at the guy for a second. I guess it's a good thing for Omnivore that that happened, and perhaps they were right in saying 'no, no, you should be briefly in there." [caption id="attachment_966275" align="alignnone" width="1917"] Ditte Isager[/caption] 2024 isn't just a big year for Redzepi in the TV realm. Before 2025 hits, he'll bid farewell to Noma 2.0 — the restaurant's guise since 2017, after it reemerged following its closure in 2016 — and say hello Noma 3.0, a test kitchen and food laboratory in its latest reinvention. Working on Omnivore has helped cement the new direction for Noma, Redzepi explains in our chat. He also credits Liebmann, whose stint at Noma from 2015–22 sits alongside working on television franchises such as MasterChef, Grand Designs and Idol, with to ensuring that it came to fruition. Ahead of Omnivore dropping its first season in full, ready for a binge that'll make you hungry for chilli, tuna, salt, bananas, bacon, rice, coffee and corn — perhaps not all at once — we spoke with Redzepi and Liebmann about what gets them excited about new projects beyond Noma, the original idea for the series, taking inspiration from Planet Earth, coming up with the right recipe for the show, picking which foods to focus on and Noma's future. Always wanted to know Redzepi's can't-live-without ingredient, too? We discussed that as well. On What Gets Redzepi and Liebmann Excited About New Projects Beyond Noma René: "I think when you get to be part of something groundbreaking, which I think Omnivore is. Being a part of a groundbreaking project with a network that believes in you, working with some of the best people on a project on a subject that I genuinely believe in, that also teaches me so much about a world that I've been in for the past 30 years — that is inspiring. And that really gets me excited when the scope is so amazing, like with Omnivore. That really does inspire me to do something like this." Ben: "I think I've heard René talk about over the years, just that simple idea of stepping outside of one's comfort zone. An opportunity, in this instance, in terms of using media and storytelling to perhaps reach a broader audience, a broader community, than we would otherwise be able to in person — about sharing knowledge, sharing hope, sharing inspiration. And with a series like this, hopefully creating a conversation and potentially hopefully creating a movement around it. I think that's still that power of media and, in this instance, what makes the project so exciting." On What Inspired Omnivore a Decade Ago — and the Original Vision René: "I can't remember if it's like 11–12 years ago or whatever, but it's a while back, and it was at a time when Noma was getting to be known around the world. We had rocket fuel on, and when that happens, you very quickly get offered TV. And I was. I was supposed to be judges in competition shows or travel. I think there was a show called Fire and Ice, and I had to travel around Scandinavia with a celebrity and teach them how to cook and stuff, and show them where to eat. And I guess it was never enticing enough for me to step out of my work. I was also very happy doing that. But it did make me think 'iIf I was ever to do this, what would I do?'. And that's when Omnivore started as a seed: a show that would have the same respect, dedication, care and sophistication towards what we eat as you would see in the great nature documentaries like Planet Earth. If we can show a beetle with so much attention and care, why can't we do that with rice? And thus inspiring people to be more inspired about what they eat and how they eat, and make them more curious about this wonderful world of food — make them hopefully realise that food is the most amazing thing on earth, besides basic nutrition. It's who we are. It's what made us. It was always the genesis of the idea. And when Ben came aboard, that's when we finally could put the pieces together. Because if I would have run it, it would never have happened because I would have tried to run it like you built a menu. It's like 'okay, we have this idea, in seven months it should be on camera, right? It should be on TV?'. That's how I would have thought about it." Ben: "I think from my side, when René originally shared the concept for it, it for me was just so intriguing. It was such a simple but yet powerful idea. And I think what intrigued me was that it had not been done before, which was in itself a very Noma thing of trying to do things that hadn't been done before. Certainly standing on the shoulders of giants in terms of programs that had inspired us in the years before, but trying to elevate, let's call it, food media. Although in some ways this isn't food media. It's this extraordinary kind of combination of food and natural history, but I think it was that amazing challenge and opportunity to try to create something. And then to build a team, an amazing team, from René and Matt, our partners at Fifth Season and obviously in Apple, somebody who believed in this idea and wanted to help it, help us realise that, was where it all began." On the Excitement, Challenges and Daunting Feeling That Comes with Taking Inspiration From David Attenborough, But with Food René: "By no means are we comparing ourselves to his productions at all. We're just inspired by him and his productions. And yes, it is super daunting. I mean, it's the first time for me. I've never done anything like this. When we do menus at Noma, I've reached a point now where when we set it up, the finals tasting, the entire team is there, the test kitchen team is there, and I think to myself 'we nailed it. I know guests will like this'. I know where on the menu they'll be surprised and be like 'oh, my god, I can't believe this'. You get a sense of that and a feel for that, and it's been a while since I had this feeling that 'okay, I have no clue if people are going to like this'. We are putting it out into the world — there might be 50 people that watch it, you being one of them, and we have no clue if people are going to like it and accept it and be inspired. They might hate it. No, they won't." Ben: "It'll certainly start a conversation. It's interesting you ask about that. I mean, 20–30 years ago, somebody also asked that question of — and we're using the old vernacular here, it was prime-time television — but would audiences sit and watch the migration of the dolphin or the mating of the polar bear on prime-time television? Because there had been nothing like that before. And it showed that audiences are looking for things that inspire them and give them hope and make them think, and start conversations. We're certainly not comparing ourselves to the Planet Earths, but we certainly took inspiration from those. Again, it was that thought of 'could we create this catalyst or this movement around food, and just give people the tools and the information to maybe have them think a little more about where their food comes from, and the impact that it has on culture and community and the planet', etcetera." On Balancing Each Ingredient's History, Impact, Influence, Relationship to the Climate and More René: "It's super hard. That was actually a challenge from the beginning to set the focus right, and to tell eight different stories that somehow still have the ethos and our beliefs in it that food is amazing and everything and the most important thing. But at the same time, to say it with different tonalities and different energies — it was really, really hard. And then also not to step into the realm of over-explaining — let the people that are actually being filmed explain, let the visuals talk, not step into the camera saying 'hey, we're going to show you this' and have 15 talking heads explaining everything — but, in that sense, being a little more adventurous. It is always a challenge to do that when you talk about food, the environment, where things come from, where they belong. It's a delicate balance always, without a shadow of doubt. And we threaded very carefully and hopefully we didn't do anything wrong, but I feel like we've really taken great care and attention to actually thread it carefully, and showcase our ideas and the places on earth with a lot of respect and care. Then ultimately, of course, we want to do that without it all telling the viewer what to do or how to do it. That it's an inspiration for people, that we respect you no matter what you choose to do. We all want the same thing: happiness and a good life. We have very different ways, each of us individually, to actually get there, but we believe in a lot of things when it comes to food — and we want to inspire you to try to see some of that, and see if you can grab some of it and implement it in your daily life. On Choosing the First Season's Eight Ingredients René: "It was a giant process of choosing these eight ingredients. We probably boiled it down from 120 or something like that, and I think we have at least season two also well-researched — of course, we don't know if we're doing season two yet, it depends on if people like season one. The process was long and it was hard. We had to do a lot of research before we actually chose. And then, of course, it's between me and Matt and all the other stakeholders in the show. Ben was heavily involved in that, but there was also other people here at the restaurant, like Devin, that works on the show as well from Noma. We had Fifth Season, the producers at Apple, everyone had an opinion actually. It was like the UN Peace Corps. And we made it happen and we ultimately ended up choosing eight ingredients that — we could have chosen eight world-altering staples, put wheat in there and the potato and so on and so forth, but we felt it would be a little too one note to have too much of that in there. We needed something that was also just about love, like the chilli story is for instance. So it was a long process. It takes a lot of research. And then once you have that, you also have a framework for each of the ingredients to actually start from, that you can explain to the director and to everyone that's involved, and then they go do their thing." On Omnivore Arriving Just as Redzepi Is Preparing to Say Goodbye to Noma 2.0 René: Actually, Omnivore has helped crystallise so many of the thoughts for the new Noma 3.0. When we go into that, we have a desire that we'd spend our team, our network, our 21 years of expertise, all the labs we have, to actually broaden our approach and work with new collaborators, start new projects that impact food in a bigger way than just cooking every night for 50 people. And in that sense, figuring out how to focus, how to bring the scope, how to have a larger scope, Omnivore helped crystallise a lot of the projects that we're going to initiate in Noma 3.0. I feel like I should also say that in Noma 3.0, we will still pop up as a restaurant now and then. When the body of work is ready and we need someone to test it on, then we'll come back and work so hard every minute to be the best of the best of the best. But Omnivore has helped crystalise some of the projects, which actually has been an amazing thing for that reason. And surprising, I would also say, that an added bonus was all that we've learned, all the meaning that we saw and all the interesting people you get to encounter, that they help guide you towards your next path. It's fantastic." On Redzepi and Liebmann's All-Time Favourite Ingredients, If They Could Only Choose One René: "Ben Liebmann, it's easy for me. You will let me know what you think, Ben." Ben: "Well, given that it's 7am here and I'm already on my second cup of coffee, it's probably coffee for me." René: "I was sure is was going to be coffee for you. For me, it's without a doubt chocolate. I cannot live without chocolate. That's for real. There's a little chocolate store in Mexico City called La Rifa. It's the best chocolate for me that exists, and I eat a block of that every day. I just can't be without chocolate." Omnivore streams via Apple TV+ from Friday, July 19, 2024.
UPDATE, November 20, 2020: Jumanji: The Next Level is available to stream via Amazon Prime Video, Foxtel Now, Google Play, YouTube Movies and iTunes. History would suggest that Jumanji: The Next Level is perfectly placed to be a spectacular failure. Beyond the obvious point that sequels almost always fare poorly, there's the fact that its enjoyable predecessor, 2017's Jumanji: Welcome to the Jungle, falls into the one-trick category — aka kids zapped into a video game and trapped in bodies different to the ones you'd expect. Then, there's the absolute deluge of publicity preceding this follow-up's release, which is generally a bad sign. On paper, the only real source of hope seems to stem from Dwayne Johnson, who rarely makes bad career decisions. But then you remember the horror show that is the Baywatch movie, and you think maybe not even that is true anymore. And yet, to its credit, Jumanji: The Next Level manages to forge new ground directly atop the old one, all thanks to an inspired twist in its tale. It doesn't quite capture lightning in a bottle again, but boy does it come damn close. Yes, the young same cast (Alex Wolff, Ser'Darius Blain, Morgan Turner and Madison Iseman) is back. Yes, they're again pulled into the video game world of Jumanji — and yes, as their in-game characters (Dwayne Johnson, Kevin Hart, Karen Gillan and Jack Black), they must once again find a rare jewel to secure their release. Had the sequel merely switched which avatars the four college kids landed in, the gimmick would've been over before it began, but here's where The Next Level gets clever. While the original quartet plan to enter Jumanji, it doesn't exactly work out that way. Instead, some are pulled in, but so too are curmudgeonly grandpa Eddie (Danny DeVito) and his former business partner Milo (Danny Glover). For anyone who has ever tried to explain a video game or even just a remote control to a grandparent, the struggle that ensues will be painfully and hilariously relatable — and the film exploits it beautifully. As a result of that narrative twist, returning leads Johnson, Hart, Gillan and Black all play host to new personalities, adding unexpected flavour to the already amusing gender and identity scramble of the original. Johnson and Hart are the standouts, with both offering note-perfect impressions of DeVito and Glover. It's a particular delight to see these actors play so enthusiastically against type — especially Hart, who eschews his fast-talking wisecracks to serve up the vocal equivalent of a car doing 20 kilometres per hour in an 80 zone. Johnson, too, clearly relishes the opportunity to move beyond his traditional 'good guy in a muscle suit' routine, playing someone both unlikeable and entirely out of his element. There are other key changes, too. The quest within Jumanji isn't the same as last time, meaning that even the veteran players find themselves desperately trying to make sense of it all before their three lives are spent. Like all good video games, the next level is also considerably more difficult. From the get-go, the threats are multiplied and the challenges are more complex. Whether via a flock of deadly ostriches, a bottomless ravine or a jealous lover named Switchblade, death can (and does) come at any moment — and, in this instalment, the characters get down to just one life far sooner. These action sequences are inventive in the vein of the best Pixar films, and the accompanying soundtrack evokes the kind of exhilaration and adventure usually found in an Indiana Jones picture. Then there's Spencer (Wolff), the awkward and nervous teen who previously became Johnson's Dr. Smolder Bravestone. His desire to regain the confidence that came from that transformation is what leads the gang back inside Jumanji in the first place. Once he's there, he instead finds himself sporting a new avatar: pickpocket Ming Fleetfoot, played by Awkwafina. The actor/rapper puts in a terrific performance, serving up precisely the kind of new character the film needed to build upon the original. Elsewhere, Nick Jonas and Colin Hanks also reprise their roles, while the funniest body swap involves cheerleader Bethany (Iseman) — although we'll leave just what she swaps into as a surprise. Once again directed by Jake Kasdan — who took over the Jumanji franchise from Joe Johnston, the filmmaker behind the original 1995 movie — perhaps the biggest change is the defter touch with which The Next Level handles its quieter moments. In particular, the unresolved conflict between Eddie and Milo simmers neatly below the surface throughout, and its ultimate resolution proves surprisingly tender for an action-comedy. Without ruining the ending, the film leaves it all but settled that another sequel will be in the works, which seems especially likely after The Next Level set box office records for Sony on its opening weekend in America. As long as the series can maintain the same level of inventiveness and surprise, that's not a bad thing at all. https://www.youtube.com/watch?v=rBxcF-r9Ibs
Whenever cold weather hits, spotting Uniqlo fans isn't hard. The brand's puffy jackets and vests are a winter favourite all around the globe, after all. Indeed, the chain has put a lot of fabric and oh-so-much down out into the world, as seen on rugged-up torsos everywhere. But, as part of a new sustainability drive, the company is looking to cut down its environmental impact. If you have a Uniqlo down-filled coat or vest rolled up in its handy bag and sitting on your shelf, but you know you're not going to wear it again, the company now wants you to bring your unwanted pieces of clothing back to one of its stores. Australians can head in, return their worn down jackets and vests, and receive a $10 voucher for their efforts, with the clothing then being recycled via the chain's new Re.Uniqlo program. The $10 voucher offer is only available until June this year, you can only use them in-store (not online) and you'll have to use it on replacing your old down products with something new. But the down recycling project is here to stay, in an attempt to stop the jackets and vests ending up in landfill. As part of its efforts to make sustainable apparel, Uniqlo will expand the scheme to other clothing items down the line, too. View this post on Instagram A post shared by UNIQLO AUSTRALIA (@uniqloau) If you're wondering how those returned items will be reused, Uniqlo is also launching a range of recycled down jackets in early April. They're made from 620,000 coats that were already collected in Japan since last September, and use the down and feathers previously in that big batch of jackets. For more information about Uniqlo's down recycling project and other recycling plans, head to the brand's website.
I'm a late convert to live theatre. For a combination of socioeconomic and cultural factors, the theatre always seemed to me like something other people did. I grew up thinking it was for fancy people. Rich people. Not people like me. Thankfully, life has its twists and turns, and, as an adult, I can now say I love the theatre — and I'm making up for lost time. There's one musical I've had my eyes on for a while. In 1989, a show hit the stage that would become a phenomenon in the theatre world. Miss Saigon, the brainchild of the creators of Les Misérables, Alain Boublil and Claude-Michel Schönberg, is a saga of love, loss and resilience set against the grim backdrop of the Vietnam War. The story sweeps us into the life of Kim, a young Vietnamese woman (well, 'woman' — she's 17 at curtain open) whose life is upended by war. She finds herself working in a brothel owned and led by a charismatic being known only as 'The Engineer'. It's here she meets Chris, an American soldier, and it's here where they fall in love, only to be torn apart by the tumultuous fall of Saigon. Even though the story is well known, I still feel like it's best not to give away the rest. And by well known, I mean well known. Since its debut, Miss Saigon has traversed the globe, mesmerising audiences in 32 countries and 373 cities, performed in 15 languages, and racked up over 70 theatre awards. From its record-breaking premiere in London to its storied runs on Broadway and everything in between, the show has continually evolved with the times in which it is presented. The latest Australian production, which just wrapped a stunning run at the Sydney Opera House, is a testament to the show's enduring appeal. Directed by Jean Pierre van Der Spuy, with musical staging by the late great Bob Avian, and additional choreography by Richard Jones, the production is wild. The set design by Matt Kinley and Totie Driver — inspired by Adrian Vaux's original concept — is mesmerising. And then there's the music. A blend of powerful orchestration and Eastern percussion that sonically transports you straight to 70s Saigon. In fact, Miss Saigon uses the widest range of far Eastern percussion instruments of any Western musical with featured instruments including baos (Chinese opera gongs), hyoshi-gi (Japanese kabuki clappers), chū-daiko (Japanese taiko drums), kyeezee (Burmese temple bells) and Thai ching cymbals. When I took my seat at Melbourne's Her Majesty's Theatre, I expected a good show — there must be a reason the narrative is still going strong all these decades later. What I didn't anticipate was the sheer physicality and emotion that exuded from every character. Every single person who stepped on that stage killed it. Wild to think that as much as it's a magic night for the audience, for the cast, it's just another day of showbiz — the impressive jumps and flips and gut-wrenching cries and passionate make-outs will be repeated the following day, and the next day, and the next day. Isn't that insane to think about? How some humans can just reproduce magic, whenever they want!? And we, the ones in the crowd, get to bask in the marvel of it all. Abigail Adriano, as Kim, was a force of nature. The way she commanded the stage was so incredible to witness, especially for someone so young (19!). Her voice is a real joy to hear live; it boggles the mind that people can be so talented. She plays every arc of Kim so convincingly, from shy and awkward at the beginning to every complicated spectrum of human emotion possible as her story evolves. When things get tragic, her performance becomes even more believable. Her pain is almost palpable, with a certain scene leaving the audience dead quiet in awe. Starring alongside Abigail are Nigel Huckle and Nick Afoa, playing American soldier Chris and his best friend John respectively. The pair brought their characters' internal battles and moral dilemmas to life. But it's Seann Miley Moore as The Engineer who really stole the show. What an absolute raging inferno of charisma and talent. And what an honour it was to witness. Every scene involving Seann became a battle of what to focus on, because you so badly wanted to see what was going on in the crowded background scenes but there was no way you were taking your eyes off Seann. Speaking of background. The show had so many layers, it's something you could easily see multiple times and keep taking something new away. The background actors gave incredible performances, and the choreography was so impressive to witness — the stage was full of B and C and D plots flashing in and out of our periphery while the main plot took the limelight, making it so hard to pay attention (in the best possible way) because everywhere you looked you saw magic. The technical aspects of the show also blew me away. The set pieces, including a giant Ho Chi Minh head and Statue of Liberty face, were imposing and pretty damn cool. But the real star was the helicopter scene. I've now learned it's famous as a showcase of onstage practical effects, but at the time it genuinely surprised me and it was so realistically executed that you could almost feel the wind from its blades. And here's something that blew my mind post-show — the music is performed live by a full orchestra tucked away beneath the stage. So hidden were they that I didn't even realise until the show was over and my companion pointed it out to me. My page space is running out, even though I could keep ranting and raving, so I'll leave you with this. Miss Saigon isn't just a musical, it's a journey that encapsulates the human experience in times of conflict, reminding us that humans can find beauty in even the worst circumstances. Whether you're a seasoned theatre-enjoyer or a first-timer, Miss Saigon is well worth your butt on the seat. You'll see an excellent show and also witness a narrative that has now carved its way into theatrical history. Which I think is pretty damn cool. Catch Miss Saigon at Her Majesty's Theatre until Saturday, December 16. Grab your tickets here.
There's no forgetting the opening moments of Scrublands, Australia's latest rural noir entry. For viewers streaming along via Stan, where the four-part series is available in full, there's no chance of not being instantly hooked, either. After an otherwise ordinary Sunday congregation, as his worshippers disperse slowly from his rural church's car park, Riversend priest Byron Swift (Jay Ryan, Muru) starts shooting with a sniper rifle. Five locals — farmers Alf (Fletcher Humphreys, The Stranger) and Tom Newkirk (Scott Major, Heartbreak High), shop owner Craig Landers (Martin Copping, The Dunes), mechanic Hugh Grosvenor (debutant Ben de Pagter) and accountant Gerry Torlini (Adam Morgan, The Royal Hotel) — are killed, with the man of the cloth not living out the fray himself. After that introduction, the bulk of Scrublands picks up a year later as the small, remote and deeply drought-stricken town is still attempting to live with an event that it'll never get over. In drives journalist Martin Scarsden (Luke Arnold, True Colours), who has been dispatched from Sydney to write about the situation 12 months after the unthinkable occurred. Capturing the colour of the situation is his remit, in an article that his Sydney Morning Herald editor wants for weekend supplement reading, and is also meant to be Scarsden's easy way back to the job after a traumatic last assignment. To the shock of no one but the investigative reporter, his welcome is mixed. It also won't astonish viewers that the journo's time interrogating the truth behind the tragedy proves anything but straightforward and uneventful — and neither director Greg McLean (Jungle) nor screenwriters Felicity Packard (Ms Fisher's Modern Murder Mysteries), Kelsey Munro (Bump) and Jock Serong (a scripting debutant) expect that basic framework to come as a surprise. Scrublands remains a mystery; however, it's the why that haunts its frames, not the who. That question lingers over the townsfolk that cross Scarsden's path, although there's already been an official tale since the massacre occurred. In the rubber-stamped version doing the rounds and fuelling news headlines, abuse allegations were levelled at Swift just days before the incident. So, in external law enforcement's minds, that's long been the case closed. But Scarsden is increasingly unconvinced. Far from writing the "torture porn" that he's initially accused of, he begins digging deeper, despite as much hostility about him endeavouring to unearth the facts swirling as surrounds to his presence in Riversend at all. Bookstore and cafe proprietor Mandy Bond (Bella Heathcote, C*A*U*G*H*T), a single mum and the first local that Scarsden meets, swings from cordial to frosty and then more open. Police officers Robbie Haus-Jones (Adam Zwar, Squinters) and Monica Piccini (Freya Stafford, New Gold Mountain) vary in their cooperation. Resident chief landowner Harley Reagan (Robert Taylor, The Newsreader) is blunt but reluctant about imparting anything but his family's generational history in these parts. Among those who lost fathers and husbands — such as teenagers Allen Newkirk (Stacy Clausen, True Spirit) and Jamie Landers (Zane Ciarma, Neighbours), and the latter's mother Fran (Victoria Thaine, Nowhere Boys) — the response is equally as complicated. Recurring among most of Riversend's inhabitants: the certainty that the picture painted of the cleric that changed everything isn't what it seems. The list of Australian films and TV shows that involve a big-city outsider galloping in to run through a regional area's problems, struggles and secrets is considerable, including The Dry, Black Snow, Limbo and Deadloch in recent years. Scrublands happily fits the bill. As those past movies and series have shown, and this page-to-screen effort based on Chris Hammer's novel as well, such a setup can provide the basis for weighty and compelling stories when presented with care, thought and style. McLean isn't in Wolf Creek or Wolf Creek 2 territory. While the eye-catching imagery that the filmmaker and his cinematographer Marden Dean (Clickbait) offer up can lean on familiar visual tropes, relying on standard formula isn't the approach overall. Any narrative scenario, no matter how well-used — including to the point where it feels like a national genre — can feel worth diving into when fleshed out with riveting details. Scrublands is a clear case in point. This isn't a story backdropped by parched red earth as far as the eye can see, but by the dry scrubby landscape as the name suggests. Like picture, like themes, then. Emotional complexities between characters intertwine, spread and hook in like undergrowth, in that remote small-town way. In other series such as The Clearing and The Lost Flowers of Alice Hart as well, and in The Royal Hotel on the big screen, too, Australia's recent screen output has kept making plain the ties, secrets and lies that can bind when everyone knows everyone, or thereabouts — plus the thorns that lurk for outsiders. A sense of stifling often courses through Australia's rural noir efforts, even when filled with vast expanses. When it seems like all there is is space, often there's nowhere to run to. As Scrublands' take on the interloper mining for answers, Arnold adds an arresting and grounded performance to a resume that flits from The Tunnel, Black Sails, Glitch and Home and Away to playing Michael Hutchence in Never Tear Us Apart: The Untold Story of INXS. This genre needs not only a gripping mystery but an involving protagonist, and TV's new addition ticks both boxes. While Ryan's casting as a charismatic and beloved priest, at least until he started gunning down parishioners, gives away that there's a twist to come involving Swift — and that the man of god won't just be seen in the series' introduction — he's still expertly deployed given the role's charming, empathetic and no-nonsense turns, as seen in flashbacks. And as Bond segues between the past and the present sections, Heathcote wears both hope and grief like a second skin. Hammer, a former journalist himself, penned a rich and atmospheric novel that screamed to reach the screen. As well as the non-fiction The River and The Coast, both of which preceded 2018's Scrublands to bookshelves, he's also given Scarsden two more stints on the page so far: Silver in 2019 and Trust in 2020. Expect them both to appeal to streaming powers that be, giving Australia a new Jack Irish- and Mystery Road-like franchise. If Hammer's Ivan Lucic and Nell Buchanan novels — 2021's Treasure and Dirt, 2022's The Tilt and 2023's The Seven — also get the same treatment, that wouldn't be a surprise, either. Check out the trailer for Scrublands below: Scrublands streams via Stan.
We hope you're hungry for more kitchen chaos: after dishing up stellar viewing in its first, second, third and fourth seasons, The Bear is returning for a fifth serving. What does this mean for the restaurant that shares the show's name? For Carmy Berzatto (Jeremy Allen White, The Iron Claw)? And for fellow chef Sydney Adamu (Ayo Edebiri, Inside Out 2), too? You should hopefully find out in 2026. The news of The Bear's renewal for season five comes just days after season four dropped its full ten-episode run, ready for prime winter viewing. So, if you've binge-watched your way through it and were left with questions about what happens after its season finale, answers are indeed on the way. "The Bear continues to be a fan favourite worldwide, and their response to this season — as seen through incredibly high viewership ‚ has been as spectacular as any of its previous seasons," advised John Landgraf, Chairman of FX, the US network behind the series. "Year in and year out, Chris Storer, the producers, cast and crew make The Bear one of the best shows on television, and we are excited that they will continue to tell this magnificent story." There's no word yet on any specifics beyond The Bear's locked-in fifth season, including timing, storyline, and returning and guest cast members. But expecting to get watching mid-2026 is completely reasonable, given that each of the Emmy- and Golden Globe-winning show's four seasons so far have all arrived in winter Down Under. In season four, Carmy's days running his dream restaurant were potentially numbered. In fact, a literal clock put on the business by The Bear's key investor Cicero (Oliver Platt, Chicago Med). As time ticked down, pondering the future became a theme not just for Carmy and Syd, but among the rest of the crew — including Carmy's sister Natalie (Abby Elliott, Cheaper by the Dozen), the Berzatto family's lifelong pal Richie Jerimovich Ebon Moss-Bachrach (Hold Your Breath), and the eatery's staff Marcus (Lionel Boyce, Shell), Tina (Liza Colón-Zayas, Cat Person), Ebraheim (Edwin Lee Gibson, Unprisoned) and Neil (IRL chef Matty Matheson). Check out the trailer for The Bear season four below: The Bear streams via Disney+ Down Under — and we'll update you with more details on season five when they're announced. Read our reviews of seasons one, two and three. Images: courtesy of FX Networks and Hulu.
FBi Social, the Sydney radio station's first ever pop-up live music venue, opened its doors last week. Housed on the second level of the refurbished Kings Cross Hotel, in stumbling distance of the Coca Cola sign, FBi is hoping to use the space to further their ever evolving mission of helping emerging local bands break through to larger audiences. With a 200-person capacity and a 24/7 license, and the aim of taking Kings Cross back to it's live music/dive bar roots, it's sure to be a very exciting couple of months. Rarely can you make me go to Kings Cross. The place evokes memories of dangerously high heels, bogan's blaring bad music from their souped up cars and being hit on by drug dealers. But FBi Social will be enough to get me, and many like me, to venture to the end of William Street. And perhaps the biggest perk is that no longer will you have to catch two buses and a train to a shoddy warehouse at the back of Marrickville to see emerging live music. It all kicks off this weekend, with Friday night's Socially Acceptable bringing you FBi's favourite emerging DJ's to assist you in all manner of hand-clapping, toe-tapping and hip-thrusting. The lineup of bands kick off on Saturday night with Dance To The Radio, featuring The Preachers, Underlights and Sister Jane. Gigs over the next two months include Ernest Ellis, Pikelet and Guineafowl, and will sit side by side with nights devoted to genres such as folk, hip hip and experimental music.
In the Smith Street corner site that was once home to the Robert Burns Hotel, now sits Hotel Collingwood — a bright, modern pub venture by Only Hospitality Group (Bentwood, Glovers Station and Juliette Coffee & Bread). Inside, a refresh by Pierce Widera features fresh white and olive green tones, alongside native blackbutt timber. There are two wood-fired fireplaces, an all-weather beer garden oasis out back and an upstairs dining space called Bobby's. You'll find a couple of big screens for your live sports fix, too. The food offering sees Lucas Group alumni John Woo and Allan Hwang plating up a subtle reworking of honest pub grub with a touch of Asian influence. Bites like fried chicken bao with spicy house-made mayo ($6.5), dumplings ($18–19) and kingfish sashimi ($23) sit alongside both meat and vegetarian grazing boards ($25). The classic parma is done with panko crumbs ($26), a fennel salad features edamame and a yuzu dressing ($19), and there are three different cuts of beef to tempt steak lovers. At the bar, cocktails lean to the classic, while both the 14 beer taps and the 100-strong wine list are mostly heroing home-grown drops. Try a pint of The Mill Brewery's Mosaic IPA ($13) or a Molly Rose Hug Replacement ($15) just metres from where they were made. [caption id="attachment_829526" align="alignnone" width="1920"] Bobby's[/caption]
On the hunt for a new CBD coffee destinations to add to your rotation? Handily enough, Peddler Espresso has just moved into One Melbourne Quarter. Making its home within the building's striking lobby, the cafe sits beneath the new Collins Street Sky Park, bringing a new double-whammy coffee offering to that oft-forgotten pocket near Southern Cross Station. Rocking an impressive Woods Baggot fit-out, complete with punchy red Levanto Italian marble countertops, Peddler is the latest creation from Abbotsford's designer caffeine haven Kitty Burns. The newcomer has a European lean to both its food and espresso offering, the menu crafted almost entirely on produce from South Melbourne's Emerald Hill Deli. Expect crafty grab-and-go options, such as toasted sandwiches stuffed with bacon, gruyère, blackberry jam and jalapeño, classic baguette combinations, and croissants filled with sopressa and provolone.
Movie lovers of Sydney, Melbourne and Perth, take note: Moonlight Cinema is in its home stretch for its 2022–23 season, and it's going out with another round of impressive titles. This openair go-to for flicks under the stars drops its lineup monthly, and has just unveiled the films that'll be filtering through its projectors in March. On the bill: a heap of Oscar-nominees, plenty of big blockbuster hits, a few beloved franchises and a handful of retro classics. Picnic baskets at the ready for autumn movie outings with your date, mates or both, including seeing films that are likely to win shiny trophies at Hollywood's annual night of nights. Among the Oscar contenders, Moonlight Cinema will be screening Ruben Östlund's pitch-black satire Triangle of Sadness, Irish gem The Banshees of Inisherin, the multiverse antics of Everything Everywhere All at Once and decadent Hollywood caper Babylon. You can see the title that'll likely win Cate Blanchett her third Academy Award, too, plus the drama that's put Brendan Fraser in the running — aka Tár and The Whale. Avatar: The Way of Water and Top Gun: Maverick, the latter of which will probably never stop playing cinemas, round out the Oscar lineup — and also cross over with the blockbuster part of the program, clearly. When it comes to recent titles, they're joined by Magic Mike's Last Dance, Operation Fortune: Ruse de Guerre and the just-released Cocaine Bear. Also at the big end of town, Moonlight Cinema will host preview screenings of both Scream VI and Dungeons & Dragons: Honour Among Thieves. Take note of the former if you like scary movies, of course. And it wouldn't be a month at this outdoor favourite without the chance to get cosy watching older gems such as The Princess Bride, Easy A and The Proposal. Moonlight is also screening the Lindsay Lohan-starring Mean Girls and The Parent Trap, too — and, in Sydney only, Aussie treasure The Adventures of Priscilla, Queen of the Desert. The exact lineup varies per city — and, for folks in Brisbane and Adelaide, Moonlight's current season in those two spots already ended in mid-February. As always, you can BYO movie snacks and drinks, including alcohol; however, each site also boasts a food truck slinging bites to eat, plus a VIP section for an extra-luxe openair movie experience. Also, dogs are welcome at all sites except Perth, complete with special doggo bean beds and a canine-friendly snack menu. MOONLIGHT CINEMA 2022–23 DATES Sydney: Thursday, November 24–Sunday, March 26 in Centennial Park Perth: Friday, November 25–Sunday, March 26 in Kings Park and Botanic Garden Melbourne: Thursday, December 1–Sunday, March 26 in Royal Botanic Gardens (Moonlight Cinema's Brisbane and Adelaide seasons have already come to an end for 2022–23.) Moonlight Cinema runs through until Sunday, March 26 in Sydney, Melbourne and Perth. For more information and to buy tickets, visit the cinema's website.
