It has been three months since the Australian Government implemented an indefinite ban on international travel due to COVID-19, only allowing Aussies to leave the country in very limited circumstances. And, while other restrictions across the nation are starting to ease as part of Australia's overall roadmap out of lockdown, jetting overseas won't be on the agenda any time soon. This isn't surprising news. In fact, back in April, Chief Medical Officer Brendan Murphy advised that international travel wouldn't be back for at least three-to-four months. But now Federal Tourism Minister Simon Birmingham has confirmed that opening our border to the rest of the world is still some way off. Speaking at the National Press Club on Wednesday, June 17, the Minister said that "international border restrictions are likely to be there for some time to come" — and that "keeping those border restrictions largely in place is a price we're going to have to pay to keep COVID under control". Given that the status of COVID-19 in Australia is vastly different to most other countries around the globe, again, that's hardly an unexpected revelation. Expanding on the subject, Senator Birmingham explained that "in terms of open tourist-related travel in or out of Australia, that remains quite some distance off, just because of the practicalities of the volumes that are involved and the need for us to first and foremost keep putting health first". And, when specifically asked if it was more likely to happen next year rather than this year, he said, "I think that is more likely the case". [caption id="attachment_769188" align="alignnone" width="1920"] A trip to Sicily might not be possible till next year.[/caption] There are exceptions to Australia's border stance, however. The Minister noted that "international students and other categories of visitors to Australia who stay here for a longer period of time can more easily be accommodated, because we can simply work through the 14-day quarantine periods that have worked so well in terms of returning Australians to this country safely to date". Indeed, in the Australian Capital Territory, plans for a pilot scheme allowing around 35o students to enter the country are progressing. Senator Birmingham also advised that the government is trying to "find safe pathways to deal with essential business travel that helps to contribute to jobs across our economies". And, as has come up frequently over the past few months, implementing a 'travel bubble' with New Zealand — aka reinstating international travel just between the two countries before Australia's international border reopens to all nations worldwide — is still under consideration. "We will progressively and carefully step through what we can do to reopen," the Minister noted. "That's what talks with New Zealand are about, and I hope we can see that advance." He also touched upon opening up the travel bubble to other short-term visitors from countries with low COVID-19 rates. "That becomes much more challenging once you move beyond New Zealand. But not impossible and I hope that we can look eventually at some of those countries who have similar successes in suppressing the spread of COVID to Australia and New Zealand." It's worth noting, of course, that many of Australia's state borders are still closed, too. Queensland is working towards reopening to visitors from other states on July 10, although that hasn't been officially confirmed as yet, while the Northern Territory just today, Thursday, June 18, announced it'll reopen on July 17 — and South Australia is slated to do the same on July 20. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
Starting in Melbourne in 1987 and seeing its first in-store customers in 2004 at a former underground car park ramp space in St Kilda, Aesop is slowly infiltrating the world skincare market one unique store at a time, from Berlin to London's Covent Garden, the Hamptons to Shibuya, Tokyo. Luring us in with their disarmingly aromatic street samples, these local skincare greats are now unsurprisingly set up all over Melbourne (not to mention Melbourne's cafe bathrooms). At these stores you can expect expert service, a bevy of lotions, balms and scrubs for all skin types and a particularly strong urge to part with your credit card. Aesop now has ten locations in Melbourne.
There are plenty of ways to mark a movie milestone. Whenever one of your favourite flicks notches up five, ten, 20, 30 or more years since first hitting screens, watching it is the easiest way to celebrate, of course. That's definitely in order when the original animated version of The Lion King — not the recent live-action take — hits three decades in 2024. How to truly do justice to the Disney smash that spawned a musical, ample sequels and oh-so-much enduring affection? Seeing it show at an in-concert session with a live orchestra playing its songs and score. Yes, The Lion King in Concert is coming to Australia, with the Melbourne Symphony Orchestra doing the honours. The blockbuster movie-and-music performance was announced as part of MSO's just-unveiled 2024 season, and will take over The Plenary at Melbourne Convention and Exhibition Centre on Saturday, February 3. This is an Aussie premiere, too, featuring Hans Zimmer's score and Elton John and Tim Rice's songs performed live as the movie once again graces a silver screen. As Nicholas Buc conducts, audiences will be feeling the love that night — and day, thanks to both 1pm and 7.30pm sessions — and celebrating the circle of life as well. Just can't wait to commemorate 30 years since the film debuted, instantly becoming an all-ages favourite? Add this chance to revisit Simba's journey to your calendar. Both John and Rice's tunes, and Zimmer's music, won Oscars. The former were nominated three times in the same field, in fact, with 'Can You Feel the Love Tonight?' winning out over 'Circle of Life' and 'Hakuna Matata'. So, yes, seeing any film as its score is played live is a rousing experience, but this one will feel particularly powerful. There's no word yet whether The Lion King in Concert will be a Melbourne exclusive in addition to being an Aussie premiere, or if it'll make the rounds of other city-based symphony orchestras. Some such shows hop around the country, as Star Wars, Harry Potter and Zimmer-focused gigs have. Others have stuck to one place, as seen with past The Princess Bride, Home Alone and Toy Story performances, and the upcoming Black Panther. Sydneysiders, Brisbanites and folks elsewhere, perhaps cross your fingers while you channel a "hakuna matata" mindset. You can always stream the sing-along version while you wait for local dates. Check out the trailer for The Lion King below: The Lion King in Concert will play The Plenary, Melbourne Convention and Exhibition Centre, on Saturday, February 3, 2024. Head to the Melbourne Symphony Orchestra website for further details, and tickets from Tuesday, October 3, 2023.
Into every generation, a slayer is born — and into What We Do in the Shadows, too. The TV series based on Jemaine Clement and Taika Waititi's 2014 vampire sharehouse mockumentary of the same name has spent two seasons so far pondering the dynamics of its Staten Island household; however, it has also slowly started to explore an existential threat to its bloodsucking protagonists: a vampire killer in their midst. That's where the US television show's third season promises to pick up, all while still mining its concept for as many laughs as possible. So, Nandor (Kayvan Novak, Four Lions), Laszlo (Matt Berry, Toast of London) and Nadja (Natasia Demetriou, Eurovision Song Contest: The Story of Fire Saga) once again navigate the usual undead housemate tussles, including with energy vampire Colin Robinson (Mark Proksch, The Office). And, they endeavour to live with the knowledge that Nandor's familiar Guillermo (Harvey Guillen, Werewolves Within) has a very particular family history. Also part of this upcoming season: power struggles within the key group of vampires, after they've ascended to the head of the Vampiric Council. Another promising batch of episodes in a fantastically funny horror-comedy sitcom will hopefully be the result — based on the just-dropped full trailer for the third season and an earlier teaser trailer, at least. When the original film hit cinemas, viewers instantly yearned for more, which this American spinoff has been delivering in just as smart, silly and hilarious a fashion as its big-screen predecessor. Thankfully, spending time in this supernatural realm isn't going to end any time soon, either — with US network FX, which screens the show in America, announcing that What We Do in the Shadows has been renewed for a fourth season before its third even airs. What We Do in the Shadows is the second TV series in this specific on-screen universe, after the New Zealand-made Wellington Paranormal — which follows the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural. It proved a hit as well, and has already returned for both a second and third season. Back with the vamps, What We Do in the Shadows' new episodes are due to start streaming in Australia via Binge from Friday, September 3 — which is at the same time as the US. Check out the full season three trailer below: It's a game of...throne. Watch the official Season 3 trailer for #ShadowsFX, returning Thursday, Sept. 2nd on FX. Next Day #FXonHulu pic.twitter.com/cRRJLEXaLq — What We Do In The Shadows (@theshadowsfx) August 13, 2021 What We Do in the Shadows' third season starts streaming in Australia via Binge from Friday, September 3.
Each year Splendour in the Grass ups the ante. Combining the best in international and local acts, the music festival caters for all music tastes making it as inclusive as it is entertaining. Set at the picturesque Woodfordia site in Queensland, carloads of people from across the east coast plough up the highway, arriving at their destination to camp for the better part of the week in isolated companionship. But if you missed out on tickets never fear, Splendour sideshows have promised the best of the festival making its way to capital cities around Australia. Sporting some of the most illustrious names in today's music, the announcement of Sydney sideshows includes heroes of 90s Britpop Pulp, LA electo-pop lords Foster The People, post-dubstep poster boy James Blake, London indie kids The Vaccines, Swedish maestros The Hives and Bloc Party's Kele. Keep an eye out for more annoucements but in the meantime tickets for these excellent show go on sale this Friday, May 27. https://youtube.com/watch?v=MVgEaDemxjc
Staring at the sea while eating the ocean's finest bounty is one of life's simple pleasures, and the coastal haven of Apollo Bay has an entire fest dedicated to it. At the Apollo Bay Seafood Festival, you'll eat lobster rolls, drink with sailors, listen to blues by the bay and hear about the town's fishing history — while learning to how to make pans of paella, listening to sea shanties and shopping at the market. That's how you mark the 80th anniversary of the Apollo Bay Fishermen's Co-Op — one of only three remaining operational fishing co-operatives in the state. Taking place from February 16 to 18, the 2018 event expands its fun over three themed days, with Friday dedicated to a decadent four-course feast, Saturday taking the festivities to the harbour, and Sunday all about chatting (and, yes, eating). Prices vary from free entry to the pop-up bar (BYO fish and chips and to catch a sea-themed openair cinema session, to $150 for the long-table shared meal with Movida's Frank Camorra. More than 8000 people are expected to attend, enjoying highlights that also include whisky tastings with tapas, a dinner combining food from the ocean and the bush, and beach sculptures for the littlies.
UPDATE MONDAY, MARCH 15: For the Love Melbourne has been postponed due to current gathering restrictions. It will now take place on Saturday, September 18. The below article has been updated to reflect this. By this stage, there's every chance you've forgotten what a dance floor even looks like. But the folks at Untitled Group — the same minds behind Beyond the Valley, Pitch Music & Arts and Ability Fest — are here to get you reacquainted. They've just revealed a huge all-Aussie lineup for the 2021 edition of their live music series For The Love, which is headed to Perth, Melbourne and the Gold Coast. Across three dates, legendary acts including electronic duo Flight Facilities, dance floor darlings Cosmo's Midnight and Brisbane alt-pop sensation Mallrat will help you dust off the cobwebs and rediscover that groove. The party kicks off at Doug Jennings Park on the Gold Coast on Saturday, August 7 before continuing on to Perth's McCallum Park on Saturday, September 4 and Birrarung Marr in Melbourne on Saturday, September 18. These three waterfront venues are set to be transformed into blissful dance destinations, heaving to live sounds from favourites like singer-songwriter Running Touch and brother-sister duo Lastlings, along with London Topaz, Boo Seeka, George Maple and Elizabeth Cambage. Punters will also have the opportunity to kick back in style in one of For The Love's VIP lounges, presented by Aussie streetwear label Nana Judy. If an evening spent cutting shapes by the water sounds like a much-needed addition to your calendar, you can purchase tickets online for the Gold Coast, Melbourne and Perth editions of the festival.
UPDATE: SEPTEMBER 9, 2020 — Thornbury's bright orange ice cream shop is now delivering its frozen treats via Uber Eats. Choose from flavours like popcorn and caramel fudge, davidson's plum and ginger, and the (in)famous soy sauce number. Soy sauce ice cream, hot chips and a chic tangerine-coloured couch. It's definitely an experience at this retro-themed ice creamery in Melbourne's north. So what does soy sauce ice cream taste like? Exactly how you'd imagine: sweet and salty, delicious and a little disgusting all at the same time. And while the decor screams everything 70s with its bright orange and yellow palette, vintage chandeliers, velvet curtains, cane furniture, and pink and white floor tiles, the ice cream and sorbet selection is anything but nostalgic. [caption id="attachment_755688" align="alignnone" width="1920"] Julia Sansone[/caption] Sure, there are a few classics like strawberry and chocolate, but you might need to muster up the courage to try some of the weirder and wackier creations — such as the kalamata olive with white chocolate. This one tastes like a scoop of cold crushed olives from the deli, but with a hint of sweetness. Faultless if you're a lover of the briny morsels, but squeamish if you loathe them. [caption id="attachment_755686" align="alignnone" width="1920"] Julia Sansone[/caption] If you like Japanese flavours, then the yuzu and sake is a definite hit. It's light, zingy and sweet, and popular with most. And if native Australian ingredients get you excited, then look out for the davidson plum and ginger — refreshing, yet tart. A good option if you weren't born a sweet tooth, too. Despite the unconventional combos that might have you questioning your sanity, you can trust you're in good hands with Michael Baker and Daniel Mason from Henry Sugar; Tommy Peasnell from Dexter, Peaches, Takeaway Pizza and Cheek; and actress, writer and producer Maria Angelico at the helm. Baker also spent years perfecting his craft at a couple of Michelin-starred restaurants, so while the menu sorcery might be hard to swallow at first glance, don't fight the flavours and just enjoy the weirdness. Images: Julia Sansone
People around the world are currently tuning in to watch the live stream of the Curiosity Rover landing on Mars today at 3.31pm (AEST). The aim for the landing on Mars is to analyse a range of samples drilled from rocks on the planet. This will determine whether there has been or ever will be microbial life on Mars. On the Curiosity Rover's Arm is a mounted Mars Hand Lens Imager which will be taking extreme close-up pictures of the rocks, soil and possibly ice, showing details smaller than the width of a human hair. The Imager can also focus on inconspicuous objects that are up to an arm's length away. Broadcasting live with Ustream [via Gizmodo]
What does the soundtrack to your life sound like? Music can so often bring memories flooding back to a time and a place, and by acknowledging that we can see how certain songs or artist have influenced the people we are today. The same can be said for influential literature; whether it’s a short story, poem or a classic novel, we develop connections to those writers who have (even if only in a small way) influenced the way we think and view the world. 'Words and Music' allows musicians and writers to share the artistic work that has influenced them on a creative level with a captive audience. This new series of events is a rare chance for artists to explain the connections they have with other musicians and writers, and how they have arrived at their own methods of storytelling. For this instalment, artistic director and serial collaborator, Genevieve Lacey, will host two celebrated Australian creatives on stage. Author Hannah Kent will be bringing in two pieces of music that have inspired her written work. Kent has just released her debut novel Burial Rights and is the co-founder and deputy editor of Australian literary journal Kill Your Darlings. ARIA-nominated folk singer/songwriter Lior will, in turn, bring in two pieces of writing that have influenced him when creating music. His debut album, Autumn Flow, is still as impossibly captivating and beautiful as it was when it first came out in 2005 — who did he listen to in order to get there?
Tasmania might get a little dark and stormy throughout winter, but the occasional blustery conditions mean that there's an even greater focus on spending quality time with your favourite people. That good-natured spirit is particularly apparent in the state's selection of breweries — places that'll keep you and your loved ones warm and cosy, and immediately charm your souls. From waterfront industrial-chic breweries to farms that roll over the hillsides, Tasmania's brewhouses make the most of their wealth of ingredients by creating elegant drinks that travellers will want to keep sipping. So we've tracked down five perfect spots that will not only have you revelling in the winter climes but also enjoying some fantastic beers along the way. Embrace the wild weather and start planning your midwinter Tassie escape. [caption id="attachment_718803" align="alignnone" width="1920"] Chris Crerar.[/caption] SAINT JOHN CRAFT BEER Craft beer bars might seem a dime a dozen these days, but Saint John Craft Beer would enhance any city's beer drinking scene. And when it comes to finding a toasty spot to escape Launceston's wintery streets and enjoy a lively evening with friends, there's no better spot than here. The cooler months are the perfect time to pay Saint John a visit, with a number of stouts usually featuring among the bar's tap list — offering beer-lovers a chance to sample some devilishly dark brews from local, mainland and international producers. Plus, you'll find great burgers and snacks to match, all thanks to a permanent food van serving in the spacious rear outdoor section. [caption id="attachment_718802" align="alignnone" width="1920"] Hobart Brewing Co.[/caption] HOBART BREWING CO Inspired by Hobart's lengthy history of brewing, the Hobart Brewing Co set out to create a venue that welcomes beer obsessives with open arms while pouring a selection of spectacular drinks made on-site. And it's safe to say that it has achieved this goal, with the brewery ranking among Hobart's premier bars — and drawing visitors in from the cold in the droves. Set across the harbour from Salamanca Place, this industrial waterfront warehouse is an ace place to delve into a great selection of drinks, including a few nifty partnerships with other local brewers. Also on offer? Regular food trucks and live music, plus a fire pit to warm yourself by as you settle in for a few quality brews. [caption id="attachment_718485" align="aligncenter" width="1920"] Two Metre Tall.[/caption] TWO METRE TALL Take a 45-minute drive from Hobart and you'll arrive at the sprawling fields of the Two Metre Tall brewery. Tucked away in the Derwent Valley, this 580-hectare property produces some of the finest farmhouse ales and ciders anywhere in Tasmania, using a production process that combines mixed and wild fermentation — which gives its brews some truly spectacular flavours. Spread out across plenty of lawn, the brewery encourages you to bring your friends, your blankets (for both sitting and rugging up) and a well-stocked picnic basket. Park yourself by one of the many onsite barbecues (there are even woodfired options) and start cooking — it's an excellent way to keep warm and toasty, too. All you've gotta do next is grab a hand-pumped tipple to perfect your luncheon. [caption id="attachment_718801" align="alignnone" width="1920"] Bruny Island Cheese and Beer Co.[/caption] BRUNY ISLAND CHEESE AND BEER CO The Bruny Island Cheese Co has been around for years, specialising in artisan and small-batch cheeses. But when owner Nick Haddow met brewer Evan Hunter, they decided to combine their renowned talents. We're certainly glad that they did because the Bruny Island Cheese and Beer Co now provides visitors with quite the range of culinary pleasures — of the edible and drinkable kind. Made with Tasmanian-grown hops and grains from neighbouring farms on the island, the beers on offer here set a very high standard. Plus, each brew is created with a sustainable mindset. All wastage is recycled and put back into the farm, whether that be wastewater being treated then used as irrigation water or beer and cheese byproducts becoming feed for the pigs at a nearby farm. For a drop that'll warm you from the inside out, opt for the hearty whey stout, made with lactose from organic cow's milk whey leftover from cheesemaking. It's a sweet, textured beverage and pairs very well with a wedge of Saint: a ooey, gooey surface-ripened soft cheese. [caption id="attachment_717038" align="alignnone" width="1920"] Shambles Brewery.[/caption] SHAMBLES BREWERY Since opening in 2016, Shambles Brewery has become one of the best spots to get a beer on the North Hobart strip. This large-scale chic warehouse space has been transformed into a beer drinker's utopia, featuring everything you could want — from a huge open beer hall to a roaring fire pit to concrete table tennis tables that even withstand the chilliest of winter days. Serving Tasmanian wine, cider and spirits, the Shambles Brewery's line-up of beer packs quite the punch with an offering that includes experimental pale ales, American IPA and even a robust porter that has hints of chocolate and coffee. And as for the food, it's perfectly suited for winter; think 12-hour lamb ribs, six types of burger, brisket tacos and crispy fried chicken. Top image: Saint John Craft Beer by Chris Crerar.
Not that you need one, but you've now got a fresh excuse to bring your pup along on that next holiday or staycation. Already pet-friendly hotel group Ovolo is upping the ante this September, with a slew of extra goodies in store for its four-legged guests. In honour of International Dog Day (August 26), Ovolo is beefing up its usual V.I.Pooch packages for stays between Thursday, September 1–Friday, September 30, at all of its Aussie hotels. It's teamed up with pet treat subscription service Waggly Club to offer furry travellers additional goody packs, filled with edible treats and toys to really get that tail wagging. Waggly's signature boxes are usually packed with a range of all-natural, Australian-made dog snacks, plus a chew treat, and a new toy or two for the collection. The popular V.I.Pooch package already includes a comfy dog bed for premium holiday snoozing, a special food and drink mat to help keep in-room mess to a minimum, and access to Ovolo's expert team of doggy support staff. The offer has been a hit since the hotel group introduced it back in 2020, helping to kick off a new wave of dog-friendly luxury hotel experiences here in Australia. The elevated V.I.Pooch package is available this September at Ovolo hotels nationwide — you'll find them in Melbourne (Laneways and Ovolo South Yarra), Sydney (The Woolstore 1888 and Woolloomooloo), Brisbane (The Valley and The Inchcolm) and Canberra (Nishi). [caption id="attachment_867004" align="alignnone" width="1920"] Ovolo South Yarra[/caption] The V.I.Pooch x Waggly Club package is available at all Aussie Ovolo hotels throughout September, clocking in at $80 per pet. Has your pooch got the travel bug? Check out these other great dog-friendly stays.
On the Gold Coast, sun, surf and sand go hand-in-hand with high-rise buildings, busy bars and plenty of theme parks; however one patch of the city still keeps things relatively low-key. While The Spit at Southport is home to Sea World and the Palazzo Versace, it's also filled with parkland, naturally vegetated sand dunes, a huge expanse of beach and the sand spit that gives the area its name — and soon it'll all be part of Australia's biggest ocean park. Announced by Queensland Premier Annastacia Palaszczuk and expected to take up to a decade to come to fruition, the Gold Coast Ocean Park will span 201 hectares, with 140 hectares earmarked for park activities. The green space north of Sea World is set to retain its current natural splendour while adding other attractions, from a restored 4000-square-metre rainforest by the water to an underwater sculpture garden. Crucially, existing favourites and features will remain as part of the just-released draft master plan, including the kiosk, marine rescue and boat ramps. As for the extensive sand dunes, they'll benefit from improved cycle and walkways. Splitting the area into seven precincts — the top of The Spit, Wave Break Island, the Federation Walk coastal reserve, Muriel Henchman Park, a village centre, Philip Park and a southern gateway — The Spit is also set to boast light rail through to Sea World, a super yacht marina, a seaside promenade as well as a broadwater boardwalk, an island viewing platform, a waterslide park and a selfie tower. The list of features continues, complete with picnic and event spaces, bird lookouts, an Aboriginal cultural centre, a new resort and a public beach club, with the latter concept floating around in different guises for a while. If that sounds like a lot to fit into one place, that's because the entire space will eclipse Brisbane's South Bank eight times over, the city's Mt Coot-tha Botanic Gardens by two-and-half times, and also prove 12 times bigger than the public areas at Sydney's Barangaroo. On the world front, the Qld Government has its sights set on ranking among global landmarks — with New York's Central Park coming in at 340 hectares and Hyde Park London spanning 142 hectares. Parts of The Spit — specifically areas around Fisherman's Wharf and Sea — have been earmarked for commercial development, and a cruise ship facility is still a possibility for Philip Park. The potential terminal been long been one of the contentious aspects of The Spit's proposed redevelopment over the years, with the controversial project earning a hefty outcry of opposition. While the current blueprint is the result of more than 21,100 pieces of feedback and over 2500 folks dropping by consultation sessions according to the government, interested parties can still have their say until 5pm on Sunday, March 31. For more information about the Gold Coast Ocean Park and the Southport Spit draft master plan can be viewed online.
Melbourne is fond of a good light show, particularly when the temperatures drop and the nights start to get a little darker. Here to add to the city's illuminated winter calendar is newly-announced Rialto Aglow. The free, after-dark lights festival will take over the Rialto Piazza, nestled in an intersection of Collins, Flinders and King Streets in the CBD. Head down from 5pm between 19 July–29 July to see the public precinct transformed with interactive light installations, large-scale projection artwork and appropriately themed food and bevvies. Highlights include Amigo & Amigo studio's Accordion, comprised of six interactive, oversized archways inspired by the instrument of the same. The same studio will pay tribute to the cycles of the moon with Lunar Lamp Posts, a brand-new large-scale installation with over 40 different sounds and illuminated animations. [caption id="attachment_897494" align="alignnone" width="1920"] Image: Amigo & Amigo's Affinity at Illuminate Adelaide[/caption] "Bringing light artworks into public spaces creates safe spaces and changes the fabric of our city, inviting discovery and play from audiences of all ages." Amigo & Amigo Director Simone Chua says. "Our mission is to inspire play and cultural connection with our works. We love to create destinations in unusual or unexpected places that spark curiosity and joy." Beloved Melbourne-based neon light artist Carla O'Brien, whose previous works appeared at Burning Man and White Night, will also pop-up throughout the ten-day festival. Rialto Aglow will host works including Neon Play The Music, a fun and playful live instrument installation, and Double Rainbow Love Heart Archway, set to be an irresistible social media snapping opportunity. The Rialto Aglow Winter Lights Festival is part of the Melbourne City Revitalisation Fund, granting funding for after-dark activities to all to give the night-time economy a hefty boost. [caption id="attachment_865990" align="alignnone" width="1920"] Image: Rialto for Daffodil Day.[/caption] Rialto Aglow will run from Wednesday, 19 July to Saturday, 29 July from 5pm until late at Rialto Piazza. Live entertainment kicks off from 6pm–9pm daily, and entry is free. Images: supplied.
It's a wine store and tasting room, but not quite as you know it. Smith Street newcomer Glou is shaking up the game, exclusively serving wine on tap, both to sip in and take away. An envelope-pushing concept from Rahel Goldmann (IDES, Hell of the North) and Ron Davis (Samuel Pepys, Le Pont Wine Store), the venue's built on a strong commitment to sustainability, though that doesn't mean it's about to go skimping on quality. If the thought of tap wine left you unenthused before, prepare to have your perceptions shaken. Having spent a collective three decades working in upscale restaurants and wine stores across the world, Goldmann and Davis are keen to help revamp the local wine game, stirring positive changes and a shift to embracing more environmentally minded practices from end to end. Doing away with single-use wine bottles, Glou instead pours all of its drops from taps, using an environmentally friendly Key Kegs system. And, rather than limiting themselves to the small pool of winemakers already offering tap wines commercially, the owners are working directly with their favourite sustainably focused wineries to keg a curation of top-notch wines straight from the barrel. Expect the likes of the Barossa's Rasa Wines, Adelaide Hills legend Charlotte Dalton, and Victoria's own Ben Haines and Noisy Ritual. At the venue, you can get the wines poured into 500-millilitre, one-litre, or two-litre reusable takeaway bottles, just as you might with beer growlers. Bring back a vessel to refill again and again, or return it for a rebate. Otherwise, pull up a seat in the minimalist space designed by Berlin artist Matthias George Koerner and Melbourne's Timmy Bourke Design, and quaff a couple of glasses alongside tapas-style Japanese bites courtesy of nearby Mono-XO. There'll be a program of industry tastings, masterclasses and winemaking events, too. Not only is Glou creating less waste, it has also drastically reduced its carbon footprint by not having to transport all that extra weight in wine bottles. Which of course translates to more wallet-friendly prices for the customer. Wines by the glass are available for $8 a pop, while half-litres start at just ten bucks and you can score two full litres from a very reasonably $40. You can check out the full menu over here.
UPDATE, December 17, 2022: Glass Onion: A Knives Out Mystery screened in cinemas from Wednesday, November 23–Tuesday, November 29, then streams via Netflix from Friday, December 23. Glass Onion: A Knives Out Mystery opens with a puzzle box inside a puzzle box. The former is a wooden cube delivered out of the blue, the latter the followup to 2019 murder-mystery hit Knives Out, and both are as tightly, meticulously, cleverly and cannily orchestrated as each other. The physical version has siblings, all sent to summon a motley crew of characters to the same place, as these types of flicks need to boast. The film clearly has its own brethren, and slots in beside its predecessor as one of the genre's gleaming standouts. More Knives Out movies will follow as well, which the two so far deserve to keep spawning as long as writer/director Rian Johnson (Star Wars: Episode VIII — The Last Jedi) and Benoit Blanc-playing star Daniel Craig (No Time to Die) will make them. Long may they keep the franchise's key detective and audience alike sleuthing. Long may they have everyone revelling in every twist, trick and revelation, as the breezy blast that is Glass Onion itself starts with. What do Connecticut Governor and US Senate candidate Claire Debella (Kathryn Hahn, WandaVision), model-slash-designer-slash-entrepreneur Birdie Jay (Kate Hudson, Mona Lisa and the Blood Moon), scientist Lionel Toussaint (Leslie Odom Jr, The Many Saints of Newark) and gun-toting, YouTube-posting men's rights activist Duke Cody (Dave Bautista, Thor: Love and Thunder) all have in common when this smart and savvy sequel kicks off? They each receive those literal puzzle boxes, of course, and they visibly enjoy their time working out what they're about. The cartons are the key to their getaway to Greece — their invites, in fact — and also perfectly emblematic of this entire feature. It's noteworthy that this quartet carefully but playfully piece together clues to unveil the contents inside, aka Glass Onion's exact modus operandi. That said, it's also significant that a fifth recipient of these elaborate squares simply decides to smash their way inside with a hammer. As Brick and Looper also showed, Johnson knows when to attentively dole out exactly what he needs to; however, he also knows when to let everything spill out. Claire, Birdie, Lionel and Duke share something else: they're all considered "disruptors" by tech mogul Miles Bron (Edward Norton, The French Dispatch), form part of his inner circle and get together annually for one-percenter vacations on his dime. He's behind their unexpected packages and their latest lavish getaway, which takes them not only to a picturesque private island, but also to a sprawling mansion decked out with a glimmering dome he actually calls a glass onion. Also in attendance is Miles' former business partner Andi Brand (Janelle Monáe, Antebellum), with whom nothing ended well, which gives the trip a skin of tension. And, there's the cravat-wearing Blanc, who couldn't be a better addition to the guest list — Miles has corralled this distinctive cohort for a weekend-long whodunnit party, after all. Blanc doesn't quote Sherlock Holmes and proclaim "the game is afoot" in Glass Onion, as he did the first time around, but it is. Several are. Miles wants his visitors to solve his own faux murder, but soon there's a real death slicing into what's meant to be a fun jaunt. Everyone is a suspect, because that's how this setup works. The Southern-drawled Blanc's presence proves mighty handy, swiftly segueing into "world's greatest detective" mode. No one needs him to glean the murder-mystery fundamentals, though. As told with an initially more linear narrative, little is what it seems on this swanky, intricately crafted vacation, including among the mostly high-achieving but secretly spatting group. And yes, as the bickering and backstabbing gets bloody — and the fast-paced story keeps unfurling — everyone has a motive. The Knives Out films can be enjoyed as pure on-screen rounds of Cluedo of the most entertaining kind, and as self-aware, affectionate and intelligent detective puzzles in the Agatha Christie mould. With their sharpness, mischievousness and effervescence, they easily show up the author's most recent page-to-screen adaptations, aka the clunky latest Murder on the Orient Express and Death on the Nile. Johnson also has the keenest of eyes for ensuring that every inch of every frame and every detail in every set entices and teases, with impressive help from his now six-time cinematographer Steve Yedlin, The Lord of the Rings: The Rings of Power production designer Rick Heinrichs and returning costumer Jenny Eagan. His whodunnit flicks get viewers gleefully playing along, lapping up surprises and thrills. And yet at the same time, they have audiences happily sitting back for the ride as both Johnson and the never-more-delightful Craig do their best. Everyone's doing stellar work in Glass Onion, especially the killer cast. This is the latest of many, many starry crews with a murderer in their midst —see also: fellow 2022 releases Bodies Bodies Bodies and See How They Run — and it's superbly compiled, including Jessica Henwick (The Gray Man) as Birdie's exasperated assistant, Madelyn Cline (Outer Banks) as Duke's girlfriend and a heap of genre-adoring cameos. As a sweep-you-long feature, the film serves up the sheer pleasure of watching its actors play their parts with such aplomb, and also benefits from fleshing out its characters before there's a body count. There needs to be such meat on this movie's bones, and more than merely one-note pawns on its board, because getting biting and blistering — and also being timely and topical — is another of the series' ongoing highlights. A more-cash-than-sense billionaire making a mess? The entitled, privileged set doing anything for money, and to uphold their status and lifestyles? Yes, the Knives Out franchise is eating the rich again, this time on a The White Lotus-esque holiday. Accusations zip around Glass Onion with frequency, potency and a sting, but no one can accuse Johnson of just repeating himself. As an early reference to Bach's 'Fugue in G minor' nods at, this is an onion of a flick that stacks its layers atop each other to create something new, and shines in a different way with each one. Also, where plenty of sequels to successful pictures rinse and repeat, this instead builds a fresh game out of similar but never identical pieces. A case in point: the decision to set the movie in May 2020, when the pandemic is all that most people were thinking about, and lockdown life was far, far removed from international travel, pool dips and cocktails with a view. That choice brings more sight gags, like Birdie's pointless mesh mask, but more importantly it lets the film dice up its targets with more force. They're squabbling and slaying in luxury while everyone else was staring at their own four walls for months on end, and doesn't this new gem cut them up for it.
Live theatre, concerts and sport have been beaming their way into cinemas for some time now. Live television recreations of iconic films have been gracing TV screens for a few years as well. And yet, live movies themselves aren't something anyone has toyed with — until now. Lost in London Live is being called "an unprecedented live feature film event", and when you hear the details, you just might agree. The approximately two-hour-long effort will be shot in one take in real time as actors roam around the British capital, and it'll be broadcast directly to cinemas as it's being made. If the idea of watching a film come together before your very eyes sounds surprising — not to mention a logistical nightmare — that's understandable. If the fact that it'll also mark the directorial debut of Woody Harrelson, who'll star alongside Owen Wilson and Willie Nelson, does too, that is as well. The True Detective and Now You See Me actor will play himself as he tries to get back to his family over the course of one hectic night. "Run-ins with royalty, old friends and the law all seem to conspire to keep Harrelson from succeeding," the film's website explains. Yep, move over Birdman, Victoria and the raft of single-take (but not live) movies that have come before — there's a new ambitious film project in the works. Just how it will turn out is anyone's guess, but it's certain to be unlike anything you've ever seen before. With Lost in London Live sounding a little like performance art, perhaps Harrelson is taking a leaf out of Shia LaBeouf's book? "No one has ever shot a movie and live broadcast it into cinemas at the same time. No one's ever been that stupid," the actor offered in the film's video announcement. Whatever the end result, it'll come to fruition on January 19, 2017, and be broadcast to at least 550 locations. No word yet as to whether any Australian cinemas will jump on board, but keep an eye on the Lost in London Live site for more information.
Australia has scored some pretty high-quality ice creams this summer. First, Peters and Messina teamed up for a limited-edition run of gourmet drumsticks. Now, Streets is getting onboard. It has just dropped a whole heap of vegan ice creams — and all its most-popular brands are involved. Vegan Magnums, Cornettos and Weis Bars, as well as four new dairy-free Ben & Jerry's tubs, have hit the freezer-aisle shelves in supermarkets and convenience stores nationally. The Magnums, available in either dairy-free Classic or Almond, are made using pea protein, which sounds kind of strange, but we're certainly willing to give them a crack. They're $4 each or $7 for a three. The Cornetto can be found exclusively at Woolworths and is made using soy ice cream, hazelnuts and vegan chocolate. They're $9 for a four-pack, but are currently on sale for $6 — so now's the time to try. Dairy-free Weis Bars comes in raspberry and coconut and will set you back $3.20 a pop (or $6.80 for four) while Ben & Jerry's new almond-milk based flavours ($12 for a pint — that's about 475ml) feature fudge brownie, cinnamon buns, peanut butter and cookies and something called the Coconut Seven Layer Bar, which is filled with fudge chunks, walnuts and swirls of graham cracker and caramel. Check out the vegan Almond Magnum and Cornetto in all their dairy-free glory: If you're a Halo Top fan, you'll be happy to know that Ben & Jerry's has also dropped a line of low-cal tubs — chocolate cookies, caramel cookie and peanut butter cookie dough — which clock in at 150–160 cals a pop for 115ml. They're also $12 each and can be found at Coles, petrol stations and convenience stores nationally. There's no word on how long these dairy-free delights are going to hang around for (we're hoping they're in for the long haul) but just in case — run, don't walk. Vegan Magnums, Weis Bars and new Ben & Jerry's tubs can now be found at supermarkets and convenience stores around the country. The Vegan Cornetto is available at Woolworths only.
A tasty new go-to for the hungry and time poor has arrived on Elizabeth Street. Chunky Town is a hole-in-the-wall serving up a cheesy Korean street food favourite inspired by carnivals and childhood memories. The 'Chunky' (as it's called) is a little like the Australian dagwood dog, but cheesier. It's made using a crisp batter and hunks of gooey cheese — and comes in seven different flavours. In Korea, it's served at one of the 200 Chung Chun stores around the country (the chain opened its OG store in Seoul's Gangnam district). In Australia, you'll find it at Chunky Town in Melbourne's CBD. How it works is simple: you pick your Chunky and your cheese filling, sprinkle it with sugar and load it with sauce at the counter. The bestsellers are the original Sausage Chunky with cheddar ($5.50) and the upgraded OG with stretchy mozzarella ($6.50). Other flavours include the Potato Chunky, the Noodle Chunky (which is dipped in crushed noodles), the black Squid Ink Chunky (all $7.50) and a vegetarian version with no sausage and lots of cheese. We suggest adding a side of crunchy waffle fries to your order for a salty hit, too. [caption id="attachment_737291" align="alignnone" width="1920"] Julia Sansone[/caption] To drink, pick up one of the Korean bubble teas. The Thai-style milk tea and mango green tea are our top picks, but there are 21 different flavours to choose from. In the future, it's rumoured that Korean doughnuts (called Chunky Balls) will be added to the menu, too. The doughnuts are drizzled with maple syrup, condensed milk and seeds. It was Adam Ong, one of the four owners — alongside Adam Wang, Charles Park and Derek Lo — who wanted to bring the Korean treat to the Australian market. And, according to the group, there are big plans to expand across the city and country. So, keep an eye on this space for future openings. Find Chunky Town at Shop 1B, 26 Elizabeth Street, Melbourne. It's open from Monday–Thursday 11am–10pm, Friday–Saturday 11am–11pm and Sunday 11am–9pm. Images: Julia Sansone
UPDATE, March 15, 2021: Deerskin is available to stream via Stan, Google Play, YouTube Movies and iTunes. You've heard the first words uttered in Deerskin before, but it's unlikely that you've heard them in this specific order: "I swear never to wear a jacket as long as I live". In the film's opening moments, three people exclaim the phrase as they dump armfuls of clothing into a car boot. Watching on, Georges (The Artist Oscar-winner Jean Dujardin) makes sure that they say the sentence in exactly the right way. The film offers no further explanation at this point, as if these dramatic declarations are the most normal thing in the world. Next, though, it shows Georges putting his own brown corduroy jacket in a public toilet, flushing, and leaving the bowl clogged and overflowing. His subsequent destination finally helps clarify what's going on, at least in part — with Deerskin's protagonist buying himself a new secondhand jacket made from the eponymous material. How far would you go for the perfect piece of clothing? And can one ideal fashion item completely change your life? They're two completely relatable questions that Deerskin ponders, after aspiring filmmaker Georges takes a strong liking to said Italian-made vintage fringed deerskin jacket. And, we mean strong. Obsessed, fanatical and passionate, even. In the way that anyone can, but that vain, middle-aged, just-divorced men are stereotypically known to, Georges is certain that this one luxurious object is perfect for him. In fact, he thinks he just can't live without it. It doesn't matter that said coat costs him nearly €8000, a price tag that most would stumble over. Similarly irrelevant: that the jacket looks just a tad too small while he's wearing it. Instead, how it makes Georges feel is far more important than any logical drawbacks — to him, at least. Also pivotal is how it catches the attention of small-town waitress and wannabe film editor Denise (Portrait of a Lady on Fire's Adèle Haenel). The latest feature by the inimitable Quentin Dupieux (also known, in his electronic music guise, as Mr Oizo), Deerskin luxuriates in Georges' devotion to the newest addition to his wardrobe. Again, that's putting it mildly. The film revels in this fixation to a purposefully absurdist, always amusing and even sometimes comically unnerving extent, especially when it comes to the character's ultimate goal: that his will be the only jacket remaining in the world, and he'll be the only person wearing it. When Georges is told that it's the jacket of his dreams before he makes the hefty purchase, it's one of many similar statements to come. When two women at a bar comment on it, he says that "it's no ordinary jacket", for example. Later, when one of them remarks on his overall appearance, he asks "don't you see my killer style?". And in bed that night, playing with the video camera that came with the coat as a package deal, he vocally and effusively lavishes praise upon the inanimate item. The above paragraph stresses the point, but so does Deerskin. If you're going to make a movie about a man's crazed fetish for a jacket, his willingness to do anything for it and his belief that it's the only jacket that should exist from this point forward — and his outlandish, even violent actions to make sure that's the case as well — there's no room for being subtle. This is a concept that requires the same level of commitment as Georges' to his beloved possession, and Dupieux doesn't hold back. That's his nature anyway, with Deerskin the latest of the writer/director's movies to fixate on an inanimate object. If you saw the French filmmaker's 2010 cult hit Rubber, about a homicidal car tyre, then you'll know just what kind of weirdness he both relishes in general and unfurls here. Dupieux makes films that instantly seem ridiculous, yet both express and interrogate their central idea with smarts as well as a sense of humour, and Deerskin couldn't better fit the bill. Still, while this French Alps-set horror-comedy is a typical Dupieux movie through and through, a few things particularly stand out. Indeed, from a resume that also includes 2012's Wrong, 2013's Wrong Cops and 2014's Réalité, this might just be the filmmaker's most accessible film to-date. The deadpan performances, including from a fantastic Dujardin, are a delight. The commentary about consumerism, male egos and the potential brutality of both at their most over-the-top proves as funny as it is astute — and even though it's also rather obvious, it's constantly entertaining. Also, the fact that the movie well and truly knows that it's stretching a thin basic idea to its most overblown extreme means that everything is a joke, and the film is all the better for it. Then there's the visual symbolism, the lingering shots, the beige-hued colour palette and the editing, too, all of which follow their own rhythm as much as anything Dupieux has ever made. But, perhaps the most impressive element of this warped, weird, always beguiling movie is that — despite the all-round offbeat premise — Dupieux never forgets that he's actually fashioning a love story here. Yes, it's a twisted, troubled romance between a man and his jacket (and, later, his deerskin hat, shoes and pants as well), but it's a romance nonetheless. In a feature that'd make a great double with Peter Strickland's In Fabric, every element of this sublimely silly, sometimes savage, 100-percent suede-coveting film is crafted with that in mind. https://www.youtube.com/watch?v=i_u4YDiGH3k
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. From the latest and greatest to old favourites, here are our picks for your streaming queue for July. NEW STUFF TO WATCH NOW https://www.youtube.com/watch?v=DSCKfXpAGHc HAMILTON If you haven't been lucky enough to catch Hamilton on the stage — and, let's face it, most of us haven't — a filmed "live capture" version of the popular hip hop musical here to fill the gap. The story, for those who aren't intimately acquainted with US revolutionary history, chronicles the Caribbean-born eponymous "bastard, orphan, son of a whore and a Scotsman" from his arrival in New York in the early 1770s. As the informative opening number explains, Alexander Hamilton will go on to become "the ten-dollar Founding Father without a father", with the production charting how he "got a lot farther by working a lot harder, by being a lot smarter and by being a self-starter". And, as shot on Broadway back in 2016, the results really are as phenomenal as we've all been hearing for the past five years. The entire cast, including not only creator, writer and star Lin-Manuel Miranda but Tony-winners Daveed Diggs (Snowpiercer) and Leslie Odom Jr (Murder on the Orient Express), Mindhunter's Jonathan Groff and Waves' Renee Elise Goldsberry, is superb, as is every element of the production. Infectiously exuberant from its first moments, and not only lively but frequently funny, Miranda's rich, dense but always accessible words and songs interrogate US history with passion, intelligence and energy. They'll also become firmly lodged in your head, too, so don't say we didn't warn you. The filmed version of Hamilton is available to stream via Disney+. Read our full review. https://www.youtube.com/watch?v=n8zHfScOWO8 MCMILLIONS Your next true-crime obsession is here and, as all these types of docuseries tend to, McMillions charts quite the case. The McDonald's Monopoly promotion isn't just confined to America, as anyone who has collected the chain's peel-off tokens and tried to win big prizes (or just score a few free burgers and fries) knows; however when it ran in the US between 1989 and 2001, it was the target of an enormous scam. If you don't know the rest of the details yet, let this in-depth six-part HBO show do the honours. Featuring interviews with those involved in the FBI investigation into the winners and chats with some of the latter as well, it makes for engrossing viewing — even though the series features a hefty amount of recreations and talking heads compared to archival footage. Writer/directors James Lee Hernandez and Brian Lazarte are fond of teasing out revelations, but that just comes with the territory. And it's part and parcel of this tale, too, which definitely falls into the 'so wild it can only be true' category. All six episodes of McMillions are available to stream via Binge. https://www.youtube.com/watch?v=aK-X2d0lJ_s THE OLD GUARD If Charlize Theron starred in every action movie, the genre would vastly improve. That isn't a criticism of this very busy, very popular category of flicks, but recognition of how great the Mad Max: Fury Road, The Fate of the Furious and Atomic Blonde star is when she's in them. The latest movie to prove it: The Old Guard. Based on the comic book of the same name, it's a superhero film of sorts, following a group of immortal warriors (including Kursk's Matthias Schoenaerts, Aladdin's Marwan Kenzari and Trust's Luca Marinelli) led by Theron's Andromache of Scythia, or Andy. They use their skills to help those in need, and have done for centuries and centuries, although Andy's patience with humanity's pervasive cruelty is wearing thin. Then, just as a job set up by an ex-CIA operative (Chiwetel Ejiofor) goes awry, the gang gets a new member in the form of US Marine Nile (If Beale Street Could Talk's KiKi Layne). Unlike most movies that aim to set up a franchise — which this clearly does — The Old Guard never feels like filler for the next chapter. It's far more focused on character to fall into that trap, all while still boasting lithe, energetic action sequences. Thank not only Theron and her co-stars, but also Beyond the Lights director Gina Prince-Bythewood. The Old Guard is available to stream via Netflix. https://www.youtube.com/watch?v=MJqHpN9b0U4 JU-ON: ORIGINS First, an obvious truth: this year's latest American version of The Grudge, which marks the fourth US film adapted from the J-horror series, is downright awful. Thankfully, 2020 isn't a wash for Ju-On fans, with the six-part Ju-On: Origins getting suitably eerie on Netflix. In fact, it's the streaming platform's first original Japanese horror series. As the name suggests, Origins jumps back in time, starting in 1988. The cursed Tokyo house everyone knows but no one loves looms large over the show, obviously, with upsetting incidents happening not only within its walls, but to those who visit. When Tetsuya Fukazawa (Kai Inowaki), the boyfriend of TV host Haruka Honjo (Yuina Kuroshima), checks out the place, it comes with repercussions. When schoolgirl Kiyomi Kawai (Ririka) is lured there by her new classmates, her life will never be the same. Unfurled over 30-minute episodes, filled with dread-inducing horror filmmaking yet never leaning too heavily on the franchise's iconic imagery, and switching between restrained and brutal, this is exactly what the Ju-On series needed right now. The first season of Ju-On: Origins is available to stream via Netflix. https://www.youtube.com/watch?v=Atqf47wM5Gg RELIC It's a recognisable setup: a remote house, a family haunted by decades-old troubles, a murky history that's still leaving an imprint and tension levels rising when, naturally, strange things start to happen. But new Australian horror movie Relic has more than a few tricks up its sleeves as it follows three generations of women in a Victorian-based family. In fact, while the slow-burning affair is set in a nerve-shatteringly creepy house that's up there with many a horror great, and it serves up well-executed jumps, bumps and unnerving sensations, this smart, thoughtful and constantly disquieting film also uses its concept and plot to ponder the physical and emotional impact of ageing, including dementia. It all starts with the disappearances of the widowed and elderly Edna (Top of the Lake's Robyn Nevin). Her daughter Kay (Mary Poppins Returns,' Emily Mortimer) arrives from Melbourne to join the search, with her own offspring Sam (Bloom's Bella Heathcote) in tow, but then Edna reappears suddenly without any explanation for her absence. In the assured feature directorial debut of Japanese-Australian filmmaker Natalie Erika James, Kay and Sam still need to try to ascertain just what happened, though, and work out why Edna's house — and, increasingly, Edna too — seems so sinister. Relic is available to stream via Stan. https://www.youtube.com/watch?v=_5O3cMmg3JQ PERRY MASON When a young boy is kidnapped, murdered, then returned to his parents with his eyes stitched shut, private investigator Perry Mason (Matthew Rhys) is brought onto the case. The time: the early 1930s. The place: Los Angeles. The outcome: an instantly engaging new take on the famed detective, who is down on his luck, trying to navigate depression-era America, makes questionable personal decisions and often rubs those in his orbit the wrong way. Mason first popped up on the page in the 30s, actually, and in cinemas then, too — before a radio serial followed in the 40s and 50s, then TV shows in the 50s, 60s and 70s, and television movies in the 80s and 90s. But, while HBO's new eight-part noir mini-series is set almost 90 years ago, it confidently presents an alluringly murky, impeccably performed and grandly stylish version of Perry Mason that's firmly made for today. Casting the ever-reliable Rhys helps, of course, as fans of his work in The Americans, The Post and A Beautiful Day in the Neighbourhood already know. Also impressive: a number of episodes are directed by Mustang filmmaker Deniz Gamze Ergüven. The first three episodes of Perry Mason are available to stream via Binge, with new episodes dropping weekly. https://www.youtube.com/watch?v=cq2iTHoLrt0 DARK There's only one thing wrong with Netflix's thrilling, labyrinthine, time-travelling science-fiction series Dark — and that's the fact that, with its just-dropped third season, the German-language show has now come to an end. Like Stranger Things, it follows odd occurrences in an eerie small town, focuses on a group of teens and their families, and isn't afraid to jump into another realm; however this immensely intricate tale tumbles down its own rabbit hole. At the centre of a very complex narrative sits the depressed Jonas Kahnwald (Louis Hofmann), a spooky cave beneath a nuclear power plant and a spate of missing kids going back decades. When the third season begins, Jonas has just lost the girl he loves (Lisa Vicari) and met her almost-identical counterpart from an alternate reality, with things only getting more complicated from there. There's no quick way to summarise Dark's period- and world-hopping story, but no one does smart, philosophically minded, cliffhanger-heavy, constantly circling and looping sci-fi quite like this compelling, quickly addictive series. Visually, emotionally, thematically and in its alluring soundtrack, it lives up to its name, too. The third season of Dark is available to stream via Netflix. https://www.youtube.com/watch?v=oEFfIc5GzM4 WAR OF THE WORLDS HG Wells passed away more than seven decades ago but, when it comes to new adaptations of his work, the famous author is having a good year. Leigh Whannell's update of The Invisible Man is savvy, scary and excellent and, for those who prefer their Wells-penned stories with a dash of extra-terrestrial conflict, a new episodic version of War of the Worlds is now streaming. The alien-invasion tale has been brought to the screen many times, of course, including by Steven Spielberg and Tom Cruise back in 2005. And yet, this eight-part international TV production never feels overly bogged down by familiarity. Starting with a strange transmission detected by astronomers, the show finds its own way to work with Wells' classic, enduring premise — with ample help from a first-rate cast that includes Gabriel Byrne (Hereditary), Elizabeth McGovern (Downton Abbey), Lea Drucker (Custody), Daisy Edgar-Jones (Normal People), Adel Bencherif (The Little Drummer Girl) and Stephen Campbell Moore (also Downton Abbey). The first three episodes of War of the Worlds are available to stream via SBS On Demand, with new episodes dropping weekly. ONES TO WATCH OUT FOR LATER IN THE MONTH https://www.youtube.com/watch?v=aqzgDB1CMI4 LUCE In Waves, Kelvin Harrison Jr currently stars in one of the best movies to hit cinemas Down Under this year — and he puts in a powerful, unforgettable performance. But he's also stellar in Luce, a tightly wound drama that similarly casts him as a star high-school athlete whose life changes abruptly, but couldn't be more different in style and tone. Here, he plays the titular character. A refugee from Eritrea who was adopted by Amy and Peter Edgar (Naomi Watts and Tim Roth) ten years earlier, Luce has embraced his new life, and is considered a role model academically, too. Then he has a run-in with his history teacher (Octavia Spencer), who is concerned about one of his assignments, and everything shifts. Adapted from the play of the same name, this is a tense, taut affair that ponders the subject of assimilation deeply, also serves up a sociopolitical puzzle, and benefits from excellent on-screen work all-round. An assured and engaging piece of filmmaking, it's also worlds away from director Julius Onah's last film, aka the forgettable The Cloverfield Paradox. Luce will be available to stream via Amazon Prime Video from Saturday, July 25. CULT CLASSICS TO REVISIT AND REDISCOVER https://www.youtube.com/watch?v=y4lGzgVqVvU A WHOLE HEAP OF CLASSIC AUSTRALIAN FILMS Whether you like your Aussie films romantic and vibrant, as seen in Baz Luhrmann's Strictly Ballroom, or unsettling in the outback, as all-time great Wake in Fright achieved so well, the ABC's Australian Movie collection has you covered. This nation of ours has made many a feature over the years — and you can now stream plenty of them for free, including the Kylie Minogue-starring The Delinquents and the Michael Hutchence-starring Dogs in Space, if you have a think for local music icons on-screen as well. Also on offer: standout Indigenous stories such as Jedda, Satellite Boy, Samson & Delilah, Spear and Goldstone, plus the unnerving crime antics of Animal Kingdom, Snowtown and The Boys. Or, you can join Willem Dafoe on a search for the Tasmanian tiger in The Hunter, and witness the blistering work of Oscar Isaac in Balibo. Our must-revisit pick, if you're only going to choose one, is Two Hands. It'll always remain one of the best Aussie movies ever made, with both Heath Ledger and Rose Byrne excellent in early-career performances. ABC's Australian Movie collection is available to stream via iView. Top images: The Old Guard via Aimee Spinks/Netflix; Hamilton filmed version courtesy Disney+; Perry Mason courtesy of HBO and Merrick Morton; McMillions courtesy of HBO.
UPDATE, April 16, 2021: Crawl is available to stream via Netflix, Foxtel Now, Google Play, YouTube Movies, iTunes and Amazon Video. Part creature feature and part disaster movie, Crawl is a gleeful ripper of a thriller. Not only unleashing a ferocious hurricane upon its father-daughter duo, but a congregation of snapping alligators as well, its premise is simple — what the film lacks in narrative surprises, however, it makes up for in suspense and tension. That's the holy grail of fear-inducing flicks. Regardless of the concept, if a movie can make the audience feel as if they're in the same space as the characters they're watching, enduring every bump and jump, and sharing their life-or-death terror, then it has done its job. By playing it straight, serious and scary, Crawl manages to exceed its Sharknado rip-off status to craft a highly effective battle between humans, animals and the elements. The film introduces aspiring swimming star Haley Keller (Kaya Scodelario) on a wet and windy day, although she initially misses the wild weather warnings while she's doing laps at training. A panicked call from her sister (Moryfydd Clark) doesn't rattle the no-nonsense young woman, and nor does the news that her divorced father Dave (Barry Pepper) isn't answering his phone. Still, thanks to a few unresolved daddy-daughter issues nagging at her conscience, Haley is quickly driving down the blustery highway, flagrantly ignoring police instructions and heading to their old family home. It's no spoiler to say that she discovers more than she bargained for down in their basement, with Haley soon trying to save the injured Dave, stay alive herself, fend off ravenous gators and stay ahead of rising flood waters. In telling this tale, writers Michael and Shawn Rasmussen (The Ward) haven't met a cliche they didn't love, an emotional beat they didn't want to hit, or a convenient twist of the narrative screws that they didn't want to turn. It can't be overstated just how much of Crawl, in a story sense, plays out exactly as expected. Plot developments and character decisions all stick to the usual formula, as does animal behaviour and storm surges (if you're a screenwriter, it's possible to control the very forces that your protagonists can't). But it's worth thanking the cinema gods that Alexandre Aja is sitting in the director's chair — and that he knows a thing or two about creature features and horror movies. While the French filmmaker has both hits and misses to his name (including Haute Tension, remakes of The Hills Have Eyes and Piranha, and the devilish Daniel Radcliffe flick Horns), here he masters the art of conveying an alligator's menace. Of course, it could be argued that much of Crawl's work is easy. Along with sharks, gators already rank among the most frightening beasts on the planet. Courtesy of their teeth, speed, size and power, just thinking about them gives plenty of people the shivers — so, on paper, all that an unsettling film need do is place the scaly critters front and centre. And yet, as too many Jaws wannabes have shown since Steven Spielberg's massive hit created the concept of the blockbuster as we know it, it's not enough just to throw a bunch of attacking animals at some clueless folks. As more comic takes have demonstrated in Sharknado, Snakes on a Plane and the Birdemic movies, it's not enough to write off the whole scenario as simple silliness either. There's an existential basis to the genre's underlying idea, unpacking how humanity truly copes when it's made to face nature. As a species, much of our sense of collective worth stems from our ability to shape and control our world, and yet we can't stop weather systems from morphing into destructive hurricanes, or hungry reptiles from doing what they're designed to do. Mainly lurking in the Kellers' dank, dark, rat-infested crawlspace, Crawl leans into the primal side of pitting people against the environment. Aja takes every chance to emphasise the scampering threats eager to gobble up Haley and Dave. With assistance from his regular cinematographer Maxime Alexandre, he ramps up the unease, deploying tried and tested filmmaking techniques such as low shots, quick cuts, point-of-view perspectives, dim lighting, and ample movement and shadow. A couple of gory kill sequences add to the mood, as does the movie's approach to its swirling winds and rushing water. Indeed, amid the rampant CGI, there's a sense of awe for the havoc that alligators and hurricanes can each wreak, which only heightens the stressful atmosphere. Unsurprisingly, fear and tension radiates through the film as a result — and through its key duo, too. Although Scodelario and Pepper are given about as much room for character development as their cold-blooded foes, they still bring a naturalistic air to their performances, portraying anxious everyday folks just fighting to survive by doing whatever it takes. No matter what's thrown at us, or how, or where, that's what making humanity grapple with our surroundings boils down to, after all. In fact, given the state of the planet, Crawl's central theme not only proves frightening and fuels an effective thriller, but also feels unnervingly prescient. https://www.youtube.com/watch?v=Q4WuVXo_XAM
Byron Street's Small Graces is all about the simple enjoyment of food and self, brought to life by husband and wife duo Bec Howell and Diego Portilla Carreño. Here, they've combined an impressive resume of fine dining experience with a vast knowledge of healthy eating habits. The result is a menu of inventive brunch dishes, toasties, and tasty small bites and sides; the latter designed to level-up a meal, or be mixed and matched for a share plate. Menu standouts include the huevos pericos — Colombian-style spiced scrambled eggs teamed with avocado and fluffy corn cakes — and the curried roast chicken toastie with garlic aioli and stuffing. Bread is sourced from Dench Bakers, with coffee from Kensington mainstay Rumble. You'll also find a larger than average selection of fine teas, as well as a number of house-made smoothies and juices. [caption id="attachment_809954" align="alignnone" width="1920"] Jess Bicknell[/caption] Images: Jess Bicknell
UPDATE, June 2, 2023: Roadrunner: A Film About Anthony Bourdain is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video. When Anthony Bourdain strode around the world, and across our screens, in food-meets-travel series A Cook's Tour, No Reservations, The Layover and Parts Unknown, he was as animated as he was acerbic and enigmatic. Beneath his shock of greying hair, the lanky New Yorker was relatable, engaging to a seemingly effortless degree and radiated a larger-than-life air, too. The latter didn't just apply because he was a face on TV, where plenty gets that bigger-than-reality sheen, but because he appeared to truly embrace all that life entailed in that hectic whirlwind of travelling, eating and waxing lyrical about both. Arriving three years after his suicide in 2018, documentary Roadrunner: A Film About Anthony Bourdain captures that. It's so filled with Bourdain thanks to all that time he'd spent in front of the camera, it'd be near-impossible for it not to. But it also lurks under a shadow due to its now-infamous choice to use artificial intelligence to add dialogue that its subject didn't speak. Watching the film, there's no way of knowing which words Bourdain merely penned but didn't utter; the technology truly is that seamless. It still resounds as an unnecessary move, though, especially when such lines might've been incorporated in ways that wouldn't sit at stark odds with his visible liveliness. Roadrunner delves behind the facade that Bourdain presented to the world, of course. It notes his death immediately and goes in search of the sorrow and pain that might've led to it, as mulled over by friends such fellow chefs David Chang and Éric Ripert, and artist David Choe; crew members on his shows; and his second wife Ottavia Busia. Still, once you know about the AI, there's a sense of disconnection that echoes through the doco — because it surveys all that Bourdain was, compiles all of this stellar material and still resorted to digital resurrection. Thankfully, the passion and curiosity that always made Bourdain appear so spirited — yes, so alive, as compared to being vocally recreated by AI after his death — still makes Roadrunner worth watching. That's true for Bourdain fans and newcomers alike, although director Morgan Neville (Oscar-winner 20 Feet From Stardom) doesn't use his two-hour-long film as a birth-to-life primer for the uninitiated. Crucially, as also proved the case with his 2018 Mr Rogers documentary Won't You Be My Neighbor?, Neville jumps through the details of Bourdain's life in a way that also muses on what his success and popularity said about the world. Why he struck such a chord is as essential an ingredient in Roadrunner as how he went from cook to celebrity chef, TV host, best-selling author and travel documentarian. The footage of Bourdain — from his shows, obviously, as well as from a plethora of TV interviews, behind-the-scenes clips and home videos — is edited together with the same restlessness that the man himself always exuded. You don't spend most of your year travelling if you can be easily pinned down, after all. It's a wise choice on Neville and editors Eileen Meyer (Crip Camp: A Disability Revolution) and Aaron Wickenden's (Feels Good Man) parts, but Neville has long had a knack for making his films feel like his subjects. Talking-head chats are spliced throughout, offering further details and grappling with how Bourdain's story ends; however, Roadrunner is repeatedly at its finest when it's peering at him and showing how his work encouraged us all not just to watch, but to eat, travel, think, talk and live. That said, those interviews aren't merely filler. With Chang and Choe in particular, they show Bourdain's friends confronting the type of grief that doesn't ever fade. Biographical documentaries about famous figures who are no longer with us inherently offer the same kind experience to the masses — giving viewers the opportunity to reflect upon their central figures, all while gifting us with more time in their presence — and seeing Chang and Choe struggle so openly cements that parallel. If only Roadrunner was as sensitive when covering Bourdain's relationship with actor Asia Argento, his girlfriend before his death. Argento isn't interviewed but, in the film's second poor choice, its search for a reason behind Bourdain's suicide makes an uncomfortable and overt swerve in her direction. Whether made now or after more time had elapsed since his passing, a film about Bourdain was always going to be complicated. The big, obvious, easy draw — spending longer with him on-screen — is there for all to see, and delightfully so. It's bittersweet, naturally, because there's no divorcing all those images and soundbites from the reason that this movie even exists. It's heartwrenching as well, a sensation heightened every time his upset, angry, frustrated pals make appearances. It's thoughtful in pondering what Bourdain gave the world, and what it took from him in return. It's also messy because there are no answers to much that it contemplates, and also because it sits under a cloud sparked by that superfluous AI. As its title plainly states, Roadrunner is indeed a film about Anthony Bourdain, though — and, even with its missteps, it recognises the complexity of that task. It really didn't need to put his words back into his mouth to make you wish his tale, and his life, was still simmering; that's what it was always going to plate up regardless.
A great bar isn't just about the tap count, but that figure can be a sign of a more-the-merrier situation for beer lovers. When the number is hefty, usually so are your drinks choices, including trying tipples that you mightn't have had a chance to otherwise. So when a 120-tap bar awaits, it really is a case of imagining the possibilities. The Great Australasian Beer Spectapular, aka GABS, loves getting creative with beers — and loves letting attendees at its annual festivals sip and sample over 100 different varieties each year. In 2025, when the fest returns to Melbourne in April, it'll set up that 120-tap bar, all in a straight line. Exactly 100 of those taps will pour beers, and the weirder and wilder the flavours, the better. The other 20 will feature spirits, cocktails and other beverages. For many of the brews on offer at GABS, this is either the first time or the only place that you can taste them. Think: sushi beer, cookie stouts and lollipop sours, which have featured in the past. Think of a foodstuff — peanut butter, coffee, earl grey tea, chicken salt, pizza, fairy floss, bubblegum, doughnuts, red frogs and sour gummy bears, for instance — and there's likely been a brew made to taste exactly the same at GABS. This year, GABS is hosting two-day fests, including at Melbourne Convention and Exhibition Centre from Friday, April 4–Saturday, April 5. If you're a newcomer to GABS, it started off as a Melbourne-only celebration of ales, lagers, ciders and more. Then it began spreading along Australia's east coast capitals, as well as to New Zealand. The event surveys both Australian and New Zealand breweries, plus sometimes some guests from further afield — Schlenkerla and Weihenstephan, both from Germany, are the first names on the list in 2025 — with more than 60 normally showcasing their wares annually. Also on the bill: other tipples, including non-alcoholic beers, seltzers, whiskey, gin, cocktails and wines. GABS is known for dishing up a hefty lineup of activities to accompanying all that sipping, too, which usually spans a silent disco, roaming bands, circus and sideshow performers, games and panels with industry leaders, plus local food trucks and vendors to line your stomach. And you might just find a ferris wheel or a mullet bar — yes, dispensing the haircuts — as well, as they've popped up in the past.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures and plenty of people staying home in iso will do that — that's no longer always the case. Maybe you've been under the weather. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are ten that you can watch right now at home. TÁR The least surprising aspect of Tár is also its most essential: Cate Blanchett being as phenomenal as she's ever been, plus more. The Australian Nightmare Alley, Thor: Ragnarok and Carol actor — "our Cate", of course — unsurprisingly scored an Oscar nomination as a result. Accolades have been showered her way since this drama about a cancelled conductor premiered at the 2022 Venice International Film Festival (the prestigious event's Best Actress gong was the first of them), deservedly so. Blanchett is that stunning in Tár, that much of a powerhouse, that adept at breathing life and complexity into a thorny figure, and that magnetic and mesmerising. Even when she hasn't been at her utmost on rare past occasions or something she's in hasn't been up to her standards — see: Don't Look Up for both — she's a force that a feature gravitates around. Tár is astonishing itself, too, but Blanchett at her finest is the movie's rock, core and reason for being. Blanchett is spectacular in Tár, and she also has to be spectacular in Tár — because Lydia Tár, the maestro she's playing, earns that term to start with in the film's on-screen world. At the feature's kickoff, the passionate and ferocious character is feted by a New Yorker Festival session led by staff writer Adam Gopnik as himself, with her achievements rattled off commandingly to an excited crowd; what a list it is. Inhabiting this part requires nothing less than utter perfection, then, aka what Tár demands herself, her latest assistant Francesca (Noémie Merlant, Jumbo), her wife Sharon (Nina Hoss, Shadowplay) and everyone else in her orbit constantly. Strong, seductive, severe, electrifying and downright exceptional, Blanchett nails it. That Lydia can't always do the same, no matter how hard, painstakingly and calculatingly she's worked to ensure that it appears otherwise, is one of the movie's main concerns. Tár is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MEET ME IN THE BATHROOM In 2022, The Strokes and the Yeah Yeah Yeahs were meant to share the same Splendour in the Grass bill. Karen O's band didn't make it to what became Splendour in the Mud, but the two groups have shared plenty before — and for decades. Their maps have overlapped since pre-9/11 New York, when both were formed in the turn-of-the-millennium indie-rock wave, then surfed it to success and worldwide fame. Both The Strokes and the Yeah Yeah Yeahs were born of the Lower East Side pre-gentrification. Both spun in the same orbit as late-90s saccharine pop and Y2K nu-metal rock gave way to electrifying guitar riffs and an explosive sound that'd become a whole scene. Both are led by charismatic singers who came alive onstage, but also found chaos and challenges. Alongside Interpol, LCD Soundsystem, The Moldy Peaches, The Rapture and TV on the Radio, both now sit at the heart of documentary Meet Me in the Bathroom. Based on Lizzy Goodman's 2017 book Meet Me in the Bathroom, an oral history that focuses on exactly what its subtitle says it does — Rebirth and Rock and Roll in New York City 2001–2011 — this is a fond look back at bands setting the room on fire and rolling heads as one century gave way to the next. While the film isn't about just one or two groups, it returns to The Strokes and the Yeah Yeah Yeahs again and again, and not simply because they're two of the early 00s' biggest NYC post-punk, garage-rock revival names. Listening to The Strokes' first record, 2001's Is This It, is a jolt and a buzz. With Julian Casablancas behind the microphone, it thrums and hums with the energy of hopping between bars, gigs and parties, and with the thrill of a heady night, week, month, year and just being in your 20s. Hearing O's voice is galvanising — intoxicating as well — and has been since the Yeah Yeah Yeah's self-titled EP, also in 2001. It's no wonder that directors Will Lovelace and Dylan Southern just want to keep listening, and also inhabiting that vibe. Meet Me in the Bathroom is available to stream via iTunes and Prime Video. Read our full review. KNOCK AT THE CABIN Does M Night Shyamalan hate holidays? The twist-loving writer/director's Knock at the Cabin comes hot on the heels of 2021's Old, swapping beach nightmares for woodland terrors. He isn't the only source of on-screen chaos in vacation locations — see also: Triangle of Sadness' Ruben Östlund, plus oh-so-many past horror movies, and TV's The White Lotus and The Resort as well — but making two flicks in a row with that setup is a pattern. For decades since The Sixth Sense made him the Oscar-nominated king of high-concept premises with shock reveals, Shyamalan explored the idea that everything isn't what it seems in our daily lives. Lately, however, he's been finding insidiousness lingering beyond the regular routine, in picturesque spots, when nothing but relaxation is meant to flow. A holiday can't fix all or any ills, he keeps asserting, including in this engaging adaptation of Paul Tremblay's 2018 novel The Cabin at the End of the World. For Eric (Jonathan Groff, The Matrix Resurrections), Andrew (Ben Aldridge, Pennyworth) and their seven-year-old daughter Wen (debutant Kristen Cui), a getaway isn't meant to solve much but a yearning for family time in the forest — and thinking about anyone but themselves while Eric and Andrew don robes, and Wen catches pet grasshoppers, isn't on their agenda. Alas, their rural Pennsylvanian idyll shatters swiftly when the soft-spoken but brawny Leonard (Dave Bautista, Glass Onion: A Knives Out Mystery) emerges from the trees. He says he wants to be Wen's friend, but he also advises that he's on an important mission. He notes that his task involves the friendly girl and her dads, giving them a hard choice yet also no choice at all. The schoolteacher has colleagues, too: agitated ex-con Redmond (Rupert Grint, Servant), patient nurse Sabrina (Nikki Amuka-Bird, Avenue 5) and nurturing cook Adriane (Abby Quinn, I'm Thinking of Ending Things), all brandishing weapons fashioned from garden tools. Knock at the Cabin is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE WHALE The actors have it: in The Whale, Brendan Fraser (No Sudden Move), Hong Chau (The Menu) and Sadie Sink (Stranger Things) are each masterful, and each in their own way. For viewers unaware that this drama about a reclusive 600-pound English professor stems from the stage going in, it won't take long to realise — for multiple reasons, the film's performances chief among them. As penned by Samuel D Hunter (also a writer on TV's Baskets) from his award-winning semi-autobiographical play, The Whale's script is talky and blunt. The movie is confined to its protagonist Charlie's home, and is as claustrophobic as it's meant to be as a result. But it's that key acting trio, with the portrayals they splash through a flick that's a complicated sea of feelings and ideas, that helps The Whale swim when it swims. Yes, the Brenaissance is upon us, showering Fraser in accolades including his first-ever Oscar; however, fellow Academy Award-nominee Chau and rising star Sink are equally as powerful. Is it really the Brenaissance if Fraser hasn't ever been too far from our screens for too long? When he was recently stellar in 2021's No Sudden Move, albeit in a supporting part? Given that it's been decades since he's had the space and the feature to serve up this kind of lead effort, the answer remains yes. Slip his The Whale performance in beside standout 2002 thriller The Quiet American — although the latter didn't place The Mummy action star and Encino Man comedic force beneath considerable prosthetics. Fraser doesn't let his appearance here do all the work, though. Filmmaker Darren Aronofsky, who hones in on the stressed and tested as he has so frequently before (see: Requiem for a Dream, Black Swan, The Wrestler and mother!), doesn't allow it to, either. At the core of the pair's collaboration is a portrayal that overflows with vulnerability and grief alongside optimism for humanity, and acutely fuses Charlie's emotional and physical states. The character self-mockingly jokes that his internal organs are buried deep, but nothing conceals Fraser's sensitivity. The Whale is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. CREED III Punching has never been what matters most in the Creed movies, no matter how fast and furiously fists frequently fly. One of the key things that's always set this boxing franchise apart — with its first instalment landing in 2015 and sequel Creed II hitting in 2018 — is its focus on character and emotion first and foremost, including favouring both above going round for round in the ring. Blows are traded, obviously. Bouts are fought, bruises inflicted, bones broken and titles won. But the Creed saga has kept swinging again and again, leading to latest instalment Creed III, because it's still about its namesake, who he is as a person, and his feelings, demons and conflicts. When you have Michael B Jordan (Just Mercy) leading a series — even when it's a part of the broader Rocky series, or perhaps especially when that's the case — you give him the room to dig deep. You also give him weighty material to bear, as well as the space to bare Adonis 'Donnie' Creed's soul. Jordan gives himself that room, weight and space in Creed III, in the actor's first stint as a director. Notching up a ninth chapter for the overall saga that dates back to 1976's three-time Oscar-winner Rocky, this is also the first film to sport either that character or Creed's moniker but not feature Sylvester Stallone on-camera — or his involvement beyond a producer credit. Creed III is all the better for Rocky Balboa's absence, despite Stallone turning in his best performance yet in the initial Creed film. Understanding what it means to move on and openly unpacking what that truly entails is something else this franchise-within-a-franchise has long gotten right. So, Donnie has moved on from struggling with his father's legacy, and from his need to live in the past. He has another date with history, but Jordan and screenwriters Keenan Coogler (Space Jam: A New Legacy) and Zach Baylin (King Richard) — with a story also credited to the original Creed's director Ryan Coogler (Black Panther: Wakanda Forever) — aren't just mindlessly repeating the series' pattern. Creed III is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. YOU CAN GO NOW Who better than frank, lively and charismatic First Nations artist Richard Bell to sum up what You Can Go Now is truly about: "I am an activist masquerading as an artist," he offers. The Kamilaroi, Kooma, Jiman and Gurang Gurang man says this early in Larissa Behrendt's documentary about him, because he and the Eualayai/Gamillaroi After the Apology and Araatika: Rise Up! filmmaker both know how essential and inescapable that truth is. They're not here to reveal that Bell's art is layered with statements. Neither is the feature itself. Rather, in a powerful instant must-see of an Australian doco, they explore and contextualise what it means for Bell to be an activist spreading his advocacy for the country's First Peoples around the world by being an artist, especially when the Aboriginal art realm is so often dominated by white interests. They address and examine not just what Bell's work says but why, what it responds to and how it's significant on a variety of levels, including diving deep into the personal, national and global history — and modern-day reality — informing it. Seeing what Bell's art literally expresses — simply taking it in, as splashed across the screen instead of hanging in a gallery — is still crucial to Behrendt's film, of course. In an array of pieces that frequently use heated words on intricately and colourfully painted canvases, his work utters plenty. "I am not sorry". "Give it all back." "We were here first." "Ask us what we want". "Aboriginal art — it's a white thing." Among these and other declarations, You Can Go Now's title gets a mention, too. Every piece sighted — works that riff on and continue a dialogue with styles synonymous with American artists Roy Lichtenstein and Jackson Pollock among them — conveys Bell's activist-artist raison d'être overtly, unflinchingly and unmistakably. Excellent art doesn't end conversations, however, but continues them, pushes them further and prompts more questions. Not that this is You Can Go Now's main takeaway, but Bell makes excellent art, with Behrendt helping to fuel and unpack the discussion. You Can Go Now is available to stream via DocPlay. Read our full review. COCAINE BEAR Killer trailer, filler flick: that's the Cocaine Bear story. This loosely based-on-a-true-tale horror-comedy sports a Snakes on a Plane-style moniker that sums up its contents perfectly, as the sneak peek that arrived at the end of 2022 made enticingly clear. Going heavy on the so-OTT-it-can-only-be-real vibe, that initial glimpse also tasked Alden Ehrenreich (Solo: A Star Wars Story) with exclaiming a couple more sentences to express the utter bewilderment that this story sparks. "The bear, it fucking did cocaine. A bear did cocaine!" he shouts, and with exactly the right amount of infectious incredulity. That is indeed what happened in reality back in 1985, after all, and it's what Elizabeth Banks brings to the screen in her third stint as a director after Pitch Perfect 2 and Charlie's Angels — always playing it, for better when it's at its goriest and for worse when it stretches its idea thinner than a white line, like wild tale that it inescapably is. Yes, almost four decades ago, an American black bear did cocaine when drug smuggler Andrew C Thornton (Matthew Rhys, Perry Mason) dropped a hefty pile of the narcotic from the air. The stash landed in the wilderness, catching the attention of the world's most unlikely coke fiend in Georgia's Chattahoochee-Oconee National Forest. The creature ripped open the white powder-filled containers, then ingested — and Cocaine Bear endeavours to have fun hypothesising what could've come next. On-screen, a rampage by the critter now-nicknamed Pablo Escobear ensues, with blood, guts and limbs flung around; the body count mounting like Michael Myers is doing the offing (or maybe Winnie-the-Pooh: Blood and Honey's other recent ravenous bear); and two words getting screamed over and over. They're just the terms a picture called Cocaine Bear was always bound to focus on: cocaine and bear, obviously. Cocaine Bear is available to stream via iTunes and Prime Video. Read our full review. OPERATION FORTUNE: RUSE DE GUERRE Operation Fortune: Ruse de Guerre isn't the best chance to see Aubrey Plaza slink around swanky locales filled with the one-percent in the past year. That honour goes, of course, to her award-nominated turn in the second season of The White Lotus. Plaza's new action-comedy also isn't the best recent movie to cast the deadpan talent as enterprising, resourceful and calculating, and see her plunged into a dangerous, largely male-only realm, all while putting a scheming plan into action. That film is the exceptional Emily the Criminal, which sadly bypassed cinemas Down Under. And, thanks to her star-making turn in Parks and Recreation, wannabe franchise-starter Operation Fortune: Ruse de Guerre definitely isn't the finest example of her wry comic talents, either. But in a rarity for writer/director Guy Ritchie and his typically testosterone-dripping capers — see: Lock, Stock and Two Smoking Barrels, Snatch, Revolver, RocknRolla and The Gentlemen — Plaza is the gleaming gem at the centre of this formulaic flick. Putting in a more vibrant performance than the scowling Jason Statham isn't hard, but this is firmly Plaza's picture. Ritchie's go-to leading man still plays Operation Fortune: Ruse de Guerre's namesake, though: the improbably titled super-spy Orson Fortune, an off-the-books agent who does jobs the British Government can't officially be involved with. Handler Nathan Jasmine (Cary Elwes, Best Sellers) has one such task, recovering a just-stolen item known as 'the handle', which the powers-that-be don't want going to nefarious parties. But, in a mission that first requires collecting a contact at Madrid's airport, then gets far more chaotic quickly, Fortune will have to work with a new team. And, he'll have to jet around the globe with stops at Cannes, in Turkey and more, doing an aspiring Bond and Mission: Impossible act, but in a film that never even threatens to shake or stir the espionage genre. It also doesn't venture beyond mixing Ritchie's beloved bag of tricks together, reading like an effort to split the difference between his last two movies: The Gentlemen and effective revenge thriller Wrath of Man. Operation Fortune: Ruse de Guerre is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE SON With a title that speaks of next generations, The Son is a film about second efforts, including off-screen. For writer/director Florian Zeller, it marks the French novelist and playwright's sophomore stint behind the camera, and notches the list of movies he's helmed based on his own stage works up to two as well. After dual Oscar-winner The Father, which earned Zeller and co-scribe Christopher Hampton the Best Adapted Screenplay award and Anthony Hopkins the much-deserved Best Actor prize, it's also his second feature with a family member in its title. And, it's his second largely confined to interior settings, focusing on mental illness, exploring complicated father-child relationships within that intimate domestic space and driven by intense dialogue spouted by a committed cast. Hopkins pops up once more in another psychodrama, too, as a dad again. Within its frames, The Son follows New York lawyer Peter Miller (Hugh Jackman, Reminiscence) as he's happily starting over with his second wife Beth (Vanessa Kirby, Pieces of a Woman) and their newborn Theo, his second son. Here's the thing about second chances, though: sometimes your first shots can't simply be forgotten, no matter how eager you are to move on. Peter confronts this truth when his ex-spouse Kate (Laura Dern, Jurassic World Dominion) unexpectedly knocks at his door one day, distraught about learning that their 17-year-old Nicholas (Zen McGrath, Red Dog: True Blue) has been ditching school long-term. The teen hasn't been a contented presence around her home since his dad left, either, with depression setting in after such a big upheaval to his status quo. So, Peter and Kate agree to a parental rekindling, with Peter giving being an active dad to Nicholas — having him come to live with him, Beth and Theo, in fact — a second go. The Son is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SHAZAM! FURY OF THE GODS A sequel to 2019's Shazam! and the latest film the DC Extended Universe, Shazam! Fury of the Gods goes all-in on family — but Billy Batson (Asher Angel, High School Musical: The Musical — The Series) and his pals are too young to knock back Coronas. Also, Shazam! Fury of the Gods isn't much concerned with Billy in his normal guise, giving his Shazam self (Zachary Levi, Apollo 10 1/2: A Space Age Childhood) the bulk of the character's screentime. The time for origin stories has been and gone here, but largely ditching Angel robs this franchise-within-a-franchise of one of its main points of difference in the DCEU. None of the series' other flicks are about awkward adolescents learning to grapple with power, and understanding that their wildest dreams aren't as easy as they'd always hoped. Shazam! Fury of the Gods still manages to hit some of those notes thanks to a bigger focus on Billy's best friend and fellow foster kid Freddy Freeman (Jack Dylan Grazer, We Are Who We Are), a person with disability, but sidelining the teenager who turns into Shazam is clumsy and noticeable. Similarly plain as day from scene one: that Shazam! Fury of the Gods got as lucky as any superhero movie can with its new cast members. The film opens at the Acropolis Museum in Greece, where two of Atlas' offspring are determined to get back the Wizard's (Djimon Hounsou, Black Adam) broken staff and reclaim their dad's magic — and those two daughters, Hespera and Kalypso, come in the form of Helen Mirren (1923) and Lucy Liu (Strange World). Despite splashing around the film's fondness for dim lighting and dull CGI early, this introductory sequence lets its big-name talents make more of an imprint standing around in their costumes and looking formidable than much that follows. Indeed, whenever Mirren and Liu are on-screen, and West Side Story's Rachel Zegler as well, Shazam! Fury of the Gods makes a case for pushing aside not just Billy, but Shazam and everyone else. Shazam! Fury of the Gods is available to stream via Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January, February and March, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies, plus movies you might've missed and television standouts of 2022 you mightn't have gotten to.
UPDATE: AUGUST 1, 2019 — Because a magical wonderland filled with igloos, a skating rink and faux snow isn't quite enough already, The Winter Village is adding on another feature: a wine fountain. Yes, shiraz and rosé cascading gloriously from two taps is a thing you can now enjoy at Fed Square. But, only for a limited time. The boozy fountain — filled with wine from Victoria's St Huberts the Stag that you pour yourself for $11-12 — is taking over the Village's mega igloo for the month of August. If you prefer your wine hot, you'll be happy to know that the igloo will also be home to a mulled wine pop-up (it's $12 a glass). It's open every Thursday–Saturday night. For more info, head to the website. This winter, Melbourne's Federation Square will transform into a magical wonderland to celebrating the chilly season for all its frosty glory; meaning one of Australia's cooler cities is about to get even more so. From May until the end of September, Skyline Terrace at Federation Square (aka the top of the carpark) will host The Winter Village — a pop-up modelled on your typically picturesque European winter market. With an ice rink, an igloo village, a mega igloo dining hall (where it snows inside on the hour), city views, and plenty of faux snow, it'll be a quaint wintery escape in the very heart of Melbourne. Dust off those skates and hit the ice, hire a private igloo where you can wine and dine in cosy solace or get festive listening to local DJs, bar-hop at the pop ups or dine inside the mega igloo where you can feast on pizza, grazing boxes and "the best fried cheese sandwich in Melbourne". There'll be espresso martinis on tap, too. The frozen oasis will be open daily and free to enter, although ice skating, igloo hire and a couple of winter warming bevs will come at a cost. A full lineup of events and activities will be released later this month — we'll keep you posted. The Winter Village will be open from 12pm Monday–Thursday and 11am Friday–Sunday.
UPDATE, September 29, 2023: Cocaine Bear is available to stream via Netflix, Binge, Google Play, YouTube Movies, iTunes and Prime Video. Killer trailer, filler flick: that's the Cocaine Bear story. This loosely based-on-a-true-tale horror-comedy sports a Snakes on a Plane-style moniker that sums up its contents perfectly, as the sneak peek that arrived at the end of 2022 made enticingly clear. Going heavy on the so-OTT-it-can-only-be-real vibe, that initial glimpse also tasked Alden Ehrenreich (Solo: A Star Wars Story) with exclaiming a couple more sentences to express the utter bewilderment that this story sparks. "The bear, it fucking did cocaine. A bear did cocaine!" he shouts, and with exactly the right amount of infectious incredulity. That is indeed what happened in reality back in 1985, after all, and it's what Elizabeth Banks brings to the screen in her third stint as a director after Pitch Perfect 2 and Charlie's Angels — always playing it, for better when it's at its goriest and for worse when it stretches its idea thinner than a white line, like wild tale that it inescapably is. Yes, almost four decades ago, an American black bear did cocaine when drug smuggler Andrew C Thornton (Matthew Rhys, Perry Mason) dropped a hefty pile of the narcotic from the air. The stash landed in the wilderness, catching the attention of the world's most unlikely coke fiend in Georgia's Chattahoochee-Oconee National Forest. The creature ripped open the white powder-filled containers, then ingested — and Cocaine Bear endeavours to have fun hypothesising what could've come next. On-screen, a rampage by the critter now-nicknamed Pablo Escobear ensues, with blood, guts and limbs flung around; the body count mounting like Michael Myers is doing the offing (or maybe Winnie-the-Pooh: Blood and Honey's other recent ravenous bear); and two words getting screamed over and over. They're just the terms a picture called Cocaine Bear was always bound to focus on: cocaine and bear, obviously. To be fair to the characters in Banks' film, if you came face to face with a bear doing cocaine, you'd likely yell about it loudly and often as well. Here, the folks doing the bellowing are all 100-percent fictional, and mostly disposable. Nurse and single mother Sari (Keri Russell, Antlers) learns of the cocaine bear after her daughter Dee Dee (Brooklynn Prince, The Florida Project) skips school with classmate Henry (Christian Convery, Sweet Tooth) and ends up in the hopped-up mammal's path. St Louis-based drug kingpin Syd (Ray Liotta, The Many Saints of Newark) has his son Eddie (Ehrenreich) and dealer underling Daveed (O'Shea Jackson Jr, Obi-Wan Kenobi) actively looking for the coke, while Tennessee detective Bob (Isiah Whitlock Jr, Da 5 Bloods) is actively looking for them after Thornton's death. And, tourists Olaf (Kristofer Hivju, Game of Thrones) and Elsa (Hannah Hoekstra, Faithfully Yours) just happen to be hiking in the park that day, while Ranger Liz (Margo Martindale, The Watcher) and wildlife expert Peter (Jesse Tyler Ferguson, Modern Family) are onsite doing their regular jobs. In the leadup to Cocaine Bear's release, a free Pac-Man-style game hit the web — you play as the bear, snorting energy from lines, packets, piles and bags of cocaine, running around a maze and chomping down as many people as you can. Cocaine Bear, the picture, runs on the same simple thrill, just without anyone mashing buttons to make the animal get devouring. Accordingly, when the bear is coked-up and carnivorous, the flick revels in comedic creature-feature bloodlust and slapstick. A mid-movie ambulance chase and its aftermath is highly inspired and highly amusing, and just as gloriously ridiculous as it should be. The sequence's action choreography, pacing (thanks to editor Joel Negron, Jungle Cruise) and cinematography (via John Guleserian, Candyman) vibrates with a buzz, and nails the B-movie tone that Banks and screenwriter Jimmy Warden (The Babysitter: Killer Queen) are overtly pawing at. Do bears shit in the woods? Yes. Does Cocaine Bear struggle with almost everything around its woodland carnage? Yes again. Alas, if someone isn't being torn to pieces — and each death honestly could be anyone, with more and more supporting figures popping up but everyone lucky to be one-note — the film is about as convincing as its clunky CGI. The script strains so hard for low-hanging laughs around the mauling, which is where all those squawks about cocaine and bears come in, that it's a surprise that no one declares "I've had it with this muthafuckin' bear on this muthafuckin' cocaine". And trying to wring emotions out of parent-child bonds and loss just feels pointless; viewers are here for drug-addled ursine attacks in as many inventive ways as possible, not for cheap heartstring-tugging that does the bear minimum. Banks' cast put in as much effort as they're asked to, sniffing up the trashy 80s mood as they navigate all that bear-induced chaos. From Russell as a determined mum, Rhys' brief cameo as the man who starts it all and Martindale as a lovelorn ranger — all The Americans co-stars — through to the late, great Liotta in one of his last roles, the bickering-and-bantering Ehrenreich and Jackson, and Prince and Convery almost doing a Moonrise Kingdom parody, they're all visibly having a good time. Cocaine Bear isn't as much sustained fun for its audience, however, but it sure wants to be. Its trailer is a killer in two ways: supremely entertaining, and also everything it needed to be in less than three minutes, ensuring that a full film, even a concise 95-minute one, was destined to seem bloated in comparison. A silly slasher, but about a high-and-hungry bear getting grizzly: that's Cocaine Bear at its most engaging, and it's easy to see a gleefully absurd direct-to-streaming franchise springing with instalments like Methamphetamine Monkey and Ecstasy Alligator following — all with diminishing returns. Of course, every animal-attack movie will always pale in comparison to the wildest one there is, aka 1981's lion flick Roar, which'll also rumble to mind when anyone attempts to follow in its footsteps. That's the kind of predator pandemonium that Banks doesn't realise you can't set out to make, but becomes a cult film on its own tumultuous and messy merits. IRL, the cocaine bear that inspired Cocaine Bear didn't munch its way through the park's visitors, with the actual creature now stuffed and on display at the Kentucky for Kentucky Fun Mall — a far blander fate than Cocaine Bear posits, but one just as padded.
"We all deserve better". "Change never comes easy." "Blessed be the squad." If the latter quote didn't already give it away, they're all lines that are uttered in the first trailer for the fourth season of The Handmaid's Tale. And, as usually proves the case with the show's dialogue, they all feel like they could be said today, in reality, in everyday life. Using a deeply dystopian scenario to reflect the modern world has always been one of the acclaimed, award-winning series' strengths. It was true of Margaret Atwood's 1985 book that started it all, too. So, with the TV adaptation of the acclaimed novel now reaching its fourth season, it's no wonder that it's continuing what it has always done best — and that the first glimpse of the new season feels even more timely at present. First, some bad news, though: due to the COVID-19 pandemic, The Handmaid's Tale won't return to our screens in 2020. Instead, viewers will have to wait until a yet-to-be-revealed date in 2021 to find out what happens next in Gilead (no, not the masterplanned Sydney community with the same name), and what the future has in store for the show's protagonist, June (Elisabeth Moss) after season three's cliffhanger ending. The good news, of course, is that this tale of rebellion and revolution isn't anywhere near done yet. Toppling a totalitarian society that's taken over the former United States, tearing down its oppression of women under the guise of 'traditional values', and fighting for freedom and equality doesn't happen quickly, after all. The first sneak peek of the ten-episode fourth season doesn't reveal too much; however fans should prepare for not just an uprising, but a war — and for the return of Bradley Whitford's Commander Joseph Lawrence and Ann Dowd's Aunt Lydia, too. Check out the teaser trailer below: https://www.youtube.com/watch?v=1WLqBUi4r6o The fourth season of The Handmaid's Tale will hit screens sometime in 2021 — we'll update you with further details when they're announced.
Imitation may be considered the sincerest form of flattery, but when one movie spends its duration seemingly trying to ape another, it also proves one of the most grating methods of filmmaking. Staring at its grey colour scheme, listening to its moody score, jumping along with its shifting timeline and unpacking its narration-heavy, twist-filled story, there's little doubt that The Girl on the Train is trying to follow in the footsteps of another recent adaptation of a page-turning novel. Alas, this movie is no Gone Girl — although thanks to its own stylistic choices, the comparison isn't going to go away any time soon. Working from Paula Hawkins' best-selling book, The Girl on the Train intertwines the plights of three women in a whodunnit thriller, while attempting to dissect — and find commonality within — the many roles women are forced to play in life. Sadly, with a flimsy script by Erin Cressida Wilson doing the source material few favours, director Tate Taylor fails to live up to expectations with this hotly anticipated adaptation. Instead, the film alternates between serious and trashy, without finding the right balance between the two. So it is that alcoholic divorcee and New York-based Englishwoman Rachel (Emily Blunt) rides the train every day, staring out the window at people she assumes are happier than she is. In the case of her ex-husband Tom (Justin Theroux), his new wife Anna (Rebecca Ferguson) and their baby, she knows that's the case. When it comes to their neighbours Megan (Haley Bennett) and Scott (Luke Evans), she's just guessing. But when Megan goes missing on the very same day that Rachel spots her on her porch with another man, questions start being asked. Before long, some of the hardest ones are directed at Rachel herself, who was seen drunk in the area but can't piece her memory together. Characters peering into the seemingly perfect lives of others is a concept that has fuelled many a movie in years gone by. And yet, you can add a distinctive lack of Hitchcockian intrigue to the list of ways that The Girl on the Train disappointments. Narrative developments are clearly foreshadowed, clichés fly thick and fast, and attempts to bust gender stereotypes remain superficial at best. In this light, even appreciating the film's place in voyeurism-obsessed cinema history offers little solace. Thank goodness for the quality cast. Whether acting erratic like Blunt, suspicious like Ferguson or furtive and discontent like Bennett, none of the picture's lead actors are quite at their best, but at least they're reliable, which makes them the best thing the film has going for it. That said, when paying close attention to how Blunt plays boozy becomes more interesting than the story itself, you know something has gone seriously wrong. There's an interesting-enough thriller at the heart of The Girl on the Train. Unfortunately, we never get to see it.
Back in 1990, a Christmas movie took an eight-year-old kid, left him stranded at home for the holidays, threw in some bumbling crooks and delivered quite the festive gift. For the almost three decades since Home Alone first graced cinema screens, it has become an end-of-year mainstay — up there with eating junk food and watching rubbish, no doubt making Kevin McAllister proud. In Liverpool come the end of this year, it's also going to provide the inspiration for the themed, pop-up watering hole that someone really had to make a reality at some point. At the Home Alone Christmas Bar, three things will be on the menu: celebrating the classic Macaulay Culkin-starring flick, getting into the festive spirit and alcohol. Prepare to say "keep the change, ya filthy animal" if you're in the vicinity of the city's Cains Brewery Village, with the space featuring all of the Christmas trimmings — trees, tunes, decorations, a sequence of decked-out lounge rooms and Sinatra's crooning — plus themed cocktails. Whether you'll be required to outwit the bartenders to get a drink, avoid various traps or make sure the clocks are set to the right time is yet to be revealed, along with the opening date; however the folks running the show are also behind the well-received Ghetto Golf bar, so expect more than just a heap of toys thrown across the entryway. Via Metro.
This could be love: a classic 80s film that's been adored for decades, a new date with the big screen, and a live band and singers bringing its soundtrack to life as you watch. Dirty Dancing in Concert isn't new to Australia, but it keeps returning to tour the country because the movie at its centre is one that audiences can't get enough of. If you're a fan, you'll know which phrase fits: ideally, you'll have the time of your film-watching life. In September and October 2025, Patrick Swayze and Jennifer Grey will dance up a storm in the 1987 romantic drama. While the tour is clearly hoping that you've never felt like this before, that'll only apply if you didn't go to 2022's or 2023's shows. Whether you're a Dirty Dancing in Concert first-timer or returning after seeing it before, you'll not only see the movie — you'll also hit up the party afterwards. Accordingly, as you celebrate one of Swayze's biggest and most-charming film roles, you'll be immersed in the world of the picture from the moment that you take your seat. Although no one will be carrying watermelons or checking into Kellerman's Mountain House in the Catskills, the digitally remastered feature will grace the big screen, its iconic songs will get a workout live, then the musicians will stick around afterwards to headline a party that'll naturally have you singing and dancing. If you're feeling adventurous and inspired by the movie, you might even want to try to recreate the famous lift. Here, nobody will put you or Francis 'Baby' Houseman in a corner — and you'd be just a fool to believe otherwise. Your hungry eyes will soak in Baby's first taste of dirty dancing, her eager rehearsals and her growing infatuation with Johnny Castle, as well as her parents' bitter unhappiness about the entire situation. This blast-from-the-past affair has dates locked in for Sydney, Adelaide, Perth, Brisbane and Melbourne — on Saturday, September 6 at the Darling Harbour Theatre, ICC Sydney; Saturday, September 20 at Adelaide Entertainment Centre Arena; Sunday, September 21 at Riverside Theatre, Perth Convention and Exhibition Centre; Saturday, October 4 at Brisbane Convention and Exhibition Centre; and Thursday, October 9 at Hamer Hall, Arts Centre Melbourne. Around the world, Dirty Dancing in Concert has staged more than 200 sessions so far. Dirty Dancing in Concert 2025 Australian Tour Saturday, September 6 — Darling Harbour Theatre, ICC Sydney Saturday, September 20 — Adelaide Entertainment Centre Arena, Adelaide Sunday, September 21 — Riverside Theatre, Perth Convention and Exhibition Centre, Perth Saturday, October 4 — Brisbane Convention and Exhibition Centre, Brisbane Thursday, October 9 — Hamer Hall, Arts Centre Melbourne Dirty Dancing in Concert will tour Australia in September and October 2025 — head to Ticketek for tickets and further details. Dirty Dancing in Concert images: Zdenko Hanout.
For most of the year, Pelican Lawn is not a culinary destination. Generally the offering consists of a few stale crusts and maybe some chips in the bottom a crumpled packet. That is, except for the one weekend when it transforms into Melbourne's foodie Mecca. For four days — November 14-17 — the city's best restaurants will converge on Albert Park for Taste of Melbourne. Back for its sixth year, the food festival brings all the best produce, food and wine together in one place, as well as the most coveted signature dishes from the Melbourne's best restaurants. Amongst others, returning to the lawn for 2013 will be stalwarts Movida, Albert St Food & Wine and Burch & Purchese, along with some of this years most successful newcomers: Saint Crispin, Tonka, B'Stilla and Bomba. And, as well as whetting your appetite, you can also wet your tongue with the wine tasting, beer chasing or cocktail making events on offer. With so much on the collective menu, we've put together five foolproof tips to ensure you get every bite, sip and delight out of Taste of Melbourne. The epitome of Melbourne's dining scene awaits. Be prepared to mix cuisines It's called Taste of Melbourne for a reason, so don't fill up on your first stop. Quite uniquely, it's the only time Melbourne's best culinary creations will be within walking distance from each other, so make the most of those pins and sample the best dishes from each restaurant. Halve a Huxtaburger, down a Mamasita taco and then head over to Bomba for a selection of Spanish tapas. Plus, you can head to Saint Crispin without the two-month advance booking. Save room for dessert In all the excitement you could be excused for being full to the brim by the time main course if over, but the truth is that a real dessert person always has room for dessert. Make a stop at Albert St Food & Wine for one of Philippa Sibley's lemon tarts and — we're warning you — it will be near impossible to walk past the Burch & Purchese Sweet Studio. And there will also be lots of sweet things to take home, with goodies from Cocofrio, Peninsula Fudge and Mörk Chocolate for sale. Come ready to learn While Taste of Melbourne offers you much to keep you gastronomically satiated, it also gives you the chance to work on your hospitality skills. Learn how to create and mix classic cocktails at Sensology's 'The Art of Cocktail Making' class or get a few tips on sustainable cooking from Rebecca Sullivan of Dirty Girl Kitchen. You'll also get a chance to see demonstrations from Melbourne's best chefs in the Taste Kitchen, where you can learn how a Huxtaburger is spawned and see Movida's Frank Camorra in tapas mode. Stock up on groceries Along with the immediate sensory delights available at every turn, the festival will also have over 100 exhibitors on the ground — meaning you can do your grocery shopping for the week as well. Without a Coles home brand in sight, the best of local and regional produce will be calling your name, with everything from olive oil to specialty coffee and ice popsicles available for purchase. A festival highlight will be the Tasmanian Pavilion, which will showcase all the best produce from our friends in the south, such as Flinders Island Meat, Tasmanian Bakeries gourmet pies and Bruny Island Cheese. Drink up Last but not least (and definitely not to be taken as an afterthought), drink up. Despite the warnings your mum gave you, you are hereby given permission to mix your drinks as you flit between tasting local and imported beers in the Beer Hall, sampling the flavours at the Rekorderlig Cider Bar and upping your wine 'knowledge' at the Plumm Wine Theatre. As well as the bar, a number of wineries will be exhibiting their goods — be sure to take home a few bottles from Yering Station or Oyster Bay for later. Taste of Melbourne will run from Thursday, November 14, to Sunday, November 17, 2013. Tickets start from $25 and are on sale now from Ticketek. Take advantage of the special ticket offer and book two general entry tickets for $40. Just enter the word FLAVOUR into the promotional code box when booking. This offer is valid on advance purchase tickets only and applies to general entry tickets. Crowns (the official Taste currency) can be pre-purchased in denominations of 30 or 50 Crowns through Ticketek.
When the 2019 Archibald Prize was announced last year, it made history, with a portrait of an Asian Australian taking out the award for the first time in the event's then 98-year run. Now in 2020, the delayed gong has also secured a first — with Vincent Namatjira winning for a portrait of champion AFL footballer Adam Goodes, and his prize marking the first time that the award has gone to an Indigenous artist. Namatjira's piece, entitled Stand strong for who you are, was chosen from 55 finalists, which were whittled down from a record 1068 entries. Among the other contenders was Wongutha-Yamatji artist Meyne Wyatt's Packing Room Prize-winning self-portrait, which actually became the first work by an Indigenous person to win any of the Archibald's prizes. In Stand strong for who you are, Namatjira depicts multiple versions of Goodes, including two in his Sydney Swans colours. The artist himself also appears, clasping hands with Goodes. During the latter's AFL career, he played 372 matches for the Swans, kicked 464 goals, won two premierships, earned the code's highest individual honour (the Brownlow Medal) twice and was even anointed Australian of the Year. As his highly decorated time on the field came to an end, however, he was also the subject of merciless booing and verbal attacks by both spectators and high-profile media figures alike — and placed under immense scrutiny for celebrating his Indigenous heritage both on and off the field. That's a topic explored in not one but two documentaries that were released last year: The Final Quarter, which received a standing ovation at last year's Sydney Film Festival, and The Australian Dream, which opened the 2019 Melbourne International Film Festival. The Mparntwe-born Namatjira actually took inspiration from The Final Quarter. "When I saw the documentary about Adam's final season of AFL, my guts were churning as I re-lived Adam's experiences of relentless racism on and off the field," he explained. "Memories of my own experiences were stirred up and I wanted to reach out and reconnect with Adam." He continued: "When I was younger and growing up in the foster system in Perth, Indigenous footballers were like heroes to me. Goodesy is much more than a great footballer though, he took a strong stand against racism and said, 'enough is enough'. I stand strong with you too, brother". Accepting the award in a virtual ceremony, Namatjira also advised that "this is a really special moment for me" — while noting that "it only took 99 years" for the Archibald to award its first Indigenous winner. "I feel like this is a very important moment in Australian art. It's an honour to be the first, but I also want to acknowledge all of the Indigenous finalists and Indigenous sitters for the Archibald this year and in past years," he said. In a statement, Goodes similarly said that he was "thrilled that an Indigenous artist has won the Archibald prize for the first time", and that he was "so pleased that it shines a light on all Indigenous art". He continued: "we have a 60,000 year history of art and culture in our people, and we share this knowledge and gift of culture with all Australia". [caption id="attachment_784400" align="aligncenter" width="1920"] Archibald Prize 2020 winner. Vincent Namatjira. Stand strong for who you are. Acrylic on linen, 152 x 198 cm. © the artist. Photo: AGNSW, Mim Stirling. Sitter: Adam Goodes - former professional Australian rules footballer.[/caption] In the main field, Tsering Hannaford also received a prize in her sixth time as a finalist, with her self-portrait Allegory of Painting highly commended. The colourful work was inspired by Artemisia Gentileschi's 17th-century portrait, where the artist used two mirrors to observe herself in the act of painting. The winners of the Wynne and Sir John Sulman prizes were also revealed today, spanning a number of other pieces. Western Aranda artist Hubert Pareroultja took out the former — which awards the best landscape painting of Australian scenery or figure sculpture — for Tjoritja (West MacDonnell Ranges, NT). The striking work "represents the story of the giant caterpillars called the Yeperenye that became mountain range". [caption id="attachment_784408" align="aligncenter" width="1920"] Wynne Prize 2020 winner. Hubert Pareroultja. Tjoritja (West MacDonnell Ranges, NT). Acrylic on canvas, 183 x 244 cm. © the artist. Photo: AGNSW, Mim Stirling[/caption] This is the fifth year in a row that an Indigenous Australian artist has been awarded the Wynne prize, with the category also handing out three other gongs. Nyunmiti Burton was highly commended and received the Roberts Family Prize for Seven Sisters, while Julianne Ross Allcorn won the Trustees' Watercolour Prize for triptych Mollitium 2, which celebrates the resilience of the Australian bush. The Sir John Sulman Prize goes to the best mural, subject or genre painting, and was this year awarded to Marikit Santiago's work entitled The divine. Describing the piece, the artist explained that it "considers what is inherited by our children". [caption id="attachment_784409" align="aligncenter" width="1920"] Sulman Prize 2020 winner. Marikit Santiago. The divine. Acrylic, oil, pen, pyrography and 18ct gold leaf on ply, 179.5 x 120.5 cm. © the artist. Photo: AGNSW, Jenni Carter[/caption] The winning portraits and finalists will be on display at Sydney's Art Gallery of NSW from tomorrow — Saturday, September 26 — up until Sunday, January 10. If you do't agree with the judges, you can cast your own vote for People's Choice before Sunday, December 13. ARCHIBALD PRIZE 2020 DATES Art Gallery of NSW, Sydney — September 26–January 10 Tweed Regional Gallery & Margaret Olley Art Centre, NSW — January 22–March 7 Cairns Art Gallery, Qld — March 19–May 2 Griffith Regional Art Galley, NSW — May 14–June 27 Broken Hill Regional Art Galley, NSW — July 9–August 22 Shoalhaven Regional Gallery, NSW — September 3–October 17 Penrith Regional Gallery, NSW — October 29–December 5 If you can't make it to any of the above dates, you can check out the award winners and finalists of the Archibald, Wynne and Sulman Prizes on the Art Gallery of NSW website. Top image: courtesy of the artist and Iwantja Arts.
Myers Place: That tiny laneway capillary between Bourke and Little Collins streets, flowing with booze and the aroma of exotic cooking. As one of Melbourne's original inner-city small-bar destinations, it's now home to a small fortune in restaurants, art venues and drinking holes — all within metres of each other. This time we move beyond the solid stuff, as Eat Streets shows you not only where to get fed but watered and cultured too. Lily Black's Boasting the 'largest collection of bitters in world', Lily Black's prides itself on the cocktail craft. The seasonal cocktail menu is testament to the claim, best attacked using their ingenious visual key — choose between bitter, boozy, dry, hot, refreshing, rich, savoury, smoky, sour or sweet flavours, and let your bartender do the rest. Take a seat in the speakeasy-style surrounds and watch the staff chisel hand-cut shards from the ice block and shake drinks like they're Ricky Martin with a set of maracas. On the last Sunday of every month, check out the Iron Bartender competition — an opportunity for Melbourne's best mixers and shakers to demonstrate their flair and brew up their cocktail best. Until then, drop by after dinner for a Hot Forest (Maker's Mark bourbon, maple, lemon and charred cedar; $19) or a Japanese Cigar (Courvoisier VS cognac, Ardbeg whisky, hickory-smoked orgeat and bitters; $19) — they're open late. 12 Meyers Place, Melbourne, (03) 9654 4887, lilyblacks.com.au San Telmo After a cocktail next door, don't be surprised if you find yourself on the doorstep of San Telmo, succumbing to the enticing pull of the Argentinean grill. Inside, carnivores congregate around the Parilla (the imported Argentine charcoal grill, pronounced par-ee-sha) — feasting on slabs of tender, smokey charred meat. Order by cut: short ribs, flank, rib eye and all the steaks of rump are on offer here. The menu is designed to share, which means that our vegetarian friends needn't miss out. The sweet-burnt carrots with thyme and goats cheese ($13), provolone, mozzarella, basil and capsicum empanadas ($6), or Brussels sprout, roasted shallots, hazelnuts and agave vinaigrette will appease the non-animal eaters, while desserts like the dulce de leche creme caramel with salted peanut praline ($14) will have both tribes fighting over the fork. 14 Meyers Place, Melbourne, (03) 9650 5525, santelmo.com.au The Waiters Club It's been around since 1947 and still resembles an old Coles canteen from the 70s, but, despite missing out on the neighbouring Meyers Place revolution, the Waiter's Club remains a city stalwart. Originally a members-only, after-work venue for Melbourne's new-Australian waiters, the restaurant now hosts a cross-generational legion of foodie fans. Tuck in to a welcoming bowl of pasta or a generous slice of tiramisu; fine dining it's not, but it's homely and dependable. In fact, its no-frills service, laminex tables and daggy curtains might remind you of Nan's kitchen as it remains immune to the evolving trends of the streetscape downstairs. Let's hope it never changes. 20 Meyers Place, Melbourne, (03) 9650 1508 Meyers Place Meyers Place was a pioneer of Myers Place when it first opened in 1994 (as one of the first on the scene, its owners probably didn’t realise how confusing their name would one day become). Part of Melbourne's original hole-in-the-wall bar revolution, the venue was first conceived by a group of mates who lived in the city and wanted somewhere nearby for a drink. From there, 6 Degrees Architects took responsibility for the build, using recycled materials such as ex-government office fittings, train armrests and timber panelling ripped from the old stage of Melbourne's town hall. Doubling as an art space, the regular program of exhibitions allows punters to feels cultural while imbibing in a $5 house wine. After all, it's all part of the arts experience — and there's nothing wrong with that. 20 Meyers Place, Melbourne, (03) 9650 8609, meyersplace.com.au Senoritas While Mexican food might not be as in-vogue as it once was (long surpassed by the dude food trend, food trucks, and science-lab gelato), people are still willing to queue down the street for a taste of taco, suggesting its popularity remains strong. Joining the likes of Touche Hombre and Mamasita, Senioritas gains a competitive advantage over their popular peers by allowing bookings — saving diners an agonising wait in the queue. This allows maximum time to sit back and try the tequila — perhaps matched to grazing the selection of tacos like the roasted pork shoulder with cinnamon, orange, thyme, frijoles and pickled red onion ($14), or the sweet potato, epazote and black bean taco with queso fresco and chipotle mayo ($12). Eating amongst the dramatic neon-lit interior and ghoulish, Day of the Dead-themed decor isn't as authentic as grabbing a quesadilla from the dusty Mexican roadside, but it sure makes for an entertaining night out. 16 Meyers Place, Melbourne, (03) 9639 7437, senoritas.com.au Unfortunately Senoritas has temporarily closed, but hopes to reopen again shortly. Loop Part bar, part performance venue, Loop provides a space for artists, film makers and live audiovisual performers (and fans of all the above) to share their creative energies — over a pizza and pot of beer. With an event calendar that offers something different almost every night of the week, expect film festival screenings, performances of buzzing electro-pop and DJs every weekend. Loop is also a pillar of the local filmmaking community, presenting Comfortable Shorts each month — a series of short films from local and international creatives. 23 Meyers Place, Melbourne, (03) 9654 0500, looponline.com.au Lane's Edge Fuss free, friendly and a bit of fun, Lane's Edge serves as casual entry point to the off-Bourke laneway. It takes a multidisciplinary approach to hospitality — the kind that warrants anything from a morning coffee with the paper, a lunch break with your work colleagues or a late night passed with a stranger on a loose night out. Accompany any of the above with a bowl of pumpkin soup. The bamboo-clad beer garden provides offers a discrete vantage point from which to enjoy sneaky lunchtime beers, while still keeping an eye on the laneway antics. Chances are you might catch a glimpse of your boss at the bar next door. 39 Bourke Street (cnr of Bourke and Meyers Place), Melbourne, (03) 9654 2409, lanesedge.com
No trip to Tokyo is complete without a visit to Shinjuku's Godzilla head, which towers down on the popular district from Hotel Gracery Shinjuku. If you're a fan of the King of the Monsters, you'll now need to add another stop to your next Japanese itinerary once international travel resumes: amusement park Nijigen no Mori, on Awaji Island in Hyogo prefecture. First announced in 2019 and open for business since October 10, 2020, the theme park has just become home to a life-sized version of the scaly creature — even if Godzilla's actual size has changed over the course of its 65-year history. The kaiju was 50 metres tall in the 1954 Japanese classic that started the long-running monster franchise, and measured nearly 120 metres in the most recent US film. In 2017's animated Netflix flick Godzilla: Planet of the Monsters, it even spanned a whopping 300 metres. At Nijigen no Mori, good ol' Zilly measures 120 metres, and that's in length. You'll find Godzilla on its stomach, mouth open and presumably roaring, with amusement park patrons able to zipline into it. Usually folks are trying to avoid the huge creature and his fire-breathing gob, but that's obviously not the case here. https://www.instagram.com/p/CGCs7IWHRNu/ Called Godzilla Intercept Operation National Godzilla Awajishima Research Centre, the attraction is part of a 5000-square-metre zone dedicated to the famed critter, asking attendees to take on the role of island scientists. In that guise, the ziplining occurs in the name of science, because the huge beast has become trapped in the earth. Shooting games are also part of the Godzilla zone, and so is Zilly-themed food. If you haven't tucked into hot dogs, curries, burgers and cream puffs shaped like Godzilla, Mothra and their fellow kaiju, well, you clearly can't really call yourself a true Godzilla fan. Nijigen no Mori also now boasts a Godzilla museum, which is the world's first permanent exhibition dedicated to the scaly creature. Here, you'll find dioramas, props from the films and over 80 monster figures, as well as prototypes, artwork and other movie materials. And yes, there's merchandise for sale, naturally. Also, if you're wondering which Zilly this giant one resembles — Godzilla's appearance has often changed from film to film, too — it's the version of the lizard-style gargantuan from 2016 Japanese movie Shin Godzilla. If Godzilla Intercept Operation National Godzilla Awajishima Research Centre is now on your post-pandemic must-visit list, entry costs ¥3800, which equates to just over AU$50. For more information about Godzilla Intercept Operation National Godzilla Awajishima Research Centre, which is now open, visit the Nijigen no Mori website. Via Nijigen no Mori. Images: Nijigen no Mori.
Before 2020 became a thing of the past, Victoria's 61-day run of no new locally acquired COVID-19 cases also came to an end, and new mask requirements and gathering restrictions were introduced. The state presently has 38 active cases at the time of writing on Tuesday, January 5, and the Victorian Department of Health and Human Services (DHHS) is continuing to release updates regarding new numbers — and it's updating its map of the confirmed cases broken down by area, too. In 2020, DHHS released an interactive daily report of COVID-19 in the state, with a daily updated map as well. That system has undergone a bit of a revamp, but Victorians will still find the details they're looking for. Live on the DHHS website, the state-wide map now provides two options: confirmed cases by local government area, and by postcode. Thanks to a handy colour code, it's easy to see which parts of the state have active COVID-19 cases at present. Regions without any cases remain white in colour on the map, while shades of grey get darker depending on the numbers in each particular area. For example, if you're viewing by local government area, Monash, Booroondara, Glen Eira, Bayside, Kingston, Casey, Whitehorse and Maroondah all have cases as of 11.33am on Tuesday, January 5. By postcode, 3192, 3193, 3914, 3204, 3168, 3169, 3124, 3132 and 3136 are all on the list. If you click on a specific local government area or postcode, you can also see the population, the active rate per 100,000 population, the total number of COVID-19 cases in the area during the pandemic, the current active cases and the number of new cases in the past 24 hours. Scroll down on the same webpage, and you can view a state-wide breakdown of the cases by age group and sex, as well how the cases were acquired. And, you can drill down into the data yourself, with .CSV files available for download as well. DHHS is also frequently updating its list of exposure sites, which is broken down into groups depending on the action needed. Some require anyone in the vicinity at specified times and dates to get tested immediately and quarantine for 14 days from the exposure, others require folks to get tested immediately and then quarantine until you receive a negative result, and a third category asks people to monitor for symptoms and, if any develop, to get tested immediately and isolate until you receive a negative result. At the moment, gatherings at private homes in Victoria are limited to 15, and masks are mandatory in all indoor settings — except from when you are eating and drinking. To find out more about the status of COVID-19 in Victoria and have a look at the interactive daily report, head to the Victorian Department of Health and Services website. Top image: the DHHS Coronavirus COVID-19 in Victoria map as of 12pm on Thursday, January 7.
When July 2021 came and went, it marked two years since Stranger Things last graced our streaming queues. That's two years of wondering what's become of Hawkins' beloved police chief Jim Hopper (David Harbour, Black Widow) — and where everyone else we've all come to know and love in the hit Netflix series has washed up, too. Sorry fans, you'll have to keep pondering for the rest of this year as well, as the streaming platform has officially announced that its 80s-set sci-fi series won't be returning till 2022. Fancy a sneak peek in the interim? In revealing that Stranger Things will finally make a comeback next year, Netflix has also dropped a new glimpse at what's in store. The platform has done so a few times already since the beginning of 2020, providing an initial clip back at the beginning of last year — which now seems like a lifetime ago — and a couple more teasers in May 2021. But hey, when you're hanging out for anything and everything related to the show's fourth season, each trailer and teaser drop is exciting. From that first 2020 teaser, we already know what happened after season three's big cliffhanger and Russian-set post-script — when Hopper, the mind flayer, the Russian lab below Starcourt Mall and that pesky gate to the Upside Down all had a run-in. And, we know that Hawkins Laboratory is going to feature again moving forward, with the last two clips focusing on Eleven (Millie Bobby Brown, Godzilla vs Kong) and Dr Martin Brenner (Matthew Modine, Operation Varsity Blues: The College Admissions Scandal). The new sneak peek combines both new and old footage, so parts of it will look familiar — and parts of it tease what's to come. There's little narrative detail provided, but that usually comes with the territory anyway. You already know you'd prefer to discover Stranger Things' secrets by binging your way through it as soon as new episodes become available to stream. Of course, it's worth remembering that when Netflix announced the show's renewal for a fourth season back in 2019, it did so with the catchphrase "we're not in Hawkins anymore". Naturally, we'll have to wait to see what that really means for its cast of characters — including not only Hopper and Eleven, the latter of which was last seen leaving town with Joyce (Winona Ryder, The Plot Against America), Will (Noah Schnapp, Hubie Halloween) and Jonathan (Charlie Heaton, The New Mutants), but also for Mike (Finn Wolfhard, The Goldfinch), Dustin (Gaten Matarazzo, The Angry Birds Movie 2), Lucas (Caleb McLaughlin, Concrete Cowboy), Max (Sadie Sink, The Last Castle), Steve (Joe Keery, Spree) and Nancy (Natalia Dyer, Things Seen & Heard). Check out the new Stranger Things season four sneak peek below: Stranger Things season four will be able to stream via Netflix sometime in 2022 — we'll update you with an exact date when one is announced.
Beloved local spirits producer Four Pillars is known for innovation. Its inventive collaborations and tasty creations like the rare dry and bloody shiraz gin ranges have earned it the title of World's Best Gin for two years running now. The distillery is now looking to elevate your sunny days with an esky in hand with a new range of ready-to-drink gin and tonic cans. In an effort to take the RTD game to the next level, Four Pillars is squeezing all the goodness of its rare dry gin into a convenient can. The RTD is made using a special rare dry gin that is hyper-concentrated using twice as many botanicals as its bottled gin. The Melbourne distiller also created its own tonic for the cans in order to get the mix just right and ensure the flavour is just as good as a G&T you'd make using a bottle of Four Pillars. "We set out to make a gin and tonic, not a tonic and gin, so the ratios were really important," distiller Cam Mackenzie said. With summer on its way and restrictions beginning to roll back for states that have been in lockdown over winter, Four Pillars has launched the cans just in time for all your future picnics and trips to the beach. Each 250-millilitre can will be 5.1-percent alcohol and will come in four-packs for $27.99. If you want to get your hands on some, you can expect to see them begin to pop up throughout October and they'll be available from Four Pillars' Healesville and Surry Hills outposts, plus all the classic bottle shops you'd expect like Dan Murphy's, BWS, Liquorland, and independent sellers. Head to the Four Pillars website to read more about the new G&T RTDs. Images: Benito Martin
The COVID-19 situation in Australia is changing every day, with the federal government first implementing a ban on non-essential events with more than 500 people and then mandating that everyone arriving from overseas self-isolate for 14 days. In response to the first restriction, events and venues around the country are cancelling and postponing their 2020 plans. This is having devastating impacts on the local hospitality, arts and music industries, with I Lost My Gig Australia reporting that, as of midday on Monday, March 16, 20,000 events have been cancelled, which has impacted 190,000 Australians and equated to $47 million in lost income. And those numbers are continuing to climb. While going out might not be at the top of your to-do list right now, you can continue to support these industries and businesses by buying from artists who've had their shows cancelled, ordering gift cards and merch from venues that are struggling or just booking in a dinner for that birthday a few months away. To keep you abreast of what's been cancelled, postponed and suspended, here's our live list, updated as it happens. [caption id="attachment_710789" align="alignnone" width="1920"] Sydney Royal Easter Show.[/caption] SYDNEY All ANZAC Day commemoration services across NSW (April 25): cancelled All City of Sydney aquatic and fitness centres: closed until at least April 3 All non-essential indoor venues, including casinos, gyms, cinemas, places of worship, clubs, pubs, bars, restaurants and cafes (can offer takeaway and delivery only): temporarily closed Alliance Francaise Film Festival (March 10–April 8): postponed from March 19 Art Gallery of NSW: temporarily closed Biennale of Sydney: cancelled Bluesfest (April 9–14): cancelled Carriageworks: temporarily closed (Saturday farmers markets will proceed) Comedy Steps Up for Bushfire Relief (March 16): cancelled Download Festival (March 21): cancelled Festival of Dangerous Ideas (April 3–5): cancelled Handa Opera (March 27–April 26): cancelled Happy Place (until May 3): postponed Momo Fest (April 18): postponed No Coal Zone (March 14): postponed Opera Australia's Carmen, Atilla and Great Opera Hits: cancelled until March 28 Palace Cinemas: all locations closed from March 19 Royal Easter Show (April 3–14): cancelled So Pop 2020 (April 25): cancelled Spanish Film Festival (April–May): postponed until August, with new dates TBC Splendour in the Grass (July 24–26): postponed until October 23–25 Sydney Film Festival (June 3–14): cancelled Sydney Writers' Festival (April 27–May 3): cancelled Sydney Opera House: all performances cancelled until June 17 Taronga Zoo: temporarily closed The Other Air Fair (March 20–23): postponed Vivid Sydney (May 22–June 13): cancelled [caption id="attachment_710610" align="alignnone" width="1920"] Ability Fest by Alex Drewniak[/caption] MELBOURNE Ability Fest (April 4): cancelled All ANZAC Day Commemorative services across Victoria (April 25): public cannot attend All City of Melbourne libraries, recreation centres and cultural and arts centres: temporarily closed All non-essential indoor venues, including casinos, gyms, cinemas, places of worship, clubs, pubs, bars, restaurants and cafes (can offer takeaway and delivery only): temporarily closed Alliance Francaise Film Festival (March 11–April 8): postponed from March 19 Arts Centre Melbourne: closed until April 13 Cirque du Soleil Kurios: suspended until further notice Download Festival (March 21): cancelled Fromage a Trois (March 22): cancelled Harry Potter and the Cursed Child: suspended until April 12 Melbourne Food and Wine Festival (March 19–29): postponed until spring Melbourne International Comedy Festival (March 25–April 19): cancelled Melbourne Queer Film Festival (March 12–23): postponed Melbourne Museum: closed until further notice Melbourne Symphony Orchestra: postponed until April 13 (but it is live-streaming select shows) Momo Fest (April 4–5): postponed National Gallery of Victoria: closed until April 13 Open Weekend (March 21–22): cancelled Palace Cinemas: all locations closed from March 19 So Pop 2020 (May 1): cancelled Spanish Film Festival (April–May): postponed until August, with new dates TBC State Library Victoria: closed until further notice Sweetstock (March 28–29): cancelled The Other Art Fair (May 21–24): postponed Wine Machine (March 28): postponed until October 31 World Tour Bushfire Relief (March 13): cancelled Wall to Wall Festival (April 3–5): postponed [caption id="attachment_764598" align="alignnone" width="1920"] Westpac OpenAir[/caption] BRISBANE All non-essential indoor venues, including casinos, gyms, cinemas, places of worship, clubs, pubs, bars, restaurants and cafes (can offer takeaway and delivery only): closed All ANZAC Day commemoration services across Qld (April 25): cancelled Alliance Francaise Film Festival (March 18–April 14): postponed The Big Pineapple Music Festival (May 30): postponed until early October — new date TBC Boho Luxe Market (April 17–19): postponed until September 25–27 Brisbane Comedy Festival: cancelled from March 16 onwards Brisbane Gin Festival (April 4): postponed until September 19 Brisbane Night Market (weekly on Fridays): closed until further notice, with all events cancelled Buddha Birthday Festival (May 1–3): cancelled Burgers and Beers (March 21+27): cancelled Cat Cuddle Twilight Market (March 27): postponed — new date TBC Charlie and the Chocolate Factory (March 18–April 19): cancelled Curiocity Brisbane (March 20–April 5): cancelled The Drop Festival Coolangatta (March 28): cancelled Eat Street Northshore: closed until further notice Fish Lane Festival (May 9): postponed until September 5 The Foundry: closed until further notice, with all events cancelled Gigs & Picnics (March 28, April 25, May 30): monthly events postponed until June 27 Gold Coast Film Festival (April 15–26): cancelled Greener Pastures (May 3): cancelled Green Jam Sessions (weekly on Fridays): all sessions cancelled until at least April 30 HOTA, Home of the Arts: closed until March 31 James St Up Late (March 26): cancelled Momo Fest (April 12): postponed — new date TBC Mould: A Cheese Festival (March 20–21): postponed — new date TBC Mov'In Bed Cinema (March 27–May 17): postponed until the last quarter of 2020 — new dates TBC Netherworld: closed from Wednesday, March 18 until at least the end of March, with all events cancelled Noosa Eat & Drink Festival (May 14–17): cancelled Not On Your Rider (March 26 and April 30): cancelled, with events likely to restart in October Palace Cinemas: all locations closed from March 19 The Planting Festival (May 1–3): cancelled The Plant Market (March 29): postponed — new date TBC Puppies and Pints (April 5): cancelled Queensland Art Gallery and Gallery of Modern Art: both galleries remain open, including GOMA's Australian Cinemathque, but all public programs, events and tours have been cancelled Queensland Performing Arts Centre: all theatres closed until at least April 30 Queensland Symphony Orchestra: all performances cancelled until April 30 Stones Corner Festival (May 3): cancelled Water Up Late (March 20–21): cancelled So Pop 2020 (April 24): cancelled Spanish Film Festival (April–May): postponed until August, with new dates TBC Westpac OpenAir (April 5–26): postponed — new date TBC World Science Festival Brisbane (March 25–29): cancelled The Village Markets Stones Corner (March 27): cancelled for March, with a decision about future markets due by March 27 Young Henrys Rock N Roll Circus (March 19): postponed — new date TBC To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Vivid
At the moment, you and I can't go visit an Australian aquarium or zoo, as they're temporarily closed in a bid to contain COVID-19. But, the animals still need to be fed, the tanks cleaned and the littl'uns cared for. So, staff at Sea Life Sydney have made the most of the lack of visitors and taken some very special furry guests along for a day. And, yes, we've got the adorable photos to prove it. Earlier this week, Sea Life's animal care team brought in their pet pooches to help them around the aquarium. Some of the tasks performed by the four-legged workers included feeding the resident sharks, dugong, penguins and fish; auditing the aquarium website; modelling merch; and attempting to send emails. As well as just general observation. Very important. Ned, a golden labrador, did a lot of the latter. And looked very happy while he did. Typical golden lab, really. Georgie the spaniel, slightly more serious, got stuck into emails. But maybe less successfully, by the look of that blank screen. Dukdik, definitely the most productive of the canine staff, not only fed Pig the Dugong lettuce, but also worked hard on the website and modelled some Sea Life merch. Hopefully these photos have given you some Friday warm fuzzies. Temporarily, at least. This is not the first time Sea Life has taken us behind the scenes during COVID-19, either. The Sydney aquarium — and its outposts in Melbourne and on the Gold Coast — are regularly live streaming playtime with their marine residents. Already, we've seen baby penguins fed, explored a jellyfish exhibition and hung out with tiny seahorses. To see what live-streams are coming up, head over to the Sea Life Facebook page.
Today's workplace isn't what it used to be. While there are plenty of reasons for this, technology is a big factor as is a shift in what most people consider important in regard to job satisfaction. In order to keep pace with such societal changes, workplaces are constantly adapting the type of skills they look for in new hires. Don't be too concerned though. Open Universities Australia (OUA) and its university partners are well aware of what it takes to succeed. That's why we've teamed up with OUA to outline five of the core skills you need to thrive in every work situation. The best part? There's a fantastic range of relevant courses through university partners across Australia. Regardless of your previous education, you can enrol instantly in a number of uni subjects that will help you upskill quickly and excel in the workforce. LEARN TO NAVIGATE THE CHANGING DIGITAL LANDSCAPE We live in a time of rapid change, particularly when it comes to technology. In the modern workplace, you don't necessarily need to be the one pumping out code or building expertly designed websites, but it is important to have an understanding of how technology intersects with your work. Studying subjects like Digital Culture and Everyday Life with Curtin University through OUA allows you to get acquainted with the basics. You'll learn how the internet became a part of everyday life and its general impact on society and culture. If you're keen to get more in-depth, you can also take a look at more focused subjects such as Writing for Digital Media or Cyber Crime, which both offer very specific skillsets. LEARN TO SET BOUNDARIES AND MANAGE YOUR TIME Knowing how to set boundaries is a crucial skill in every aspect of your life. However, striking the right balance between work and play isn't always a simple task. When the lines blur (as they often can), it's common for anxiety and stress to arise, so knowing how to separate the two is a valuable skill to have. And when your student life is full-time online, meaning your university exists wherever your computer does, you'll quickly learn that those essential clear and concise limits are the only way to properly manage your time. While it may not be fun at the time, it'll definitely stand you in good stead later down the line. LEARN HOW TO LEAD AND MANAGE PEOPLE Leadership skills. We all know we're supposed to have them but how do you actually hone them? The answer is simpler than you think. Just by taking online university courses you'll learn how to keep up with deadlines and work autonomously — skills which many places look for in leaders. Or, if you want to take it a step further, you can study the 14-week Project Leadership and Teams course with the University of South Australia via OUA. You'll learn all about managing teams effectively, critical problem solving and understanding and harnessing different people's strengths and weaknesses. Plus, you'll gain some great interpersonal skills. LEARN TO MAKE AND KEEP A SAFE WORKPLACE ENVIRONMENT It should come as no surprise that workplace safety is critical. After all, everyone wants and deserves to work in a secure and protected environment. But what may come as a shock is that plenty of people don't even know their own workplace rights, let alone what to do if they suspect those rights are being violated. Enrolling in Griffith University's Work Health and Safety through OUA will have you up to speed with the 2011 Work Health and Safety Act in no time. Plus, you'll get a clear understanding of the main types of hazards at work — be it in the office or out in the field. LEARN HOW TO BE APPROPRIATELY CULTURALLY AWARE People from all sorts of cultural backgrounds are represented in the workplace. Aside from the fact that cultural respect and an understanding of one's own privilege should be an inherent part of life anyway, having that sort of awareness and the ability to lead by example can be extremely beneficial in a work setting. From working in teams and avoiding miscommunication to scheduling mishaps during religious holidays, studying something like Curtin University's Human Rights History Across Cultures and Religions via OUA is a great first step to building your knowledge of a diverse range of cultures beyond the western viewpoint. Because everyone deserves to be treated equally both in and outside of the workplace. Start looking at all the subjects on offer online from leading Australian unis through Open Universities Australia and you could have a new skill by the end of the year. Hop to it.
Whether you dread that early morning alarm or jump out of bed excited for each day, chances are you need (and deserve) a break — because everyone does every now and again. We understand annual leave is precious and it can be easy to fall into the trap of packing your itinerary full of non-stop adventures. But there's no shame in the relaxation game if that's what you're really craving. So we've gone on a hunt for the top experiences around New South Wales that'll leave you feeling refreshed and rejuvenated — from quick (but effective) outdoor yoga classes to multi-day rainforest retreats.
Here's a secret from every bartender who's ever served you: you look absolutely ridiculous doing a shot. But, if we're being fair, so does everyone. The only people who can pull it off are cowboys shooting whiskey in old Westerns and even then, it was probably fake booze. Now, cheeky British photographer Tim Charles is revealing the true face of your tequila-soaked stupor; he's giving people snapshots of their face after a shot. The project, aptly titled Shot Face, features over 30 strangers in this alarming and unguarded moment. Inspired by the ridiculous grimace his girlfriend made one night after slamming a shot at the bar, he recruited people from his friends group, casting sites and Gumtree. They were then offered tequila, gin or sambuca, and the rest came naturally. "You start to appreciate some of the subtleties people display," Charles told the Daily Mail. "My original favourite is the one of Elena (in the pink and white top), I love the way her arm is up in the air, almost as if she's saying 'stop' or 'give me a minute', it always makes me laugh when I see it." In a way, the photographs remind us of the posters for Lars Von Trier's Nymphomaniac. Though they're very different in context, the same sense of immediacy and intimacy is still very much present. But... now that we've said that, we've ruined the series entirely. Good luck scrolling through these and keeping your mind out of the gutter. Either way, it's some definite food for thought next time you feel like a tequila slammer on a fancy night out. Via Petapixel and Daily Mail. All photos via Tim Charles.
Dance, drink, pizza, repeat. Pizza and late-night partying remains one of history's most iconic duos and they're coming together in full force from next month, when 24-hour Hawthorn club Untz Untz launches its adjoining pizza joint and sports bar, Holy Moly. The new venue will take over the ground floor of the newly refurbished Glenferrie Road space and enjoy the same 24-hour liquor license, In addition, coffee and doughnut spot Cop Shop will launch next door shortly after. With a crack team of hospo pros behind it, Holy Moly is promising some intriguing features, not least of which is the $5 pizza menu, designed by Henry Chan (Lucky Coq and Bimbo Deluxe) and available until 3am, every single night. Jenna Hemsworth (former Black Pearl bartender and runner up for Bartender of the Year 2015) has taken the reins of the drinks offering, which will feature a mix of classics and new-school creations, as well as three varieties of Bloody Mary. The space comes courtesy of interior designer Michael Delaney (Honkytonks, Sorry Grandma), along with venue director Nick Foley, with the pair describing it as "a shrine to pizza and good times". Expect artwork by local artist Billie Justice Thompson, a memorabilia-packed sports bar screening classic sporting moments on an 80" plasma, and Melbourne's first VOID sound system. Find Holy Moly and Untz Untz at 660A Glenferrie Road, Hawthorn.
For more than two decades, Alimentari has been satisfying deli cravings in the inner north with coffee, salads and paninis stacked with succulent meat from its rotisserie plus plenty of quality cheese and charcuterie. The popular Fitzroy staple expanded to its Smith Street location back in 2013, as demand for its signature take home meals and dishes grew. The menu is extensive and well rounded — running from brekkie favourites like smashed avo ($18.50) and sweet corn fritters ($20), to paninis, wraps, salads and deli plates, to larger dishes of wood-roasted cauliflower ($22) and linguine calamari ($26) — and this place can stock your pantry, too. Stop by for a slice of cake and an espresso, cold-pressed juice or cheeky cocktail, and head home with essentials like stocks, sauces and polenta, plus a pork and fennel lasagne or eggplant parmigiana to feed the whole family. Appears in: Where to Find the Best Sandwiches in Melbourne for 2023
Throw those GoPros, bubble bottles and novelty gumboots in your rucksack, Splendour in the Grass is returning to North Byron Parklands for another year of festival merriment. As usual, rumours have run wild in anticipation of the lineup announce, but the details for Splendour 2017 are finally here. And we're happy to report that some of the rumours were true. As announced by triple j this morning, there's no Lorde or Frank Ocean, but LCD bloody Soundsystem will be Splendouring — it will be the reunited band's first return to Australia since they played Big Day Out back in 2011. The lineup also doesn't state that Splendour is their only show, so stay tuned for news of a national tour (hopefully). It also seems that, happily, the predictions for The xx and Queens of the Stone Age were correct too. Joining them is one heck of a lineup that includes HAIM, RL Grime, Banks and Two Door Cinema Club, along with Future Islands and LA hip hip artist Schoolboy Q, who will be doing one-off Australian shows at the festival. Australian artists on the bill include Tash Sultana, King Gizzard, D.D Dumbo, Dune Rats, A.B Original, Big Scary and more. Anyway, we know what you're here for. We'll cut to the chase. SPLENDOUR IN THE GRASS 2017 LINEUP The xx Queens of the Stone Age LCD Soundsystem Royal Blood HAIM Sigur Rós ScHoolboy Q (only Aus show) Vance Joy Two Door Cinema Club Peking Duk RL Grime Bonobo Father John Misty Catfish and the Bottlemen Tash Sultana Paul Kelly Stormzy King Gizzard and The Lizard Wizard George Ezra Future Islands (only Aus show) Banks Bernard Fanning Dune Rats Cut Copy Ásgeir Allday Meg Mac Rag 'N' Bone Man Thundamentals Lil' Yachty San Cisco Client Liaison Real Estate Dan Sultan Vallis Alps D.D Dumbo Maggie Rogers Tove Lo POND Big Scary The Smith Street Band Oh Wonder A.B. Original Dope Lemon The Kite String Tangle Young Franco Julia Jacklin Kingswood Amy Shark Luca Brasi The Lemon Twigs Vera Blue Slumberjack Bad//Dreems Bag Raiders Topaz Jones Middle Kids Ocean Grove Confidence Man Bishop Briggs Late Nite Tuff Guy Julien Baker Kilter Lany Hockey Dad Kirin J Callinan Airling Cosmo's Midnight Gretta Ray Moonbase The Peep Tempel Tornado Wallace The Murlocs Mallrat Luke Million The Wilson Pickers Romare Jarrow Good Boy Kuren Oneman Winston Surfshirt Set Mo HWLS Harvey Sutherland and Bermuda CC:Disco! Enschway DJHMC Nite Fleit Alice Ivy Willow Beats Willaris. K Mookhi Plus... Swindail Dena Amy Andy Garvey Planète Sam Weston Super Cruel Christopher Port Lewis Cancut Kinder plus triple j Unearthed winners Splendour will return to North Byron Parklands on Friday 21, Saturday 22 and Sunday 23 July. Onsite camping will once again be available from Wednesday, July 19. Tickets go on sale Thursday, April 6 at 9am sharp AEST. More info will soon be available at the official Splendour In The Grass site. Image: Bianca Holderness.
"I've never been to school, but I can read and write." Penny Penny takes a moment to chat from Limpopo, the northern South African province where he grew up. Born Giyani Kulain in 1962, the cult musician was just four years old when his father passed away; a local doctor who left behind his 25 wives and 68 children. "After that, we started to suffer a lot," Penny says. "I taught myself [literacy], because I suffered so much. In 1968, I started working on a farm, then I worked in a mine, then I went to the village and sold vegetables and then I worked in a restaurant... Everything I've done, I've done it myself." For the 52-year-old dubbed "the next Rodriguez" by Rolling Stone, this independent drive lead him to singing — except that it didn't involve so much arduous autodidacticism. "I never learned to sing," he says. "Singing just happened." In 1994, while working as a cleaner in a Johannesburg music studio, Penny approached producer Joseph Shirimani, who related the meeting in a 2013 Rolling Stone interview. "I said, 'Can you sing?'. [Penny] didn't say yes — he just sang a song for me. And that's when I heard this unusual voice and those melodies." The resulting collaboration led to the recording of the song 'Shaka Bundu'. Its infectious combination of traditional melody, Tsonga disco and contemporary dance pop sold 250,000 copies, turning the odd jobs man into a national star. "'Shaka Bundu' means 'bad guy', trouble," Penny explains. "I had a girlfriend for more than eight years. After I lost my job, she dumped me. And one of my friends, who used to come to my house, he proposed to her. That's where the song comes from, you see." He breaks off the story in favour of singing the chorus down the phone. https://youtube.com/watch?v=Blk2nsFCt8I Several subsequent albums continued to keep the fans dancing in South Africa, but (like the music of Rodriguez) didn't receive much international attention. That was until a few years ago, when a Penny Penny cassette landed on the desk of DJ and Awesome Tapes from Africa blogger Brian Shimkovitz. "It took a bit of time to track down the busy politician, humanitarian and stadium-filling musician," Shimkovitz wrote. But track him down he did, releasing 'Shaka Bundu' worldwide on November 12 last year. "People like it a lot in Africa," Penny says. "Then I find out that they like it in Australia — and that makes me happy. I've seen Australia on television; I've read about it on the news. I never believed that I would come to meet you, on that side. I think I'll kiss the soil when I land there." He's sorry though, that he won't get the chance to meet Yothu Yindi. "I heard that he passed away recently. He is one of my favourite Australian musicians. That song [he starts singing 'Treaty'] was very big in Africa. I though maybe I'd see him one day, but no." Like Yothu Yindi, Penny is an activist. In fact, in 2011 he became an African National Congress (ANC) Council Member — the first African musician to do so. "I just want to give something back to the community," he says. "Politics is fine, but my heartbeat is music." When he plays VIVID as part of Goodgod's Tin Pan Alley, he'll be bringing a ten-piece band along for the ride. "You can expect to see me dancing up there. When I see people on the dance floor — 75,000 people, 90,000 people — if more people want to come, I say let them come! I've been asking myself, 'How to introduce my style of dancing to Australia?' I want to leave the country dancing my style, with my spirit. I want to leave my mark." Penny Penny will headline Good God Small Club's Tin Pan Alley in the Joan Sutherland Theatre on Friday May 30 for Vivid LIVE. He'll be joined by Bart Willoughby of seminal indigenous band No Fixed Address, ever theatrical Royal Headache frontman Shogun flying solo, Melbourne soft rockers Montero and Sydney's indescribable Donny Benét. Head here for more details.
