The arrival of Fitzroy's newest ramen spot Gogyo has't go unnoticed. An enormous new exterior mural, a modern interpretation of wuxing (the five Chinese elements) by celebrated Sydney-based artist Kentaro Yoshida, points to its entrance on the corner of Brunswick and Westgarth streets. And, in the kitchen, the team is shaking up the game by celebrating a gutsy style of signature ramen you won't find anywhere else in town. Japanese-born Gogyo has landed in Melbourne following the success of its Aussie debut, which launched in Sydney's Surry Hills in 2018. It's also from the same minds behind internationally revered ramen chain Ippudo and, as you might know, that equates to some serious street cred in the world of Japanese noodle soup. Gogyo has set itself apart from the pack with its burnt ramen creation dubbed kogashi. A smoky, sweet and intense dish crafted on a charred miso or shoyu base, it is then loaded with chicken broth, pork belly chashu and half an umami egg. While it's the headline act at the new Fitzroy restaurant, the black (but not bitter) soup is backed by a strong supporting cast of alternative ramen varieties and izakaya-style snacks. [caption id="attachment_760781" align="alignnone" width="1920"] Kogashi ramen by Julia Sansone[/caption] The space itself is split between a minimalist front cocktail lounge and the restaurant, divided by traditional noren curtains featuring more of Yoshida's symbolic artworks. Step through into the dining room and you'll find a warm timber-filled space decked out with deep booths and a long open kitchen lined with stools. As for the menu, it's a mix of Gogyo favourites and Fitzroy exclusives. You might kick off with elegant snacks like scampi nigiri and spring rolls stuffed with sukiyaki-style wagyu, before diving into the likes of pork katsu curry or a poke-style sashimi number. There's a cracking karaage chicken, wagyu tataki finished with shiso and yuzu ponzu, and a miso chicken teamed with sticky rice and fennel pickle. Meanwhile, in the ramen corner, the two kogashi options steal the show, though there's plenty to tempt among the rest of the lineup, including a tonkotsu ramen laced with garlic oil and a fiery chilli shoyu soup. To match, there's a tight list of Aussie wines, Suntory brews on tap and a handful of elegant cocktails, like the whisky- and bitter orange-infused Salaryman. Images: Julia Sansone
It's with the swirling, piercing tones of a string-filled overture that The Childhood of a Leader begins. Ominous, unsettling and reminiscent of many a horror movie, the distinctive music provides quite the introduction — but then, that's what this film is all about. Actor turned first-time director Brady Corbet (Clouds of Sils Maria, While We're Young) announces his arrival as a filmmaker with a thoroughly ambitious effort about the youth of someone destined to become a fascist force to be reckoned with. After kicking things off in such spectacularly sinister fashion, Scott Walker's stunning score ushers viewers through a series of chapters, or 'tantrums', that comprise the film's narrative. At its centre is a ten-year-old American boy (Tom Sweet) growing up in France in 1919. His father (Liam Cunningham) works for US president Woodrow Wilson in the aftermath of WWI, helping to establish what will become the Treaty of Versailles. His mother (Bérénice Bejo) is distant and stern, so he warms to his French tutor (Stacy Martin) — a little too much, in fact. The time, the place, and the treaty will no doubt make viewers think of a particular historical figure who went on to devastate Europe in the 1930s and 1940s. Watching to see how your suspicions play out is part of the thrill of The Childhood of a Leader, although don't expect Corbet to play with the past exactly as we know it. Real-life parallels remain obvious, but it's the themes and ideas, rather than the specific details, that carry the most significance. Given everything that's happened in global politics since the film was shot in 2015, they're also what proves the most frightening. How does evil take root, be it in one person or an entire society? Does nature triumph over nurture? Does apathy and malaise breed something much more insidious than mere contempt and discontent? Corbet brings all of these questions to the fore – and while he's not particularly subtle about it, his approach works. An early line of dialogue, taken from a famous phrase coined about WWII, couldn't be more telling. "That was the tragedy. Not that one man has the courage to be evil, but that so many have not the courage to be good." That observation is uttered by none other than Robert Pattinson, who plays a friend of the boy's father. His role is a small but pivotal one, and will keep viewers on their toes — scrutinising each lavish frame as they wait to see if and when he reappears. The Childhood of a Leader demands that kind of close attention, and rewards it as well. You have to keep your wits about you when a seemingly ordinary situation slowly but surely turns into a nightmare. https://www.youtube.com/watch?v=CEa9vg_OrSA
Theatre and storytelling have long been one and the same, but Malthouse Theatre are bridging that gap completely with their 2015 program. Presenting works in a new chapter format, the bustling year ahead looks a little like a storybook. First we have an exploration of the self (Body // Language), then a look at how it relates to their digital world (Post // Love), and finally we examine society at large (Ritual // Extinction). It's a tidy way to organise such enormous ideas, but the works in each chapter are far from a simple variation on a theme. Before you even step inside a theatre, the party will be kicking off with Blak Cabaret — a prologue to the chapter format featuring Indigenous comedians, musicians, dancers and poets. After premiering at Melbourne Indigenous Arts Festival last year, this year's run of the show will play out in the forecourt of Malthouse's home on Southbank. Featuring three works from the 2015 Dance Massive program, the first official chapter of the season will have a big emphasis on the body. In Nothing to Lose, Force Majeure, choreographer Kate Champion and fat activist Kelli Jean Drinkwater join forces to challenge body expectations and reclaim the stage for large bodies. Do You Speak Chinese? then sees Australian-born Victoria Chiu explore the expectations of her Asian heritage through dance, and Depth of Field examines life in the city with Chunky Move's Anouk van Dijk in the Malthouse forecourt. The one work without a focus on dance is Wot? No Fish!!. A story of love, history and family, this one-man play written by and starring Danny Braverman was an absolute hit at last year's Edinburgh Fringe. Post // Love starts up with an ambitious and critically-acclaimed story from Caryl Churchill. Directed by Kip Williams, Love and Information will be a postmodern series of vignettes that sees the talented cast playing over 100 roles. Definitely pencil this one in your diaries, it comes sporting a five-star review from The New York Times. Ash Flanders then takes the stage for an interrogation of YouTube stardom and digital identity in Meme Girls, while Lally Katz rounds out the chapter with her new comedic work Timeshare. Starring Marg Downey from Kath and Kim, this is definitely going to be one to lift the spirits. As winter encroaches, things get a little darker in Ritual // Extinction. Jane Montgomery Griffiths reimagines the tragedy of Sophocles with Antigone, while Declan Greene and Matthew Lutton take a look at life from behind bars in I Am a Miracle. Famous for her comedic social critque, Nicola Gunn takes on the world of business in A Social Service; then the chapter is rounded out with They Saw a Thylacine — a work that's toured the fringe circuit with its hunt for the Tasmanian tiger. As enormous and exciting as the program is, it's also going to be supplemented by related events throughout the year. To celebrate the body and language you can attend a fitness session with an eight-year-old trainer. To explore relationships in the digital age, Aphids will be organising a mysterious interactive game. And, to get on board with the best ritual of them all, the NGV will be hosting a part-performance, part-banquet version of the last supper. If that's not enough for you, The Wheeler Centre will also be hosting a series of discussions on each chapter. There's certainly a lot to talk about. For full program details, see the Malthouse website.
Bourke Street's home of slow-cooked, American-style barbecue fare is getting a little raucous this New Year's Eve. Come Thursday, December 31, Fancy Hank's is farewelling the year that was with a foot-stomping, inner city hoe-down. Guest chef Ross Magnaye (formerly Rice Paper Scissors) will be in the kitchen, lending his signature Filipino twist to a menu of party-style finger food. Meanwhile, the drinks will be flowing from 9pm until midnight, with a range of tap brews, house wines, soft drinks and celebratory bubbly included in your $118 ticket price. As for the entertainment, it'll be taken care of by Melbourne's own Pauly Main and Andee Frost, as they take over the decks to treat your ears to what the venue is describing as "a searing selection of saucy songs to get you moving". Get set for everything from Dolly Parton to Acid Cowboy, kicking on until 3am.
He made movies that no one else could've. He changed what the world, viewers and fellow filmmakers alike, thought was possible in cinematic storytelling. The greatest television show ever created sits on his resume, a label that would've applied even if it had only received a two-season run in the 90s, but was proven all-the-more accurate when he revisited it two and a half decades later to gift audiences an unforgettable 18-episode achievement. There has never been an artist like David Lynch, and won't be again. Anyone who has had the chance to explore his paintings, drawings and sculptures, too — which made a spectacular Australian showing at a dedicated exhibition at Brisbane's Gallery of Modern Art in 2015, with the man himself in attendance — can't shake them from their mind. Movies, TV, acting, animation, art, music, books, furniture, photography, advertising, music videos, transcendental meditation, comic strips, coffee, weather reports, cooking quinoa, gravity-defying hair: before his death on January 15, 2025, Lynch made an impact upon all of them. "He was in touch with something the rest of us wish we could get to," shared Kyle MacLachlan, Lynch's Special Agent Dale Cooper in Twin Peaks, Paul Atreides in 1984's Dune and Jeffrey Beaumont in Blue Velvet. "David was in tune with the universe and his own imagination on a level that seemed to be the best version of human," he continued. "Every moment together felt charged with a presence I've rarely seen or known. Probably because, yes, he seemed to live in an altered world, one that I feel beyond lucky to have been a small part of. And David invited all to glimpse into that world through his exquisite storytelling, which elevated cinema and inspired generations of filmmakers across the globe," said his Mulholland Drive lead Naomi Watts. For Wild at Heart's Nicolas Cage, Lynch "was a singular genius in cinema, one of the greatest artists of this or any time," he told Deadline. "He was brave, brilliant and a maverick with a joyful sense of humour. I never had more fun on a film set than working with David Lynch. He will always be solid gold." "The world is going to miss such an original and unique voice. His films have already stood the test of time and they always will," noted Steven Spielberg, who gave Lynch one of his last role sas an actor, casting his fellow helmer as another Hollywood great, John Ford, in the autobiographical The Fabelmans. For another filmmaking icon adoring a filmmaking icon, Martin Scorsese also provided his ode in a statement: "I hear and read the word 'visionary' a lot these days — it's become a kind of catch-all description, another piece of promotional language. But David Lynch really was a visionary — in fact, the word could have been invented to describe the man and the films, the series, the images and the sounds he left behind. He created forms that seemed like they were right on the edge of falling apart but somehow never did. He put images on the screen unlike anything that I or anybody else had ever seen — he made everything strange, uncanny, revelatory and new. And he was absolutely uncompromising, from start to finish." When Lynch committed his journey to paper with 2018's must-read Room to Dream, the talent that crafted the most-stunning debut feature there is with Eraserhead, earned a Best Director Oscar nomination for his second film The Elephant Man (and later for Blue Velvet and Mulholland Drive), and has nine Emmy nods to his name for the first and third seasons of Twin Peaks, couldn't have chosen a better moniker for his memoir. When Twin Peaks: Fire Walk with Me advises that "we live inside a dream", it also couldn't have felt more apt. To watch Lynch's work is to fall into his dreams — surrealist visions filled with clashes and contrasts, such as his career-long fascination with the sublime and the terrifying sides of suburbia and domesticity — then be inspired to have your own, whichever places both wonderful and strange that they might take you. [caption id="attachment_987090" align="alignnone" width="1920"] Suzanne Tenner/SHOWTIME[/caption] For Lynch, where his output transports fans to has always been personal, including to them. Famously, he eschewed explanations, letting his creations speak for themselves, and giving everyone watching, viewing, listening and appreciating the room to draw their own interpretations. "It's the ideas that come. And many of the ideas that come are conjured by our world. And we all know that there's many mysteries. I always say that human beings are like detectives: we want to know what's going on and what the truth of a thing is, and we see our world, we feel it, we feel there's things going on," he said to David Stratton at a public in-conversation event during his trip to Brisbane. "I always say that the filmmaker has to understand the thing for himself or herself. But when things get abstract, or a little bit abstract, there's room for many interpretations, and each person should be able to make up his or her mind to feel what the things mean." To pay tribute to Lynch, damn fine cherry pie should be on the menu. So should a damn fine lineup of viewing, because there's no better way to honour a filmmaker like no other than to relish his on-screen dreams. When his family announced his passing at the age of 78, they noted that he'd remind everyone to "keep your eye on the donut and not on the hole". Take that advice by enjoying everything that's available to stream right now — and Lynch's version of a small-town-set TV murder-mystery, its big-screen prequel, a documentary about him, several acting roles and a monkey interrogation are just the beginning. (Sadly, Eraserhead, The Straight Story and Inland Empire aren't available at the time of writing, but they'd be on the list otherwise.) The Elephant Man David Lynch has never been shy about how unlikely it was for the director of Eraserhead to score a job making a Victorian era-set period drama in England with John Hurt (Jackie), Anne Bancroft (Keeping the Faith), John Gielgud (Elizabeth) and Anthony Hopkins (Those About to Die) — or how he thought that once Mel Brooks (Only Murders in the Building), who executive produced the film, saw his debut feature that he wouldn't get the gig. Thankfully Brooks was wowed, and so cinema gained an affecting movie from Lynch that's restrained compared to much of his other output, but also deeply compassionate and unflinching. With Hurt astonishing as its lead, the eight-time Oscar-nominated The Elephant Man tells of the IRL life of Joseph Merrick, whose physical deformities saw the movie's moniker slung his way. The Elephant Man streams via iTunes and Prime Video. Dune Before Timothée Chalamet (A Complete Unknown) became cinema's ultimate spice boy — Paul Atreides, as he plays in 2021's Dune and 2024's Dune: Part Two for Denis Villeneuve (Blade Runner 2049) — Kyle MacLachlan (Blink Twice) walked without rhythm first, in his debut collaboration with David Lynch. The latter disowned his adaptation of Frank Herbert's sci-fi novel, his third feature, his only attempt at a blockbuster and a movie that wasn't met warmly when it released in the mid-80s; however, there's no mistaking the visual ambition that the director attempts to bring to the page-to-screen space opera. Everyone knows the film's narrative due to the two Chalamet-starring flicks, but those versions didn't also star Sting (playing Feyd-Rautha before The Bikeriders' Austin Butler) or Patrick Stewart (as Gurney before Outer Range's Josh Brolin). Dune streams via Netflix and Stan. Blue Velvet What lurks behind seeming perfection is a lifetime-long on-screen obsession for David Lynch, beginning with parenthood in Eraserhead and applying to white picket-fence life in every iteration of Twin Peaks, plus Blue Velvet. Returning home to Lumberton, North Carolina from college, Kyle MacLachlan's Jeffrey Beaumont is soon drawn into the nightmare lived by lounge singer Dorothy Vallens (Isabella Rossellini, Conclave) at the hands of gangster Frank Booth (Dennis Hopper, Crash) — all after he finds a severed human ear in a field near his house. The film's exploration of darkness lingering within also applies to its protagonist, with MacLachlan stellar in a movie that also marks Lynch's first collaboration with Laura Dern (Lonely Planet), features a haunting performance by Hopper and ensures that you'll never hear Roy Orbison the same way again. Blue Velvet streams via iTunes. Twin Peaks It's the mind-bending small-town mystery-drama that comes with its own menu — and with plenty of thrills, laughs and weirdness. Whether you're watching Twin Peaks for the first or 131st time, you'll want to do so with plenty of damn fine coffee, fresh-made cherry pie and cinnamon-covered doughnuts to fuel your journey. David Lynch and Mark Frost's seminal TV series doesn't just serve up 90s-era oddness with backwards talk, log-carrying ladies, couch-jumping monsters and fish in percolators, as centred around the murder of high-schooler Laura Palmer (Sheryl Lee, Limetown), though. It returned for an astonishing third season in 2017 as well that's the finest thing to reach the small screen in the 21st century. There's never been anything on television like Twin Peaks. No one can play a kind and quirky FBI boss like Lynch either, or a dedicated agent like Kyle MacLachlan as Dale Cooper. Twin Peaks streams via Paramount+. Twin Peaks: Fire Walk with Me Twin Peaks: Fire Walk with Me is a prequel to Twin Peaks, as well as the exceptional TV show's leap to cinemas. The film is also a masterpiece in tragedy, and the same in empathy. Before she's "dead, wrapped in plastic" in the program's debut instalment, David Lynch truly sees Laura Palmer and everything that she goes through. Set in the lead-up to her demise, the flick burrows deep into the menacing forces at play. It's a movie of sheer dread, even though viewers know what's going to happen. As only he can, Lynch steeps every frame in the brutal pain, terror and suffering of his doomed protagonist, ensuring that his audience walk in her shoes, feel what she's going through and see how ravenously that the world tears into her, all while baking in his adored surrealist touches. He also works David Bowie into the Twin Peaks cast, magnificently so. Twin Peaks: Fire Walk with Me streams via YouTube Movies. Wild at Heart David Lynch directing Nicolas Cage: of course it had to happen, and thankfully did. That's one helluva filmmaker-actor combination — and when the unrivalled helmer had the incomparable star in front of his lens, the Palme d'Or at the Cannes Film Festival came his way. The movie that Lynch made between Twin Peaks' initial run and the series' big-screen prequel Fire Walk with Me, it features one of Cage's greatest performances. Cage playing one half of a couple on the run (opposite Laura Dern), singing Elvis tunes like he was born to and navigating a Lynchian crime-romance flick truly is what dreams are made of. Adapting the 1990 novel of the same name — by author Barry Gifford, who went on to co-write Lost Highway with Lynch — Wild at Heart is also as distinctive as crime road movies get. Wild at Heart streams via iTunes and Prime Video. Lost Highway It's thanks to Lost Highway that Nine Inch Nails' 'The Perfect Drug' exists; before he was composing Oscar-winning The Social Network and Golden Globe-winning Challengers scores, Trent Reznor also produced this 1997 film's soundtrack for David Lynch. Tunes by NIN, David Bowie, The Smashing Pumpkins and Lou Reed are just one of movie's highlights, however. Initially with Bill Pullman (Murdaugh Murders: The Movie) as a saxophonist, then with Balthazar Getty (Megalopolis) playing an auto mechanic — and with Patricia Arquette (Severance) acting opposite each, featuring in both of the flick's two parts — Lost Highway embraces its sinister tone from the get-go, with its guiding force strapping in for an eerie and audacious ride filled with mysterious VHS tapes, murder convictions and sudden swaps, and refusing to pump the brakes for a moment. Lost Highway streams via Stan. Mulholland Drive In dreams, Mulholland Drive lingers. In reality, the Los Angeles-set masterpiece has as well since 2001. Although the term naturally applies to his entire filmography, movies don't get much more Lynchian than this shimmering neo-noir and tribute to Tinseltown that started as a TV project, and stars Naomi Watts (Feud) as eager aspiring actor Betty Elms and struggling thespian Diane Selwyn. One is fresh from Deep River, Ontario and chasing her dreams. The other no longer has stars in her eyes. Reflections and doppelgängers, fantasies and alternate realities, accidents and surprises, hopes and failures, how Hollywood demands reinvention, the roles that people play for and without the cameras: they're all part of a mesmerising picture (as are Father of the Bride's Laura Harring and Beetlejuice Beetlejuice's Justin Theroux among the cast). Mulholland Drive streams via Binge, Stan and ABC iView. Duran Duran: Unstaged Inland Empire will always be David Lynch's last narrative feature, but it wasn't his last full-length film. Five years after the movie that he wanted Laura Dern to win an Oscar for so badly that he took to Sunset Boulevard with a cow by his side, he helmed Duran Duran: Unstaged. Before making his one and only concert flick, he'd directed music videos for Chris Isaak's 'Wicked Game' and Moby's 'Shot in the Back of the Head', among others. Afterwards, he'd do the same on Nine Inch Nails' 'Came Back Haunted' and several of his own tunes with Chrystabell, too. But just once, for two hours, he brought an entire live gig to the screen — as shot in Los Angeles on the British band's The All You Need Is Now tour, complete with 'Hungry Like the Wolf', 'Girls on Film', 'Notorious', 'Rio', 'A View to a Kill', 'Come Undone', 'Planet Earth', 'Ordinary World' and more on the setlist. Duran Duran: Unstaged streams via Docplay David Lynch: The Art Life Even when a David Lynch-directed project is diving into nightmares, which is often, the filmmaker's movies and TV shows get audiences yearning to spend time in their company, lapping up his unequalled vision of the world. That's the reason that documentary Lynch/Oz, about his obsession with The Wizard of Oz in his work, exists. Watch doco David Lynch: The Art Life and viewers can spend time in Lynch's company as well. For helmers Rick Barnes, Olivia Neergaard-Holm and Jon Nguyen — all directing their only feature so far — Lynch takes everyone on a tour of his upbringing, efforts to make Eraserhead in the 70s, and artistic and musical output. Of course, don't expect any answers. Again, Lynch wants to let his work speak for itself, rather than him speak about it. But do expect to spend an enjoyable time with the unparalleled master auteur. David Lynch: The Art Life streams via Docplay. What Did Jack Do? In a dimly lit room in a grimy train station, a capuchin monkey sits at a table. In walks a detective, who then starts smoking a cigarette and interrogating the animal in front of him. They chat, bantering back and forth as the cop asks questions and the primate answers. At one point, the monkey even sings. Queries range from "do you know anything about birds?" to "you ever ride the rodeo?", all in a quest to solve a murder. A chicken also pops up, and a waitress. If the above scenario sounds more than a little surreal, that's because it is — especially given that it's part of David Lynch's 17-minute short film What Did Jack Do?. The black-and-white piece also stars the inimitable Lynch as the detective. It's a unique, delightful and characteristically eccentric work by one of the most distinctive folks to ever stand behind a camera. What Did Jack Do? streams via Netflix. Lucky Six times throughout their careers, David Lynch directed Harry Dean Stanton. In the year that delivered their last collaboration in one of Lynch's projects — the third season of Twin Peaks, which followed Wild at Heart, miniseries Hotel Room, Twin Peaks: Fire Walk with Me, The Straight Story and Inland Empire — and sadly saw Stanton pass away at the age of 91 after 200-plus acting credits, they teamed up as fellow performers in the delightful Lucky. In the directorial debut of actor John Carroll Lynch (Babes), the veterans are thrust to the fore as Stanton plays a 90-year-old small-town loner who is forced to face his mortality. The landscape of his face pairs perfectly with the arid dessert surroundings, while his specific brand of cantankerous charm finds its match in Lynch as his monologue-spouting, tortoise-loving pal. Lucky streams via Brollie. Read our full review. The Fabelmans With The Fabelmans, Steven Spielberg pays tribute to cinema in as many ways as he can fit into a single feature, all while relaying how he grew up as a movie-loving kid — and sharing the affection with his family, too, as he explores the complicated dynamics that shaped his childhood. The director behind everything from Jaws and Indiana Jones to E.T. the Extra-Terrestrial, Jurassic Park and West Side Story also tips his hat to two other filmmaking forces in his coming-of-age affair: four-time Best Director Oscar-winner John Ford, who Spielberg met when he was starting out, and David Lynch. The latter fellow helmer plays the former, in an inspired stroke of casting. Although any acting performance by Lynch is a treat, this one, as he makes a point about interesting filmmaking using the horizon to Gabriel LaBelle (Saturday Night) as Spielberg's surrogate, couldn't be more perfect. The Fabelmans streams via Netflix and ABC iView. Read our full review.
Australia's cities are filled with must-try places for a bite, whether you're seeking out Sydney's very-best restaurants, Melbourne's top eateries or Brisbane's latest openings, but there's still nothing like a home-cooked meal. Alison Roman understands this. The Brooklyn-based food writer and chef may live in New York and have access to its thriving dining scene, but she's a big fan of eating in — and she has viral recipes such as #TheCookies, #ThePasta, #TheStew and #TheDip to prove it. Roman also has two cookbooks currently in bookshops, and possibly on your own shelves: Dining In: Highly Cookable Recipes and Nothing Fancy: Unfussy Food for Having People Over. Come April in Australia, Sweet Enough: Desserts for People Who Don't Do Dessert will join them. To launch the latter, and to make her first trip ever Down Under, Roman is hitting our shores on a three-city tour to get chatting about home cooking, those internet-famous dishes and why she adores her own kitchen. [caption id="attachment_894215" align="alignnone" width="1920"] Chris Bernabeo[/caption] The viral recipe queen and New York Times-bestselling scribe leads this year's Melbourne Writers Festival lineup, which is her first Aussie stop. She'll discuss her career and her journey to the dessert-focused Sweet Enough with Benjamin Law on Friday, May 5 at Melbourne Town Hall — plus her love of culinary imperfection. Next destination: a stint at Brisbane Powerhouse on Sunday, May 7, where she'll be in-conversation with Belinda Sweeney, touching upon everything from having her own CNN cooking show to releasing her first baking book. And, last but by no means least, Sydney Opera House will add Roman to its impressive list of 2023 guests — see also: Michael Sheen during Amadeus, Bikini Kill on their first trip to Australia in more than a quarter-century and the whole All About Women lineup — on Tuesday, May 9. In the Harbour City, she'll be talking with Melissa Leong, and expect her food newsletter A Newsletter and YouTube series Home Movies to also get a mention. "I was scheduled to come to Australia in March of 2020 but the world had other plans, so I am beyond thrilled to finally make it over," said Roman, announcing the tour. "A first-time trip to Sydney was already going to be special, but speaking at such a legendary venue as the Opera House is more than I could have dreamed of. I really, truly can't wait." ALISON ROMAN AUSTRALIAN TOUR 2023: Friday, May 5 — Melbourne Town Hall, Melbourne, as part of Melbourne Writers Festival Sunday, May 7 — Brisbane Powerhouse, Brisbane Tuesday, May 9 — Sydney Opera House, Sydney Alison Roman tours Australia in May 2023. For more information — and for tickets — head to the Sydney Opera House (for pre-sales from 8am AEDT on Thursday, March 23 and general sales from 9am AEDT the same date), Melbourne Writers Festival and Ticketek (from 9am AEST on Thursday, March 23) websites. Top image: Alison Roman by Chris Bernabeo.
UPDATE, February 12, 2021: Portrait of a Lady on Fire is available to stream via Stan, Google Play, YouTube Movies and iTunes. In Portrait of a Lady on Fire, Celine Sciamma tasks audiences with literally watching paint dry — and it's riveting. Viewers don't merely stare as the pigment settles, and they don't devote the whole film to glaring at a canvas. Still, in this sumptuous, striking romance, observing artist Marianne (Noémie Merlant) as she gazes at her latest creation couldn't be more crucial. She agonises over every brush stroke as if her soul depends on it, because it does, in a way. Her heart does at the very least. On an island in Brittany near the end of the 18th century, Marianne has been commissioned to paint a portrait of the betrothed Héloïse (Adèle Haenel). But how does anyone do justice to the face of the woman they've fallen hopelessly in love with? Hardly a blushing bride-to-be, Héloïse doesn't want to get married to an Italian man that she has never met, and she certainly doesn't want to sit for an artwork marking the occasion. She has previously refused to comply for another artist, making painting her traditional wedding portrait a tricky prospect. Accordingly, Marianne is enlisted by Héloïse's Countess mother (Valeria Golino) to be her daughter's new companion, to scrutinise her closely every chance she can, and then to craft the picture from memory in secret. As the women spend time together, walking by the sea as the wind swirls and slowly sharing aspects of their lives, their feelings simmer, then bubble, then boil heatedly. When Portrait of a Lady on Fire depicts Marianne peering obsessively at her picture of Héloïse — even wiping off the paint and beginning again when she's discontent with what's staring back — it shows her lost in thought and swept up in the throes of affection. And, because Sciamma is a gifted visual storyteller and Merlant a great actor, the film makes clear the significance of these moments without overplaying a single element. Watching paint dry is important, because every speck solidifies into a permanent token of how Marianne feels about Héloïse. Naturally, she's determined to convey those feelings in as precise and perfect a way as possible. Given the period, place, prevailing societal attitudes and expectations placed upon women, this portrait is the only enduring way that she can immortalise their love — and the weight of that truth is always heartbreakingly apparent. Equally beautiful and bold, Portrait of a Lady on Fire is a film that balances the reality of impossible circumstances with otherwise hopeful glimmers, as has become the French writer/director's custom. It's that dynamic that made Sciamma's last feature, girl-gang movie Girlhood, simultaneously perceptive, exuberant and emotionally raw, traits that are essential here, too. The solace that Marianne and Héloïse find in each other's arms in stolen blissful moments proves both tender and sizzling. Their yearning, inner awakenings, and struggle to contain their infatuation within such restrictive confines is palpable. And the fact that their lives aren't their own to decide — no matter how fiercely independent Marianne is, and encourages the more pragmatic Héloïse to be — constantly tints their restrained romance with an unflinchingly bittersweet hue. Bringing all of the above to life in a movie that's the epitome of slow-burning — pun intended, although a portrait of a lady does indeed catch on fire in the film — Merlant and Haenel are a dream duo. Their performances are so measured yet still so heaving with feeling, and their interplay so exacting yet still so quietly expressive, that they could escape the entire feature without saying a word. Writing and directing, Sciamma has penned intricate dialogue for them to speak, though. They say much without uttering a thing, and they also swap meaty exchanges about classic tales, memories and harsh truths. Sciamma won this year's Cannes Film Festival Best Screenplay award for her efforts, as well as acclaim and applause since; however her exceptional script wouldn't burn as brightly without her two leads. Thematically, narratively and emotionally, this could never just be a lush romantic drama brimming with uncomplicated passion and desire. In her first period-set tale, Sciamma was always going to confront the minutiae of life for women of the era — it's pivotal to understanding how the requirements placed upon her characters are so incompatible with their happiness, and why they must relish what brief joy they can. That said, Portrait of a Lady on Fire always looks like a lush romantic drama, whether its gorgeous imagery is watching paint dry, enjoying the scenery, or getting as lost in Marianne and Héloïse as they are in each other. Befitting a movie about a painter and a portrait, every frame could be hung on a wall. An exquisite piece in every way and one of the year's very best, this film earns all of the obvious fiery terms, because it sparks, blazes and simply sets the screen alight. https://www.youtube.com/watch?v=Bn_-YoG69Sw
It's the page-to-streaming YA series that turned into a smash hit, made Lola Tung a star in her first-ever screen role and gave a second Jenny Han franchise a successful leap to the screen. It's also the show that's earned such passion and obsession that free tickets to a live book club event featuring Tung, fellow actor Rain Spencer (Test Screening) and Han in Sydney were snapped up instantly. The series in question is The Summer I Turned Pretty, of course, aka Prime Video's adaptation of Han's 2009 novel of the same name, as well as 2010's It's Not Summer Without You and 2011's We'll Always Have Summer. The show's third season is streaming now — and with it, the flower crown-loving, often Taylor Swift-soundtracked small-screen sensation is coming to an end. 2025 marks a mere three years since the world was first introduced to Tung as Isabel 'Belly' Conklin, then an about-to-turn-16 teen living her summer dream. Whenever the weather turns warm, the coastal Massachusetts town of Cousins Beach has always beckoned her family, who vacation at the luxe house owned by her mother Laurel's (Jackie Chung, Coming Home Again) best friend Susannah Fisher (Rachel Blanchard, Uno). Belly is the youngest among the next generation, thanks to her elder brother Steven (Sean Kaufman, Walker), plus Susannah's two children Conrad (Christopher Briney, Mean Girls) and Jeremiah (Gavin Casalegno, Queen of the Ring). She's also been in love with Conrad since she can remember. In the initial sunny season charted in The Summer I Turned Pretty, neither of the Fisher siblings see Belly as a kid anymore. Enter the Team Conrad-versus-Team Jeremiah clash — and a hard choice for the show's protagonist between her lifelong dream and her forever best friend. Which of the duo that Belly's heart is swooning for at any given moment has changed more than once as season two and now season three have arrived, but can you ever truly get over your first love, or move past the person that's always known you better than anyone else? Audiences will soon find out for the character that turns 21 in the series' final run, and is so established in a long-term relationship with Jeremiah that the pair are making big plunges. Although Conrad is at Stanford chasing a medical career, he's clearly still deeply affected by how his time by Belly's side faded in the previous season. A coming-of-age story and a summer-romance tale all in one — several summer romances, in fact, thanks to Belly's love triangles, catching up with its characters summer after summer, and other relationships surrounding Belly, Conrad and Jeremiah — The Summer I Turned Pretty was always destined to follow Han's To All The Boys I've Loved Before trilogy to the screen. It was published first, but made its way to streaming after 2018's To All the Boys I've Loved Before, 2020's To All the Boys: P.S. I Still Love You and 2021's To All the Boys: Always and Forever films, all on Netflix, where that saga's spinoff series XO, Kitty debuted in 2023 and dropped its second season in early 2025. One of the key reasons that Han's work keeps finding a home on the small screen, as well as in the hearts and minds of fans — both those familiar with the source material and others brand-new through the adaptations — is an approach that's pivotal to the author. Han also created both The Summer I Turned Pretty and XO, Kitty in their streaming guises, and is a showrunner on both. That crucial factor: allowing the teenage girls and young women that are her protagonists to experience the entire and full spectrum of their feelings, and genuinely appreciating that with all sincerity and earnestness, which can't always be said about the depiction of characters in that demographic. Such an approach is essential to Han — and also to Tung and Spencer, who've grown up with their starring roles on The Summer I Turned Pretty. As Taylor Jewel, Belly's ride-or-die best friend, who has her own complicated romantic situation with Steven, Spencer has also been navigating a storyline that expands well beyond the novels, charting new territory even for avid readers. That said, whether book diehards actually know who Belly will end up with when the show says goodbye after its 11-episode third season isn't assured. Han, Tung and Spencer are all feeling good about where The Summer I Turned Pretty wraps up, though, they tell Concrete Playground. "I feel great," says Han, accompanied by smiles and nods from Tung and Spencer. "I feel excited for people to see it. The last episode is one of my favourites of the whole series," she continues. "I think — I hope — people feel satisfied, but I think I feel satisfied as a storyteller with the work that we did." What's in store will keep being revealed weekly until Wednesday, September 17, 2025; however, we also chatted with Tung, Spencer and Han about the viewer response to the series and what it means to them; the importance of the show valuing young women's emotions; the fact that The Summer I Turned Pretty has always been Team Belly first and foremost, regardless of what's happening amorously between her and Conrad or Jeremiah or anyone else; Tung and Spencer's experience with Belly and Taylor's journeys; and more. On What the Viewer Response to The Summer I Turned Pretty, Including Events Like Prime Book Club LIVE and Fans Obsessing Over the Show's Love Triangles, Means to Tung, Spencer and Han Lola: "It makes me so excited. I feel cool." Rain: "It's so cool." Jenny: "It's an honour. I think as an author of books, it makes me excited anytime I see people reading or being passionate about stories. So it's really cool for us." Lola: "We were walking around Sydney the other day, and it was just cool to see how many people watched the show." Jenny: "I was like 'whoa'. I was very surprised. Because I think you often just think about who's watching it in the US. We live in the US and people come up to us. So it's very exciting to leave the country and be like 'you've heard of us?'. It's so cool." On the Importance of The Summer I Turned Pretty Allowing Its Teenage Girls and Young Women to Experience the Entire Range of Their Emotions — and Appreciating That with Sincerity Jenny: "To me, it's essential. As somebody who writes stories about young people, I've always approached it in that way — with, I hope, respect — where every experience is meaningful and valid. And I think a lot of times adults can minimise a young person's point of view, because they're like 'oh, puppy love' or 'oh, they're just kids'. But I think It's all relative. It's kind of what you were saying earlier, Rain — that's always been my ethos, is that your experience is your experience, and it's relative to what you've already experienced." Rain: "Yeah." Jenny: "So as a teenager, if I have a really bad fight with my mum, that can be really destabilising and really horrible, right? And so I think people look back on it and laugh, but you forget how big that was in the moment — to not have someone to eat lunch with at school or to be dumped publicly." Rain: "Yes, it's the heightened emotion, the different definitions of love as you get older. But the first love that you experience, it might not be your experience when you get older, but it is absolutely real and true in that moment. That is what love means." Jenny: "And in some ways, that's more real than anything, because that's the first time and everything is magnified." Lola: "It's so special, yeah." On the Series Always Being Team Belly First, No Matter Her Romantic Status with Conrad or Jeremiah Lola: "I think that's more credit to Jenny, because that's always been a huge conversation, and that's always been a priority as a writer and as the creator — to protect Belly and to make sure that her story is fulfilling to her as a person on her own. And I love getting to explore all of that. The relationship with the boys, absolutely — and the relationship with Taylor, the relationship with her mum and her dad, and with Susannah. It's been so cool to get to feel like she has a proper story, and that Jenny is really fighting for that always." On How Tung and Spencer Feel About the Journey They've Taken with Belly and Taylor Over the Show's Three Seasons — Not Just What the Characters Have Gone Through, But Going on That Ride with Them Lola: "It's been so special. I mean, we really did grow up with them. And this was one of — this was one of our first, like my first project, her second project. So we've learned so much about this world and what it's like to be on a TV set. And also had a lot of time to really form this relationship, this friendship, that Taylor and Belly have together, and what it looks like as time goes on. And they're not kids anymore — and they spend a lot of time together even when their lives take them in different directions. And how they continue to be best friends. I think it's been really lovely." Rain: "It has been really lovely. Like Lola said, we grew up with these characters. I think something that's so beautiful about acting is there is a part of Taylor that will always be with me, because she taught me so many things. I've spoken before about the level of confidence that she had, I didn't have when I started playing her. And so she sort of taught me what confidence feels like in my body. And so I'll have that forever." On Taylor's Storyling Expanding Well Beyond the Books, Charting New Territory Even for Readers Rain: "I think I just feel so grateful to Jenny for the ability to explore the character and go deeper with her. It's been just one of the joys of my life thus far, is getting to know this character and having the opportunity to do so." Jenny: "But you also bring so much of yourself into it, which I think suits the character so much. So it's really, I think, special. I've loved being able to expand the character out and see more of her as a character. I think now, Rain, the way that you've brought Taylor to life, it's to me in some ways it's its own thing, which is really fun." The Summer I Turned Pretty streams via Prime Video. The Summer I Turned Pretty images: Erika Doss © AMAZON CONTENT SERVICES LLC.
Since dropping a trailer back in September 2022, the instantly stunning-looking Suzume has sat high on animation fans' must-see lists. Given that the Japanese movie is the new release from Your Name and Weathering with You director Makoto Shinkai, it was always going to. The filmmaker's resume speaks for itself, also spanning The Place Promised in Our Early Days, 5 Centimetres per Second, Children Who Chase Lost Voices and The Garden of Words — and his features deserve to be as eagerly anticipated as Studio Ghibli's. Whether you've been excited about Suzume for months or this is the first you're hearing about it, you'd best mark your diary — because Shinkai's latest now has a release date Down Under. The film opened in Japan back in November, and will make its way to cinemas in Australia and New Zealand from Thursday, April 13. As seen in lively trailer, Suzume puts Shinkai into familiar territory visually, with the animation and art direction alone spectacularly and breathtakingly gorgeous. Every detail-filled frame of his films could easily sit on a wall — and, from the sneak peek, Suzume easily continues the trend. Story-wise, the movie follows its titular high school girl as she teams up with a mysterious young man to travel through otherworldly gates. The pair cross paths in a quiet Kyushu town, with the stranger telling the with 17-year-old Suzume that he's looking for a door. From there, they get hopping as disasters start to strike around Japan. As more doors open, more destruction follows — and it's up to Suzume to close the portals to stop the cycle. The coming-of-age tale doesn't just include doors that keep opening up in Japan's "lonely areas people have forgotten" — doors in places that'll make you want to travel far and wide through Japan, as Weathering with You did with Tokyo — but also talking cats, swirling red clouds and scampering chairs. "At its core, Suzume is based on the massive disaster that occurred in Japan twelve years ago. I'm eager to see how this film translates to international audiences: what makes sense, what doesn't, and what common ground we have across cultures," said Shinkai. "The film's imminent international release will hopefully give me the answer to those questions. And, I cannot thank our team members enough for their unprecedented talent and perseverance throughout the film's production. On behalf of the entire team, I would also like to give thanks to all the fans who have cheered us on, making Suzume possible." As they did with Your Name and Weathering with You, Radwimps provide Suzume's soundtrack. The film heads Down Under after playing the Berlin International Film Festival in February, in the prestigious event's official competition — becoming the first Japanese animated film to do so since Studio Ghibli's Spirited Away, which won the coveted Golden Bear in 2002. Check out the trailer for Suzume below: Suzume opens in Australia and New Zealand on Thursday, April 13.
UPDATE, October 19, 2020: Climax is available to stream via SBS On Demand, Google Play, YouTube, iTunes and Amazon Video. A bowl of LSD-laced sangria. A thumping soundtrack. Dancers at the top of their game. With the lurid and kinetic Climax, Gaspar Noé takes a trip into a memorable, manic and murderous all-night party. Loosely based on a true story that dates back to the 90s, it starts with a troupe busting moves, downing beverages and blowing off steam after rehearsals, then discovering that their drinks have been spiked. That said, 'discover' isn't really the best word to describe folks realising that their nightmare is real. It's wholly accurate, however it can't completely convey Selva (Sofia Boutella) and her crew's horrific predicament. Writing as well as directing and co-editing, Noé isn't interested in explaining or describing, so that's about as far as his narrative goes. But, as the Argentine-born, French-based provocateur keeps demonstrating with each successive picture, he loves plunging audiences into hallucinatory and immersive worlds. From I Stand Alone and Irreversible to Enter the Void and Love, every movie on his resume involves a straightforward set-up, followed by a descent into chaos and mayhem of varying kinds. That said, Climax's might just be the most literal. One moment, everyone is eagerly strutting their stuff in a seemingly safe space. The next, an orgy of screams, tears, paranoia, sex, blood and death is the new normal. From a largely non-professional cast that numbers 24, all trapped in a remote hall as snow falls outside, connective threads emerge. Selva isn't particularly happy with anyone, and David (Romain Guillermic) considers himself the ladies man of the gang. Emmanuelle (Claude Gajan Maull) is trying to balance her career with being a mother to the young Tito (Vince Galliot Cumant), while everyone just wants to let loose as Daddy the DJ (Kiddy Smile) hits the decks. Personal squabbles, petty grievances and plenty of baggage all add to a jittery, claustrophobic mood, and that's before the acid takes effect. When the drugs kick in, so too do the group's fears and insecurities, the competitive vibe that comes with performing for a living, and the emotional and physical slaughter. Epitomising the idea that style can equal substance (as he has across his entire filmography), it's how Noé spins this story that mesmerises. Whether he's watching the troupe unleash their stellar dance skills in Climax's hypnotic first half, or charting carnage in its second, there's never a dull moment. There's never an average or unengaging moment either, or one that doesn't want to get a rise out of viewers. All of the director's usual traits are on display, from the propulsive tunes that set a distinctive rhythm, to the fluid and floating camerawork by his now four-time cinematographer Benoît Debie, to his penchant for evocative red lighting. And yet, pairing them with dance is a masterstroke. Noé already has a handful of music videos to his name, including for Nick Cave, Placebo and Daft Punk's Thomas Bangalter (who contributes a new song to Climax's soundtrack), but in mixing fancy footwork and horror, he might've found his true calling. That's not to say that Climax doesn't have thematic bite as it both revels in and dissects hedonism, and posits that creation and destruction are two sides of the same coin. Nor does it mean that Noé isn't up to his usual tongue-in-cheek tricks (he introduces his main players via video auditions screened on a TV, with VHS tapes of boundary-pushing classics like Suspiria and Salò underneath). But the film is an experience above all else. Purposefully overwhelming the senses — and trying to shatter them, too — it pulls you in with a lengthy sequence of astonishing choreography. It gets your toes tapping until they can't stop. Then, it forces its pulsating frenzy into your soul. The result is Noé at his best, and is best summarised by a song by his regular collaborator Bangalter. In a sea of sweat and terror, Climax loses itself, its characters and its audience to dance in the most bold, unhinged and thrilling way. https://www.youtube.com/watch?time_continue=1&v=-ydNrDCw58c
Lemon, Middle and Orange is a coming together of caffeine, food and architecture. Opening in an old paint factory in Rokeby Street, the new Collingwood haunt is expats' Margaret Lawless and Liam Ganley's first joint venture. Lawless, an Irish hospo through and through, most recently worked at Brassiere Bread in South Melbourne, while Ganley brings in the architecture side of things with a construction background. The small space — tucked into the side streets of Collingwood between Johnston and Victoria Parade — has been converted by John Wardle Architects and branding studio Projects of Imagination. The result is an array of light woods, cute recycled looking counter stools, an open plan kitchen, and street art-style linings on the table seating. It's clean and it works. The brunch menu has the normal structure, but the items are a little different. For a light option go for the lemon infused local yoghurt with toasted and puffed grains, earl grey poached seasonal fruit and pistachio ($12) or maybe the poached duck egg, grilled asparagus, green peas, pancetta and sourdough crumbs ($16). For something bigger there is sweet — waffles with caramelised banana puree, Jock's vanilla ice cream, crispy bacon and banana chips ($15.50) and savoury — the 'Full Breakfast' of eggs, bacon, Cumberland sausage, confit mushrooms, bubble 'n' squeak, tomato fondue with sourdough or brown soda bread ($18.90). Lunch consists of sandwiches like the confit chicken with apple slaw, pickled celery, walnut and raisin pesto on toasted ciabatta ($14) or a handful on non-sandwich options like the slow roasted lamb shoulder, skordalia, braised silverbeet, pickle and pine nuts ($16). Coffee is from Espresso Syndicate and, with a single origin from Clark St Roasters, is made up on a La Marzocco machine, while the tea selection is from locals Storm in a Teacup. The street doesn't give this space away, but, once you've found it, you'll be glad you did.
It's been a long time coming, but the construction at 731 High Street, Thornbury has finally finished. After servicing the domestic animals of the inner north as a pet store, the spacious shopfront if now serving coffee, rather than collars, as well as cafe fare you certainly wouldn't feed your dog. Short Round is the latest addition to the area and, judging by the amount of locals and non-locals there in its second week, this is definitely Thornbury's newest thing. A burgeoning suburb in itself, Thornbury is perhaps a perfect milieu for Short Round. Unlike its neighbouring suburbs, Thornbury is yet to be inundated with cool coffee haunts — although, if this very well-received opening is anything to go by, it is sure to be next. With a stream of coffee savants, long-time local residents, and those just wanting to give the space a once-over, it's a good thing they knocked down the existing pet store-era walls to create a much larger, open area. Situated on a corner, the cafe makes use of the natural light, and the high ceilings do much to increase the sense of space. Inside, the fresh charcoal and timber fit-out boasts individual, window and communal seating, while around the corner on Ballantyne Street you can sit outside in the remnants of a suburban pergola. The food offering, like so many other venues at the moment, is seasonal, with the spring menu featuring in-season cherry tomatoes, green peas and spring lamb. Served all day, breakfast ranges from sweet (butterscotch house made waffles with vanilla mascarpone and toasted pecans; $13.50) and savoury (breakfast pizza with egg, pancetta, passata, bocconcini, cherry tomatoes, wild rocket and olive oil; $13.50), but lunch might be an even harder decision. Choose from the slow spring lamb with spring onion herb salsa, feta smashed potato, cherry tomato and green peas ($19) or the Labourer's Lunch — local Velimirovic kransky & deluxe ham, piccalilli, braised cabbage and vintage cheddar with mixed bread ($18.50). The Proud Mary coffee ($3.80) is, of course, good all year round, as is the selection of sparkling, red and white wine. Also stocked are the Thornbury-based 3 Ravens Golden Altbier ($8), Mountain Goat Hightail Ale ($7) and Cheeky Rascal cider ($11). Short Round has the air of a cafe that is a fixture, not a fresher. While it's been open a mere two weeks, it doesn't appear to have the fresh legs that suburban cafes tend to land on. The newest addition to a thriving Thornbury, it is surely set to flourish along with it.
When the first and second seasons of Sex and the City spinoff And Just Like That... started streaming, a famous setting made an appearance Down Under. If you'd always wanted to hang out on Carrie Bradshaw's (Sarah Jessica Parker, Hocus Pocus 2), stoop, that became a temporary reality in Sydney and Melbourne. For season three, which is currently working through its episodes on HBO Max, a different spot from the show is on its way to Australia. We hope you're hungry, be it for something sweet or savoury, because Hot Fellas Bakery is about to hit Sydney. Yes, this purveyor of baked goods is usually fictional. The brainchild of character Anthony Marentino (Mario Cantone, Better Things), it lives up to its name in the series. It'll also exist IRL at Darlinghurst's Taylor Square in the Harbour City, but only for one weekend: from Friday, June 27–Sunday, June 29, 2025. Hot Fellas Bakery first made the leap from the screen in New York — where else? — and will do the same in Australia just two weeks after its Big Apple debut. The pastries on offer won't cost you a thing. Neither will the coffee. There'll be limited-edition merchandise up for grabs as well. Equally doing its moniker proud is set to be part of the pop-up, too. On the menu: Vegemite babka, Golden Gaytime cream puffs and AP buttermilk croissants. While Hot Fellas Bakery has locked in a three-day Sydney run, you do only have a brief window of time each day to head by, however. It's operating from 10am–12pm on Friday, June 27, then from 8am–12pm on Saturday–June 28–Sunday, June 29, 2025 — and will close earlier each day if everything is already sold out. [caption id="attachment_1009739" align="alignnone" width="1920"] Craig Blankenhorn/Max[/caption] And if you haven't kept up with the Sex and the City world, And Just Like That... debuted in 2021 to continue Carrie, Miranda Hobbes' (Cynthia Nixon, The Gilded Age) and Charlotte York Goldenblatt's (Kristin Davis, Deadly Illusions) stories — with Samantha Jones (Kim Cattrall, How I Met Your Father) largely sitting it out, except for a brief cameo in season two. Other familiar faces abound, including John Corbett (To All the Boys: Always and Forever) reprising his role as Aidan Shaw from season two onwards, plus David Eigenberg (Chicago Fire) and Evan Handler (Power) also returning. Check out the trailer for Just Like That... season three below: Hot Fellas Bakery is popping up at Taylor Square, 191–195 Oxford Street, Darlinghurst, Sydney from 10am–12pm on Friday, June 27, plus 8am–12pm on Saturday–June 28–Sunday, June 29, 2025 (or until sold out). And Just Like That... streams in Australia via HBO Max. Head to the platform's website for more details.
Each year we vow to be better gift-givers, but when the office secret santa rolls around, and Christmas parties start to ramp up, we're left with limited time to find a truly good present, one that says we genuinely care. Well, not this year; this time we're prepared. In partnership with Square, we've searched through Australia's independent shops to bring you a gift guide to match all the colleagues you might be assigned this present-giving season. If you are a small business owner, Square has the tools you need to take payments and maximise your sales, including an ebook with tips to help you get started this holiday season. FOR THE WORK PARENT Plant and self-watering planter from The Plant Society, $30 Melbourne plant hunters Jason Chongue and Nathan Smith set up The Plant Society in 2016 and now the small business ships its green shoots, ceramics, homewares and planter kits to people across Victoria, New South Wales and Queensland. When you're looking for a gift that says thank you to the office parent — the one that mops up the spills, has painkillers when you need them and a shoulder to cry on — we suggest giving a little love back. Buy them an indoor plant already potted in a self-watering planter. You can choose the pot colour and plants, which range from tropical philodendron super atoms to the popular monstera deliciosa. FOR THE BIG CHEESE Gift card from Mould Cheese Collective, $25–85 No matter how much you love your boss, when you've drawn the big cheese of your workplace for this year's gift exchange there's a lot of pressure to get it right. Choose a dud: everyone feels awkward. Pick something special: early marks all round. We say, send them a box of cheesy delights from The Mould Cheese Collective, a Victoria-based club for cheese lovers. You can shop for gooey goodness on its website, but for the safest bet, there's a trusty gift voucher of either $25, $50 or $85. The bonus: it's an instant gift, so no need to wait for shipping. The downside: not suitable for lactose intolerant leaders. FOR THE WANNABE DJ Dolly Parton's Blue Smoke from Cottonmouth Records, $55 Sydney's Cottonmouth Records has a loyal local following for its record store and bar in Enmore, but you don't need to live nearby to take advantage of owner Zachery Williams' eclectic vinyl collection. Its online store has black gold in all shades of nostalgia, from Beastie Boys and Mariah Carey to Pearl Jam and The Prodigy. It's not all about the throwbacks — there are plenty of recent releases available on vinyl here — but, when shopping for the coworker who controls the playlist, we think there's a lot of joy in Dolly Parton's back catalogue. We've picked Blue Smoke, but you can also order Jolene for $39, which is an absolute steal. Shipping is $15, or free for orders over $100. FOR THE ETHICAL ONE Face mask from Second Stitch, $18 Melbourne-based not-for-profit Second Stitch is a social enterprise that employs refugees, migrants and people seeking asylum. It beat lockdown in Victoria by making cute reusable cloth masks in uplifting patterns and colours. When your kris kringle recipient is that work mate who likes to support charities and ethical businesses, this practical gift will go a long way. Not only are the two-layer cotton masks an environmental solution to an ongoing pandemic, but also your purchase directly provides meaningful employment for some of the most disadvantaged members in the community. Now that's what the spirit of Christmas is all about. FOR THE SALAD-FOR-LUNCH ONE Citrus Trio from Mount Zero Olives, $25 If the only thing you know about Nic from HR is that they like to bring their own meals to work every day, be the teammate who celebrates their forward planning and discipline by getting them something that'll bring them a little joy every lunchtime. This trio of extra virgin olive oils from Mount Zero Olives is better than your supermarket drizzles, as they're pressed with citrus fruits rather than infused with synthetic flavours. The family-owned Victorian company says the lime, mandarin and lemon oils pair well with seafood, egg brekkies and roast veggies, so they're versatile too. Shipping is $12, or free for orders over $100. FOR THE CAFFEINE GEEK How to Buy It, Brew It from Market Lane, $25 If you've got a work buddy who places coffee high on their daily to-do lists, look to Melbourne roaster Market Lane for a gift to match their beverage of choice. Market Lane ships beans, coffee making equipment and literature across Australia. And, for a present that'll last longer than a bag of freshly ground coffee, you should pick the in-depth guide to a good brew How to Buy It, Brew It, written by Market Lane's co-founder Jason Scheltus. You can ask for it to be wrapped in paper designed by artist Julia Stewart for no extra cost and shipping is just $8. FOR THE IT'S-5PM-SOMEWHERE ONE Four-pack of Peach Sauce from Sauce Brewing Co, $20 We've all got a coworker who's a bit of a craft beer nerd. The one who plans their weekends around brewery crawls, goes out of their way to order the most obscure ales on tap, and loves to share their knowledge of local drops. Lean into the passions of this person and get them a four-pack of tart, tangy, crowd-pleasing Peach Sauce. The berliner weisse is one of many creative brews from Sydney microbrewery Sauce. There's also hazy pale ale Caribbean Fog, New England-style IPA Bubble & Squeak and a tropical Frisson Raspberry, ready for the summer of seltzers. FOR THE SNACK QUEEN Bubble O Bill cookies from Dough Re Mi, $18 Wagga-based bakery Dough Re Mi specialises in custom-made cookies designed to brighten someone's day. And we couldn't think of anyone more deserving of a treat than the snack kings and queens of your office. They're always ready with a bag of chippies or choccies when deadlines are tight and everyone needs a mood booster. You could go all out and order ones with a motivational message, but for us the winning choice is Bubble O Bill's face on a butter biscuit, complete with a bubble gum nose. You can order a single cookie for $5.50, or a gift box for $18. And Dough Re Mi ships Australia-wide. FOR THE NEW PERSON Notebook from Studio A, $15 Thrown right in the deep end, just before the festive season, the workplace newbie has to be one of the toughest people to buy for when it comes to secret santa time. However, it couldn't be worse than actually being the newest person to join the team. Think of all the catching up they've got to do — and that's just on the office goss. Pick them something they'll be proud to use every day, like a notebook designed by one of Studio A's talented artists. The Sydney-based studio supports artists with disability, providing a workspace and materials for artists to realise their aspirations. We like these ones by Lisa Scott, left, and Thom Roberts, right. Shipping is an additional $10, so order one for yourself while you're at it. FOR THE FASHION ICON Sturt's Desert Pea Socks from Julie White, $30 Adelaide-based designer Julie White creates bold and colourful designs inspired by Australian flora and fauna. She draws all the designs by hand, including ones of lorikeets, midnight orchids and Sturt's desert peas. Her head and neck scarves are 100-percent silk, and the silky-feel knee-high socks are nylon. If your secret santa budget is $30, order a set of statement socks for the most fashionable person in your workplace. They'll feel seen. And, as a treat for you, shipping is free within Australia for orders over $30. Find out how Square is supporting small businesses with the tools they need to grow, here. If you are a small business owner, Square has guidance on how best to maximise sales in the run up to the Christmas holiday period in its ebook, found here.
Another year coming to a close, another batch of relaxing COVID-19 restrictions. That's the case in 2021, just as it was in 2020, as different parts of the country ease out of their latest lockdowns again. So, as also occurred last year, border rules around the nation are changing once more — with New South Wales, Victoria, Queensland and now Tasmania announcing plans for visitors from elsewhere. Today, Friday, October 22, Tasmanian Premier Peter Gutwein revealed that the Apple Isle will reopen to all non-Tassie residents who've had two COVID-19 jabs — travellers from interstate and international destinations — on Wednesday, December 15. That's when the state is expected to have reached the 90-percent double-vaccinated threshold, if you're wondering what motivated that choice. And, yes, that's when the double-vaxxed from Australia and around the world alike will be able to enter without quarantining. "At the 90-percent fully vaccinated target for 12 years and over, anyone will be able to enter Tasmania from anywhere within Australia, subject to being fully vaccinated," the Gutwein advised. "That's if they've had a negative test result within 72 hours of travelling. The testing requirement will remain in place for up to four weeks subject to review." "Now, at the 90-percent vaccination mark as well, no quarantine for fully vaccinated overseas arrivals. It will be the same rules for everyone. If you're coming from overseas and you're coming to Tasmania, you'll have the same rules if you're coming out of Sydney or Melbourne or South Australia or Queensland," the Premier continued. That testing requirement is exactly what Victoria has just announced, too, for international arrivals — however, in Tasmania, it'll apply to both Aussie and overseas visitors. The Premier also noted that the only exemption to this will be for Tasmanians that return from a short trip to the mainland. "So, if you want to go shopping in Melbourne... if you're away for a couple of days, you'll be able to return, so long as you're fully vaccinated, without needing to meet the 72-hour test rule. So, if you travel and the travel is less than seven days, you'll be able to return," Gutwein said. The news comes just two days after Tassie hit the 70-percent double-vaxxed milestone among residents aged 16 years and over. For potential visitors who aren't double-jabbed or refuse to take a test before heading to Tasmania, there'll still be quarantine and testing requirements from Wednesday, December 15. To find out more about the status of COVID-19 in Tasmania, and the state's corresponding restrictions, visit its online COVID-19 hub.
"I kneel before no one," says Teth-Adam, aka Black Adam, aka the DC Comics character that dates back to 1945, and that Dwayne Johnson (Red Notice) has long wanted to play. That proclamation is made early in the film that bears the burly, flying, impervious-to-everything figure's name, echoing as a statement of might as well as mood: he doesn't need to bow down to anyone or anything, and if he did he wouldn't anyway. Yet the DC Extended Universe flick that Black Adam is in — the 11th in a saga that's rarely great — kneels frequently to almost everything. It bends the knee to the dispiritingly by-the-numbers template that keeps lurking behind this comic book-inspired series' most forgettable entries, and the whole franchise's efforts to emulate the rival (and more successful) Marvel Cinematic Universe, for starters. It also shows deference to the lack of spark and personality that makes the lesser DC-based features so routine at best, too. Even worse, Black Adam kneels to the idea that slipping Johnson into a sprawling superhero franchise means robbing the wrestler-turned-actor himself of any on-screen personality. Glowering and gloomy is a personality, for sure, but it's not what's made The Rock such a box office drawcard — and, rather than branching out, breaking the mould or suiting the character, he just appears to be pouting and coasting. He looks the physical part, of course, as he needs to playing a slave-turned-champion who now can't be killed or hurt. It's hard not to wish that the Fast and Furious franchise's humour seeped into his performance, however, or even the goofy corniness of Jungle Cruise, Johnson's last collaboration with filmmaker Jaume Collet-Serra. The latter has template-esque action flicks Unknown, Non-Stop, Run All Night and The Commuter on his resume before that, and helms his current star here like he'd rather still directing Liam Neeson. That said, Black Adam, the character, has much to scowl about — and scowl he does. Black Adam, the film, has much backstory to lay out, with exposition slathered on thick during the opening ten minutes. As a mere human in 2600 BCE in the fictional Middle Eastern country of Kahndaq, its namesake was among an entire populace caught under a cruel ruler hungry for power, and for a powerful supernatural crown fashioned out a mineral called 'eternium' that said subjects were forced to mine. Now, 5000 years later, Black Adam is a just-awakened mortal-turned-god who isn't too thrilled about the modern world, or being in it. Bridging the gap: the fact that back in the day, one boy was anointed with magic by ancient wizards to defend Kahndaq's people (the word "shazam!" gets uttered, because Black Adam dwells in the same part of the DCEU as 2019's Shazam! and its upcoming sequel), but misusing those skills ended in entombment until modern-day resistance fighters interfere. The above really is just the preamble. Black Adam is freed by widowed professor Adrianna (Sarah Shahi, Sex/Life), who is trying to fight the Intergang, the mercenaries who've been Kahndaq's new oppressors for decades — and, yes, Black Adam gets caught up in that battle. But being out and about, instead of interred in a cave, gets the attention of the Justice Society. The DCEU already has the Justice League and the Suicide Squad, but it apparently still needs another super-powered crew. Indeed, Suicide Squad and The Suicide Squad's Amanda Waller (Viola Davis, The First Lady) even shows up to help put this new gang together. That's how Hawkman (Aldis Hodge, One Night in Miami), Doctor Fate (Pierce Brosnan, The Misfits), Cyclone (Quintessa Swindell, Voyagers) and Atom Smasher (Noah Centineo, the To All the Boys movies) don their caped-crusader getup and try to stop Black Adam, or convince him to stop himself. Another blatant act of kneeling on this film's part: its new team. The Justice Society isn't new on the page, and some of its number pre-date their patent Marvel counterparts — but reaching the screen now, after the MCU and the X-Men movies, makes this bunch seem like a rehash. Wings like the Falcon, seeing the future like Dr Strange, controlling the weather like Cyclone, changing size like Ant-Man: that's all covered here, and it's impossible not to make comparisons. That Hawkman, Doctor Fate, Cyclone and Atom Smasher are also given little personality doesn't help. The cast behind them visibly commit, and there's a better flick to be made with far more Brosnan waving around a golden helmet in it (a welcomely sillier one, too), but character development clearly wasn't high among screenwriters Adam Sztykiel (Scoob!), Rory Haines (The Mauritanian) and Sohrab Noshirvani's (also The Mauritanian) priorities. As often proves the case in this genre, because superhero movies have been their own genre for years, the main aim of Black Adam is laying the groundwork for more to come. The titular figure gets an origin story, then an entryway into the broader DCEU, then sets up future franchise appearances, then teases the next step via the obligatory post-credits sting — stop us when this doesn't sound familiar. It's little wonder, then, that everyone around Black Adam feels like filler, including Adrianna's son Amon (Bodhi Sabongui, The Baby-Sitters Club), as well as the villain of the piece. And it's hardly surprising that any attempts at thematic relevance or resonance are thinner than Black Adam's smile. This tries to be a picture about the great responsibility that comes with great power (yep, again), choosing to do the right thing, and the thorniness of being an anti-hero, and also about the merits (or not) of throwing American force around (or not) in other countries; 'tries' is the key word. Collet-Serra does give Sabongui the best action sequences, though, all involving sneaking out of, skateboarding around and skirting attacks in his apartment/building. There's a tactile sense to these moments — as lively and as lived-in as the film gets, too — that's thoroughly absent in the bland, generic look and feel elsewhere. That Black Adam kneels before and could simply be mashing up parts of 300, Clash of the Titans and Tomb Raider for much of its running time, especially visually, just makes a dull movie duller (the DCEU really can't move on from Man of Steel, Batman v Superman: Dawn of Justice and Justice League director Zack Snyder, so it seems). When the feature busts out The Rolling Stones' 'Paint It Black', because of course it does, it's both as obvious a choice as there is and a rare dose of energy. And when it shows iconic spaghetti western The Good, the Bad and the Ugly on a TV screen, wishing you were watching that instead comes swiftly — or watching Aquaman's gleeful ridiculousness, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)'s rampant flair, or the non-DCEU weightiness of Joker or The Batman, actually.
Even the most dedicated camping fans aren't that fond of packing. So much to bring, so little space, even when you're a seasoned outdoorsy type. Factor in not only shelter, bedding, food and other essentials, but anything fun you'd like to do while you're away from the big smoke, and you're carting quite the hefty stack of gear with you. Next time you're heading beyond the city limits for a stint under the stars, the Traft will help reduce your luggage, especially if a paddle along a waterway is also on your agenda. And, it'll open up your options when it comes to activities. As the name suggests, it's an inflatable tent-raft combo that you can splash about in by day and sleep in at night. Officially described as a line of "hybrid tent-packraft-sleep systems", the Traft can also be used to lounge around in both on land and water, with or without shade from the sun thanks to its removable tent. Should you fancy sleeping in something other than a raft, the latter can also be used as shelter independently from the base. Sparked by an idea for a floating boat hammock, and made from thermo plastic polyurethane, the Traft was first unveiled at a US outdoor retailer show back in July. It comes in 2.43-metre, 2.59-metre and 2.76-metre options, although only the first is available at present. The smaller size weighs less than four kilograms, making it a lightweight addition to your camping kit — but, unsurprisingly, it doesn't come cheap, selling for US$900. For more information, visit the Traft website. Via: Digital Trends. Image: Traft.
Packing is no one's favourite part of going on holidays. If you're the kind of traveller who needs to cater for every occasion, stuffing your baggage is a massive task. If you like going light, whittling your outfits down but still ensuring that you've got the basics isn't as easy as it sounds. But, why not ditch all of that, and your suitcase? That's Japan Airlines' new solution thanks to its just-launched clothing rental service. Instead of tourists agonising over what to take to Japan with you — or stressing over what not to take — the carrier is offering a clothing sharing service with Sumitomo Corporation called Any Wear, Anywhere. You reserve a range of clothes, including choosing according to the season, and whether you're after a casual or smarter look. Then, that attire gets delivered to your hotel. When you're heading home, the rental clothes will be collected from wherever you're staying, too. And no, you don't have to do any laundry before handing them back over. The aim: not only to make travelling easier for tourists, but to do the environment a solid as well. If you're hiring clothes, less luggage needs to transported internationally. Japan Airlines will be monitoring the change in checked-in baggage weight thanks to the service, to see how it reduces the carrier's carbon emissions. Also, heroing the circular economy, the outfits on offer will be sourced from pre-owned clothing and excess stock from fashion stores. And, the airline is promoting the service as a way for tourists to support local options — not just for accommodation and food, but also for clothing. At this stage, Japan Airlines is trialling Any Wear, Anywhere from Wednesday, July 5, 2023 to Saturday, August 31, 2024 — and the service is only available for customers travelling to Japan via Japan Airlines. Price-wise, costs start at AU$42 / NZ$45 (¥4000) for a set of summer threads, which covers three tops and two bottoms. The most you'll pay is AU$73 / NZ $79 (¥4000), which gets you a winter range of six tops and three bottoms. You can keep the threads for up to two weeks, and bookings are available from a month before you travel. Wouldn't dream of travelling without a suitcase? Coming home, you can now fill it with souvenirs instead of dirty clothes. Japan Airlines and and Sumitomo Corporation's Any Wear, Anywhere clothing sharing service is being trialled until Saturday, August 31, 2024 — head to the Any Wear, Anywhere website for further details and bookings. 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.
2023 marks eight years since one of the greatest living American directors last released a film. While he did direct an episode of Tokyo Vice's first season in 2022, Michael Mann hasn't had a movie flicker across the big screen since 2015's Blackhat. Thankfully, that's changing with a picture that also gives the world Adam Driver as a race car driver-turned-sports car entrepreneur: Ferrari. Mann adds Ferrari to a resume that also includes 80s masterpiece Thief, The Last of the Mohicans and Heat in the 90s, plus Collateral, Miami Vice and more. For Driver, the film proves another case of living up to his name on-screen. He's played a bus driver in Paterson, and piloted a spaceship in the Star Wars sequel trilogy as well as 65. So, zipping through the Italian streets here fits easily. As both Ferrari's first teaser trailer and just-dropped new full sneak peek show, Driver is behind the wheel in a film that focuses on its namesake when he's an ex-racer. As adapted from Brock Yates' book Enzo Ferrari: The Man, The Cars, The Races, The Machine, Mann's movie hones in on specific chapter of Enzo Ferrari's life: 1957, as potential bankruptcy looms over his factory, his marriage is struggling after a heartbreaking loss and his drivers approach the Mille Miglia race. Accordingly, Ferrari promises to peer behind the Formula 1 facade, into Enzo's relationship with his wife Laura (Penélope Cruz, Official Competition), the death of their boy Dino, and the son Piero with Lina Lardi (Shailene Woodley, Robots) that he doesn't want to acknowledge. If you know your racing history, you'll also know that 1957's Mille Miglia — which spanned 1000 miles across Italy — was its last due to multiple deaths during the event. So, that race won't be an insignificant part of the film. Set to release at Christmas in the US and on January 4, 2024 Down Under, Ferrari also stars Patrick Dempsey (Disenchanted), Jack O'Connell (Lady Chatterley's Lover), Sarah Gadon (Black Bear) and Gabriel Leone (Dom). Check out the trailer for Ferrari below: Ferrari releases in cinemas Down Under on January 4, 2024. Images: Lorenzo Sisti / Eros Hoagland.
As it speeds towards notching up two decades of superhero movies and TV shows, the Marvel Cinematic Universe has experienced both ups and downs — but in 2025, it's finally getting fantastic. This is the year that the Fantastic Four joins the franchise, stepping back to Mister Fantastic, The Invisible Woman, The Thing and The Human Torch's beginnings in the 1960s in The Fantastic Four: First Steps. The movie hits cinemas in July; however, you can get your first sneak peek now courtesy of the just-dropped teaser trailer. Before there was a MCU, there were Fantastic Four movies. The initial two to earn a big-screen release arrived in 2005 and 2007, with the latter hitting the year before Iron Man kicked off the Marvel Cinematic Universe. As Deadpool and Wolverine did 2024's Deadpool and Wolverine, the Stan Lee- and Jack Kirby-created superhero quartet now join the list of characters who are being brought into the MCU fold, as has been on the cards ever since Disney bought 20th Century Fox. Stepping into Reed Richards, Sue Storm, Ben Grimm and Johnny Storm's shoes this time, as first revealed for Valentine's Day 2024 in the US: Pedro Pascal, who adds the MCU to his resume alongside the Star Wars realm (thanks to The Mandalorian) and game-to-TV smash The Last of Us, as stretchy group leader Richards; Vanessa Kirby (Napoleon), who is bending light as one of the Storm siblings; Joseph Quinn (Gladiator II) proving fiery as the other; and Ebon Moss-Bachrach (The Bear), who is no one's cousin here, instead getting huge, rocky and super strong. In The Fantastic Four: First Steps' debut sneak peek, the focus is on family: family dinners, as cooked by Grimm; family connections and quirks; and the strength of family helping the titular crew with existence's challenges. "Whatever life throws at us, we'll face it together — as a family," Sue notes in the trailer. Pascal and company are taking over from two batches of past movie takes on the superhero team. In the 2005 and 2007 movies, Ioan Gruffudd (Bad Boys: Ride or Die), Jessica Alba (Trigger Warning), a pre-Captain America Chris Evans (Red One) and Michael Chiklis (Accused) starred. Then, in 2015, Chronicle filmmaker Josh Trank gave the group a spin — still outside of the MCU — with Miles Teller (Top Gun: Maverick), Kate Mara (Friendship), a pre-Black Panther Michael B Jordan (Creed III) and Jamie Bell (All of Us Strangers). Directed by WandaVision, Monarch: Legacy of Monsters and Succession's Matt Shakman, The Fantastic Four: First Steps pits Pascal, Kirby, Quinn and Moss-Bachrach against Ralph Ineson (Nosferatu) as space god Galactus and Julia Garner (Wolf Man) as the Silver Surfer. Also co-starring: Paul Walter Hauser (Cobra Kai), John Malkovich (Ripley), Natasha Lyonne (Fantasmas) and Sarah Niles (Fallen). Check out the first teaser trailer for The Fantastic Four: First Steps below: The Fantastic Four: First Steps releases in cinemas Down Under on Thursday, July 24, 2025. Images: courtesy of 20th Century Studios/Marvel Studios. © 2025 20th Century Studios / © and 2025 MARVEL.
When a beloved TV show ends, it doesn't always say goodbye forever. We live in a golden age of revivals, spinoffs, sequels and remakes on both the big and small screens, after all — and when a television series is a big hit, it rarely goes away quietly. Take Game of Thrones, for instance. Before it even came to an end back in 2019, HBO was looking at spending more time in Westeros. According to George RR Martin, however, the US cable network might be scaling down the future of the GoT franchise. In an end-of-year update posted to his blog to farewell 2022, the author who gave the world Game of Thrones to begin with — and who has been working on the sixth novel in the A Song of Fire and Ice series for more than a decade — announced that HBO has currently scrapped some of the floated GoT spinoffs. Mentioning "several of the other successor shows that we're developing with HBO" as part of a list of things he's working on in 2023, Martin said that "some of those are moving faster than others, as is always the case with development. None have been greenlit yet, though we are hoping… maybe soon". He continued: "a couple have been shelved, but I would not agree that they are dead. You can take something off the shelf as easily as you can put it on the shelf. All the changes at HBO Max have impacted us, certainly." That's all very vague, but plenty has been happening at HBO and its US streaming platform HBO Max since parent company WarnerMedia merged with Discovery in 2022. Previously renewed shows have been cancelled, such as Minx. Films already shot and nearing release have been axed, like Batgirl. And, HBO Max's online catalogue has also been getting smaller, even removing HBO series. Martin didn't reveal which potential Game of Thrones spinoffs aren't presently going ahead, although one is clearly safe: House of the Dragon. One of 2022's must-see and most-talked-about shows, it's been renewed for a second season, and that episode order looks likely to stick. Given that chatter about expanding Game of Thrones' on-screen world has been going for more than half a decade, and how many different new shows have been put forward over that time, needing a refresher on what could be in the works anyway with is understandable. That list includes a Jon Snow-focused spinoff with Kit Harington (Eternals) reprising his famous role, novella series Tales of Dunk and Egg and an animated GoT show. Beyond that, it's also been reported that another three prequels have been under consideration. Whichever of the above don't end up coming to fruition, our days of watching fiery fights between famous Westerosi names — and games over who gets tot sit on the Iron Throne — are still far from over. Game of Thrones was that much of a hit, and House of the Dragon has proven the same so far. Until House of the Dragon season two hits, or any other on-screen dances with dragons are confirmed, check out the season one trailer below: House of the Dragon streams Down Under via Foxtel and Binge in Australia, and SoHo, Sky Go and Neon in New Zealand. Images: HBO.
With 35 hours worth of footage uploaded to YouTube every single minute, it's easy to get lost wading through all of the new content. Instead of wasting your time searching through crappy homemade videos, check out this list of 10 channels actually worth watching. 1. Vlogbrothers, Crash Course, and Sci Show Created by brothers John and Hank Green in 2007, Vlogbrothers was initially used as a way for the two to stay in touch. Today, it has become popular enough to have acquired its own fandom and spin-offs and is definitely worth catching up on. Check out the Green's other channels as well: Crash Course, which features the brothers' entertaining lectures on history and biology, and Sci Show, Hank's show on anything and everything scientific. 2. Ill Doctrine Jay Smooth takes a creative turn from his New York WBAI's Underground Radio show to discuss all aspects of modern culture on his YouTube channel. His thoughts on politics, race relations and music are incorporated with his great sense of humour. 3. BriTANick Comedy Two announcers from Cartoon Network, Brian McElhaney and Nick Kocher, got their start with this YouTube sketch comedy channel. Irreverent and hysterical, their video spoofs poke fun at everything from cooking shows to Shakespeare. 4. TED Education The TED media empire originated as a not-for-profit conference to discuss technology, design, and education. Today, their YouTube channel offers tonnes of different lectures and lessons, covering diverse educational topics and incorporating animation. 5. My Drunk Kitchen For those of us who have drunkenly stumbled into the kitchen after a night out to cook a very necessary bowl of mac 'n' cheese, there is My Drunk Kitchen, Hannah Hart's show dedicated to making sure "you don't puke your guts out". Be thoroughly entertained by Hart's drunken, yet somehow charming, kitchen antics. 6. College Humor 240 Jake and Amir videos, the College Humor Originals series and Hardly Working series are filled with enough crazy stupid shenanigans to keep you laughing for hours. 7. Julia Nunes For Julia Nunes, YouTube has been the vehicle to musical fame, but also the means to entertain us with her goofy ukulele covers of the likes of Justin Bieber. 8. Smart Girls at the Party Amy Poehler proves that smart girls can have a good time too by interviewing a different woman on every episode. These young women share their hobbies with Poehler and show the YouTube world that internet intelligence does exist. 9. Wheezy Waiter Craig Benzine's outlandish videos feature amazing production quality and not a whole lot of rhyme and reason. Posted almost every weekday, these quirky videos are ever-random and always entertaining. 10. Belated Media Dedicated to providing high-quality film reviews, Michael Barryte's channel features a green screen which allows Barryte to comment on the film as it happens. His reviews are carefully thought-out and well broken-down for his audience. [via Flavorwire]
Everyone loves Jamie's Italian. Or at least that's what we discovered when, back in November 2016, we reported that the Jamie Oliver had officially bought back his Australian restaurant chain after its parent company, the Keystone Group, went into receivership. People were excited — and the man himself even came to town to relaunch the venues. But now, a year on, things have taken a bit of a turn. The Jamie Oliver Restaurant Group will cease to manage its Australian restaurants, effective immediately. Last night, The Australian Financial Review reported that the group had gone into administration, and this morning it released an official statement announcing "a new operating partner for its Australian business". This partner is the Brisbane-based Hallmark Group, and it will take over the management of Australia's Jamie's Italian restaurants. What does that mean for your dinner plans? Well, the Sydney, Brisbane, Parramatta, Perth and Adelaide venues will continue to operate as usual, but, sadly, the Canberra outpost has already closed. "We'll be working closely with Jamie and the UK team, staff and local suppliers to keep driving the business forward and delivering exceptional experiences across the country," said a Hallmark representative. "Hallmark are actively seeking new suitable locations for the next Jamie's Italian." The news isn't that surprising considering the group has been in a spot of trouble in the UK — The Sun has reported that Oliver's group is in £71.5 million of debt, and will soon close 12 of his 27 restaurants. It'll be interesting to see if this changes much for Jamie's Italian. Will it bring back its $10 pasta deals? Will it finally expand to Melbourne? We'll keep you posted.
Some workplaces encourage suggestions, speaking up and letting company leadership know if things aren't quite right. As Severance viewers discovered in season one, Lumon Industries hasn't historically been one of them. So what happens when a group of employees attempts to raise issues? In the just-dropped full trailer for the Apple TV+ series' second season, Mark S (Adam Scott, Loot), Helly (Britt Lower, American Horror Stories), Dylan (Zach Cherry, Fallout) and Irving (John Turturro, Mr & Mrs Smith) all find out, as Mr Milchick (Tramell Tillman, Hunters) informs them that they've now become "the face of severance reform" after their actions at the end of season one. The latest sneak peek at season two returns viewers to a world of innies, outies and workplace nightmares — and a sci-fi thriller mindbender with a first run of episodes that deserved all the praise that it received and more. Apple TV+ has released past teasers for the second season, but the latest unveils the most details yet of what's to come. Existence inside and outside Lumon isn't just on a collision course; the two are crashing into each other repeatedly, even if Mark S and co's secretive employer wants otherwise. Audiences will be clocking back in for more Severance come Friday, January 17, 2025, in a case of ideal timing. Thinking about how to best balance your professional and personal spheres, and the time you dedicate to them, is an annual tradition when each new year starts after all. The subject will get a bigger push via this hugely anticipated TV comeback — and so will how work-life balance can weigh on your mind, or not. If you missed the first season, disconnecting from your job come quittin' time — and giving your gig every ounce of your focus during your daily grind — has become literal in Severance in a hellish way. At Lumon, employees agree to undertake the titular procedure, which splits their memories between work and home. But as Macrodata Refinement division employee Mark S begins to learn, nothing about the situation is what it seems. The show dives into the kind of scenario that Black Mirror might've dreamed up, with technology that could've been used if Eternal Sunshine of the Spotless Mind was about punching the clock instead of romance. Mark S willingly signed up for severance, all to help process his grief over the death of his wife. And he was happy with the situation until his work BFF Petey (Yul Vazquez, The Outsider) left suddenly without saying goodbye, then new staff member Helly arrived to replace him — and instantly questioned the insidious setup, the rules and restrictions needed to keep it in place, and why on earth her "outie" (as the outside versions of Lumon employees are known) agreed to this in the first place. In season two, Mark and his work pals will attempt to dig deeper into the consequences of the severance procedure, and trying to escape it. They'll also find out the ramifications of messing with the system — and Lumon isn't just filled with the same familiar faces. Severance's return calls for a waffle party, an egg bar or a melon bar — or at least a big bunch of blue balloons with the face of Mark S on them. Jen Tullock (Perry Mason), Michael Chernus (Carol & the End of the World), Dichen Lachman (Kingdom of the Planet of the Apes), Christopher Walken (Dune: Part Two) and Patricia Arquette (High Desert) are all back among the cast, alongside new cast members including Gwendoline Christie (Wednesday), Bob Balaban (Asteroid City), Merritt Wever (Memory), Alia Shawkat (The Old Man) and John Noble (Twilight of the Gods). Ben Stiller (Escape at Dannemora) returns as a director on five episodes, too, and executive producer across the whole season, with ten episodes on the way. Apple TV+ will drop instalments through until Friday, March 21, 2025. Check out the full trailer for Severance season two below: Severance returns for season two on Friday, January 17, 2025 via Apple TV+. Read our review of season one.
When mid-February rolls around each year, a specific feeling starts to sink in: the yearning for these sunny, summery days to keep on stretching on. But autumn will soon be upon us, and cooler weather, too — unless you decide to chase an endless summer by spending time anywhere from the Gold Coast up to Cairns while it gets frosty down south. After a chaotic couple of years due to the pandemic, Queensland holidays have been back on the agenda since late 2021. Just last month, the Sunshine State also ditched all of its remaining domestic border restrictions. And, if you're keen to make an autumn date with plenty of sun, surf and sand — or even to book in a winter getaway, too — Virgin Australia has just dropped a huge Queensland flight sale. Running until midnight AEST on Sunday, February 20 or sold out, whichever arrives first, this sale is solely about trips to and from the Sunshine State — with more than a 1.5 million fares on offer. It might be focused on one part of the country, but you still have options in terms of departure points and destinations. Within Queensland, you can leave or arrive in Brisbane, Cairns, Townsville, Rockhampton, Hamilton Island, the Gold Coast, the Sunshine Coast, Emerald, Gladstone, Mackay, Mt Isa and Proserpine. And, around the rest of the country, flights to and from Adelaide, Alice Springs, Canberra, Darwin, Hobart, Launceston, Melbourne, Newcastle, Perth and Sydney are all covered. One-way fares start at $59 — which'll get you from Sydney to the Gold Coast, Launceston to Brisbane, Newcastle to Brisbane and Brisbane to Prosperine (and vice versa). Other sale flights include Sydney–Sunshine Coast from $65, Melbourne–Gold Coast from $69, Melbourne–Townsville from $99 and Sydney–Hamilton Island from $109. If you're wondering when you'll need to travel, the travel periods depend on the leg — but some span up till spring. Only some fares cover seat selection and checked baggage, however, with the airline announcing back in August that it is now splitting its economy flights into three types. Economy Lite doesn't include checking any baggage or picking your seat, but Economy Choice does — and Economy Flex gives you extra flexibility (hence the name) if you have to change your plans later. As we are still in the middle of a pandemic, flying is little different to normal. Virgin has introduced a range of safety measures, including hand sanitisation stations, contactless check-in and face masks provided to all passengers. Wearing masks on flights also became mandatory in Australia in January. Virgin's Great Queensland Getaway sale runs from today, Monday, February 14–midnight AEST on Sunday, February 20 — or until sold out.
Best known to most as the long-running antiques haven Young's Auction House, the historic site at 227–229 Camberwell Road has swapped the furniture and vintage treasures for vino and Mediterranean fare, stepping into its new role as Young's Wine Rooms. Imagined as a multifaceted wine bar and dining destination, it's the latest venture from the Klapanis family, who also brought us Hawthorn East's contemporary southeast asian hit, St Cloud Eating House. Step through the door into a space that respectfully blends old and new, with brick walls and exposed beams now married with natural tones and contemporary textures. A diverse collection of spaces makes this a spot for all occasions, from tapas and wine sessions in the Champagne and cocktail bar, to lazy lunches in the sun-drenched internal courtyard. Classic southern European flavours combine with traditional French technique for a menu that's generous and lively. You'll find a strong lineup of snacks — perhaps manchego and jamón croquettes ($6 each), harissa octopus ($14) with potato and parsley or fresh burrata ($15) teamed with basil and grilled peach. Meanwhile, the raw bar is plating up creations like a wagyu beef tartare ($17) with marash pepper and cos, and a selection of larger plates includes the likes of calamari ($27) with sultanas and radicchio and duck ($36) with carrot purée. Can't choose? A Feed Me menu is available for a very reasonably $65 a head. To match, you'll find a considered and well-travelled wine collection, with bottles from Greece and Croatia starring alongside approachable drops from both Europe and closer to home.
East Brunswick Village has a new arrival, with a second To Be Frank location adding to the community's ethical and sustainable options. With its Collingwood location generating a cult following for its "respectus panis" — meaning minimal yeast and an extended fermentation process that's good for your gut — bread and pastry lovers exploring the new outpost can look forward to the same uncompromising quality and communal passion. Founded by Franco Villalva and Lauren Parsons in 2019, To Be Frank's East Brunswick Village location will maintain its focus on honest bread, pastries and sandwiches, featuring a daily selection that honours traditional baking methods. Of course, that means another store to get your hands on their popular baguette, fruit loaf and focaccia, but you'll also be able to take home To Be Frank's two-kilogram wholemeal sourdough 'miche', available in quarter, half or full-sized portions. "East Brunswick Village already feels like home. We've been welcomed so warmly by the community, and we can't wait to return that warmth — in the form of good bread, coffee, and connection," said Villalva and Parsons. Just like Collingwood, To Be Frank's new digs will be well-stocked with sweet and savoury pastries, including the debut of its chocolatine: a decadent croissant made with Melbourne-based Cuvèe Chocolate's Amphora 65% dark chocolate. The coconut and dulce de leche bomb pays tribute to Franco's Argentinian heritage, while the savoury sausage croissant features top-notch ingredients from neighbouring butcher, Hagen's Organics. Sandwich-lovers will have even more reason to visit, as Villalva and Parsons extend their selection at the East Brunswick locale. Drop by year-round for a ham, cheddar and Emmental toastie, catch a hot honey stracciatella open focaccia through periodic bakes, or discover new seasonal creations as they land in the cabinet. While there, order a stellar coffee with beans roasted by Blackburn's Symmetry Coffee Roasters. As for the new bakery's design, Corso Interior Architecture conceived the space as an open, purpose-built pastry kitchen, where customers get an up-close look at the action. "We've designed East Brunswick Village to be a place for people to enjoy at any time of the day – whether it be for a grab-and-go loaf in the morning for breakfast, a mid-morning coffee and pastry, or a dine-in sandwich or savoury pastry for lunch – the choice is yours," explained Villalva and Parsons. To Be Frank EBV is open Wednesday–Saturday from 7.30am–3pm and Sunday from 8am–3pm at 3 Village Avenue, East Brunswick. Head to the website for more information.
Everybody loves condiments, but it's hard to imagine sitting down to a 33-minute documentary about one. Until, perhaps, we reveal that the condiment of choice is Sriracha, the punchy hot sauce that inspires cult-like levels of devotion the globe over. Sriracha is a Kickstarter-funded documentary by Griffin Hammond that follows the rise of the ubiquitous 'rooster sauce' in America after a Vietnamese refugee named David Tran decided to make his own version of the sauce, which originated in Thailand but is also popular in Vietnam as a condiment for pho. Tran founded Huy Fong Foods in 1980, and since then the company's revenues have grown by at least 20 percent every year — amazingly, without advertising. The documentary mainly consists of interviews with Tran, as well as several die-hard Sriracha fans. According to reviews, there's some interesting trivia in there and it does give you an insight into the company and its founder. But it's also been described as "one long Sriracha commercial" due to its lack of non-Sriracha-loving subjects. There's some anxiety among Sriracha lovers following the recent partial shutdown of the main Huy Fong factory in California. Combined with a new 30-day freeze on shipment, it's looking like a short-term shortage may be a reality. Have fortitude, heat fiends. You can watch the trailer for Sriracha below. The full documentary is available on Vimeo for $5. Via the NPR blog.
Victoria's Hot Chocolate Festival is back again this August. And, like last year, it's also bringing the decadence to you. Whether you're a Melburnian who can't make it to one of the three venues outside of town, or you're located elsewhere and you really love hot chocolate, Yarra Valley Chocolaterie is churning out boxes filled with creative hot choccie flavours. Like this year's physical fest, the flavour range is being released weekly — so you have an excuse to order more than a few boxes. To kick things off, there's the Tim Tam caramel bomb, which turns caramel Tim Tams into a ball and serves it with a caramel hot chocolate. Also tempting: the Devonshire kronut version features a berry hot chocolate topped with — you guessed it — a kronut. And, the Snickertini includes shots of Baileys and vodka, while the Dreamtime hot chocolate features lemon myrtle. Fingers crossed that fan favourite flavours like Tim Tam Slam and Golden Nutella Spoon will pop up throughout the month, along with the more adventurous likes of If You Like Piña Colada, Zingy Chilli and Cherry Matcha. All limited-edition hot chocolates come with an extra shot of hot couverture chocolate and handcrafted marshmallow, too. Plus, in previous years, some of the highlights arrived with exploding marshmallows, melting chocolate discs and truffle balls. If the eight-flavour pack each week is a little much — it'll set you back $49.95 — you can also order individual varieties for $6.50 a pop. The boxes are available to order until the end of August, and there's a flat-rate shipping fee of $15 to anywhere in Australia.
The last time that Vince Gilligan created a series around an actor that he'd already worked with, television gained one of the best shows of the 21st century, one of its finest-ever tragedies and a spinoff on par with its inspiration: the Breaking Bad-connected Better Call Saul. Next up on his resume comes another project based around a star that he's already made exceptional TV with, and that should be just as keenly anticipated, with Pluribus led by Rhea Seehorn (Win or Lose). As Kim Wexler in Better Call Saul, Seehorn was nominated for two well-deserved Emmys, but missed out to Ozark's Julia Garner in 2022 and The White Lotus' Jennifer Coolidge in 2023. Here's hoping that she earns accolades for her next effort with Gilligan. This time, the duo reunite for an Apple TV+ sci-fi drama, which has just dropped its first teaser trailer and announced its premiere date. [caption id="attachment_864124" align="alignnone" width="1920"] Better Call Saul, Greg Lewis/AMC/Sony Pictures Television[/caption] From Friday, November 7, you can watch what occurs when Seehorn plays the planet's most-miserable person, who needs to save the world from happiness. That's all of the plot details that have been revealed so far. The first-look clip doesn't expand on the narrative, but does feature a woman licking doughnuts and placing them back in a box for others to help themselves to. If you're keen for anything that The X-Files alum Gilligan whips up — especially with the stellar Seehorn involved — then you'll be pleased to know that the nine-episode first season of Pluribus isn't all that's on the way. Already, the show has been renewed for a second season. [caption id="attachment_757257" align="alignnone" width="1920"] Better Call Saul[/caption] On-screen, Seehorn is joined by Karolina Wydra (Agents of S.H.I.E.L.D.), Carlos-Manuel Vesga (The Luckiest Man in America), Miriam Shor (Magic Hour) and Samba Schutte (Parallel). Behind the scenes, Gilligan has fellow Better Call Saul veterans Gordon Smith, Alison Tatlock and Diane Mercer for company among the series' executive producers, as well as Allyce Ozarski (I Love That for You) and Jeff Frost. Also, if you're wondering right now if Gilligan isn't all that fond of pastries given the role of a particular chain in Better Call Saul, that's understandable. Check out the date announcement video for Pluribus below: Pluribus starts streaming via Apple TV+ on Friday, November 7, 2025.
If you've ever wanted to enjoy your nosh with casual waterfalls cascading over your feet (haven't we all?), all you need is a cheeky airfare. Nestled right at the foot of a spring waterfall in a coconut plantation and resort in Laguna, Phillipines, Villa Escudero takes novelty dining next level. A self-contained working coconut plantation, Villa Escudero was founded in the 1880s and still sports that colonial-style so prevalent in resorts in the Philippines. Featuring long bamboo dining tables set right over the water, Villa Escudero's restaurant must have some pretty pruny-footed waiters after a long shift. Sure, you could get the hose out at home and attempt to create the same effect, but Villa Escudero might have a natural one-up on your bond-losing acts. Via Lost at E Minor.
Good news for literally anyone who's sought a pre-Cinema Nova negroni recently — Johnny's Green Room has officially flipped its 'Closed' sign to 'Open'. After shutting its doors in July for months of hibernation, the much-adored rooftop oasis has sprung back to life, bringing a taste of Roman summer energy to Carlton right in time for Melbourne rooftop season. Owners Jamie Valmorbida and Luca Sbardella have joined forces with architect Dion Hall (known for his work at Music Room, Supernormal, Pidapipo Laboratorio and Rare Hare) to give the place a snazzy makeover and increase the site's capacity. They've even thrown in a semi-retractable roof, because Melbourne weather. Celebrity chef and author Karen Martini, who has taken on the role of Culinary Director, has whipped up an Italian-inspired menu that's all about sharing — think 48-hour slow-fermented dough pizzas and stacks of cicchetti — which is great because food tastes better when it's pinched from someone else's plate. Expect a culinary journey from Carlton to the coasts of Italy, minus the jet lag. As for the drinks, cocktail guru Matthew Bax (formerly Bar Americano) is crafting the cocktail list as an ode to Italian outdoor drinking. Envision sophisticated yet cool sips with a side of people-watching — one of the oldest and greatest forms of entertainment. The wine program comes from sommelier George McCullough and features mostly Italian drops from both established and emerging winemakers. Vibes will be set from afar, thanks to Hope St Radio. The crew has collaborated with Johnny's Green Room to curate a year-round music program that'll feature Melbourne DJs and live music acts. You'll find Johnny's Green Room at 293 Lygon Street in Carlton, open from midday till late every day of the week. Head to the venue's website for more details. Images: Arianna Leggiero
Bangarra Dance Theatre has been creating poignant theatrical performances since 1989, fusing together contemporary dance, music, poetry, art and design to spotlight First Nations culture and stories. The company's latest work is Horizon — a double bill of contemporary dance works that pay homage to the landscapes, skies and spirits that are considered significant by First Peoples across the Oceania region, from Australia to the Torres Strait Islands and Aotearoa. Sani Townson's Kulka opens the show, honouring his grandfather and highlighting his Torres Strait heritage. This is followed by collaborative work The Light Inside by Bangarra alum and Torres Strait choreographer Deborah Brown and Māori Arts Laureate Moss Te Ururangi Patterson. In partnership with Bangarra Dance Theatre, we spoke to Sani Townson — choreographer, Bangarra alum and presently Bangarra's Youth Programs Coordinator — about creating Kulka, what sparked his passion for dance, and why you need to see Horizon. On What You Love Most About Working with Bangarra Dance Theatre The sense of family. I've been on all sides of this company — I was a dancer and am three years back into the fold of Bangarra again, inspiring and nurturing a new generation of young talent in the Youth Programs team. Now I have this opportunity to create with the company. My heart is full. On the Power of Dance When I was younger, traditional dance was the first time I ever fell in love with movement — how song and dance marry together. But with the contemporary art form of dance, I loved how you can make amazing shapes with bodies; how you can manipulate the muscles on your body with the use of light; and how the human body can act as a paintbrush on a blank piece of canvas. On the Inspiration Behind 'Kulka' In my Grandfather's language of Kalaw Kawaw Ya, 'kulka' means 'blood'. This piece pays homage to my grandfather, Sania Guy Townson. This is merely my interpretation, in contemporary dance form, of a story he passed on to me about how my family got our totem and our clan. I've carried his name my whole life as he was an important man to my Saibai Island families. Carrying a name like his has definitely made me work extremely hard to get to where I am today. I have taken his name all over the globe and I will continue to do so where I can. He has seen me perform as a dancer with Bangarra and now his voice will be in the Drama Theatre in the Sydney Opera House. On Spotlighting Your Torres Strait Heritage Through Your Work All my works have always been in the mother tongues of both Kalaw Lagaw Ya and Kalaw Kawaw Ya. Every time I make a work, I really want to make sure that you, as the audience, will leave the theatre with a bit of the Torres Strait with you. On What Makes 'Horizon' So Special This is a cross-collaboration between the First Nations peoples of Australia and Aotearoa and the one thing we share, which is the night sky. My piece starts coming from the stars and ends looking up to the stars. Our cultures differ but share the night sky. In a world premiere, Horizon will run at the Sydney Opera House from Tuesday, June 11–Saturday, July 13, before touring Canberra from Thursday July 18–Saturday, July 20, Brisbane from Wednesday, August 7–Saturday, August 17, and Melbourne from Wednesday, August 28–Saturday, September 7. Book your tickets to Horizon today, and find out more, at the Bangarra Dance Theatre website.
The winter chill has set in across Melbourne, which means it's time to bust out your warmest winter woolies once again. Happily enough, to coincide with the start of winter, a heap of private igloos have popped up across the city so you can get your winter escape without even having to leave the big smoke. As part of the Winter Igloo Garden, these pop-up winter wonderlands have descended upon The Auburn Hotel's beer garden, Footscray's Station Hotel, Studley Park Boathouse and the banks of the Yarra at The Wharf Hotel. Each see-through structure can fit up to six people and comes decked out with twinkly fairy lights and winter-inspired furnishings. You can hire any igloo out for a two-hour time slot, which includes a different food and drink offering depending on the venue. The Studley Park Boathouse igloo is serving a winter high tea full of sweet and savoury bites with a glass of bubbly for $49 per person, with the option to add on 90 minutes of bottomless drinks for an extra $25. At The Auburn you'll be chilling out in your wintry bubble enjoying a shared three-course feast featuring the likes of mini lobster rolls, charred broccolini with toasted almonds, and a king salmon with saffron-braised fennel for $59. That'll also get you your choice of drink — think mulled wine, local beer, cherry spritz or a hot toddy. At the riverside Winter Igloo Garden at The Wharf Hotel, you'll part with $49 for your choice of wintery beverage, paired with a shared grazing board loaded with bites like southern fried chicken ribs, salt and pepper squid, and triple cheese pumpkin arancini. If you're looking for more soul-warming fare, The Station's igloos come with a meat-heavy set menu with options like short ribs, wagyu tartare and yakitori, teamed with your pick of drink for $69. Espresso martinis, house wines and boozy hot chocolate set the tone here. And while you're hanging out in any of the above igloos, further drinks can also be ordered via an app, so you don't have to leave your wintry lair.
Australia's surf park obsession knows no bounds. Urbnsurf Melbourne launched in 2020 as the first Aussie surf park, Urbnsurf Sydney will open in mid-May 2024, the same team behind both has earmarked Brisbane and Perth as future locations, and the latter is set to get the country's largest surf park from a separate outfit. Next on the list is The Break Surf & Stay, which has been approved as an addition to the seaside town of Aldinga in South Australia — but will be set back from the coast when it starts pumping out waves in mid-2026. The venture, which will give everyone another reason to head to the Fleurieu Peninsula, has just been given planning consent by the City of Onkaparinga Council assessment panel. Clearly, it isn't enough for Australia to be girt by sea; the nation is also determined to fill plenty of its land with man-made wave pools, so that hitting the beach isn't the only way to hang ten. The Break Surf & Stay will sprawl across a a 7.1-hectare site, with the $100-million facility boasting a 11,700-square-metre surf lagoon. And, for visitors from out of town, it'll also double as accommodation, featuring 35 short-stay villas. Who says that you need to slumber beachside to wave up to waves? The park's surf technology from Endless Surf will create waves up to 2.1-metres high, which folks will be able to hit for 18 seconds on a single peak and nine for a split peak. The team behind the venture advises that its wave system will be a first for the southern hemisphere Don't know how to live the Point Break life already? A surf academy will be onsite to teach newcomers to the sport the skills. Also set to be included: a wellness studio, plus a store selling and renting boards and wetsuits. A craft brewhouse, licensed restaurant, skating area and nature play spot are all in The Break Surf & Stay's plans, all set among native vegetation, with 300 new trees to be planted. 'Barefoot luxury' is the vibe, with architects Studio Gram taking their design cues from the obvious: the coast. Construction will start in 2025, with The Tuit Road facility just 40 minutes out of Adelaide. It's also aiming to host surfing competitions, including attracting international waves to unleash their skills in The Break's lagoon. "The Break has been an absolute passion project for everyone involved," said Richard Sheppard, one of the surfing enthusiasts-turned-founding partners alongside Ben McCarthy, Leigh Gapp and Dwight Stuchbery. "There is a significant market for health and wellness, active and surf tourism that is largely untapped in South Australia, and we believe this transformational project will help to unlock that opportunity for the region and the state. And that's to say nothing of the benefits of attracting new visitors to this region's world class vineyards, beaches, eateries, trails and landscapes." "Our vision is to see The Break become a destination for families and surf lovers from around the country and the world, while also using the facilities to teach every South Australian kid to surf in safe, inclusive, controlled conditions," added McCarthy. [caption id="attachment_953676" align="alignnone" width="1920"] No Swan No Fine via Wikimedia Commons[/caption] The Break Surf & Stay's first waves are expected in 2026 on Tuit Road, Aldinga, South Australia — keep an eye on the venue's website for further details in the interim.
Billboards are traditionally known for their advertising, but in a world first, Peruvians prove they can offer an alternative function: producing water out of thin air. The University of Engineering and Technology in Lima, the second largest capital city in the world set on a desert, has developed this incredible billboard, which could improve the health of hundreds of citizens. The contraption contains generators that capture the air's humidity, which due to the lack of rain in the region is usually at 98 percent. This is then treated through air and carbon filters, condensed into purified water, and stored in tanks to be accessed by taps at the base of the billboard. Because so many people in the area source their (often polluted) water from wells, this potable water is a real help to the millions of residents of the city. The billboard produces 9450L water over a period of three months, which is enough clean water to cover the consumption of hundreds of families each month. The multifunction billboard does also advertise for the University that developed it — but then, this innovative, life-saving creation does warrant the right to brag just a little bit. Take a look at this video to find out more about how the billboard works and the effects it's had on the people of Lima. Via PSFK.
The rapidly evolving landscape of the Sydney CBD continues to gain international recognition, raking in three nominations at this year's annual awards given by the Council on Tall Buildings and Urban Habitat (CTBUH). The well-regarded, Chicago-based competition rewards outstanding design, planning and construction of tall buildings, and remains an influencer in future building projects worldwide. The most notable finalist are the International Towers at Barangaroo, which have been shortlisted in the 'Best Tall Building: Asia & Australasia' category. They will compete against eight office buildings and hotels in the region — including four in China, three in Singapore and one in South Korea. If awarded, Barangaroo will then go up against the three additional regional winners from the Americas, Europe and Middle East & Africa categories to be judged for the title of '2018 Best Tall Building Worldwide'. Sydney is not new to this honour, with One Central Park taking home the gold back in 2014. But the plaudits doesn't stop there, with two George Street buildings also in the running for lesser awards. The EY Centre is up for the Best Construction Award, making the final cut with five other buildings from New York City, Salt Lake City and Shenzhen (China). This building already gained national recognition in 2017, winning the Harry Seidler Award for Commercial Architecture at last year's National Architecture Awards. In the Ten Year Award, residential complex Lumiere is a finalist against international designs in the States, the UK, Dubai, China and Bahrain. The award is bestowed on buildings that prove valuable to their cities over a period of time In all categories, the winning projects must display innovative designs that enhance their respective cities. The winners will be announced May 30-31 at the inaugural Tall + Urban Innovation Conference in Chicago, which will celebrate the best in international design innovation, technologies and construction. Via Commercial Real Estate and Architecture AU. Feature image via Wikimedia.
If you like your beers wild and your food local, this one's for you. W Melbourne's restaurant Lollo is teaming up with one of the city's best-known breweries for a beery feast to remember. On Wednesday, August 31, you're invited to a one-off dinner both inspired by and paired to drops from La Sirene. The Alphington-based brewery specialises in traditional farmhouse-style beers, and wild ales that each tell a story of time and place — and it's these crafty creations that'll be front and centre of the evening's flavour-packed festivities. [caption id="attachment_866099" align="alignnone" width="1920"] Lollo[/caption] Lollo's Creative Culinary Director Adam D'Sylva (Coda, Tonka) will be matching the beers with a six-course shared spread built around top-notch local produce. Expect plates like tea-smoked duck breast with a Sichuan dressing; chargrilled spatchcock teamed with Tuscan kale, barley and harissa; and kingfish cured in La Sirene's Saisonette and paired with tempered yoghurt. As for the brews, you're in for some truly stellar sips, including a peach and raspberry wild ale, and the famed Praline dark chocolate Belgian ale.
On Swan Street in Richmond, surrounded by not much else, is the bright, yellow trimmed café, Friends of Mine. It's difficult to hold back a smile when you are here. Either outside next to the yellow sun covers or inside with the smiling staff, this place makes you feel good. Owner Jason Jones does Melbourne brunch spots well. He does them really well. If you haven't been to Friends of Mine it is likely you have tried Porgie and Mr Jones or Snow Pony. Friends of Mine, accepts one and all. On a sunny weekend morning you'll be hard pressed to land a seat outside, but do your best. Inside there are two sections. The front section fashions your standard wooden tables with newspapers splashed around, while the back section feels more like a restaurant with white linen tables clothes and ornate decor. Most great brunch spots are full come Sunday 11am, but with three dining areas the wait shouldn't be too long at Friends of Mine. For breakfast the Bircher muesli with rhubarb, vanilla compote and cleo's honeyed yoghurt ($10.90) is a satisfying, light option, while the toasted banana bread with maple syrup mascarpone, fresh banana, berry compote and crushed pistachio ($14.90) is a goer for the sweet tooths amongst us. The banana bread is light and fluffy and ridiculously good. Having said all of this it would be remiss to talk about Friends of Mine, Porgie and Mr Jones or Snow Pony without talking about the smashed avocado with thyme buttered mushrooms, marinated feta and torn basil on wholegrain toast ($17.90, or $19.90 with a poached egg). Two words. Do it. When curing a hangover, it is advised to add bacon to this dish, or as Friends of Mine have hangovers covered order the “HUNG” Over which is herb and cheesy toast, poached eggs, bacon, and smashed avocado ($18.90). Speaking of hangovers Berocca ($3) is the first thing on the menu, followed shortly by the Bloody Mary ($13) and the Moet Chandon ($18 a glass). Hair of the dog, or straight recovery, you are well looked after what ever your state. If delving into the lunch menu, a piadinis with roasted pumpkin, pesto, ricotta, roasted peppers and caramel onion ($12.9) is a solid option or try for something larger like the braised ox cheek with Pedro Ximenez, honey, cardamom carrots and cannellini bean puree ($23.90). Lest we forget that on last Sunday of the month Friends of Mine gets a little bit fancy with their high tea. $45 will get you sweet savoury and sparking.
Australia's war on waste has received a significant boost, with the Federal Government pledging to ensure that 100 percent of the country's packaging is recyclable, compostable or reusable in the next seven years. Announced by Minister for the Environment and Energy Josh Frydenberg, the target will be implemented by 2025 or earlier. The Commonwealth will also work with state and territory governments to increase the nation's recycling capabilities — and prioritise 'waste-to-energy' projects, which convert waste that is unable to be recycled into energy. Also on the agenda: ramping up the purchase of recyclable materials by the various levels of government by using more recycled paper, and building roads and construction projects out of recycled mattter. The focus not only on mandating the widespread uptake of recyclable packaging, but also finding ways to use and process it forms part of the country's response to China's decision to stop importing waste. Since the beginning of 2018, Australia has been struggling to find solutions for the 1.3 million tonnes of recyclable materials it previously sent to Chinese facilities each year, a figure that accounts for 35 percent of our recyclable plastics and 30 percent of our recyclable paper and cardboard. Earlier this month, it was discovered that one Queensland council had been sending recyclable matter to landfill instead. The promise to scrap non-recyclable packaging in general arrives as several other eco-friendly bans are coming into effect — or, in the case of Hobart's Australia-first commitment to get rid of single-use plastic containers, are set to by 2020. Single-use bags are on their way out in most states, with Queensland joining the fold this coming July and Victoria following suit, leaving New South Wales as now the only state that hasn't made the same pledge. Elsewhere, Aussie bars venues have begun phasing out straws, and campaigns to reduce the use of single-use takeaway coffee cups also continue.
Not once, not twice, but at least 17 times, Robert Pattinson (The Batman) dies in Mickey 17. In the just-dropped full trailer for the new science-fiction film, his character is not too happy about it, either. But when you've signed up to be an 'expendable', as Mickey has in this adaptation of Edward Ashton's book Mickey 7, you've agreed to kick the bucket over and over and over for a living. On the page, the lead character is the seventh version — thank human printing — working as part of an effort to to colonise an ice world and soon finding himself trying to fend off the eighth. Mickey 17 has clearly upped that to the 17th version of its lead character. And, with Korean director Bong Joon-ho writing and directing, making his long-awaited first feature since Parasite, it's leaning heavily on comedy as well. Mickey 17 has been in the works for years, even dropping an initial teaser trailer at the end of 2022. Back then, the flick was targeting a March 2024 release date; however, that changed early this year, with the movie now hitting cinemas in January 2025. Thanks to everything that the last few years have served up, 2019, when the Palme d'Or-, Sydney Film Festival Prize- and Oscar-winning Parasite released, seems like a lifetime ago. So, waiting for anything since that innocent pre-pandemic time feels like waiting forever. But a new Bong movie has always been worth it so far, as his impressive cinematic resume attests. He's also the filmmaker behind stunning crime procedural Memories of Murder, creature feature The Host, dystopian thriller Snowpiercer and the offbeat Okja, after all. Mickey 17 looks set to mark the filmmaker's third movie mostly in English after Snowpiercer and Okja, with Pattinson leading a cast that also includes Steven Yeun (Beef), Naomi Ackie (Whitney Houston: I Wanna Dance with Somebody), Toni Collette (Mafia Mamma) and Mark Ruffalo (Poor Things). Science-fiction fans will spot that the premise alone gives off big Moon, Sunshine and Voyagers vibes — and brings High Life, RPatz's last exceptional sci-fi flick, to mind. That said, Bong isn't a filmmaker to follow in anyone else's footsteps. How he makes this concept his own already looks like a treat to see based on the two sneak peeks so far. Mickey 17 is a return for Pattinson, too, given that he hasn't been seen on-screen since his debut turn as Bruce Wayne — although he could be heard in the English-language version of Hayao Miyazaki's The Boy and the Heron, adding a movie by another iconic director to his filmography. Check out the full trailer for Mickey 17 below: Mickey 17 releases in cinemas Down Under on Thursday, January 30, 2025.
The pandemic hasn't conjured up many fond memories, but Normal People's small-screen arrival in 2020 is definitely one of them. Dropping into our streaming queues when the world was mid-lockdown and already feeling every emotion possible, the heartwrenching TV adaptation of Sally Rooney's novel was impossible to stop watching — thanks to the story, the pitch-perfect performances and the evocative mood that made you feel like you'd stepped into the writer's pages. Based on the two trailers for Conversations with Friends so far, history looks set to repeat itself on Monday, May 16, which is when the latest television version of one of Rooney's beloved books hits. This time around, the author's debut novel is making its way to the screen, but it has another tale of love, lust and emotional chaos to tell. Of course it does. As seen in the first teaser back in January and fleshed out further in the just-dropped full trailer, Conversations with Friends focuses on Dublin college students Frances (newcomer Alison Oliver) and Bobbi (Sasha Lane, American Honey), as well as married couple Nick (Joe Alwyn, The Souvenir: Part II) and Melissa (Jemima Kirke, Sex Education). Frances and Bobbi used to date, but are now best friends; however, everything shifts when they meet their new pals — with Frances and Nick having an affair, Melissa and Bobbi drawn to each other, and Frances and Bobbi's friendship put under threat. Complicating matters: everything from the fact that Frances and Bobbi are so close that they even perform spoken word poetry together, through to their different ways of pursuing Melissa and Nick. While Melissa and Bobbi flirt openly, Frances and Nick keep things under wraps. And yes, as the trailer shows to the sounds of Phoebe Bridgers, it all gets complex fast. Unfurling across 12 parts, all of which will drop on the same day — so you really can repeat the Normal People binging experience — Conversations with Friends also shares that series' co-director Lenny Abrahamson (Room, Frank), as well as co-screenwriter Alice Birch (Lady Macbeth). When Conversations with Friends was first published five years back, it launched Rooney's career and sent award nominations her way, with Hulu and BBC Three announcing their plans to bring it to the screen after the Normal People adaptation proved such a hit. Obviously, if you can't wait for Conversations with Friends to land in your streaming queue, you can try to fill your time rebinging Normal People. Check out the full trailer for Conversations with Friends below: Conversations with Friends will be available to stream Down Under via Prime Video on Monday, May 16. Images: Alison Oliver (Frances), Sasha Lane (Bobbi), Joe Alwyn (Nick) and Jemima Kirke (Melissa) in Conversations with Friends, Element Pictures. Photographer: Enda Bowe.
It's time to clock on: come spring 2024, The Office will reopen, this time in Australia. Back in 2023, Prime Video announced that it was making the 13th international take on the hit workplace sitcom, and also the first to be set Down Under. Now, the latest version of the franchise has a release date — and a debut image of star actor and comedian Felicity Ward (Time Bandits) as Flinley Craddick Managing Director Hannah Howard. Whether you think that David Brent was awful, awkward or a bit of both, Britain doesn't have a monopoly on cringeworthy bosses. Accordingly, after the original UK version of The Office proved a huge success two decades ago, more iterations of the comedy were always going to follow around the world. The American series became even more popular, and everywhere from Canada, France and Germany to Israel, India and Poland have similarly given the idea a go — so it should come as no surprise that an Aussie version is finally making its way to screens. Move over Brent, and also Michael Scott — it's now Howard's turn to become the manager that no one wants but everyone has worked for. She oversees a packaging company. When she receives news that head office is shutting down her branch, with everyone working from home instead, she's determined to keep her team together. Obviously, that won't go smoothly, or there'd be no sitcom antics to be had in The Office's Aussie stint. Joining Ward is a hefty cast spanning Edith Poor (The Lord of the Rings: The Rings of Power), Steen Raskopoulos (The Duchess), Shari Sebbens (Preppers), Josh Thomson (Young Rock), Jonny Brugh (What We Do in the Shadows), Pallavi Sharda (The Twelve), Susan Ling Young (Barons), Raj Labade (Back of the Net), Lucy Schmit (The Pledge), Zoe Terakes (Talk to Me) and Claude Jabbour (Last King of the Cross). Also featuring: Susie Youssef (Deadloch), Justin Rosniak (Colin From Accounts), Carlo Ritchie (A Beginner's Guide to Grief), Rick Donald (Population: 11), and Chris Bunton (Wolf Like Me). Viewers will be able to binge Ward and company's antics, with the entire eight-episode first season of the The Office dropping on Friday, October 18 — so get your staplers in jelly ready. As well as marking the first woman-led version of the franchise, the Australian take on The Office also features an impressive roster of female talent off-camera. Jackie van Beek (The Breaker Upperers) co-developed the series alongside Julie De Fina (Aftertaste), with both executive producers — and van Beek the setup director. Kylie Washington (Return to Paradise) is also an executive producer, with Sophia Zachariou (Ladies in Black) and Linda Micsko (The Letdown) producers. There's no trailer yet for the Australian version of The Office, but you can check out clips from the UK and US versions below: The Australian version of The Office will stream via Prime Video from Friday, October 18, 2024. Top image: John Platt and Prime Video, © BBCS and Bunya Entertainment.
When Jetstar launched a hefty domestic flight sale last June, it sold 70,000 seats in just five hours, with Australians keen to travel when and where they can in these pandemic-afflicted times. Unsurprisingly, discounted airline tickets have become a common occurrence since travel around Australia restarted — and the airline has just kicked off another sale. The latest Return for Free sale is already running, with discounted fares available until 11.59pm AEDT on Sunday, March 7 — if it doesn't sell out prior. In the sale, you'll find cheap flights across a heap routes from destinations right across the country. And, as the name suggests, it's doing return flights for free. So, you buy your ticket to your destination and then Jetstar will cover your trip home. There are a few caveats, as there always is. You have to depart and leave from the same airports and, if you need to make changes down the line to your flight dates, you will have to pay change fees and any difference in fare. The discounted flights don't include checked baggage, either — so you'll need to travel super light, or pay extra to take a suitcase. [caption id="attachment_785574" align="aligncenter" width="1920"] Tourism Australia[/caption] Now that you know some of the things you'll need to take into consideration, here's where you can go. Sydneysiders can snag return tickets to Victoria for $65, Launceston for $89, Brisbane from $92, the Sunshine Coast for $96 and Hamilton Island for $151. Melburnians can book trips to Uluru for $185 and Darwin for $184, and to Hobart from $84, the Gold Coast from $107, and Ballina and Byron Bay from $116. And Brisbanites can head to the Whitsundays for $91, Cairns from $115 and Adelaide from $141. Yes, the list goes on. Tickets in the sale are for trips from April–December 2021, with exact dates varying in each region. If you're keen to get away, book some now and start planning. And, as always, keeping an eye on interstate border requirements is recommended. Jetstar's Return for Free sale runs until 11.59pm AEDT on Sunday, March 7, or until sold out.
If it's true that the things that don't kill you only serve to make you stronger, we can all expect Melbourne's Rising festival to come out fighting fit for its long-awaited premiere run this year. After COVID-19 unravelled its planned 2020 debut, then returned to cancel all but opening night of its 2021 program, the blockbuster citywide multi-arts festival will this year, finally, get its moment. As announced today, Rising is set to descend on Melbourne from Wednesday, June 1–Sunday, June 12. Determined to make this third time a charm, the festival is delivering a hefty, carefully-honed program of art, music and performance. "Overall, we're expecting one million people to experience Rising across 225 events, with over 800 artists involved," festival co-director Gideon Obarzanek tells Concrete Playground. Over 12 days and nights, those artists will transform the streets and spaces of Melbourne into their canvases and stages, serving up a diverse, supersized culture fix to kickstart winter. With borders reopened, a stack more international names have been able to join the bill, too. [caption id="attachment_846653" align="alignnone" width="1920"] The Wilds, 2021[/caption] While the program has evolved and morphed since last year, some of its key experiences are built on return concepts. "The Wilds and Golden Square are the two big pillar pieces," explains co-director Hannah Fox. "But a lot of the content within those projects is new." The Wilds will return to the Sidney Myer Music Bowl, this time dishing up a fluorescent-tinged fusion of art, sound and flavour courtesy of renowned New York-based Aussie artists Tin & Ed. It'll play host to performances, quirky large-scale structures, and an ice-skating rink beating to the sound of 80s and 90s bangers. Exceptional eats here include snacks from the likes of 1800 Lasagne and Smith & Daughters, and a 'glowing glasshouse bistro' manned by celebrated chefs David Moyle, Jo Barrett and Matt Stone. [caption id="attachment_846649" align="alignnone" width="1920"] Paul Yore's 2018 work 'It's All Wrong But It's Alright'. Credit Rémi Chauvin.[/caption] Golden Square will again transform a multi-storey Chinatown carpark into a vibrant, sensorial art park, featuring parades, rooftop bars and a compelling site-wide exhibition from artists like Paul Yore, Scotty So, Atong Atem and Jason Phu. Patricia Piccinini's otherworldy exhibition A Miracle Constantly Repeated will continue its popular run, gracing the Flinders Street Ballroom until the festival's end on June 12. Leading audio-visual artist Robin Fox is also creating a mesmerising laser and sound work, Monochord, that will beam one kilometre along the Yarra each night. And, thanks to Keith Courtney, one of the folks behind House of Mirrors and 1000 Doors, a 20-metre-long kaleidoscopic labyrinth will invite attendees to immerse themselves in a playground of mazes and light. [caption id="attachment_846648" align="alignnone" width="1920"] Robin Fox's work MONOCHORD[/caption] Gig-starved music-lovers can expect a smorgasbord of sonic delights throughout the fest, as international names like Moses Sumney, Welsh electro star Kelly Lee Owens and the multi-talented Andy Shauf join homegrown talent including renowned drummer Jim White, Tkay Maidza, Harvey Sutherland and the legendary Sampa the Great. Meanwhile, a diverse program of dance performances will share stories from around the world, with unmissable works from the likes of Stephanie Lake Company, Denmark's Mette Ingvartsen, Indonesian choreographer Rianto and Uruguay's Tamara Cubas. Legendary text-based artist Jenny Holzer will transform a 19th-century building facade with her six-storey projection work I CONJURE, too — and for The Invisible Opera, the constant buzz of Federation Square will be mapped in real-time, creating an immersive multi-disciplinary performance piece. [caption id="attachment_846654" align="alignnone" width="1920"] Tkay Maidza[/caption] Jurrungu ngan-ga (meaning 'straight talk') explores refugee detention and the overrepresentation of Indigenous people in custody via a captivating, culture-bridging dance performance by the Marrugeku crew. Plus, the return of the famed Melbourne Art Trams will showcase six trams emblazoned with designs by First Peoples artists, alongside a reproduction of the 1991 tram work by acclaimed artist, painter and sculptor Lin Onus. And, nodding to one of the city's greatest sporting loves, there's the work that has Hannah Fox most excited, Still Lives. "It's a performance we commissioned back in 2020, which is now going to take place in the NGV, in the Great Hall," the festival director explains. "It's essentially two artists, Luke George and Daniel Kok, who are working with five retired AFL players to suspend them in rope bondage from the ceiling… in the form of an iconic mark from the AFL's history. Yeah, I'm very excited for that." Rising will run from Wednesday, June 1–Sunday, June 12 at venues and public spaces across Melbourne. Presale tickets are available from 12pm on Monday, March 21, with regular tickets selling from 12pm on Friday, March 25.
The greatest trick that Late Night with the Devil pulls could be a trick on future viewers. In a decade or so, perhaps less, someone will likely come across the film on a streaming platform and think that the year that's listed next to its name is a typo. The illusion would be stronger if video stores still existed, where the Australian-made horror marvel that's had audiences talking since its 2023 SXSW premiere could sit on a shelf beaming its 70s-era look and artwork at perusers searching for their next watch. Everything about the movie, which is presented as a found-footage documentary showing a Halloween episode of a late-night talk show in full, wants everyone to make that misinterpretation. The year is 1977 in Cameron and Colin Cairnes' latest feature, which joins the writer-director siblings' resume after 100 Bloody Acres and Scare Campaign. The date is indeed October 31. The show: Night Owls with Jack Delroy, which has been slipping in the ratings. The week is Sweeps Week, the key ratings period in the US, in fact. Host Jack Delroy (David Dastmalchian, Dracula: Voyage of the Demeter) has been struggling himself, following the death of his wife (Georgina Haig, NCIS Sydney) 12 months prior. In his efforts to pick himself and his show back up, he commits to a special live spooky instalment featuring a skeptic (Ian Bliss, Safe Home), psychic (Fayssal Bazzi, Prosper), parapsychologist (Laura Gordon, Foe) and a girl (Ingrid Torelli, Force of Nature: The Dry 2) who is reportedly possessed — and being willing to do whatever it takes to succeed gets a demonic spin. The experience of watching Late Night with the Devil is like stepping into whichever type of time machine takes your fancy; the attention to period detail is that exact, as is the Cairnes' commitment to practical effects when things get eerie. The same can be said of Dastmalchian's stunning lead performance, playing a character styled after Australian TV's Don Lane alongside American television's Dick Cavett and Johnny Carson. When future viewers add Late Night with the Devil to their queue, the can't-look-away portrayal from the picture's star is bound to get them thinking that this truly is an unearthed treasure from the 20th century. Aptly, Dastmalchian is a big fan of horror TV hosts, even penning an article for Fangoria about them. So, take a childhood in the 80s spent watching late-night talk shows, a love of horror from that decade and the one prior, a keen awareness of the period's flicks about television such as Network and The King of Comedy, experience working in studios themselves, an exceptionally well-cast lead and a killer concept — plus that dedication to authenticity — and the next Aussie horror hit is the end result. "It's our twisted love letter to talk shows and the horror movies of that era," Colin tells Concrete Playground during a chat with both brothers. "I think it was really was a golden age for horror movies in the States, but also in Australia to some degree. We made some pretty cool stuff back then." A wild horror ride, a helluva character study, and an unpacking of the way that sensationalist media haunts and possesses as much as literal spirits, too, Late Night with the Devil is "pretty cool stuff" itself, deservedly earning a reputation far and wide. Iconic horror author Stephen King called it "absolutely brilliant" and said that he couldn't take his eyes off it". Mere days before we spoke with Colin and Cameron, they had run into one of their influences IRL, who also adored it. "Definitely all the great films by David Cronenberg and John Carpenter, the Wes Cravens," Colin cites as inspiration. "Joe Dante, who we were lucky enough to bump into two days ago in LA walking out of the screening of our film, which was really cool. Mind blown — it was just a wonderful chance encounter. And we've since exchanged emails. Yeah, he's a fan of the film. So that was really, really special to us. As kids growing up watching Gremlins or The Howling or Innerspace, all these great 80s horror hybrids, fun horrors that he made, it was just such an honour to bump into the man who had just seen our film, which was crazy." After it popped up on the festival circuit in 2023, viewers Down Under have been able to discover why Late Night with the Devil has been wowing King, Dante and more since it hit local cinemas on Thursday, April 11. We chatted with Colin and Cameron about their inspirations, specifically picking 1977 as the year to set the film in, the work that goes into making the movie look and feel so authentic, their take on Delroy and getting Dastmalchian to play him, and more. On Taking Inspiration From Watching Late-Night Talk Shows as Kids in the 80s in Australia Cameron: "I think TV was just a bit looser back then, and felt a little more dangerous. It was late night, and for a kid staying up late to watch those shows, it just felt a little taboo. So, what we love about that period in those shows — and we're talking not just our Australian icons, but the American ones as well — is just they all felt unscripted and dangerous, and like anything could happen or anything could go wrong at any minute. So that felt like fertile ground for us to to play in. And those experiences, they stuck with us. I think when you're young and you're watching stuff, you're very impressionable. So we're watching lots of horror movies on VHS, and we were watching lots of TV at home, lots of American stuff. It was all feeding into the script and to the story. We drew on those experiences quite a lot." On Setting the Film Not Just in the 70s, But Specifically in 1977 Cameron: "It really came down to our date, didn't it? Like 77, we wanted to set it on Halloween night, but it also needed to be Sweeps Week, if that means anything." Colin: "The ratings period." Cameron: "So in our research, we discovered that in 77 on Halloween week, it was actually Sweeps Week. So we tried to be as authentic as we could with every detail." Colin: "What's not to like about 77? We always knew it was somewhere in that range, but 77 felt like that was that was peak 70s, really." Cameron: "It was kind of the peak in-between time, too. The Exorcist, I think was released in 73, and then we were at the dawn of the Satanic panic. So I think, between 73–80, that period felt right. And also, we wanted to suggest that Night Owls, the show Jack Delroy hosts, had been on the air for a while and was struggling. So it just made sense that it maybe started around early 70s." Colin: "And going back to the movies, that's when that cycle of great films — I mean, there'd been Texas Chain Saw, probably that was 73, 74 maybe, that's when all those directors that we admire and are paying some homage to, I think, started to do their work. Halloween, I think was released 78, just a bit later. Network, I think, was released beginning of 77. So all that wonderful stuff was happening at that time, so that felt right — and yes, fortunately, Halloween fell on a Monday night at the beginning of Sweeps Week." On the Movie's Commitment to Period Detail and the Work That Went Into It Cameron: "Being as authentic as we could was just key to the whole movie. If no one's buying it, then they're checking out and it's not going to be worth your time. So we took all that stuff really, really seriously — just immersed ourselves in that world. I think having grown up a little bit in the period, and certainly through the 80s, we felt a little bit more connected to it, to that period." Colin: "We knew if something was a bit phony. I think a lot of the audience has been actually a younger crowd, but we are finding people in their early 20s talking to us after screenings, saying ' you know, I'm going bring my mum and dad to this. I reckon they'll really like it'. So people are sensing the authenticity of it, and like Cam's saying, I don't think the scares are going to work, the humour won't work — and, importantly, the drama isn't going to work — if it doesn't feel of a very specific time and place." Cameron: "Going into the production of it, it was just 'let's just commit to the idea that we're making this show in 1977'. So all the costumes, the lighting, the way we shot it, everything was pretty much of the period apart from the cameras we shot on — we obviously had to do some treatment on that in post. But we just tried to shoot it exactly like a late-70s Tonight Show. That meant three cameras were rolling the same at the same time, and the lighting looks a bit hot and harsh. But you just have to embrace all that stuff." On Drawing Upon Their Own Experiences Working in TV Studios Colin: "I directed, in a past life going back 20-plus, 25 years, I actually worked in television in Singapore. I got a job fresh out of uni directing sitcoms, English-language sitcoms, which were really big, huge successes in that part of the world. It was a lot of fun. That was a three-camera set up where we rehearsed through the week, and then we bring in an audience, so we would shoot it as if it were live. We would get a second go if something didn't work out, but we also didn't want to keep the audience there too late, because they'd stop laughing after the second or third take. And Cam's done some work in TV, too. So we had a sense of how adrenaline-fuelled that environment is, and how it's very stressful and has lots of anxiety, but it's also seat-of-your-pants stuff — it's exciting, it's fun. So we thought taking that as the foundation for an already very tense environment, and then bring in the supernatural element, we thought that that could go places. Ten years later, ten years of writing, we got there — so it helped a lot." On How the Film Evolved Over the Ten-Year Writing Period Cameron: "It went through lots of different iterations. In fact, I think the first draft it was centred around a seance. It was going to be a seance live on TV. But we kind of blew our wad early on that, because the seance was happening sort of at the 25-minute mark and we found we had nowhere to go after that. So it was constantly sort of rethinking the conceit and also finding the characters…" Colin: "That were going to warrant 90 minutes of your time." Cameron: "Exactly." Colin: "A character that could host legitimately host the talk show, but has his own baggage, his own issues. Plot's important, story is important, but for us, the characters are key. You want people walking away saying 'I hated that guy. I love that guy. I wanted to know more about that person'. And that's the stuff that really needs to succeed for any movie to work, regardless of genre." On What Inspired Jack Delroy — and the Cairnes' Take on Him Cameron: "Jack's a little bit desperate at this point in his career. He's been at it for a little while, but he's…" Colin: "Ruthlessly ambitious." Cameron: "But, his background is, he's this Midwesterner, worked in radio. He's kind of a sweet guy with good intentions." Colin: "He may have made one or two poor choices over the course of his career. A victim of some of those choices, I think. But he's a man who's experiencing some grief as well. I mean, his wife has passed away a year prior to the taping of this show. And, we explained early on — I don't think it's a spoiler to say that — his most-successful episode to date was the episode where his dying wife came on as his special guest. So there are some ethical concerns, I think, about his character. But the audience loves him. He's got his hardcore fans, and he's a showman through and through, who believes the show must go on. But that, of course, becomes harder and harder as some very strange events occur over the course of evening." Cameron: "When we first set out, we were referring a lot to Dick Cavett, Johnny Carson, I guess in our heads. He was almost an amalgam of those two. But then, we started drawing a lot on our own experiences, watching our homegrown talent. When I say homegrown…" Colin: "Bronx-born Australian Don Lane." Cameron: "Who people of a certain age will remember. We obviously grew up in the early 80s and watched a lot of Don Lane. Don and Bert, and Mike Walsh, and saw a little bit of Graham Kennedy as well. So they were definitely there in our heads as we are writing the character, but I think we were thinking more the urbane kind of American TV host." Colin: "We watched a lot of Dick Cavett. A lot of Dick Cavett. There's a bit of a blend." Cameron: "But when the American producers got on board and David got on board, we pointed them in the direction of Don Lane. We just thought as a curious thing they might be interested to see our own talent. And the producers, Steven Schneider [Insidious: The Red Door, Knock at the Cabin] in particular, and then David, our main actor, really took to Don. And he was like 'he's great'." Colin: "Yeah, 'what a character'. Because there's layers. He's not the slick showman that Carson is. Cavett's a bit more the slightly, there's a hint sarcasm, cynicism, but quite the intellectual — very happy to be talking to some novelist as he is to some pop singer. But Don was a bit less polished and a lot more, well, basically into the supernatural. He would have these lengthy specials where he'd have the Warrens [the inspiration for The Conjuring films] or whichever psychic happened to be visiting Australia. He would dedicate entire episodes, sometimes several episodes to these characters, which made him really different from the American version of that host." On Casting David Dastmalchian Colin: "We knew what a fan of the genre he was. He writes for Fangoria. His love of regional TV horror hosts." Cameron: "He writes comic books, he has written graphic novels" Colin: "He has Count Crowley. So we knew how embedded he was in the horror scene back in the States. And add to which he's just a really, really great character actor. And he has this look about him that also screams 70s, I think. So when we floated his name with all the producers, it was probably the first time everyone said yes at the same time. We were out to him a couple of weeks later through one of our American producers, the great Roy Lee [Don't Worry Darling, Barbarian], and weeks later we're talking to him and then a bit later he's signed on. We've got him. It just felt like was meant to be, and now you watch it and you cannot imagine anyone else being that character." Cameron: "It just wouldn't have worked if we'd had a big A-list star in there, you know, if Ryan Gosling — he's a great actor, but…" Colin: "You'd spend 90 minutes trying to look past the star. He's going to go on to bigger, possibly better — he's already working on a big show for Apple. Plus, the world is his oyster, and it has been for ages. We're just fortunate that we're a small part of his journey to international stardom." On Making the Connection Between the Film's Literal Possession and the Ravenous Urges that Sensationalist TV Sparks Colin: "Obviously, it was an important consideration in the scripting and the shooting, because we have the studio audience there and they're complicit in that. They're not — no one's leaving their seats. What would we do if we were there and shit started to go down like that? The logical thing would be to run to the door, but the fact is they know that the weirder and stranger and darker things get, the better the ratings are." Cameron: "I mean, we all love a bit of car crash TV, where we just can't turn away. And I think, yeah, definitely playing into that idea." Colin: "We're a little complicit, almost, and responsible to some degree for shows going where they go. And that hasn't changed — that was there before 77, and it's gotten even worse in many ways since. So if there's some little commentary or critique going — no, maybe not a critique — it definitely has fed into it. It was a serious consideration, because at what point would the audience just say 'this is stupid, I'm going home' or switch off? Or would the network just shut down the broadcast? So the fact that no one does had a lot to do with how we pace the thing, and how we reveal information, and where the scares come and all that sort of stuff. That's a more technical consideration, but it plays into what you're saying." Late Night with the Devil opened in cinemas Down Under on Thursday, April 11, 2024. Read our review.
There's never a bad time to explore the centre of Australia, but if you're keen on a trip this Easter, you've got quite the dazzling motivation. While plenty of Australian cities boast radiant arts and culture festivals that brighten up their streets and spaces, Alice Springs' Parrtjima - A Festival In Light takes the whole concept to several different levels. It celebrates Indigenous arts, culture, music and storytelling, including via an eye-catching array of light installations, and also takes place against a 2.5-kilometre stretch of the majestic, 300-million-year-old MacDonnell Ranges. It's the type of event to add to your travel bucket list, and it has brought its luminous presence back in 2022 — with the event currently running until Sunday, April 17. And, if you're wondering exactly what's brightening up the already-striking Red Centre and how it looks, Parrtjima has unveiled images from its first weekend that just might get you planning a last-minute Easter holiday. As always, the event has taken over the Alice Springs CBD's Alice Springs Todd Mall, plus tourism and conservation facility Alice Springs Desert Park Precinct just out of town — and the festival's main annual attraction, aka a huge artwork that showers the MacDonnell Ranges with light each night of the festival, looks as glorious as ever. When it comes to staring at the stunning natural landmark, this is a 'desert of light experience, as Parrtjima has dubbed it. And yes, from the images, that description is accurate. Also on the lineup: Grounded, which turns traditional and contemporary stories into a projected animation — complete with an immersive soundscape — and consistently proves a crowd favourite. There's Water Tree, too, with the piece inspired by the artwork of Karen Napaljarri Barnes, using acrylic glass to replicate the sight of thousands of budgerigars flocking together, and strung across four archways. Or, attendees can check out Flight, which similarly goes with budgies, this time featuring artwork by Farron Jampitjinpa Furber printed on sheer fabric spears to represent the birds' journey along the Lander River. Another must-see is Eagle's Eye, which takes inspiration from irretye (the wedge-tailed eagle) constellation, and brings a tunnel to life with animation of works by Jeannie Nungarrayi Egan — as well as Wild Wind, by Raelene Ngala Williams, which uses her artwork to celebrate the stories of the whirly whirly through a series of floating and moving structures. There's also the Bindi Mwerre Anthurre Artists' Energy, comprised of eight static bikes and wheelchairs, which attendees jump on and spin the pedals to illuminate and revolve the artworks. And, the 15-metre-high Night Sky, as created in collaboration with artist Carmen Glynn-Braun and Common Ground, is filled with 1200 glowing orbs that are suspended to look like a blanket of stars. Although the ten-night event has been underway since Friday, April 8, Parrtjima's full lineup also includes live tunes, talks, and the films of Sweet Country, The Beach, Firebite and Samson and Delilah director Warwick Thornton. Of course, Parrtjima is just one of Northern Territory's two glowing attractions in 2022, with Australia's Red Centre lighting up in multiple ways. The festival is a nice supplement to Bruce Munro's Field of Light installation, which — after multiple extensions — is now on display indefinitely. Parrtjima – A Festival in Light runs until Sunday, April 17 around Alice Springs in the Northern Territory. For more information or to book tickets, visit the festival website. Images: Parrtjima 2022.
What do Franz Kafka and a misspelt offensive YouTube comment have in common? Usually nothing. But in the magical world of theatre — and more specifically, Malthouse Theatre's 2014 Helium program — the realms of high and low culture are coming into proper alignment. Like the recently-ogled red moon, this five-show program is casting an exciting glow on Melbourne; unlike the scarlet lunar moment, it's sticking around until early November. Now in its third year, Helium is a celebration of independent theatre-makers and original ideas. Partnering up with Next Wave and the Melbourne Fringe for certain productions, this year's initiative from the highly respected Malthouse Theatre is quickly building momentum and looks to be a major player in this year's already bustling cultural program. First cab off the rank is SEETHrough. Run in collaboration with Next Wave, this multimedia production from Sean Jorvn and the Ilbijerri Theatre Company tells a story of a friendship between a 'blackfella' and a 'whitefella', and the differing journeys they take on the path from childhood to adulthood. However the real innovation is to be seen in its audiovisual work. Containing hypnotic videography and soundscapes, Next Wave artistic director Emily Sexton describes the piece as both "menacing and fantastical". Helium's second production, Intimacy, will continue this contemplative style. Telling the story of Michelle Ryan, a dancer diagnosed with multiple sclerosis at age 30, the show will be a fictionalised version of real life events and performed by Ryan herself. Devised by Torque Show, the piece will feature a live score by Lavender vs. Rose and will no doubt continue the hybridity of the Helium program with some inclusion of dance. After these two, the program gets a little weird (in a good way, of course). In what's been described as a "multimedia This is Spinal Tap", Applespiel Make A Band and Take On the Recording Industry is a live-action rockumentary from Sydney performance group Applespiel. The show follows a fictional eight-piece indie band who crave success, complicated riders and "truckloads of cocaine". Needless to say, things don't work out for them, but an insight into their downfall will prove to be amusing nonetheless. In September, the Fringe brings with it some trademark strangeness; this time in the form of The YouTube Comment Orchestra. Presented by The Last Tuesday Society, this show represents months of sifting through the dark underbelly of YouTube for lyrical gold. Like a real-time, musical Google Poetics this stage spectacular will no doubt provide some srs lolz (and if you don't like it, I'm sure there's some kind of video platform you can anonymously criticise them on). Last but not least, Kafka gets an appropriate reimagining in The Second Cousins' META. Dragging the classic surrealist tale of Metamorphosis into the modern day, Samara Hersch and co. tell the story of Gregor Samsa — a family man whose mundane world unravels into a "multi-sensory nightmare". Spoiler (because you've now had 99 years to read the original): he might turn into a giant cockroach. Malthouse Theatre's 2014 Helium program: April 30 - May, 11 — SEETHrough August 13 – 23 — Intimacy September 3 -13 — Applespiel Make A Band and Take on the Recording Industry September 17 – 27 — YouTube Comment Orchestra October 22 - November 1 — META For more information including ticketing see the Malthouse website.
Escaping to Tasmania has long been a popular way to get away from it all, especially if you're keen to swap the Australian mainland's hustle and bustle for the Apple Isle's stunning surroundings for a brief spell. Vacationing in a tiny house has also become a beloved way of leaving the daily grind, your usual routine and everyday stresses behind — so a tiny house in Tassie is clearly a holiday dream. Make that two tiny houses, actually, thanks to eco-friendly tiny house company Tiny Away. Good things definitely come in small packages here — and in scenic locations, too, with the accommodation network making its first leap to Australia's southern-most state. The two new spots join Tiny Away's 120-plus tiny house lineup, with each small-scale home architecturally designed, set on private land in rural and regional locations, and available for short bookings. If you're keen for a getaway in a fishing village around 45 minutes from Hobart, then Quirindi in Dunalley is your ideal destination. It sits on an eight-acre property, in the middle of wildlife-filled bush and grassland, that's been in the same family for three generations. The small abode even comes with its own nine-hole putting course — which, yes, you can use amid warming up by the fire pit, cooking on the barbecue or exploring the area. Nearby drawcards include the coastline at Eaglehawk Neck, plus seafood joints The Cannery and Bangor Wine & Oyster Shed. If you're eager to venture to Launceston — well, around half an hour away — then Cottesloe in the small town of Hagley is for you. This tiny house sits among a small farming operation on the edge of Meander Valley, which means that green pastures and farm animals come with the territory. Here, local highlights include Georgian and Victorian buildings in the town of Deloraine — and bakeries for a snack — plus the Western Tiers Distillery and the limestone caves at Mole Creek Karst National Park. With not only getting back to nature but respecting the natural environment a key part of Tiny Away's ethos, each of the company's homes is fashioned out of sustainable materials, and also includes waterless compost toilets, rainwater collection tanks for showers, plus solar panels. Checking that leave balance already? Scouring your calendar for a free weekend getaway slot? We understand. Tiny Away's new Quirindi and Cottesloe tiny houses are available to book online. For more information, head to the company's website.
