Grab a cup of coffee and your best highlighter pen because the program for Melbourne Fringe is a doozy this year. From circus and dance to mind-popping installations and everything in-between, this year's festival consists of more than 450 events, brought to life by literally thousands of passionate artists. For punters, it's both a blessing and a curse. On the one hand, there's certainly no shortage of things to see. On the other, it's basically impossible to get to them all. Inspired by the theme 'step into the light', this year's program is bookended by a pair of significant works from acclaimed audio-visual artist Robin Fox. Lighting up the city from September 15 to 18, Sky Light is a city-scale artwork that will connect iconic Melbourne skyscrapers with powerful lasers, invisible from some angles and breathtaking from others. Similarly, from September 29 until October 2, White Beam will pierce the sky above Prahran's Grattan Gardens with a focused beam of shimmering white light. But that's just the tip of a very impressive iceberg. As one of the biggest and most eclectic events on the city's cultural calendar, the Fringe lineup caters to every conceivable taste. There'll be eye-popping cabaret shows from the likes of James Welsby and Yana Alana, alongside a music lineup that covers everything from jazz to orchestral to disco. Comedy is, as per usual, a major focus of the festival, with Sammy J, Bev Kilick and rising star Laura Davis among those slated to perform. The latter, in particular, comes highly recommended. This year also marks the 30th anniversary of the Fringe Furniture exhibition. Showcasing the work of exceptional Melbourne designers, find it at the historic Abbotsford Convent throughout the duration of the fest. And, of course, you'll want to spend plenty of time at the Festival Club in North Melbourne, where you can mingle with like-minded patrons and catch a different show every night. Overwhelmed? Check out our top ten picks of the festival program.
Wild fermentation wines have been around for as long as the hills on which they're grown, but lately the resurgence of the movement has been gaining a lot of momentum. Questions abound as to the nature of these beverages, from how its production differs from traditional methods, to how the taste of these vinos compare to the drops that we're more accustomed to. So, in the interest of immersing oneself in the experience, crack a bottle and have a read — your wine education has begun. FIRST OF ALL, WHAT ACTUALLY IS IT? Wild fermentation wines are the result of winemakers removing most of the artificial processes involved in producing a bottle. The whole idea is to let the natural processes of winemaking take over, to interfere with the fermentation process as little as possible. In winemaking, grapes are pulped into a sugary juice, then yeast is added to the juice which eats up all the sugar and creates waste products of carbon dioxide and alcohol until you're left with a finished wine. In wild fermentation winemaking this process is dramatically altered. Rather than adding a yeast known to produce a certain flavour, the yeasts and bacteria that naturally present on the grapes (aka microflora), are tasked with the fermentation. By letting nature do its thing the wine ends up with a more complicated flavour profile. WHAT DOES IT TASTE LIKE? Wild fermentation wines are often more complex, textural and layered. Making it involves a longer fermentation process than your standard bottle, which gives the wine a softer taste. The different types of microflora present on the grapes all add their own bit of flavour. Standard wines have yeast added to them, which creates a specific flavour when fermented. Because you're leaving the flavour up to nature, what you end up with is unique from vintage to vintage. The Stoneleigh winemakers in New Zealand's Marlborough country use the naturally occurring elements in their vineyards to produce wild fermentation wines with as little intervention as possible. The grapes used for the Wild Valley range are grown using 'sunstones' — stones derived from the ancient river bed the winery sits on. The stones soak up all the sunlight during the day, and keep ripening the grapes at night. Once the grapes are picked, the process is to sit back and let the microflora do the work. The grapes can be picked earlier, and they deliver a flavour profile that is unique to each vintage. Sulphites are often added to wine produced in this way, to maintain its freshness and keep it crisp from bottling to delivery. WHO IS MAKING IT? Wild fermentation winemaking methods have been used for millennia in Europe and they're still incredibly common in places like France, Italy, and Austria. The process is still fairly new here. With a move by wine drinkers towards a more organic approach — and the rise in popularity of minimal intervention, organic and orange wines — more and more winemakers are taking on the minimalist approach. Stoneleigh have been using nature in their winemaking since the foundation of the winery, so the next natural step was taking on wild fermentation wines for their premium range. WHAT DO I EAT WITH IT? Experiment a little (like the winemakers) and try to nail that perfectly balanced combo. Pairing wine with food is a subjective matter, despite the rules we've been told for decades. You don't have to pair red wine with red meat, or white wines with white meat. A good rule of thumb is to just eat and drink what you like and then look for something to balance the palate. As long as the goal is to keep it balanced, the world is your oyster with pairing food to wild fermentation wines. Wild fermentation wines are a little richer on the flavour profile, so will generally pair well with food that is a little more subtle. Good cheese always matches good wine. A nice brie will do well with the intense flavours of a wild fermented Pinot Noir for example, because it supports the flavours in the wine rather than competing for dominance in the taste party. Jamie Marfell, Stoneleigh's head winemaker, recommends pairing a minimal Sauvignon Blanc with a salad that has some more tropical elements. Something with a healthy dose of citrus or vinegar, like a top-notch papaya salad that will cut through the more rounded palate of the wine. Try some Wild Valley wild fermentation wine at the Stoneleigh Hotel, a sandstone house in Chippendale overrun by nature. It's at 48 Kensington Street, Chippendale from November 11 until December 11.
Holy. Crap. We thought it was a big ol' publicity farce. No way, man. There ain't no Lexus hoverboard, that's just delicious social media bait for the Young People. But nay, Marty McFly's futuristic skateboard is an actual, physical thing, really made by Lexus and frothed over worldwide. A concept made famous by Robert Zemeckis’s 1989 Back to the Future II, the 'Slide' hoverboard has been realised by the Lexus team. Lexus first put out teasers for the hoverboard back on June 23, making everyone angry they’d even get our hopes up like that. But today, August 5, they've released their model 'publicly' — although you can only skate at their custom-built skate park in Barcelona. Yep, there's the switch. This isn't the first time hoverboards have been bandied about in reality. The Hendo Hoverboard's Kickstarter campaign promised to send out $10,000 hoverboards this spring. How did Lexus make it work? According to CNET, lots and lots of magnets. Well, it’s a little more complicated than that, involving supercooled superconductors, but essentially, magnets. Lexus have built this anti-gravity device into a deck (this was the tricky part, finding a way to cheaply make such a seriously epic device teeny), so you can skim across water without breaking a sweat. So yeah, you can't buy one yet. And when you finally can, you'll only be able to skate at Lexus's custom-built Barcelona skate park. But we're hopeful. Watch pro skateboarder Ross McGouran spin some McFly moves on the Lexus hoverboard here, with all the sexy, sexy liquid nitrogen you could ask for. Via CNET and Quartz.
It might be France's fourth biggest city, but Toulouse isn't yet a firm fixture on the tourist trail. Unless you're an aviation fanatic, that is — all Airbus A380s are born here, so Biggles fans drop by to tour what's surely one of the world's biggest assembly lines. But what's less known about Toulouse is that it's a mecca for creatives. For decades now, artists have been pouncing on abandoned buildings and reclaiming them for art's sake. Among the epic proportions of an ex-slaughterhouse, you'll find a 78-year-old stage curtain painted by Picasso. Along the curved walls of an 18th century water tower, explore France's first photography gallery. In an ex-clothing factory, discover the latest from emerging artists. To these eclectic spaces, a busy festival calendar brings wave after wave of international art invasions, dance spectaculars, electronica marathons and world music parties. In fact, locals dub Toulouse the 'festival capital' of France. Nestled into a bend on the Garonne River, which begins in the Pyrenees and flows into the Atlantic at Bordeaux, Toulouse, like Paris, is organised according to its banks. On the right, winding, cobbled alleyways lead to the famous pink brick of the Capitole. The left is quieter, but it's where some of the most interesting galleries and imaginative uses of public space are found. ART-ING If there's one way to redeem a slaughterhouse, it's surely through devotion to acts of creativity. Les Abattoirs (76 Allées Charles-de-Fitte; +33 (0)5 34 51 10 60) swapped the butcher's knife in favour of the paintbrush back in 2000. Its enormous, airy space now hosts 4000 modern and contemporary artworks (Picasso's curtain included). I stroll in to find myself eye-to-eye with Franz Gertsch's freakishly realistic, close-up portraits and impossibly translucent coastlines. Hung just centimetres from the floor and backdropped by monumental archways, his works couldn't find a more dramatic setting. A mezzanine level allows viewing from every conceivable angle. Les Abattoirs is one stop along a 12-point walk taking in both riverbanks. It also covers Centre de L'Affiche, a graphic art museum; the crumbling remains of Toulouse's 16th century city walls; the 12th century Hôtel Dieu Saint Jacques, one-time shelter for orphans, paupers and pilgrims; and the Fine Arts Museum. Peeling off the Pont Neuf onto the right bank, I'm soon drawn into a maze of secretive backstreets. Since July 2013, vehicles have been banished from the centre, in just one of Toulouse's many pedestrian-friendly and green-inspired initiatives. 2010 saw the world's first experiments with 'pavement power'. This propensity for forward-thinking is evident even among the gothic cloisters of the Musée des Augustins (21, Rue de Metz; +33 (0)5 61 22 21 82). An ex-convent, it was seized in 1793 by French Revolutionaries, who transformed it into one of France's first public galleries. Today, 4000 works span the 11th century to the early 1900s. Their display is, however, in no way trapped by cold reverence to tradition, with fresh interventions frequently transplanting centuries-old artworks into the present. Right now, the Romanesque sculpture collection has been reimagined as a bright, pendant-lit, stylised garden by Cuban artist Jorge Pardo. Commissioned for the 2014 Toulouse International Art Festival, it's on show until 2016. Other galleries worth more than a peep include Alain Daudet (contemporary), exp rm'n tl and concept (up-and-coming contemporary), Le Chateau d'Eau (photography), NEXT (pop art) and Fondation d'Entreprise Espace Ecureuil Pour L'Art Contemporain (art inspired by everyday life). If you're keen to visit several, invest in a Pass Tourisme, which gives you a bunch of freebies and discounts. EATING & DRINKING Like most places in France, Toulouse is fiercely proud of its regional produce. At least 13 food markets are in operation, the majority within 15 minutes' walk of the Capitole. I head straight for the biggest: Marché Victor Hugo. At first, I think I might well have the wrong address. From the outside, it's a multi-storey carpark that must have reared its concrete head sometime in the 1970s. Inside, however, I discover a pastoral labyrinth of pastries, dairy, meats, fruit, vegetables and wine, brought in by growers and producers from all over the region. A couple of cheeses in hand, I pause for a sneaky mid-morning wine tasting. Then it's up to the first-floor restaurants for lunch, where the chefs source their produce in the early morning from downstairs. Such focus on the best of ingredients continues in Toulouse's numerous wine bars and eateries. Situated between two wine regions — the South West (or Sud-Ouest) and the Languedoc-Roussillon — the city is a meeting point for both. Legendary brandy-producing area Armagnac is also nearby. To taste your way across a huge range without breaking the bank, drop into No. 5 Wine Bar (5 Rue de la Bourse; +33 (0)5 61 38 44 51). I stumble across it by accident while wandering among a bunch of arty, independent shops around Rue de la Bourse. With a 'tasting card' in hand, visitors can help themselves to the wines on offer, sampling as much — or as little — of each as they like, without having to invest in entire glasses. The 36-bottle selection changes every night. Other excellent bars include L'Oenotilus (Boulevard Griffoul Dorval; +33 (0)5 62 16 39 47), which occupies a converted 1927 barge beneath the leafy trees of the Canal du Midi, and the quirky Au Père Louis (45 Rue des Tourneurs; +33 (0)5 61 21 33 45), established 1889, where you can quaff at the original, zinc-covered bar. Definitely try the quinquina, a fortified wine zinged up with cinchona bark and herbs. Also worth checking out are the laneways around Rue Castellane and Rue de L'industrie (800 metres east of the centre), where funky, grungy holes-in-the-wall serve up affordable, internationally diverse eats. SLEEPING Just around the corner from Rue de L'Industrie is a boutique hotel by the name of St. Claire (29, Place Nicholas Bachelier; +33 (0)5 34 405 888; contact@stclairehotel.com). Welcoming, airy and light, it feels more like a country home than a city hotel. I take a room on the third floor, with district views. Rustic cane and wooden furnishings are in line with classic French aesthetics, but, the concierge tells me, they've been arranged according to the principles of feng shui, which is why the whole place feels so unusually tranquil. Breakfast is a generous selection of pastries, cereals, fruit and yoghurt served in a cute downstairs café. For a slicker, more grown-up option, there's the Citiz Hotel (18 Allées Jean Jaurès; +33 (0)5 61 11 18 18; contact@citizhotel.fr). Situated on the edge of the town centre, it's close to major attractions and is housed in a beautiful, heritage-listed building. Inside, though, interiors have been swished up with a cool, contemporary revamp. Spacious rooms are decorated in sleek chocolates and creams, and splashed with mauve lighting, to particularly spectacular effect in the bathrooms. In the morning, a generous breakfast buffet takes over the downstairs dining room, where large bay windows afford views of the city rolling into action. OUT-OF-TOWN ADVENTURING The Pyrenees, the Mediterranean and the Haute Languedoc are all within two-hours' travel time of Toulouse. Theoretically, you could throw snowballs and swim in the sea between dawn and dusk. I catch a train east, to Mazamet, a market town in the foothills of Montagne Noire (or Black Mountain), where I meet Angus Longstaff — Aussie-turned-French citizen who's spent his life chef-ing, travelling, wining and dining, and now runs tours around South West France. Tell him where you'd like to go and what you'd like to do and he'll organise it — whether you're looking for obscure mountain villages, truffle-foraging expeditions, off-the-beaten-track markets, home-cooked lunches with French families or wineries. Passengers can design their own adventure or choose from a bunch of one-day itineraries. "I just spent the week driving around an Australian couple, who are looking at buying a chateau. You can buy an entire castle in France for less than the price of some Australian houses," he laughs. Angus is easygoing and fun-to-be-around. Whether you're interested in buying real estate, what makes one French wine region different from another, the latest headlines hitting Australian news or Heston Blumenthal's most recent move, he's up for a chat. Our morning starts with a visit to a tranquil, centuries-old village, where there's not another tourist to be seen. We watch a traditional instrument maker at work and chat to a local seamstress whose shop is filled with striking blue-purple clothes, made with dye derived from the area's renowned violets. Then, we head to the home of a local winemaker and her four sons, who serve us a long lunch around their sunny kitchen table, accompanied by wines made from grapes grown, harvested and stomped in the vineyard just outside. In the afternoon, we wind our way to heritage-listed Carcassonne, a medieval, fortified city that's home to 53 towers, stunning panoramic views and a really, really good chocolate shop. At sundown, Angus drops me back in Mazamet, at La Villa de Mazamet. Built in 1934, it was originally a family home, but following a mid-2000s renovation, is now a lush bed and breakfast run by Peter Friend and Mark Barber, from England. "For us, it's a passion," Mark tells me. "It's what I've always wanted to do. I feel lucky to be here and to be able to share it with other people." Peter is a self-trained chef, who cooks four-course meals for guests in the evenings, while Mark is a wine expert. The villa is surrounded by beautiful landscaped gardens, a pool and, in the former wine cellar, a private, underground spa. "Mazamet is a popular choice with Australians," Mark says. "I think it's because they like getting to destinations that are a bit away from the beaten track." Jasmine Crittenden travelled as a guest of Toulouse Tourisme, St. Claire Hotel, Citiz Hotel, Fine Wine Tours and La Villa de Mazamet.
Melbourne, your prayers for an eclectic post-ironic, Hawthorn based club with 24-hour licensing have been answered. Untz Untz (the phonetic sound of dance music and generally jovial shit-facedness) has recently opened on Glenferrie Road and is promising great things for the neverending live music and cheap pizza scene. Untz Untz is basically a nightclub (or, as they would have you believe, a multi-faceted entertainment venue) and the hot tickets so far are the many and varied theme nights on offer throughout the week. They'll be trading four nights a week: Cheers Tuesdays (the $8 Skittle Bombs are a big hint it's a party for uni students); Animal House on Thursday; Beta Bar Fridays (a cosplay/video game themed night); and a night simply called Adultery on Saturdays (a 21+ club night with a revolving mix of house, techno, disco, hip hop, soul, funk and R&B and nary a raspberry vodka in sight). And did we mention the trippy infinity light-up dance floor? Yeahhhh. We're planning to throw every last shape on that. While the team is still expanding the empire, keep an eye on their channels as the venue is determined to make live music (featuring local acts) the big drawcard for their nights. And come September, we can expect a two more additions: a pub called Holy Moly, and its counterpart bar called Boozy Soozy, where you can expect $4 pizzas in the style of Bimbo Deluxe and cocktails on tap. Hawthorn just became our new favourite party place. Untz Untz, 660A Glenferrie Road, Hawthorn; open Tuesday, Thursday, Friday and Saturday.
Remember how it rained all last winter? Well get set for another rainy season, folks: as I write this I'm looking out on to a rain-sodden Oxford Street. What with Sydney being all about beaches and carousing in the sun, we seem to cope less well with the wet and the cold. But there's so much this city has to offer, and in particular when it's miserable out and the nights get too cold to venture outdoors, one of the nicest things to do is hang out with a book. Or better yet, hang out in one of Sydney's lovely independent bookshops, which we should all be supporting. With this in mind, we present to you our pick of Sydney's ten best bookstores. 1. Gertrude & Alice Where: 46 Hall St, Bondi Beach Wall to wall books. Books from ceiling to floor, interspersed with communal tables. Gertrude & Alice is what Shakespeare's is to Paris, and provides a welcome haven amongst the surfers and backpackers of Bondi Beach. The food served is fresh and universally excellent, and it's one of the best places to go if you're feeling a bit lonesome, because the welcoming communal tables ensure that you'll always feel at home. Named after Gertrude Stein and Alice B. Toklas, the famous expat American couple who encouraged the careers of Hemingway and Henry Miller, amongst others, there's a lot of heart to this place, as well as lovely velvet sofas and delicious chai. They also boast a Hemingway room, quieter and lined with reference books and the perfect place to woo another attractive bookworm. 2. Better Read Than Dead Where: 265 King Street, Newtown I have spent a lot of money in this place. I only realised how many times I was in there over the summer when one of the sales girls said to me "You're in here all the time, and I've always wanted to say I really like your dresses." Which was lovely to hear, because the rest of my scanty budget goes towards dresses. Better Read Than Dead have one of the best staff recommendation systems around, and they'll often hook you up with things you'll love forever which you'd never find on your own. Everyone working there is incredibly helpful and chatty if you engage with them, but they'll otherwise leave you to your own devices. Close to Camperdown Memorial Park, one of the nicest things to do when it's sunny is to get yourself a book and find a tree to lie under and read. 3. Berkelouw Books Where: 19 Oxford Street, Paddington, 8 O'Connell Street, Newtown, 70 Norton Street Leichhardt and 708 New South Head Road, Rose Bay Berkelouw are kind of everywhere right now - seriously, there's one adjacent to a carpark in Cronulla. But each of them feels individual, and each of them are awesome. The better branches of Berkelouw are the older ones: Paddington and Leichhardt, as well as the newer, but adorable, Newtown branch. Berkelouw comes with a cafe and comfy leather couches for you to squish up in and read for hours, and there's also a separate second hand section which is always worth a look. I would personally recommend the Newtown Berkelouw, if only because of its close proximity to T2 and Guzman y Gomez, it's welcome student discount, and the fact that the first time I went in they were playing The Smiths. 4. Gould's Book Arcade Where: 37 King St, Newtown You cannot argue with this place. It is the undisputed king of second-hand books in Sydney. You could disappear into this place and never come out again. I would wager you could find a gateway to Narnia in Gould's. With a liberally relaxed policy when it comes to organisation, you'll find Marxist histories of industrial labour sitting side by side with a 1996 travel guide to Slovakia. But stick around for a couple of hours (and you can, it's open until midnight, after all) you'll find treasure for a pittance. At the centre of the store was, until his death in May of 2011, Bob Gould himself, the silvery-bearded stalwart of Sydney's sixties counter-culture who was once arrested for his anti-Vietnam and anti-establishment activities. 5. Kinokuniya Where: Level 2 The Galleries, 500 George Street, Sydney Kinokniuya is the only big chainstore included on the list, but this list would be nothing without it. The Japanese bookstore giant believes in promoting art and culture, not just hocking the best-selling pulp-literary tat to people, and has been one of the most welcome additions to the city in the past few years. Kinokuniya is awesome - it has everything, the stuff you can't find anywhere else, ever. You can spend hours hanging out in the light-filled building which overlooks the criss-crossing pedestrian traffic of the George and Park Street intersection. It boasts an entire Japanese section, the best range of graphic novels and manga and an incredible range of art and design books, as well as every kind of fiction under the sun. Kinokuniya also features an in-store gallery to showcase emerging artists. 6. Gleebooks Where: 49 Glebe Point Road, Glebe, 536 Marrickville Rd, Dulwich Hill and 191 Glebe Point Road, Glebe (Antiquarian & Second-Hand) Gleebooks is a Sydney institution. The city's most reliable independent bookseller for many years, they stock an unbelievably vast range of books; fiction and non-fiction alike, and often play host to talks by international and national figures, including The Chaser boys. When they talk about independent booksellers being in peril, you know that Gleebooks will be the last to go. Its second-hand and children's sections are located further up Glebe Point Road, and are completely worth the walk up the hill. Also, a Dulwich Hill branch recently opened up which is a very welcome addition to an often neglected portion of the Inner West. 7. Ariel Books Where: 42 Oxford St, Paddington and 103 George Street, The Rocks Ariel have a fantastic selection of art, architecture and design books adorning their shelves. The shop's interior is open and clean, although there are some delightful lanterns which pretty up the place, and it has the benefit of being open until midnight. Mostly it's the awesome range of books and the atmosphere of the place which makes Ariel so nice, but you can also get yourself a Moleskine, some Mexican kitsch ornaments or some chocolate, if they take your fancy. A stone's throw away from the College of Fine Arts and on the edge of the city's hipster quarters, the place is filled with a mix of spaced-out locals, art school kids and some very attractive bookish types. 8. Sappho Books, Cafe & Wine Bar Where: 51 Glebe Point Road, Glebe Sappho's is a cafe and wine bar as well as a second-hand bookshop, and has the loyal custom of many of the local Sydney University students. The pokey little shop has a huge range of books on every subject matter and has been hosting regular poetry nights for the last couple of years. You're always certain to find what you're looking for, and often in really nice editions: some of the copies from the '50s and '60s you'll find are so nice you'll want to frame them. This is also the only place on this list where you can sit with a book and a glass of wine, or a jug of sangria, until the wee hours under the shade of the jasmine and banana trees. 9. Ampersand Cafe Bookstore Where: 78 Oxford St, Paddington So easy to miss amongst the tumultuous crowds on Oxford Street, Ampersand is bigger than it looks from the street and a haven away from the city and the crowds. With a good range of second-hand books tucked away across three floors and offering amazing, cheap first-edition copies of books like The Master & Margarita and The Human Stain, Ampersand also wins on the coffee front - it is truly excellent. Downstairs is a communal table if you feel like making some friends, or you're perfectly welcome to hang out on your own. 10. Journeys Bookstore & Cafe Where: 127 Trafalgar Street, Annandale Journeys is another very cute bookstore and cafe, housed in a converted terrace, where you're invited to flip through the pages of books while sipping some tea. The titles are all handpicked, and there'a seriously good travel section. Upstairs is the best bit, a bright airy room decked out with comfy couches, and surrounded by seven bookcases. Each case represents a region of the world, and you'll find travel guides, history, fiction and travel literature to match every country in that part of the world. If you wish you were elsewhere there's no better place to imagine it.
2025's Melbourne International Film Festival unveiled its initial titles in early June. A month later, the year's full program arrived with hundreds more movies on its slate, ready to play to the Victorian capital's cinephiles across 18 busy August days. Before July was out — so, well ahead of the Thursday, August 7–Sunday, August 24 fest kicking off — Pasa Faho had already sold out every one of its MIFF sessions, becoming the first film to do so this year. Igbo Australian filmmaker Kalu Oji's debut feature deserves that warm, hearty, enthusiastic embrace; it offers the same to the Adelaide-born writer/director and visual artist's own community, thoughtfully and tenderly so. Pasa Faho shot "over a year and a half ago now, and it feels like it's been quite a long time since we've been in the real thick of the project", Oji tells Concrete Playground; however, Melbourne's response to the world-premiere screenings of the movie, sellouts included, "brings a whole new life to your relationship with the film". He continues: "as soon as it's out in the world and the audience embraces it and becomes part of that process, it's a reinvigoration of all those feelings and all that excitement that was so rich and so present a little while ago". Oji has channelled his own passion into a feature that sprang from him wanting to ask questions — a picture that moulds his queries into a father-son story, an exploration of African Australian life, an unpacking of family structures as well as communities, a musing on what it means to be an Igbo man today, an examination of expectations and clashes around them, an interrogation of straddling two cultures, and more. As it tells of Melbourne shoe salesman Azubuike (Nigerian stand-up comedian Okey Bakassi, Bank Alert) and his 12-year-old son Obinna (Tyson Palmer, Young Rock), Pasa Faho steps into their relationship, and also the existences of those around them, in a heartfelt yet equally clear-eyed manner. The film's title, a play on words stemming from "parts of a whole", is a clue to its emotional journey and tone. Two changes shake up Azubuike's routine: Obinna's move from interstate, which is initially cause for elation more on the former's part than the latter's; and the discovery that the store that Azubuike manages is being sold to developers. Oji's protagonist is caught, then, between trying to provide a solid foundation for his child, including fighting for the job, the paycheque and the proudly hardworking sense of himself that he believes is pivotal to that life, and being able to spend time and be open with Obinna — and between his perspective and ideals, as shaped by his upbringing far from Australia, and the experience of a son whose childhood couldn't be more different. Pasa Faho also spreads its focus to Amaka (first-timer Laureta Idika Uduma), Azubuike's sister and Obinna's aunt, and her tale of sacrifice to do what's expected — and to Yorgos (Kostas Makrygiannakis, The Slap), aka Bogo, the septuagenarian European florist whose own store adjacent to Azubuike's is equally under threat. And, it sees Azubuike's colleague Yrsa (Tardif Hélène, The Industry), a friend impacted by the impending building sale. In its sights as well: Nigerian preacher Edward (fellow newcomer Idika Mba Uduma), too, as he balances his ambitions with his responsibilities as a leader in Melbourne's Igbo community. Oji's filmmaking journey began at the Victorian College of the Arts, with his 2019 graduate film Blackwood making its way to the likes of Palm Springs Shortfest and the BFI London Film Festival, and winning awards at Flickerfest and the Atlanta Film Festival. 2021's The Moon and Me was acquired by San Francisco's Museum of the African Diaspora, while 2023's What's in a Name? picked up another Flickerfest accolade, plus the Craft Award at Sydney Film Festival. Each is "an essential part of series of steps" leading him to Pasa Faho, he explains. "They gave me experience in terms of being on set, and how I like to direct actors and direct, and what I find works when I've got a vision or an idea — and how I get close to that or 'if I do X and I get Y, do I like Y and would I apply that to my practice?'. And there's all those practical tools and practical experiences I think it gave me as a director." "And then mentally and emotionally — I guess energetically — how I like to be on set and the kind of environment I want to make films in, and the kind of space I want to create on the set. It gave me a very firm idea of that that we took into the feature film. And tonally, stylistically, I think if you watch the short films we made from Blackwood, they're all different stories but I think you'll see they're all very, very, very similar-ish tonally. I think that those years of making those shorts helped me find my style, helped me find the things I'm interested in — even though it's ever-changing — and helped me find the tools and the lens that I wanted to approach Pasa Faho through." That Paso Faho is personal, and also intimate — that it brings an insight into the Melbourne's Igbo community, too — was always key. Did that come with a sense of responsibility for Oji? "Many, many hands helped make this film, and many minds went toward what you see on-screen. And I think there is a responsibility for sure, and as a writer, as a director, I lead that in some way and I carry that," he notes. "But working in collaboration, I think, is always the best way to do justice to those ideas." What it means for this Melbourne-set and movie to have world-premiered in Melbourne, the questions that the film arose from, fleshing out the narrative from there, key elements that were always part of the filmmaker's vision for the feature, the consultation and casting processes: we also discussed all of the above and more with Oji. View this post on Instagram A post shared by MIFF (@melbfilmfest) On the Significance of Premiering the Melbourne-Set and -Made Paso Faho in Melbourne "The crew had been working together for quite a long time, and we've built somewhat of a film family over the last nearly a decade now. I think so many of the people that have supported that journey and have made it possible for us to continue that journey are here in this city, and in our families and our communities and all those circles. So I think to be able to launch the film with everyone who's made it possible for us to even be at this point feels like a blessing. It feels really really appropriate." On Pasa Faho Springing From Wanting to Ask Questions "I had started writing the script in 2020, towards the end of 2020. And I've made quite a number of shorts, and been wanting to step into the feature filmmaking space — while being aware and listening to what people were telling me in terms of 'it could take five, ten, 15, 20 years to get a film up'. So when I sat down to start writing, I was looking at 'what are the themes, what is the material that is most present in my mind that I feel like I'm going to be wanting to explore if it takes as long as it takes?'. And so for me, that's the place I started writing from. In terms of the questions and what I was wanting to explore in the film, obviously it's a world that's very, very close to me and characters that are very, very close to me. And I think a lot of the time, I think I've often felt — and this is for Azubuike, Obinna, Amaka, Bogo, for all these people, for all the characters that existed in my mind — I guess it was me wanting to go behind the curtains of these people's minds. I think these are characters, and the problems the characters face in the film are problems, that I've felt like I've seen versions of from the outside. And I think the film was me wanting to understand what's behind all of that, and what does that weight feel like, and what does that joy feel like? It was me wanting to understand these characters." On Fleshing Out the Film's Narrative From Those Initial Queries "I think it started, the way I wrote this film, I wrote a vomit draft and then refined it from there. I think the vomit draft was much more themes and ideas and character-based, and probably less of a plot. I think once I had those pieces, and once I became aware that 'okay, I'm wanting to explore fatherhood; I'm wanting to explore the relationship between a father and a son, and when you have these two people who look at the world through two different lenses; I'm wanting to explore expectation and the pressures, and the familial pressures that a character like Amaka receives whether directly or indirectly; I'm wanting to explore regret and how one comes to terms with decisions that they would have made differently in the past through the character of Bogo'; I'm wanting to explore religion, with the church and the church's relationship with my community, with the Nigerian community, and this relationship between church and land and ownership and all those things — once I had all those ingredients on the page in some way, I think I began to look for a thread and look for a plot that allowed me to speak about them. And, to explore them in the way I want to explore them, while also being very aware — and becoming more aware for our production as well — that I'm wanting to make a piece that is entertaining. And it's got twists and it's got turns, and there's stakes. And for an audience, it's not purely just an observational character piece, but it's a plot that the audience dig their teeth into as well." On Making a Work of Fiction That's Also a Very Personal Film — for Oji and for the Community "It's tricky. I think because you're not writing from a completely blank slate, it takes a very conscious effort to try to shake off any reservations or baggage that comes from these characters being abstractions of things that are really close to you in real life. And I think that work is a lot more active and conscious and tricky than if you're writing characters that are completely distant from you. So I think I probably felt that most in the development phase." On Pasa Faho Being Both Deeply Specific and Also Universally Relatable "In terms of making a film that felt it was very, very specific, while at the same time feeling universal, I think on the surface it's about a father and a son, and a father undergoing this set of trials and this reckoning which pushes him to ask questions about how he relates to his son, and brings them closer or further together — and I think that relationship between parent and child is inherently relatable. Everyone has had or has a parent, and lots of us also have children. So I think that, whether you set this story in the Igbo Nigerian community here in Melbourne, whether you set it in the Polish community in Warsaw, you set it wherever in South Africa, I think there's a relatability that is embedded in the exploration of that relationship." On Whether There Were Specific Elements About Being an Igbo Man in Melbourne Today and Straddling Two Different Cultures That Oji Wanted to Explore and Convey in the Film "Yeah, big, big time. I think a lot it, I wanted to capture this pressure that I feel like is often felt almost universally by people who are in the diaspora, and more specifically people who have been born and raised on the continent and moved abroad, especially moved to 'the west' — but the pressure that comes along with finding yourself in that position. You never exist in isolation. You're never just living for yourself. And that's a beautiful thing. And the fact that community and family and all those values are held so strongly in a culture such as ours, such as Igbo culture, is a beautiful thing. But there's also a lot of pressure that comes along with that, especially financially. And the weight of that pressure, I think, is often not talked about. I think there's an expectation you often just keep your head down and you move forward. I think those sacrifices that people also find themselves in — a character like Amaka, who, in another life, maybe she wanted to be a zookeeper or a painter or a football player or whatever she wanted to do. Someone in her position, you have very limited options in terms of what you're expected to do. And to feel the way that she feels in the film, it's a taboo thing. It's unspoken. So I definitely wanted to explore that. And I also very much wanted to capture the push and pull of being in a country like Australia, with your roots of family in Nigeria, and trying to raise a child in your shadow or in your values — where Nigeria and Australia are very, very different places, and it's hard when you have a child that is raised to look at the world through one certain way, but you've never had that lens or that vision because you were raised to look at a world in a very different kind of way. There can be a lot of tension in that experience, and I want to capture that." On Consulting and Engaging with Melbourne's Igbo Community to Help Shape Pasa Faho "Yeah, yeah, 3000 percent. All throughout the process, it's quite — I've forgotten at what point in development, but quite early on. I live here and these people I've known from before they were involved in the film. But at a certain point in development, we formalised workshops and meetings and sitdowns, and especially getting that perspective — because I don't have Azubuike's perspective, and we're trying to understand him as a character. Meeting with people of that generation of men, with men of that generation with children as well, who've moved here. We wanted to get a richness and authenticity. And also, it's very much I wrote and directed the script and the seed of it came from my heart, for lack of better words, but this character is crafted to be a depiction of that experience in general. And so what came from those meetings, and what came from those sitdowns and workshops, were a lot of the details that make up the film. The tension between Obinna and Oscar, and him taking on a different name, came from an anecdote that someone had told me while just sitting down and chatting. The inner workings of his character and his pride, and I guess where he draws that line, that came from sitting down and speaking to people who have lived more of that experience than I have lived. So yeah, definitely. It was intrinsic. It was essential to making this film." On the Importance of Casting, Especially Finding the Right Azubuike and Obinna "It was massive. It was massive. And I think I'm, as a director and the way I've worked in the past, and the way I worked with this film and the way I want to work in the future even more so, it's so actor-focused. I love, I love — I might say I'm an actor's director. I love getting people involved in the process early. I love bringing a blueprint of a character to an actor and letting them take it with both hands and build them together, and they're bringing their perspective, and their whole set of experience and expertise, to that character — and together we make that person, that character, as rich as possible. So for casting it, because it was language-specific, we started our process quite early for the character of Azubuike and for the character of Amaka. And it was long and it was extensive. And we were aware that this person, especially for Azubuike, he needed to carry the film. The film relied on him and Obinna and their relationship, but especially on Azubuike. So eventually we got to a point of process where we felt it made sense to reach out to Okey, especially as he's got a lot of experience and a lot of charisma as a performer. But it was also this material, I think, was also asking him to step into a space that he frequents less so. And so we thought it was exciting, it was a bit of an exciting opportunity. And then for Tyson, it was less specific — we cast the net more broadly. He didn't need to speak the language. It wasn't language-specific. But as soon as we found Tyson throughout the process, he was great, we knew it from two minutes into the audition." On What Oji Hopes Audiences Will Leave the Cinema Thinking and Feeling About, and Having Discovered From Pasa Faho "I hope they're there for the journey. The film is a domestic film and it's drama, but it's a ride, and we've tried to craft strong characters on-screen who the audience can really settle in next to and beyond that. I hope people laugh. I hope people cry. I hope it offers a broad range of emotions. And I think I also hope it brings up feelings and thoughts for the audience's own relationships with people in their life — whether that's a parent, whether that's a child, whether that's whoever is close to them. I hope that it opens up a door to a certain tenderness that exists and is important in those relationships, but it's not always voiced. I hope that's what it brings." Pasa Faho screens at the 2025 Melbourne International Film Festival. MIFF 2025 runs from Thursday, August 7–Sunday, August 24 at a variety of venues around Melbourne; from Friday, August 15–Sunday, August 17 and Friday, August 22–Sunday, August 24 in regional Victoria; and online nationwide from Friday, August 15–Sunday, August 31. For further details, visit the MIFF website.
Lobster lovers, brace yourselves. After six years on Bourke Street, Pinchy's, the neon-pink temple of lobster rolls and champagne has announced its closing its doors. Born from a series of vibrant pop-ups that captured attention across the city, the restaurant opened a permanent location in 2019, giving fans of its signature lobster rolls and tapas-style cuisine a permanent spot to get a bite. Decked out with a candy-coloured eatery and a sun-drenched terrace perched above the CBD, it proved a bustling destination for fun-loving encounters and easygoing seafood delights. Launched with a fully pescatarian and vegan menu, a bold concept for the time, the venue established a cult following for its buzzing atmosphere and intimate dining experience. Yet the good times must wind up eventually, with Pinchy's closure described as "deeply emotional" by Co-Founder Samara Schnick. "We poured our hearts into creating a space that celebrated great food, genuine hospitality and moments of joy ... Unfortunately, the reality is that we can no longer make the restaurant work sustainably in today's economic climate and at this location." Amid a challenging time for hospo venues across the country, Samara explained Pinchy's faced numerous hurdles, from the cost of living and high CBD rents to a lack of post-COVID government support, making it impossible for the business to succeed in the current climate. "Though this chapter is coming to an end, we are filled with gratitude and immense pride, and we carry with us beautiful memories and lifelong friendships," she adds. Likewise, Co-Founder Jeremy Schinck was proud of the business for putting lobster rolls on the map in Melbourne alongside vegan-friendly tasting menus — a rare offering in seafood-focused fine dining. "While this chapter is ending, our passion for hospitality remains strong. We're taking time to reflect and recharge, and though I'm not sure what's next, we're staying hopeful and looking forward to creating something special again in the future," says Jeremy. Pinchy's will remain open for the next month, with the team inviting guests to join them one last time to raise a glass and bite into a lobster roll. The doors are set to close on Sunday, July 20, so schedule a final visit with the crew to relish its buttery flavours and pink oasis. Says Jeremy: "We're endlessly grateful to every guest, team member, supplier and supporter who has been part of the journey. This is not goodbye forever — just goodbye for now." Located at Level 1/200 Bourke Street, Melbourne, Pinchy's closes its doors on Sunday, July 20. Head to the website for more information.
Music and sport will collide again this summer as AO Live returns to John Cain Arena for its biggest edition yet. The only music series held at a Grand Slam, AO Live has grown into a major drawcard of the Australian Open calendar — and for 2026, it's getting even bigger. Running from Wednesday, January 28 to Sunday, February 1, the series will stretch across five nights of live performances, with a lineup that blends local favourites and global heavyweights. Headlining acts include The Kid LAROI, Spacey Jane, Peggy Gou, The Veronicas and Sofi Tukker, with additional artists still to be announced in the lead-up to summer. [caption id="attachment_1031979" align="alignnone" width="1920"] Sofi Tukker[/caption] The expansion follows record attendance at previous editions of AO Live, which transforms Melbourne Park into a festival-style precinct after the day's matches wrap up. Alongside the main stage at John Cain Arena, fans can expect live music and DJ sets scattered across the grounds — from laidback acoustic sessions in Garden Square to high-energy local talent spinning on Grand Slam Oval. According to organisers, every ticket "unlocks more than just epic music", offering access to both the AO's tennis action and the wider event atmosphere — including premium food, drinks and summer entertainment. It's an experience that continues to blur the line between sport and festival, delivering one of the city's biggest multi-night celebrations each January. Tickets start from $99 and go on sale to the general public on Tuesday, October 14. AO Live 2026 runs January 28–February 1 at John Cain Arena, Melbourne. You can view the full lineup and ticket details via AO Live. Images: Supplied
The Sporting Globe Richmond, one of the suburb's oldest pubs, needed a little TLC for quite a few years. And it finally got what it deserved in 2024: a huge $3 million renovation that centred around making this one of the best sports bars in Melbourne. And the team seems to have done a pretty bang-up job. The bar reopened in July, and immediately filled up with sports fans watching the Olympics on some of the 60-plus screens dotted about the venue — be they inside or out on the rooftop that now boasts a fully retractable awning. Once the Olympics was over, the team got onto playing stacks of local and international matches on the small teles and the huge stadium-style screen located in the main bar. Some of the booths even have their own screens, which you can switch to whatever match you'd like to watch with your mates. Games are also played with the volume turned up, so you're sure to hear all the commentary — unless everyone is cheering for a sports match or fighting over a game of pool. But The Sporting Globe is more than just a spot for watching games on the tele. Now, you can also play digital darts at the new high-tech darts lanes found across both floors. It's set up for dart pros and casual players alike, as the screens will teach you how to play each of the seven different games available. For a midweek treat, the team is even running a special darts and draught deal every Tuesday. This sees punters get an hour of bottomless Carlton Draught (or house wine) and darts for $39 per person. Other deals include half-price wings and ribs on Mondays, half-priced steaks on Tuesdays, $18.90 parmas on Wednesdays, $16.90 burgers on Thursdays, parma and pint deals on footy Fridays, discounted cocktail towers on Saturdays and $34.90 beer towers on Sundays. With specials like these, you can expect the clientele to get a bit rowdy. But that's the vibe most of us are after when heading to a sports bar. If you prefer something a little more low-key, a smaller local Melbourne pub might be your thing.
Despite brighter-than-summer colours and clearer-than-Crater Lake sound, virtual reality is still bigger on virtuality than it is on reality. That's largely because the acceptance of digital life demands the denial of touch, smell and taste. Researchers at the National University of Singapore, however, are hoping to change this. They're one step closer to adding at least one sensory dimension to cyberspace. An electrodes-driven simulator has been developed that stimulates the tastebuds to recreate four of the sensations essential to the gustatory experience: sweet, salt, sour and bitter. A digital interface enables micro-alterations in temperature. Engineer Dr Nimesha Ranasinghe told the UK Telegraph, "It uses two methods — electrical stimulation and thermal stimulation to stimulate the tip of the human tongue non-invasively ... By manipulating the magnitude of current, frequency and temperature — both heating and cooling — thus far salty, sour, sweet and bitter sensations have been successfully generated ... Simulating food is one of the future directions of this technology." It's intended that users will be able to share meals virtually and taste the results of popular cooking shows. However, there's still work to be done. The simulator is yet to prove successful at stimulating at the fifth basic flavour, umami. Plus, researchers have acknowledged that our experience of taste is shaped by a variety of complex factors, including texture, colours and smell. In a side-project, the team is simultaneously developing a digital lollipop. The plan is to provide consumers with a sweet hit without the usual risks: weight gain and tooth decay. Previous attempts at facilitating digital taste have been rendered unsuccessful by their dependence on chemicals. Requiring constant mixing and frequent renewing, they're messy, costly and impractical. Via PSFK.
Four decades back, concert film history was made. In December 1983, David Byrne walked out onto a Hollywood stage with a tape deck, pressed play and, while standing there solo, began to sing 'Psycho Killer'. Then-future The Silence of the Lambs Oscar-winner Jonathan Demme directed cameras towards the legendary Talking Heads' frontman, recording the results for Stop Making Sense. The best way to celebrate the 40th anniversary of the event behind the greatest concert film ever made arrived in 2024, and in cinemas. That'd be watching it on the big screen, of course, with cult-favourite independent film and TV company A24 — and Madman Down Under — releasing a complete restoration of Stop Making Sense. What's the second-best way to celebrate the occasion and the movie? Catching that new 4K version at home now that it's on Madman's documentary streaming service DocPlay from Thursday, June 13. Wearing big suits is optional. Now able to burn down your house — not literally, naturally — the 4K restoration premiered at last year's Toronto International Film Festival, and also had a date with SXSW Sydney's Screen Festival in 2023. So, no it isn't the same as it ever was: Stop Making Sense is now even better. The film isn't just iconic for how it starts, which definitely isn't how concerts usually kick off. From there, as captured at Hollywood's Pantages Theatre in December 1983, David Byrne, Tina Weymouth, Chris Frantz and Jerry Harrison put on one helluva show in support of their previous year's album Speaking in Tongues. Expect a lineup of hits, a playful approach, Byrne's famous oversized attire and even heftier stage presence, and the feeling that you're virtually in the room. Indeed, everything about this energetic and precisely executed documentary, which records the set from start to finish, couldn't be further from the standard concert flick. As 'Once in a Lifetime', 'Heaven', 'Burning Down the House', Life During Wartime', 'This Must Be the Place (Naive Melody)', 'Genius of Love' and more get a whirl, each element of the movie is that fine-tuned, and every aspect of the band's performance, too. And if it feels like Byrne was on-screen not that long ago, that's because his Spike Lee (Da 5 Bloods)-directed solo concert flick American Utopia did the rounds of Aussie cinemas back in 2020 — and proved one of that year's absolute best films. Check out the trailer for Stop Making Sense's 4K restoration below: Stop Making Sense is available to stream via DocPlay from Thursday, June 13, 2024. Images: Jordan Cronenweth, Courtesy of A24.
The erstwhile Power Station B in North Geelong sat vacant for nearly 50 years. Then, in 2015, it became Australia's largest street art gallery. The 3000-square-metre structure, set on a six-acre plot facing Corio Bay, features nearly 20-metre walls, staircases, windows, long-disused rooms and even old cars that have become a canvas for legal street art. There are well over 300 artworks in the space, so be sure to take your time here. Images: Julia Sansone
Melbourne might be one of Australia's most exciting cities, but it's what lies outside of its limits that'll really knock your socks off. No more than a few hours drive from the hulking glass towers of the CBD, you'll find that the Garden State is home to an incredibly diverse landscape of pristine coastlines, rugged mountain ranges, sprawling hillsides and hidden valleys — all of which offer some truly fantastic hikes. Once you've mastered the walks in and around Melbourne and some local one-day hikes, you should consider taking your trekking to the next level and plan an overnight hike. In partnership with Macpac, whose main goal since 1973 has been to ensure both new and experienced hikers are prepped and ready for any type of adventure, we've not only created a full guide of essentials to consider for an overnight hike, but we've also tracked down where to take said hikes. Most of these treks are achievable with an average level of fitness, but to ensure your hike goes smoothly consider investing in some proper camping and hiking equipment (thanks Macpac) — and a cosy jumper wouldn't hurt either. Here, we give you five overnight hikes to try this autumn where you'll also get some pretty stellar sights. FALLS TO HOTHAM ALPINE CROSSING — THREE TO FOUR DAYS This 37-kilometre hike set 2000 metres above sea level provides every opportunity to completely unwind from the hustle and bustle of city life. From lush native wildlife to tranquil valleys and riverside wetlands, the high planes are a treasure trove of scenic beauty and crisp mountain air. It's not the toughest walk in the state, but you'll need a moderate level of fitness for some of the steeper parts — but don't worry, there are also plenty of easy sections to balance it all out. It's a point-to-point track, so it can be started from either end, but we recommend setting out from Falls Creek and walking towards Mt Hotham. From the trailhead, it's roughly 14 kilometres to the Cope Hut Campsite, which just happens to be surrounded by lovely snow gums, and then another 20 kilometres to the Dibbins Hut Campsite. You'll need a permit to camp, so make sure to book one through Parks Victoria before you go. Pack this: Doulight Tramping Tent ($799.99) WILSONS PROM EASTERN CIRCUIT – TWO TO THREE DAYS Every person and their dog has heard of the Wilsons Promontory eastern circuit, and that's because it's an absolute ripper of a walk. As part of the southern circuit and beginning at the Telegraph Saddle carpark, the 36.5-kilometre hike features a stunning and unmistakably Australian combination of rolling green hills, curious wildlife and secluded beaches with clear turquoise waters. You also have two options for this hike; you can head from Telegraph Saddle to Sealers Cove or Refuge Cove. From either cove, you'll then head to Little Waterloo Bay and then back to Telegraph Saddle. Although the walk is often nominated as one of the best walks in the state, it's still one of the quieter sections of the Prom — which makes it the perfect choice for the peaceful city escape you've been dying to have ever since Christmas break ended. Take note, you'll need an overnight hiking permit before you head out and you'll need to book your campsite in advance. Pack this: Latitude XP Down 500 Sleeping Bag ($599.99) [caption id="attachment_712104" align="alignnone" width="1920"] Brian Doecke/Wikimedia.[/caption] LAKE TALI KARNG HIDDEN LAKE CIRCUIT – TWO DAYS Part of the Alpine National Park near Licola, the Lake Tali Karng Hidden Lake Circuit looks just like a landscape painting, only it's better because this is real life. Set in the Victorian Alps and fed the snowmelt waters of the Wellington Plains, the lake is approximately 14 kilometres from your starting point at McFarlane's Saddle on Moroka Road. Along the way, you'll enjoy an awe-inspiring combination of snow gum forests, towering trees and grassy plateaus before camping overnight at the serene Nyimba Camp or Millers Hut. Don't forget that the land your on is sacred to the Gunaikurnai people of Gippsland, so please be respectful of their rules and refrain from camping right next to the lake itself. Pack this: Fiord 1.1 40L Hiking Pack ($299.99) [caption id="attachment_712106" align="alignnone" width="1920"] Visit Victoria.[/caption] THE BEERIPMO WALK IN MOUNT COLE STATE FOREST – TWO DAYS Offering mesmerising views from Mount Langi Ghiran, all the way across to the Grampians and to the Western Plains, the Beeripmo Walk is a winding 21-kilometre hike through impressively tall forests, trickling waterfalls and vibrant fern gullies. An hour from Ballarat and completed over two days, this trek is a perfect starting point for experienced bushwalkers looking to graduate into something a little tougher. And, if you're really lucky, you might be treated to a few wildlife sightings of monarch butterflies, wallabies and even wild echidnas. There are no fees to stay at the Beeripmo Campground (which makes it a popular spot), so you might need to go a little further to the Mugwamp Campground — but either way you'll still be getting a great view of some of the brightest stars you'll ever see. Pack this: Pisa Polartec Hooded Jacket in women's and men's styles ($299.99) THE BURCHELL TRAIL IN THE BRISBANE RANGES NATIONAL PARK – THREE DAYS Just over one hour's drive from Melbourne, the Burchell Trail is a 40-kilometre hike that takes you from the north end to the south of the Brisbane Ranges National Park. The historic ghost town of Steiglitz (which at its gold mining peak in the 1860s was home to almost 1500 people) and a vast array of native critters and flora are just a few of the sights you can expect as you traverse the rugged landscape. The trail is linear, so you'll either need to complete it as a circuit by doubling back the way you came, or arrange for alternative transport to ferry your very tired butt back to you car. Campsites are found at the Old Mill and Little River Bush Camping and advance bookings are required. Pack this: Traverse Shield Rain Jacket in women's and men's styles ($529.99) Top image: Wilsons Promontory, Visit Victoria.
Like everything creative, the pottery scene in Melbourne is huge, and Bisque Studios is right there at the forefront of it. It's all about creativity, exploration and growth here, and considering pottery is one of the oldest human art forms, the potential is limitless. Bisque Studios offers a range of courses that take place in its beautiful, light-filled studio. It offers beginner classes on the wheel where a complete novice can learn the technique of throwing, as well as trimming and glazing. At the end of each term, students will be able to take home some of their pieces after they've been fired in the kiln. There are intermediate classes for the wheel, too, as well as hand-building lessons for those who want to get more creative. [caption id="attachment_920507" align="alignnone" width="1920"] Phoebe Powell[/caption] If you're not quite ready to commit to a term, there are drop-in workshops, too. There's stacks on offer here, from bisque and nerokimi layering to marbling and kid's holiday workshops. For those with a foundational knowledge of all things clay, Bisque Studios is available for private use. For a three-month subscription, you'll have full access to its facilities, including the in-house firing service. And if you're more of a homebody, Bisque sells custom-made do-it-at-home kits so you can turn that unused space into a studio all its own. [caption id="attachment_920513" align="alignnone" width="1920"] Melissa Cowan[/caption] Top image: Melissa Cowan
First-time visitors to Singapore have a lot on their plate with the city's cuisine, museums, attractions and parks. But dig a little deeper and you'll find a diversity of rich experiences that'll help you get under the skin of the city. Whether this is your first trip or your fifth, these off-the-radar destinations in Singapore will help you delve into the island's vibrant history. Along the way you'll explore pristine natural spots, see unique architecture, try exquisite eats and rub shoulders with locals. We've partnered with the Singapore Tourism Board to showcase some of the best hidden gems across the country. From former military enclaves and heritage neighbourhoods to beautifully repurposed spaces and island destinations, these spots will elevate your next Singapore adventure. [caption id="attachment_864395" align="alignnone" width="1920"] Lim Wei Xiang (Singapore Tourism Board)[/caption] THE RAIL CORRIDOR A shining example of Singapore's bid to be hyper-modern while honouring its history, the Rail Corridor is a 24km-long green passage through the city's heartlands. The former railway track is a classic example of Singapore's commitment to being 'a city in a garden', while allowing wildlife to move between major green spaces. Parts of the corridor are still in development, but highlights include a former quarry, the Upper Bukit Timah Truss Bridge which was built in 1932 and a wealth of parklands. Visitors can also access the revamped (but non-operational) Bukit Timah Railway station, a conserved heritage building that first opened in 1903. [caption id="attachment_864396" align="alignnone" width="1920"] Robert Sim (Flickr)[/caption] CHANGI CHAPEL AND MUSEUM This poignant museum honours the prisoners of war and civilians that were held at the notorious Changi prison camp under the Japanese Occupation of World War II in February 1942. The families of those who were once interned at the camp have donated personal items, so the museum now offers unprecedented insights into the the fall of Singapore and prisoners' daily lives. The collection highlights include a 400-page prisoner diary and replicas of the murals painted by English bombardier and artist Stanley Warren. [caption id="attachment_864411" align="alignnone" width="1920"] Tony Hisgett (Flickr)[/caption] HAW PAR VILLA Created by Aw Boon Haw and Aw Boon Par — the sibling heirs to the Tiger Balm empire — this giant theme park in Pasir Panjang houses over 1,000 statues and 150 large-scale dioramas showcasing snippets of Chinese mythology and history. Built in the 1930s, the park was meant to provide moral guidance according to Chinese traditions. Though the original building was bombed during World War II, it was rebuilt and now features the newly revamped Hell's Museum — inspired by gruesome scenes from Chinese folklore — and dioramas depicting tales like the Legend of the White Snake and Romance of the Three Kingdoms. These days, visitors can take part in a scavenger hunt through the park for Zodiac animals or do a self-guided 'Instagram walk'. [caption id="attachment_864415" align="alignnone" width="1920"] Marklin Ang (Singapore Tourism Board)[/caption] SUNGEI BULOH WETLAND RESERVE It might be a bright, modern metropolis but Singapore is home to plenty of green spaces and nature reserves, too. At Sungei Buloh, the city's first wetland reserve, you can wander through 87 hectares of rare mangroves. Along the way, you might see some of the cheeky native inhabitants which include water monitors, mud lobsters, monkeys, mudskippers, sandpipers and the odd estuarine crocodile. There are plenty of observation posts to stop at so you can take in the impressive natural grandeur of the area. And, it's far enough off the beaten path that you probably won't be rubbing shoulders with hordes of tourists. [caption id="attachment_864423" align="alignnone" width="1920"] Singapore Tourism Board[/caption] JOO CHIAT/KATONG Named for a wealthy Chinese landowner, the Joo Chiat/Katong neighbourhood was once a coconut plantation and weekend retreat for well-heeled residents. Over the 20th century, it developed into a residential enclave for middle-class, English-speaking Peranakans and Eurasians. The area retains its eclectic pre-war architecture, though the colourful heritage shophouses have been turned into charming eateries including 328 Katong Laksa, The 1925 Brewing Co., Birds of Paradise and Rumah Bebe, as well as boutiques like Cat Socrates that stock stylish homewares, decor and accessories. There are also numerous museums exploring the area's history and culture — The Intan, Katong Antique House, and Eurasian Heritage Gallery are all worth visiting. [caption id="attachment_864426" align="alignnone" width="1920"] Singapore Tourism Board[/caption] FORT CANNING Singapore is full of history but few places capture as much of the city's past as Fort Canning Park. Over the centuries, it has been the seat of 14th century Malay kings, served as the headquarters of the Far East Command Centre for the British Army and witnessed the surrender of Singapore to the Japanese in 1942. These days, the 18-hectare space boasts nine historical gardens, the boutique Hotel Fort Canning, military history attraction The Battle Box and hosts cultural events such as Shakespeare in the Park. There's also the Instagram-friendly tree tunnel, with its spiral staircase and enormous Rain Tree. [caption id="attachment_864441" align="alignnone" width="1920"] Singapore Tourism Board[/caption] THE ISLANDS Singapore might be a city-state known for its gleaming skyscrapers and modern infrastructure, but just off its shores there's an archipelago well worth exploring. St John's Island, once a designated quarantine centre for major diseases, is now a popular destination for pristine beaches and outdoor adventures, while Kusu Island (pictured above) — named for the Chinese word for tortoise — has hidden lagoons, religious monuments and quirky folklore. Another popular spot, Pulau Ubin, is a former granite quarry that draws visitors for its military history, adventure sports, 1960s vibes and the biodiverse Chek Jawa Wetlands. [caption id="attachment_864446" align="alignnone" width="1920"] Singapore Tourism Board[/caption] DEMPSEY HILL Named for Sir Miles Christopher Dempsey, a British soldier who had a decorated military career, Dempsey Hill was once an enormous nutmeg plantation called Mount Harriet and later in the 1850s became the British-run Tanglin Barracks. Since 2007, this has been a go-to dining and entertainment district. Sample Michelin-starred Peranakan dining at Candlenut, steaks and beers at Red Dot Brewhouse and local bites at Samy's Curry Restaurant. Then, browse the retail offerings at the iconic global fashion boutique Dover Street Market (pictured above), try a pottery class at Impressions Art Studio or visit Singapore's first gin distillery at Tanglin Gin. For more incredible ways to experience Singapore, head to Singapore Tourism Board's website. Top image: Yik Keat (Singapore Tourism Board)
Fitzroy's ever-popular Colombian joint Sonido now has a sister cafe in Preston. Arepa Days focuses on its namesake dish: a South American maize flatbread that's typically stuffed with a variety of savoury brekkie options. It's a staple in the home country of owners Santiago and Carolina Villamizar, who moved to Australia 12 years ago and have since become the go-to couple for authentic arepas in Melbourne. Arepa Days even doubles as Arepa Lab, a food production kitchen that also bakes for Sonido and other local cafes and restaurants. In Preston, the duo has taken over an abandoned printing shop and turned it into a space reminiscent of Sonido, but with its own charm. Pastel blue and bright yellow hues are accompanied by a light timber ceiling and furnishings. The homey feel makes sense, considering the Villamizar's did all of the construction themselves. On the menu, arepa bases come with a variety of traditional Colombian toppings, including chorizo, chicken and blood pudding sausage. Plus, more toppings cater to the Aussie palate — think bacon, egg and cheese, or Vegemite, guacamole and tomato. Sides can be mixed and matched and a create-your-own arepa option is also on offer. For drinks, there's coffee by Wood and Co, with a Colombian single origin used for espressos and a rotating South American single origin for batch brews. There are also fresh juices, tea by Assembly and Love Chai, and Colombian hot chocolate (with cheese, mind you) to round out the drink offering. Images: Kate Shanasy
Melbourne's latest CBD pub looks set to tower over the competition. Opening after years of planning, the Garden State Hotel is a sprawling four-storey watering hole complete with public bar, beer garden, private dining room, subterranean saloon and New York-style grill. Garden State is located at 101 Flinders Lane, inside a 130-year-old building that began its life as a saw mill before playing host to Rosati, one of Melbourne's top dining destinations in the '80s and '90s. Now, under the new ownership of Sand Hill Road Hospitality – the same team behind the Prahran, Bridge and Terminus Hotels – the space has been transformed once again. In the centre of the building, punters will find a multi-level beer garden built around three large ficus trees. The space is served by a long bar, with a self-order kiosk that delivers snacks and toasted sandwiches in a flash. At the rear of the beer garden is the venue's main dining area, the appropriately named Garden Grill. There you'll feast on Modern Australian cuisine including an array of fresh seafood. Also on the ground level is the Garden State's public bar, featuring booth seating, bar tables and views onto bustling Flinders Lane. Head downstairs and you'll end up face to face with the Rose Garden, an intimate saloon decorated with French crystal chandeliers, vintage vases and rose bouquets, with a cocktail menu overseen by ex-Eau de Vie barman Kevin Peters. The first floor, meanwhile, is home to the Balcony Dining Room, a private space for 18 people with its own bar and balcony. And on the second floor? The venue's premier function space, described as "a glamorous, light-filled space for up to 120 people."
Maybe your day hasn't truly started until you've had your caffeine fix. Perhaps you like the ritual of the coffee shop experience. Or, you might just love pairing your cuppa with a cafe spread. Whichever applies, you'll have your favourite spots for a coffee — and you'll know that not all venues slinging it are created equal. According to the first-ever Top 100 Coffee Shops list, the very best place for a cuppa on the planet is Down Under. Toby's Estate Sydney flagship cafe and roastery in Chippendale in has been named the best in the world in the inaugural ranking, which made its picks based on the quality of coffee, barista experience and customer service, as well as each venue's approach to innovation, ambience and atmosphere, plus its sustainability practices, food and pastry quality, and consistency. Combined, Australia and New Zealand account for a tenth of the list, with eight other Aussie spots joining Toby's Estate, alongside one from Aotearoa. Two of those other Australian coffee shops also made the top ten: Proud Mary in Melbourne at fourth and Coffee Anthology in Brisbane at eighth. From around the globe, they were joined by Onyx Coffee Lab in the USA at second, Gota Coffee Experts in Australia in third and Tim Wendelboe in Norway at fifth — then Singapore's Apartment Coffee taking sixth place, Kawa in France at seventh, Malaysia's Story of Ono in ninth and Colombia's Tropicalia Coffee at tenth. Back to Down Under coffee havens, Veneziano Coffee Roasters in Melbourne came in at 19th, fellow Melburnian Calēre Coffee ranked 28th, Adelaide's Exchange Coffee placed 37th and Fonzie Abbott in Brisbane took 70th spot. Next came Melbourne's Vacation Coffee at 71 and Seven Seeds, also in Melbourne, at 87. Flying the flag for NZ, Rocket Coffee in Hamilton notched up 62nd place. [caption id="attachment_733568" align="alignnone" width="1920"] Proud Mary[/caption] So, in plenty of cities across Australia and Aotearoa, you've got no excuse to drink a subpar coffee. While Toby's Estate's Sydney flagship earned the list's love, it also has locations in Brisbane and Melbourne locally. "At Toby's Estate, coffee is at the heart of everything we do, and I think that's reflected in our customer's experience. Our whole team puts in an immense amount of effort to make the best coffee possible, so we're absolutely delighted to be awarded this incredible recognition," said the brand's General Manager Jody Leslie about the win. [caption id="attachment_992420" align="alignnone" width="1920"] Toby's Estate[/caption] [caption id="attachment_935274" align="alignnone" width="1920"] Fonzie Abbott[/caption] [caption id="attachment_631878" align="alignnone" width="1920"] Vacation Coffee[/caption] [caption id="attachment_918220" align="alignnone" width="1920"] Seven Seeds[/caption] [caption id="attachment_992421" align="alignnone" width="1920"] Toby's Estate[/caption] For more details about the Top 100 Coffee Shops list, head to the ranking's website.
Picnic season is upon us, so it's time to amp up your gear-game for the inevitable days spent feasting on foil-wrapped sandwiches and plastic cups of chilled wine. When shopping for picnic gear, you need to consider all the practical stuff like transportability, usefulness (don't forget a bin bag!) and practicality (can it get wet?). But it's also nice if it looks great. We've combined all those things into the following list for our picks of picnic must-haves. And every inclusion on this list is Australian-designed or made because we love to keep it local. SPEAKERS THAT DOUBLE AS ESKYS One of the only downsides to spending a day in the sun picnicking is the mandatory lugging of cooler boxes, picnic baskets, speakers and food from the car to the designated picnic spot. So, whenever possible, try find picnic gear that can do two things at once. Like this pretty and pink two-in-one cooler and speaker from Sunnylife for $199. It has a 15 litre capacity so it fits 16 cans with ice. It also has bluetooth, radio, connects to AUX and USB. If you're after something a little larger and don't require the most aesthetically pleasing cooler-box-speaker-hybrid at the beach, here's another one from Super Cheap Auto that holds 55 litres and will only set you back $60. [caption id="attachment_827827" align="alignnone" width="1920"] Image: Annika Kafacaloudis for Hattie Molloy X Curio Practice [/caption] WARM BLANKETS FOR SUNSET PICNICS Need something to wrap yourself in when the sun goes down and the spritzes aren't warming you up enough? Curio Practice is a female-owned small business making checkered and patterned blankets from the finest Australian Merino wool and made locally in Victoria. Curio Practice's blankets are of impeccable quality and beautifully made, plus, when winter rolls around the picnic baskets go into storage, they look pretty draped over lounge chairs or folded on the end of your bed. Win-win. MINI CUT-OUT TABLES FOR NO-SPILLS If you're on the clumsy side or have a penchant for sinking one too many rosés on the grass with your pals, Etsy store Noosh and Noo sells picnic tables with clever cut-out glass holders so your drink won't get knocked over and your cheese stays free of ants. The tables are handmade out of bamboo so they're light and durable, and you can have your name, initials or a symbol engraved. They're $100 and are made to order in Australia. Or, if you picnic in larger groups, Indi Tribe Collective has portable picnic tables with up to eight wine glass holes and two wine bottle holders for $259.95. PATTERNED RUGS FOR A VINTAGE VIBE Arguably the most important piece of picnic equipment is a durable but fun waterproof rug you can plonk yourself and your food on. Etsy store BreezeBoutique has loads of different colours and checks to chose from, with two size options ranging from around $89-$99. These blankets are made from acrylic and have little PU leather handles for easy travelling. If you want traditional tartan made with natural materials, Waverley Mills is Australia's oldest working textile mill and makes some of the finest Australian Merino wool picnic blankets around. They're crafted in Tassie, made to last and range from $229-$299. BEACH CHAIRS FOR THE PICNIC ELITE If you really want to take your picnic to the next level, purchasing portable fold-out chairs might be on your agenda. If you're after a stylish but comfy chair, Sunday Supply Co have designed luxe beach seats with fast-drying padded foam and fade resistant fabric. They have some very funky covers, including a sunny yellow and white striped number and a beachy black and white polka dot. If you're more low-key but still love a retro look, these striped plastic camp chairs are a throwback we can get around — especially for only $24.99. [caption id="attachment_827899" align="alignnone" width="1920"] Image: Greta Mitchell for Porter Green[/caption] ECO-FRIENDLY REUSABLE CUPS Glassware and expensive ceramic tableware have no place at a picnic, but the over-manufacturing of single use plastics are wreaking havoc on the environment. Instead of plastic supermarket cups, go for reusable options like these stainless steal party cups with splash-less lids or this double wall insulated wine traveller set. The ones featured in the image above are unbreakable, foldable silicone tumblers from sustainable interiors brand Porter Green and are $27.25 for a pack of two. If you're partial to something sparkling, these reusable pink champagne flutes are only $24.99 for two. COCKTAIL SHAKERS FOR ON-THE-GO MARGS The number one way to impress dinner guests is casually shaking and pouring cocktails like you were born to do it while effortlessly maintaining vibrant conversation. Same goes for picnics. Picnic Folk are an Australian brand selling brightly patterned stainless steal picnic equipment like lunchboxes, tumblers and cocktail shakers that are hand painted by an older generation of artisans in Kashmir. If you're more of a minimalist, this cocktail set from Grand Cru Wine Fridges comes in black matte finish and has everything you need to make a basic cocktail for $59.95. PICNIC BASKETS THAT DOUBLE AS CHEESE BOARDS Picnic basket, cheeseboard, card table — we love a picnic basket that can do it all. The Beach People have designed specialised, handmade picnic baskets that have a wooden food grade removable cheeseboard lid and an insulated interior with a zip close for $199. They also have a 'seconds' section, where they sell the cheeseboard picnic baskets that have minor imperfections for $179. If you want something a little larger, Paragon Emporium has a fold out picnic basket that doubles as a table with optional legs that are tucked away when the basket is in its basket form, plus swing out wine glass holders. GAMES TO PLAY WHEN THE CONVO ISN'T CUTTING IT Sometimes a picnic needs an element of organised fun, and, if our national sports are any indication, there's nothing Australian's love more than a bit of competition on the grass. Check out this enormous wooden Jenga from Yellow Octopus or this two-in-one lawn games bundle from Living by Design. If you're vibing the things-that-double-as-other-things picnic tip, perhaps this games-board-slash-towel from Sunnylife is a win for your next beach picnic. [caption id="attachment_828069" align="alignnone" width="1920"] Image: KoolShooters via Pexels[/caption] VINTAGE FINDS FOR ONE-OF-A-KIND GEAR With so many new gadgets constantly being manufactured, it may also be on your mind to start a collection of vintage picnic gear for a more sustainable approach. South Australian based Etsy shop, Beach Kiosk Vintage, has vintage collectables that are perfect for outdoor use and your next picnic. It might take a bit of hunting, but from 80s ice coolers to enamel fondue pots, there's something for everyone. The Vintage Retro Guy is another Etsy shop, this time based out of Geelong Victoria. It usually has a great selection of original, colourful plastic cups, saucers, plates and containers for all your portable picnic needs. Happy hunting. Image: Annika Kafacaloudis for Hattie Molloy X Curio Practice
With a new TED Talk posted every weekday, there is certainly no shortage of brilliance shared on the TED site. We are regularly amazed by the genius and passion of the thought leaders who grace the stage at ideas conference. Here, we have rounded up seven of the best TED Talks delivered in 2012 thus far. https://youtube.com/watch?v=GZadCj8O1-0 'The $8 Billion iPod' by Rob Reid Reid delivers an enlightening look at 'copyright math' (TM), a new field of study that analyzes the state of the entertainment industry based on numbers from entertainment lawyers and lobbyists. https://youtube.com/watch?v=fWInyaMWBY8 'Why I Must Speak Out About Climate Change' by James Hanson Climate scientist Hanson tells of his involvement in the debate over global climate change, revealing and outlining his intense worry about the future of the planet. https://youtube.com/watch?v=c0KYU2j0TM4 'The Power of Introverts' by Susan Cain Cain points out the shamefulness society has assigned to introverts, prizing outgoing qualities and overlooking the immense talents introverts can offer. https://youtube.com/watch?v=c2tOp7OxyQ8 'We Need to Talk About an Injustice' by Bryan Stevenson Stevenson reveals difficult truths about the American justice system, challenging racial discrimination in the criminal justice system, as well as social apathy towards the issue. https://youtube.com/watch?v=2MYsx6WArKY 'Religion, Evolution and the Ecstasy of Self-Transcendence" by Jonathan Haidt Psychologist Haidt explores the human fascination with self-transcendence, hypothesizing on the scientific reasoning behind our obsession with 'losing ourselves'. https://youtube.com/watch?v=4ErEBkj_3PY 'Robots That Fly...And Cooperate' by Vijay Kumar Within his University of Pennsylvania lab, Kumar has been building small robots that fly, sense each other, and form teams autonomously. Like a flock of birds, these multi-robot formations possess control and coordination, which Kumar studies in this talk. https://youtube.com/watch?v=BltRufe5kkI 'Abundance is Our Future' by Peter Diamandis With all the doom and gloom talk of our civilisation's fate, Diamandis' optimism stands in stark contrast. Diamandis makes the case that, as a civilisation, we are capable of inventing innovations to cope with our changing world. He believes that we can, and will, conquer the challenges facing humanity today.
Literally massive news, movie lovers: IMAX is bringing its big-screen experience to Queensland. Australia's number of giant spots to catch a film is expanding to three, with the Gold Coast joining Sydney and Melbourne. Cinephiles will be able to check out the new screen before 2024 is out, with the country's latest IMAX set to open before Christmas and Boxing Day. The Sunshine State has been in this situation before, however. South Bank's Cineplex in Brisbane was previously an IMAX but, while it still has the towering screen in operation, the picture palace hasn't shown the format for more than a decade. Accordingly, Brisbanites are set for a trip down the highway — and tourists to the Gold Coast who are keen on catching a flick during their stay have somewhere huge to hit up. The movie haven to head to: Event Cinemas Pacific Fair in Broadbeach, with an existing auditorium transforming for IMAX, which is being custom-built in. Expect a 1.1:9 aspect ratio screen, with images flickering across it thanks to IMAX 4K laser projection. There's no word yet if, like its counterparts down south, the Gold Coast's IMAX will be one of the biggest cinema screens in the world. IMAX Corporation and hospitality company EVT are aiming for a Thursday, December 19 launch, which means opening with Mufasa: The Lion King — and then showing 2024's Boxing Day slate. On an ongoing basis, film fans can expect to see not just blockbusters, but also concert films, documentaries and live events make the most of IMAX. The Gold Coast will now boast two sizeable ways to get a movie fix, with surround-screen viewing experience ScreenX making its Australian debut at Event Cinemas Robina back in 2023. Three walls, three screens, a 270-degree field of view: that's the maths behind that concept, which uses multi-projection across a screen area measuring 67.7 metres. Also in 2023, after IMAX Sydney reopened at Darling Harbour following a seven-year period where it was demolished and then rebuilt, it was revealed that another IMAX was on its way to Sydney. While it's planned for an existing Event Cinemas location as well, it hasn't come to fruition as yet. "At EVT, our vision has always been to provide experiences that escape the ordinary, and IMAX embodies that ethos. Queenslanders have long desired an IMAX cinema, and we are thrilled to bring this incredible cinematic experience to the Gold Coast," said Daniel McCabe, EVT's General Manager, Cinema Operations Australia. "Australia boasts an exceptionally passionate moviegoing audience and 2024 has already become the highest-grossing year for IMAX in the country since 2016. With audience demand at an all-time high, we couldn't be more excited to bring The IMAX Experience to the Gold Coast," added IMAX Chief Sales Officer Giovanni Dolci. IMAX will open at Event Cinemas Pacific Fair, Pacific Fair Shopping Centre, Level 1/1571 Hooker Boulevard, Broadbeach, in the lead up to Christmas 2024 — expected on Thursday, December 19, 2024. Head to the cinema's website for more details. Images: IMAX Queensgate NZ and IMAX Sydney.
The Witcher wasn't Freya Allan's first acting role. But within a mere two years of her debut on-screen credit, she was in a streaming smash. The Netflix series arrived just as Game of Thrones ended, falling into the big wave of fantasy efforts endeavouring to capitalise upon the genre's Westeros-fuelled renewed TV popularity. It did just that, sparking two more seasons that've already aired, a fourth in the works — to be co-led by Liam Hemsworth (Land of Bad), who takes over from Henry Cavill (Argylle) — and both animated and live-action spinoffs. The Witcher also thrust Allan, the show's Crown Princess Cirilla of Cintra and one of its three central characters, to fame in a huge way. The English actor isn't done with her time as Ciri yet, but she's now added a new first to her resume: her first lead film part. In fact, Baghead is only her second movie stint, after co-starring in 2021's Gunpowder Milkshake. One thing remains familiar, as it did when she appeared in miniseries The Third Day as well: Allan and the supernatural keep being linked. While that connection isn't purposeful on her part, the two-time Saturn Award-nominee — the accolades handed out by the Academy of Science Fiction, Fantasy and Horror Films, with Allan twice in contention for Best Performance by a Younger Actor in a Television Series — can see why it keeps happening. "I think once you show a certain thing, people go 'oh, she's the girl that can do that'. And it's harder to break out of a certain box," Allan tells Concrete Playground. "But it's always a work in progress." [caption id="attachment_944097" align="alignnone" width="1920"] Susie Allnutt, Netflix[/caption] Baghead tasks her with getting otherworldly by talking to the dead in an eerie pub. Iris Lark, Allan's character, inherits the Berlin watering hole when her estranged father Owen (Peter Mullan, The Lord of the Rings: The Rings of Power) passes away. She didn't know about the bar's existence otherwise but, as encouraged by a disquieting solicitor (Ned Dennehy, The Peripheral), she's soon signing up to take it over. Inside, the run-down inn offers more than anyone could ever bargain for. In its basement exists an entity that can give patrons quite the deal: for two minutes, it will gift whoever sits in a chair opposite it the chance to spend time with a loved one that they've lost. It boasts Talk to Me vibes, but the premise initially fuelled Alberto Corredor's 2017 short that's also called Baghead. The full-length version is the director's feature debut. At the movie's centre sits two key elements: the "what would you do?" question, as part of its grappling with grief; plus Allan as the twentysomething woman tussling with that very query — which Iris only learns about after the mourning Neil (Jeremy Irvine, Benediction) arrives with cash for his own date with the pub's other inhabitant — and then experiencing the consequences. Taking the horror heroine route to the silver screen is a tried-and-tested path. After Baghead, however, Allan will next hit picture palaces in 2024 in Kingdom of the Planet of the Apes, the fourth film in the latest Planet of the Apes franchise. "Apes for me is my proudest project I've done so far. I just think that everyone involved is just superb at what they do. All the actors, I watched most of the film the other day, and they just killed it. So I feel very proud of it and I'm just excited for people to see it, and I hope that they can appreciate everyone's hard work," Allan advises. We also chatted with Allan about her response to Baghead's setup, what she'd do in the same situation, how she chooses projects, her relationship with horror and taking on her first lead part — and The Witcher, of course. On How Allan Would React If She Was Given the Chance to Talk to the Dead for Two Minutes "I would. Well, I wouldn't in this film, because there's a lot of risk factors involved. But in general, if I could talk to my grandparents, I definitely would. It was two years ago we shot it, but I'm sure we must have had a conversation about it at some point while shooting. I feel like it's the inevitable question." On Allan's Initial Response to Baghead's Premise — and How She Prepared for the Part "My first response as Freya, I was drawn to that element. I think grief is such a topic that everyone can really associate to and has experienced. And so I think that's immediately something that's very easy to connect to, and is such a prevalent part of life. You can't really escape it. So I think that's profound. I just came up with a backstory and made sure I had all the details I needed, and all the questions answered that I needed. And in regards to when she lost her parents, and understanding a bit more about peoples' experience in the foster-care system where she's come from. And having just lots of conversations with people and their experiences around grief as well, even talking to my mum about it, and Alberto and the other cast as well — just having those constant conversations." On the Challenge of Taking on Her First Leading Film Role "It doesn't necessarily feel totally different to The Witcher in terms of the pressure. I think I have the same pressure on every job I do. It never really goes, whether you have a smaller part or a larger part. And also, it very much felt like I was a part of a team with Ruby [Barker, from Bridgerton] and Jeremy, who played Katie [Iris' best friend] and Neil. So, it felt like we were there to support each other." On What Appeals to Allan About New Projects — Including Baghead "It depends. I think I definitely was at a place of still wanting to learn. I mean, I want to learn on every job I do, obviously — it's just a natural part of leaving a job, you always feel like you've learned even more for the next job. I saw this as a great opportunity for that. It was my first lead in a feature and it was a great ground to learn in order to go into other projects with more experience. And I would say from here, I love to do some stuff which is completely stripped back and has no supernatural at all." On Starring in a Horror Movie But Not Being an Obsessive Horror Fan "I feel like it's an inevitability for every actor. You can't really be an actor and not have done a horror film — and actually it's, like I say, a great ground for learning a lot of things, because a lot of it actually does really revolve around physicality and building a heart rate. And you begin to realise how much physicality plays into being an actor. That really helped me for for other things. But no, I'm not immediately a horror fan — I don't know everything about horror films, but I definitely have had great experiences of watching certain horror movies. I really do think that they can be the perfect film for cinema, to go and have a have a real experience with your friends, and be scared and have a snack." [caption id="attachment_944098" align="alignnone" width="1920"] Susie Allnutt, Netflix[/caption] On Allan's Journey with The Witcher So Far "When I got that role, that was huge for me and it was so exciting. That character is always going to be hold a very dear place in my heart, and I feel very lucky to have specifically played her. I think she really gets to have such an arc throughout the whole show by the end. But obviously, you do begin to want to do new things as well. So I think when it comes to an end, it will be a bittersweet thing of saying goodbye to a character that I'm hugely grateful for, but also being excited to do new things." Baghead opened in cinemas Down Under on Thursday, February 22. Read our review.
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 anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from December's haul. BRAND NEW STUFF YOU CAN WATCH FROM START TO FINISH NOW CAROL & THE END OF THE WORLD Mental health professionals counsel against catastrophising; however, that advice clearly doesn't apply to the film and TV industry. Assuming that the worst is on its way is such a go-to that it's always doomsday somewhere on-screen. In 2023 alone, The Last of Us, Good Omens, Silo, No One Will Save You, Leave the World Behind and animated series Carol & the End of the World are among the examples, but that doesn't mean that every instance — and the list goes on — serves up more of the same. Grappling with the fact that life is finite inspires a wide array of responses, which is one of the ideas at the heart of The Onion writer and Rick and Morty producer Dan Guterman's dance with the apocalypse. Few musings on existence being snuffed out are as meditative, surreal and thoughtful as his ten-part effort, though, which finds beauty in the mundanity and monotony of being human while facing mortality head on. If your days and the entire planet's were numbered, how would you react? What would you spend your final months, weeks, hours, minutes and seconds doing? Who would you want to be with? What would matter? So also asks Carol & the End of the World, while embracing routine — so, embracing everyday reality. The eponymous 42-year-old (Martha Kelly, Sitting in Bars with Cake) is well-aware that everything she's ever known, herself included, will soon be extinct when Carol & the End of the World kicks off. There's only seven months and 13 days left until a planet called Keppler crashes into earth — an event that cannot be avoided, nor is anyone trying to thwart it (this isn't Armageddon, Deep Impact or Don't Look Up). Most folks attempt to cope by indulging their wildest dreams. Carol's daredevil sister Elena (Bridget Everett, Somebody Somewhere) sends videos from her adventurous travels around the globe. Their parents Pauline (Beth Grant, Amsterdam) and Bernard (Lawrence Pressman, Reboot) have ditched clothes and become a throuple with the latter's carer Michael (Delbert Hunt, Monster High). But Carol isn't sure what to do until she discovers The Distraction, aka an accounting office where others — such as mum-of-five Donna (Kimberly Hebert Gregory, Craig of the Creek) and first-time employee Luis (Mel Rodriguez, Made for Love) — find solace in the patterns and repetitions of the nine-to-five grind. As anyone who saw Melancholia and These Final Hours will understand, it's the connections between people that linger when the end is tangible. And as anyone who watched Baskets will instantly recognise, Kelly is perfectly cast as the woman facing the apocalypse with matter-of-fact malaise. Carol & the End of the World streams via Netflix. EVERYONE ELSE BURNS End Times are here again in Everyone Else Burns — except to David Lewis' (Simon Bird, Sandylands) disappointment, they haven't quite arrived just yet. The dutiful Order of the Divine Rod member starts this British sitcom's six-episode first season by ushering his wife Fiona (Kate O'Flynn, Landscapers), high-schooler daughter Rachel (Amy James-Kelly, Gentleman Jack) and pre-teen son Aaron (debutant Harry Connor) out of bed in the middle of the night, grabbing their go bags, and hightailing it to high ground as he shouts about the apocalypse descending and the rapture beginning. It's just a drill, however, with Aaron devastated but Fiona and Rachel relieved. David is certain that being prepared for doomsday will help him become one his cult-like church's elders. A parcel-sorting courier company worker by day and dedicated to his family's piety always, he's desperate for the approval of their chapter's leader Samson (Arsher Ali, Funny Woman), plus the congregation as a whole. Such strict devotion isn't quite the path to family harmony that he thinks it is, though — especially when Fiona is struggling with being the compliant homemaker, as aided by newly divorced neighbour Melissa (Morgana Robinson, Stuck), while Rachel wants to study medicine at university and finds a new friend in expelled Order member Joshua (Ali Khan, A Haunting in Venice). It's been almost a decade since Bird was last The Inbetweeners' stuffy suburban teenager Will McKenzie (the fellow TV comedy ran from 2008–10, with movies in 2011 and 2014). Now, he's the stodgy dad in another comic quartet — and, sporting a bowl cut made with an actual bowl, he's equally suited to the part. Bird's casting is just one stroke of mastery by Everyone Else Burns creators and writers Dillon Mapletoft (BBC3 Quickies) and Oliver Taylor (a small-screen first-timer). Skewering patriarchal religion's extremes, evangelical sects, power dynamics, mindless obedience in the name of faith and the conflicts of all of the above with 21st-century existence within a family sitcom is a divine concept, as it keeps proving across the show's initial run. The series' witty scripts deliver a flurry of jokes and pitch-perfect one-liners in every episode, but this is also a sitcom with heart and excellent performances across the board. See: Fiona's quest for fulfilment, Rachel's yearning to be herself, plus the portrayals — with O'Flynn a deadpan delight and James-Kelly expertly relatable — that bring both to life. Everyone Else Burns streams via SBS On Demand. SQUARING THE CIRCLE (THE STORY OF HIPGNOSIS) Art design can change the world, and Hipgnosis has the story to prove it. Five decades back, the English studio created the most-famous album cover ever — an image that is still as well-known now as it was then, becoming shorthand for the psychedelic and experimental both in music and life in general in the process. Everyone knows The Dark Side of the Moon's artwork. When it comes to triangular prisms, only the Great Pyramids of Giza top the black-hued illustration with a three-sided shape at its centre, a single beam of light hitting its left side and a rainbow of disbursed hues filtering out its right surface. How it came to be, and Hipgnosis' tale as well, is the focus of the Colin Firth (Empire of Light)-produced Squaring the Circle (The Story of Hipgnosis). While that's a fascinating tale anyway, with Pink Floyd's Roger Waters, Led Zeppelin's Jimmy Page and Robert Plant, Paul McCartney and Noel Gallagher among the talking-head interviewees — plus Hipgnosis' Aubrey Powell chatting to camera, and his fellow co-founder Storm Thorgerson featured via archival discussions — it benefits from having Anton Corbijn as the documentary's director. In two of Corbijn's best features, music and imagery receive his attention. The Dutch director made the leap from music videos for Depeche Mode, Nirvana, U2, Nick Cave, Roxette, Metallica and Red Hot Chili Peppers to cinema with the Joy Division-centric Control, one of the finest music biopics there is. After thrillers The American and A Most Wanted Man, he then honed in on the friendship between James Dean and American photographer Dennis Stock in Life. Squaring the Circle (The Story of Hipgnosis) is his first doco and, as well as proving an outstanding fit for his career and interests, it's as rich and detailed as the filmmaker's work always is. Come for some of the foremost examples of album art — Wings' Band on the Run, Led Zeppelin's Houses of the Holy and 10cc's Look Hear? are also featured, on a lengthy list — and stay for the insider accounts behind capturing those visuals, and the folks who made them happen, as well as a reminder that masterpieces don't just hang on gallery walls, and of the importance of album art to begin with. Squaring the Circle (The Story of Hipgnosis) streams via Docplay. DR DEATH Late in the second season of Dr Death, the concept of trust in healthcare fuels a rousing speech. In a plea for a hospital to make the right choice about the titular practitioner, the importance of doctors doing their utmost to earn, deserve and uphold the faith that patients put in them — and that the entire medical industry is based on — is stressed like it's the most important aspect of being in the healing business. It is, of course. That anyone with an ailment or illness can have confidence that they're being given the best advice and treatment, and that whether they live or die matters to the doc caring for them, is the most fundamental tenet of medicine. It's also why this anthology series keeps proving shiver-inducing nightmare fuel, initially in its debut season in 2021 and now in its Édgar Ramírez (Florida Man)- and Mandy Moore (This Is Us)-starring eight-episode follow-up. Season two of Dr Death again explores the actions of a surgeon who threatens to shatter humanity's shared belief in doctors. The first time around, Texas neurosurgeon Christopher Duntsch was sparking terror. Now, the series tells of Paolo Macchiarini, whose tale hops across the 2010s, and between Sweden, the US and Russia. Where Duntsch specialised in operating on spinal and neck injuries, often with heartbreakingly grim results, Macchiarini was dubbed 'Miracle Man' for his pioneering research into synthetic organs and regenerative medicine. In 2008, he was among the team that undertook the world's first-ever windpipe transplant aided by using the patient's own stem cells — a procedure that he hailed as a ground-breaking step forward, then kept building upon. Even without knowing the specifics of Macchiarini's life and career when sitting down to binge Dr Death's can't-look-away second season, it's obvious that everything that the Swiss surgeon claims can't be true. If it was, he wouldn't have been the subject of the third season of the Wondery podcast that originated the Dr Death moniker, or of this TV adaptation. Hospital horrors are one strand of true-crime's trusty go-tos. Another: romantic scandals. So, when the audio network that's also behind Dirty John learned of Macchiarini, it must've felt like it had hit the jackpot. With devastating results that are chilling to watch, his patients did when he offered them hope, too, as did investigative journalist Benita Alexander when she made him the focus of a gushing report, then fell in love. Dr Death streams via Stan. Read our full review. NYAD When most sports films bring real-life exploits to the screen, they piece together the steps it took for a person or a team to achieve the ultimate in their field, or come as close as possible while trying their hardest. Nyad is no different, but it's also a deeply absorbing character study of two people: its namesake Diana Nyad and her best friend Bonnie Stoll. The first is the long-distance swimmer whose feats the movie tracks, especially her quest to swim from Cuba to Florida in the 2010s. The second is the former professional racquetball player who became Nyad's coach when she set her sights on making history as a sexagenarian — and reattempting a gruelling leg she'd tried and failed when she was in her late 20s. It helps that Annette Bening (Death on the Nile) plays the swimmer and Jodie Foster (The Mauritanian) her offsider, with both giving exceptional performances that unpack not only the demands of chasing such a dream, but of complicated friendships. Also assisting: that Nyad is helmed by Jimmy Chin and Elizabeth Chai Vasarhelyi, directors making their feature debut beyond documentaries after The Rescue, Meru and winning an Oscar for charting Alex Honnold's El Capitan climb in Free Solo. Extraordinary efforts are this filmmaking pair's wheelhouse, clearly. Nyad and Stoll fit that description easily, as do Bening and Foster. With the latter, who brings shades of Michael J Fox (Still: A Michael J Fox Movie) to her portrayal, Nyad also provides a reminder of how phenomenal the Taxi Driver, The Silence of the Lambs and Panic Room star is on-screen, how charismatic as well, and how missed she's been while featuring in just four films in the past decade (from January 2024, the fourth season of True Detective thankfully places Foster at its centre). Understandably, the movie's main actors have been earning awards attention. The picture around them never stops plunging into what makes both Nyad and Stoll tick — and keep shooting for such an immense goal, even as setback after setback comes their way — with Chin and Vasarhelyi experts in conveying minutiae. Whether or not you know the outcome, Nyad is rousing and compelling viewing, floating on excellent work by its four key creative talents. Nyad streams via Netflix. MY NAME IS ALFRED HITCHCOCK Documentarian Mark Cousins knows how to delight cinephiles: turn his attention to a chapter of movie history, or the whole subject itself, then talk his way through it over a deftly spliced-together compilation of clips. So unspooled the mammoth 915-minute The Story of Film: An Odyssey in 2011, plus 2013's A Story of Children and Film and 2021's The Story of Film: A New Generation since. With 2018's Women Make Film: A New Road Movie Through Cinema, he took the same path but with the likes of Jane Fonda (Book Club: The Next Chapter), Thandiwe Newton (Chicken Run: Dawn of the Nugget) and Tilda Swinton (The Killer) on narration duties. His current focus is one of the greatest filmmakers to ever tell tales using a camera — who, 43 years after dying, chats through his life's work. That said, My Name Is Alfred Hitchcock obviously hasn't enlisted the real Master of Suspense from beyond the grave. Rather, it gets mimic Alistair McGowan (Creation Stories) pretending. That approach is a gimmick; however, after it worked well-enough for Cousins' also-2018 effort The Eyes of Orson Welles (with The English's Jack Klaff doing the voicing), it does again in the latest in a long line of his informative and passionate filmic explorations. If you've ever wanted a Hitchcock director's commentary track spanning his entire career, My Name Is Alfred Hitchcock is as close as you're ever going to get. Cousins has his faux Hitch dig into his work via six themes, examining how escape, desire, loneliness, time, fulfilment and height ripple through everything from silents such as The Pleasure Garden and The Ring, plus his British talkies like The 39 Steps and Young and Innocent, through to Rebecca, Spellbound, Rear Window, To Catch a Thief, Vertigo, North by Northwest, Psycho, The Birds, Marnie, Torn Curtain and Family Plot. Finishing the two-hour doco with a massive Hitchcock to-watch or to-revisit list goes with the territory. So does taking a close, shrewd and playful look at recurring ideas, motifs and obsessions in the famed filmmaker's fare, with meticulously examples and evidence to illustrate every point. Accordingly, it's classic Cousins, then — as once again filled with snippets of classic cinema. Indeed, My Name Is Alfred Hitchcock is so engrossing in its clips and insights that it didn't need to cheekily pretend that Hitchcock is voicing them. My Name Is Alfred Hitchcock streams via Binge. RICK AND MORTY Long before Rick and Morty's seventh season arrived — 11 months before it wrapped up its ten-instalment run in mid-December, in fact — the beloved animated series with one of pop culture's most-intense fandoms had everyone talking about its latest instalments. When Adult Swim dropped co-creator Justin Roiland due to domestic violence charges in January 2023, it cut ties with the voice of Rick Sanchez and his grandson Morty Smith. New vocals would be deployed, of course. Still, how the necessary change would impact the sci-fi sitcom lingered over the show's return. Solar Opposites, which Roiland was also behind and loaned his tones to, opted to work the swap into its storyline — and enlisted Dan Stevens (The Boy and the Heron) to do the new honours. The answer for Rick and Morty? With the largely unknown Ian Cardoni (Dead of Night) and Harry Belden (Christmas… Again?) providing sound-alike replacements as Rick and Morty's titular madcap scientist and high-schooler offsider, the switch in actors couldn't be more inconsequential. That's exactly how it should be; the series might've made Roiland a household name, and not only for his on-screen efforts, but blending the gleefully silly with the astutely insightful — and finding endless riffs on its Back to the Future-esque premise on the time-, universe- and galaxy-hopping journey — has always been its biggest drawcard. New voices, same tune: that's Rick and Morty season seven, then. Now 71 episodes in, the show isn't non-stop perfection, but that isn't a new development. Also, its best instalments remain must-see gems. So, while an entire 20-minute stretch based around warring factions of letters and numbers falls flat, even with Ice-T (Law & Order: Special Victims Unit) as a T-shaped letter called Water-T, that underwhelming effort is surrounded by anarchic, absurd, creative and contemplative delights. Rick's ongoing search for the source of his misery fuels two of Rick and Morty's finest-ever episodes, in fact — and hilarious surprises still abound second by second, scene by scene, in the whip-smart dialogue and hidden in almost every pixel of every frame. Rick and Morty streams via Netflix. BUMP Four festive seasons, four Bump seasons: whenever the end of one year and beginning of the next has rolled around since 2020 became 2021, this Australian dramedy has arrived with it. Not just starring Aussie national treasure Claudia Karvan, but co-created by the Love My Way, The Secret Life of Us and The Clearing actor (with Scrublands writer Kelsey Munro), it has now become a December-January tradition. Also a constant: within its frames, the Davis-Chalmers-Hernández family remains its focus. Everyday ups and downs both big and small keeps fuelling its storylines, too. And, no matter which bumps are faced by matriarch Angie (Karvan), her ex-husband Dom (Angus Sampson, Insidious: The Red Door), their daughter Oly (Nathalie Morris, Petrol), the latter's partner Santi (Carlos Sanson Jr, Sweet As), and Oly and Santi's own daughter Jacinda (TV first-timer Ava Cannon) — back when the show began, an unexpected teen pregnancy that only announced its existence when Oly went into labour at school was the first — this is one of the best-cast and most-heartfelt local productions in recent years. Bump's fourth go-around has a favourite recurring theme in its sights: the constant struggle for balance. Never one to back away from her ambitions, Oly has a dream job in politics, but for demanding boss Shauna (Steph Tisdell, Total Control), who thinks nothing of expecting her to front up to a meeting on a Saturday mere hours after getting off the plane from a week-long conference overseas. At work, Oly is even lying about Jacinda's existence. At home, Santi is frustrated with the changed status quo's impact on the couple's relationship and his attempts to chase his artistic dreams. As for Angie, she's decamped to a protest site to save trees that Shauna wants to bulldoze to build social housing, which helps distract her from her own romantic situation. In its first ten-episode season and its returns since, Bump has always felt like a sibling to Heartbreak High. Initially debuting before that beloved favourite made a 2022 comeback, it explores the out-of-hours chaos surrounding a teacher's family — with Karvan as an educator again after The Heartbreak Kid, the movie that sparked the OG Heartbreak High in the first place. That isn't a fresh insight but it keeps proving true, including in a new run of Bump that adds Dylan Alcott (Scarygirl) to the mix. Bump streams via Stan. CHICKEN RUN: DAWN OF THE NUGGET In 2023, the factory that made the modelling clay that film and television viewers have seen shaped into inventors, dogs, chickens, sheep, pirates and more closed down. With it came reports that Britain's Aardman Animation might not be able to keep fashioning its beloved claymation movies after 2024, when its next Wallace and Gromit feature is due. The studio nixed those claims, thankfully, amid delivering its first flick in four years: Chicken Run: Dawn of the Nugget. A return to the clucking world of its first-ever full-length release, this 23-years-later sequel still boasts much of Aardman's usual magic. It's a caper with cute creatures, contraptions, heists and puns, and it has clearly — and literally — been crafted with the utmost care. The one unavoidable struggle if you've also seen the big screen's Migration, with both films arriving in the same month: demonstrating how formula has become far too prevalent among family-friendly animation, given that that duck-focused picture from Minions creators Illumination and Chicken Run: Dawn of the Nugget follow almost the exact same storyline. This chook version reteams with the poultry that escaped from Mr and Mrs Tweedy's farm back in 2000's Chicken Run, albeit with changed voices. Instead of Julia Sawalha (Absolutely Fabulous: The Movie), Thandiwe Newton (Westworld) now lends her vocals to Ginger, the British bird that masterminds the flock's breakouts — and, in Chicken Run: Dawn of the Nugget, break-ins — while Zachary Levi (Shazam! Fury of the Gods) does the same for her American husband Rocky, not Mel Gibson (The Continental: From the World of John Wick). The pair are now parents to Molly (Bella Ramsey, The Last of Us), who they've brought up on an island away from humans, but the 11-year-old wants to know more about the world. Enter a chicken processing factory on the mainland, with ads that pique Molly's curiosity because she knows nothing of the food chain's horrors. Even when the writing isn't as smart as previous Aardman movies — or the sight gags up to Shaun the Sheep Movie and A Shaun the Sheep Movie: Farmageddon's standards — this is a likeable escapade from one of the best in the animation business. Chicken Run: Dawn of the Nugget streams via Netflix. A NEW TV SHOW TO START THE FAMOUS FIVE What do Enid Blyton and the filmmaker behind the Pusher trilogy, Bronson, Drive, Only God Forgives and The Neon Demon have in common? The answer is one of the wildest swings in pop-culture history, plus a move on Nicolas Winding Refn's part that absolutely no one could've anticipated. At home making small-screen fare in the seven years since his last film, the Danish director hops from the overtly Winding Refn-esque Too Old to Die Young and Copenhagen Cowboy to a new TV adaptation of The Famous Five. Yes, that The Famous Five. Yes, he's created a series based on the children's novels about four kids and their dog Timmy, which rank alongside Noddy and The Secret Seven franchise as one of English author Blyton's best-known creations. Yes, it instantly seems an unlikely fit, and makes getting nostalgic with the first of three movie-length episodes set to result across 2023–24 a must-watch. In debut instalment The Curse of Kirrin Island — with chapters two and three due in 2024 — Game of Thrones' Jack Gleeson also adds another rare post-Joffrey role to his resume after season four of Sex Education. Still present, as readers will remember from the page: a 1940s time period, spirited tomboy George (Diaana Babnicova, Don't Breathe 2) at the centre of the action, plus her cousins Julian (Elliott Rose, The Northman) Dick (Kit Rakusen, Foundation) and Anne (newcomer Flora Jacoby Richardson) helping her solve mysteries. Among the thoroughly Winding Refn touches, even though he isn't doing the helming (The Pentaverate, Brockmire and Fleabag alum Tim Kirkby directs The Curse of Kirrin Island): neon and candy-coloured hues over both the opening and closing credits, plus a synth-heavy score any show or movie would love to have. This is no bloody reimagining, however. The man behind The Famous Five's new guise isn't killing anyone's darlings — or, not that he's ever belonged in such company or ever will, going all Winnie-the-Pooh: Blood and Honey on a childhood staple. Rather, as co-created with Matthew Read (The Pursuit of Love), co-starring Ted Lasso's James Lance and Moon Knight's Ann Akinjirin as George's parents, he's crafted a lushly shot new take on a favourite that starts with an Indiana Jones-style caper involving a dusty goblet and the Knights Templar. The Famous Five streams via Stan. STANDOUT MOVIES FROM THE LAST FEW YEARS THAT YOU NEED TO CATCH UP WITH ASAP SOMETHING IN THE DIRT The pandemic's stay-at-home era gave rise to Bo Burnham's Inside, Zoom horror effort Host and Steven Soderbergh thriller Kimi, three ace examples of creatively adapting to and exploring unexpected circumstances. Add Something in the Dirt to the list, which Justin Benson and Aaron Moorhead direct, star in and produce — as well as co-edit with their regular collaborator Michael Felker, while Benson wrote the script and Moorhead lensed the entire picture. Made during lockdown, it was also shot in Benson's own Los Angeles apartment. In their latest mind-twister, there's no missing the Resolution, Spring, The Endless and Synchronic filmmakers' fingerprints all over every millimetre of this movie. It's another unnerving sci-fi-tinged puzzle, too, as they've also pursued via the small screen's Archive 81, The Twilight Zone, Moon Knight and Loki. In other words, Something in the Dirt is exactly what Benson and Moorhead fans should expect from two of the most-interesting cinematic forces today riffing on being stuck in one location, virtually in isolation, while everything feels eerie, unsettling and otherworldly. Moorhead's John Daniels and Benson's Levi Danube both live in the same Hollywood Hills apartment complex, but bond over a series of unusual and seemingly linked paranormal occurrences. Their swift response to strange symbols, crystals, lights and levitating objects is to team up on a documentary, hoping that Netflix might snap it up — and down the rabbit hole the duo eagerly tumble. Paranoia, alienation, coincidences and conspiracy theories all swirl, plus uncertainty about how much they can actually trust each other. As the feature flits between interviews and experts, proving a film within a film, whether Something in the Dirt's viewers can trust what they're being told also swells. Benson and Moorhead dedicate the picture "to making movies with your friends", but could've also shouted out humanity's easy willingness to clutch onto anything and everything to attempt to make sense of chaos. This is a movie about where the brain spirals and, as it parodies and puzzles, it's another standout from its inventive filmmaking pair. It'd also slip nicely into two stellar triple bills, either with Under the Silver Lake and Mulholland Drive, or Pi and Eraserhead. Something in the Dirt streams via Shudder and AMC+. ANNETTE Dreamy and dazzling from its first moments, rock opera Annette bursts onto the screen with a question: "so may we start?". "Please do", fans of Holy Motors director Leos Carax should think to themselves, and devotees of Ron and Russell Mael as well — and yes the later, aka art-pop duo Sparks, have clearly been having a moment since 2021 (see: documentary The Sparks Brothers, their 2023 album The Girl Is Crying in Her Latte and their first tour Down Under in two decades). Carax and the Maels all appear on-screen in Annette's opening, joined by Adam Driver (65), Marion Cotillard (We'll End Up Together) and Simon Helberg (Poker Face). In a glorious, song-fuelled, sing-and-walk scene, no one is playing a character yet, but they're all still playing a part. They're setting the vibe in a sensational way, and the tune is pure Sparks, with the pair both composing the movie's music and writing the feature itself with Carax. The tone bubbles with the duo's avant-garde sensibilities, too, and the whole song echoes with the promise of remarkable things to come. In 2012, Carax gave the world a once-in-a-lifetime gem. Annette is a different film to Holy Motors, obviously, but it gleams just as brightly and with the same beguiling, inimitable, all-encompassing allure. There's an ethereal, otherworldly quality to Carax's work — of heightening reality to truly understand how people feel and act, and of experimenting with artforms to interrogate them — and that sensation seeps through every second of his gleefully melodramatic musical, which deservedly won him the Cannes Film Festival's Best Director award. Everything about Annette has been turned up several notches on every setting, from its lush and lavish imagery to its cascade of toe-tapping, sung-through tunes that keep propelling the narrative forward. Every detail of that story has been amplified, too, as this tragic fairy tale follows standup comedian Henry McHenry (Driver), opera star Ann Defrasnoux (Cotillard), their mismatched but passionate and all-consuming love, and their titular daughter — with the latter played by a marionette. Annette streams via SBS On Demand. Read our full review and our interview with Sparks. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October and November this year. You can also check out our running list of standout must-stream shows from this year as well — and our best 15 new shows of 2023, 15 newcomers you might've missed, top 15 returning shows of the year, 15 best films, 15 top movies you likely didn't see, 15 best straight-to-streaming flicks and 30 movies worth catching up on over the summer.
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 will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles 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 12 that you can watch right now at home. ASTEROID CITY In 1954, one of Alfred Hitchcock's greatest thrillers peeked through a rear window. In Wes Anderson's highly stylised, symmetrical and colour-saturated vision of 1955 in Asteroid City, a romance springs almost solely through two fellow holes in the wall. Sitting behind one is actor Midge Campbell (Scarlett Johansson, Black Widow), who visibly recalls Marilyn Monroe. Peering through the opposing space is newly widowed war photographer Augie Steenbeck (Jason Schwartzman, Spider-Man: Across the Spider-Verse), who takes more than a few cues from James Dean. The time isn't just 1955 in the filmmaker's latest stellar masterpiece, but September that year, a month that would end with Dean's death in a car crash. Racing through the movie's eponymous setting — an 87-person slice of post-war midwest Americana with a landscape straight out of a western, the genre that was enjoying its golden age at the time — are cops and robbers speeding and careening in their vehicles. Meticulousness layered upon meticulousness has gleamed like the sun across Anderson's repertoire since 1996's Bottle Rocket launched the writer/director's distinctive aesthetic flair; "Anderson-esque" has long become a term. Helming his 11th feature with Asteroid City, he's as fastidious and methodical in his details upon details as ever — more so, given that each successive movie keeps feeling like Anderson at his most Anderson — but all of those 50s pop-culture shoutouts aren't merely film-loving, winking-and-nodding quirks. Within this picture's world, as based on a story conjured up with Roman Coppola (The French Dispatch), Asteroid City isn't actually a picture. "It is an imaginary drama created expressly for the purposes of this broadcast. The characters are fictional, the text hypothetical, the events an apocryphal fabrication," a Playhouse 90-style host (Bryan Cranston, Better Call Saul) informs. So, it's a fake play turned into a play for a TV presentation, behind-the-scenes glimpses and all. There Anderson is, being his usual ornate and intricate self, and finding multiple manners to explore art, authenticity, and the emotions found in and processed through works of creativity. Asteroid City is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MISSION: IMPOSSIBLE — DEAD RECKONING PART ONE Pick your poison, action-franchise edition circa 2023: balletically choreographed carnage; cars, kin and Coronas; or Tom Cruise (Top Gun: Maverick) constantly one-upping himself in the megastar stunts stakes. Hollywood loves them all. Screens keep welcoming them all. So, after John Wick: Chapter 4 and Fast X comes Mission: Impossible — Dead Reckoning Part One to deliver the kind of movie spectacle that always looks best on the biggest and brightest of viewing formats. And, as its lead actor's gleaming teeth do, the seventh instalment in the TV-to-film spy series shines. Like Cruise himself, it's committed to giving audiences what they want to see, but never merely exactly what they've already seen. This saga hasn't always chosen to accept that mission, but it's been having a better time of it since 2011's Mission: Impossible – Ghost Protocol, including when writer/director Christopher McQuarrie jumped behind the lens with 2015's Mission: Impossible – Rogue Nation. Rubber masks so realistic that anyone on-screen could rip off their face to reveal Cruise's Ethan Hunt? Of course they're present and accounted for. Espionage antics that involve saving the world while traversing much of it? Tick that off ASAP. The saga's main Impossible Missions Force operative doing whatever it takes, including sprinting everywhere and relentlessly exasperating his higher-ups? Check. A trusty crew faithfully aiding the always-maverick Hunt, plus slippery adversaries to endeavour to outsmart? Mission: Impossible — Dead Reckoning Part One gives them a hefty thumbs up as well. Shady forces with globe-destroying aims, being able to trust oh-so-few folks, wreaking slickly staged havoc, those jaw-dropping stunts, top-notch actors: Cruise and McQuarrie, the latter co-writing with Erik Jendresen (Ithaca), feel the need to feed it all into the flick, too. They're also rather fond of nodding to and reworking the franchise's greatest hits. Happily playing with recognisable pieces while eagerly, cleverly and satisfyingly building upon them isn't the easiest of skills, but it's firmly in this team's arsenal. Mission: Impossible — Dead Reckoning Part One is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BLUE BEETLE Buzzing at the heart of Blue Beetle are two contrasting notions: fitting in and standing out. Jaime Reyes (Xolo Maridueña, Cobra Kai) wants to feel at home not just in his own slice of El Paso-esque Texan spot Palmera City, but beyond his neighbourhood. When he assists his sister Milagro (Belissa Escobedo, Hocus Pocus 2) working at the well-to-do's houses, he searches for opportunities, especially given that he's in need of a steady job to help his family save their home as gentrification swoops in. Thanks to a run-in with Kord Industries, its warmongering CEO Victoria Kord (Susan Sarandon, Maybe I Do) and an ancient artefact known as the scarab, however, the recent Gotham Law University graduate will soon be his hometown's most distinctive resident. Getting covered in blue armour, being able to fly — wings and other bug appendages come with the suit — and hearing a robotic voice (Becky G, Power Rangers) chatting in your head will do that, as will having a multinational company try to swat you down because it wants to deploy the technology RoboCop-style. So scampers the latest entry in the DC Extended Universe — a movie that grapples with the same concepts as the ever-earnest Jaime beyond its storyline. It slots into its franchise while providing something new 14 entries in, before the DCEU comes to an end with the upcoming Aquaman and the Lost Kingdom (under fresh DC leadership, a different silver-screen saga is coming, which might still link in with Blue Beetle). Directed by Ángel Manuel Soto (Charm City Kings), this is the superhero genre's first live-action flick with a Latino lead, be it from DC or Marvel. It's a family drama as much a caped-crusader affair. It's a story about immigrants striving to thrive and retain their own culture. And, it revels in an 80s sheen and sound. Blue Beetle battles enthusiastically to claim its own space, then, as almost constantly seen and felt. Alas, that doesn't stop it from getting generic as well, as much save-the-world fare is. Blue Beetle is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BLACKBERRY There's rarely a still moment in BlackBerry. Someone is almost always moving, usually in a hurry and while trying to make their dreams come true everywhere and anywhere. Those folks include Mike Lazaridis (Jay Baruchel, FUBAR) and Douglas Fregin (Matt Johnson, who also directs and writes as he did with The Dirties and Operation Avalanche). The pair created the game-changing smartphone that shares this movie's name. Also always frenetic: Jim Balsillie (Glenn Howerton, It's Always Sunny in Philadelphia), the executive they pitch to, get knocked back by, then hire as co-CEO. That near non-stop go-go-go look and feel — cinematography that's constantly roving and zooming to match, too — isn't just a stylistic, screenwriting or performance choice. It's a case of art imitating the impact that the BlackBerry handsets and their tiny QWERTY keyboards had on late-90s and early-00s life. Before the iPhone and its fellow touchscreen competitors took over, it was the key device for anyone with a work mobile. The big selling point? Letting people do their jobs — well, receive and send emails — on the move, and everywhere and anywhere. Should you blame Research in Motion, the Canadian technology company that Lazaridis and Fregin founded, for shattering work-life balance? Dubbed "crackberries", their phones played a significant part in extending the office's reach. Is anyone being inundated with after-hours emails on a BlackBerry today? Unless they have an old handset in their button-pressing hands, it isn't likely — and BlackBerry the film explains why. Spinning on-screen product origin stories is one of 2023's favourites trend, as Tetris, Air and Flamin' Hot have demonstrated; however, history already dictates that the latest addition to that group doesn't have a happy ending. Instead, this immersive and gripping picture tells of two friends with big plans who achieved everything they ever wanted, but at a cost that saw the BlackBerry become everything, then nothing. Like its fellow object-to-screen flicks, it follows a big leap that went soaring; this one just crashed spectacularly afterwards. BlackBerry is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. CHEVALIER "He is the most accomplished man in Europe in riding, running, shooting, fencing, dancing, music." Writing in his diary in 1779 about Joseph Bologne, Chevalier de Saint-Georges, American Founding Father and future second US President John Adams didn't hold back with his praise. But the world has barely taken his cue in the nearly two-and-a-half centuries since, letting the tale of this gifted French Creole violinist, conductor and composer slip from wider attention. Within a sumptuous period drama that's charmingly, confidently and commandingly led by Kelvin Harrison Jr — with the Waves, The High Note, The Trial of the Chicago 7 and Cyrano star full of mesmerising swagger, and also endlessly compelling as a talent forced to struggle as a person of colour in a white aristocratic world — Chevalier endeavours to redress this failing of history. Veteran television director Stephen Williams (Watchmen, Westworld, Lost) and screenwriter Stefani Robinson (Atlanta, What We Do in the Shadows) begin their Bologne biopic boldly, playfully and with a front-on confrontation of the "Black Mozart" label that's surrounded their subject when he has been remembered — even if they also commence Chevalier with likely fiction. In pre-revolution Paris in the late 18th century, Wolfgang Amadeus Mozart (Joseph Prowen, Father Brown) has an enraptured crowd in his thrall as he both plays and conducts. He pauses, then prompts his audience for requests. The response comes as a surprise: Bologne striding down the aisle, asking if he too can pick up a violin, then getting duelling with the musical instrument against the acclaimed maestro. Williams and Robinson start their film with a statement, announcing that they're celebrating a life that's been left not only ignored and erased — especially in a realm that's so often considered old, stuffy and definitely not culturally diverse — but also been stuck lingering in someone else's shadow. Chevalier is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SANCTUARY Succession with BDSM. A reminder that love can sear. A slinky two-hander that's sometimes about only having one free hand. Sanctuary is all of the above, plus a psychosexual battle and a romp of a twisty erotic thriller-meets-romantic comedy — and also a reminder that there's something about Christopher Abbott in chic hotel rooms being teased out of his comfort zone by blonde sex workers (see also: Piercing). There's something about the actor in confined settings in general (see there: Possessor, The Forgiven and Black Bear), but only this supremely confident affair about a significantly complicated affair pairs him with Once Upon a Time in Hollywood breakout Margaret Qualley. As they verbally tussle and sometimes physically tumble, unpacking class, control, chemistry, intimacy and authority along the way, they're a chamber-piece dream. Sanctuary's chamber: a sleekly appointed suite decked out in saturated colours and ornate patterns at one of the 112 hotels that share Hal Porterfield's (Abbott, The Crowded Room) surname. And the piece's point? The thorny, horny relationship between the born-to-privilege heir and Rebecca (Qualley, Stars at Noon), who enters his room with a sharp knock, a no-nonsense stare, business attire and a briefcase filled with paperwork. Hal's father has just passed away, and he's now Kendall Roy awaiting the anointing that he's been promised since birth. His companion runs through background-check questions, veering into the highly personal. Soon, after drinks, dismay and a snappy debate, he's on his hands and knees scrubbing the bathroom while she watches on. Now he's Roman Roy, complete with dirty-talk banter, but in a film directed by sophomore helmer Zachary Wigon (The Heart Machine) and penned by Micah Bloomberg (Homecoming). Sanctuary is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BIOSPHERE If an apocalypse ever brings humanity so close to extinction that there might only be two people left, one thing is certain: if that duo is together and can communicate, they'll spend most of their time nattering about nothing. They'll talk. They'll argue. They'll fill the days, months and years by talking and arguing. They'll still be human, in other words, doing what humans do. Biosphere sets up house within this very scenario, and in that exact truth. Here, lifelong pals Billy (Mark Duplass, Language Lessons) and Ray (Sterling K Brown, This Is Us) are the only folks left after the planet has met a catastrophic fate — one that, because he was the US President when things went dystopian, Billy likely had a hand in — and they're now confined to the movie's titular structure. So, they talk. Sometimes, they argue. When first-time feature-length filmmaker Mel Eslyn plunges the audience into this situation, her characters have been talking and arguing, then arguing and talking, for so long that it's just what they do. Working with a script that she co-penned with Duplass, Eslyn introduces Biosphere's viewers to a self-contained ecosystem of discussing and disagreeing. In the abode designed and built by Ray, a scientist and Billy's former advisor, this pair has no other choice. "Self-contained" perfectly sums up the sensation when the film begins flickering, too — as Ray and Billy go for their daily jog around the sphere, talking and arguing as they trot, their dynamic and their routine is conveyed with such efficiency that it feels like you've been watching for longer than you have. Biosphere doesn't drag, though. Rather, it's excellent at constructing a lived-in world with Billy and Ray as they live through what could be the end of the world. It's ace at storytelling as well, but the talking, the arguing, and the immersive and relatable air all smartly say plenty about a movie that recognises from the outset how adaptable people are. Biosphere is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. EGO: THE MICHAEL GUDINSKI STORY Post-viewing soundtrack, sorted: to watch Ego: The Michael Gudinski Story is to take a trip down memory lane with the Australian music industry and hear homegrown standouts from the past five decades along the way. Unsurprisingly, this documentary already has an album to go with it, a stacked release which'd instantly do its eponymous figure proud. His tick of approval wouldn't just stem from the artists surveyed, but because Ego: The Michael Gudinski Story's accompanying tunes comprise a three-disc number like Mushroom Records' first-ever drop, a 1973 Sunbury Festival live LP. To tell the tale of Gudinski, the record executive and promoter who became a household name, is to tell of Skyhooks, Split Enz, Hunters & Collectors, Jimmy Barnes, Paul Kelly, Kylie Minogue, Archie Roach, Yothu Yindi, Bliss n Esso, The Temper Trap, Gordi and Vance Joy, too — and to listen to them. Need this on-screen tribute to give you some kind of sign that the Gudinski and Mushroom story spans a heap of genres? Both the film and the album alike include Peter Andre. Any journey through Michael Gudinski's life and career, from his childhood entrepreneurship selling car parks on his family's vacant lot to his years and years getting Aussie music to the masses — and, on the touring side, bringing massively popular overseas artists to Aussies — needs to also be an ode to the industry that he adored. The man and scene are inseparable. But perhaps Ego: The Michael Gudinski Story plays as such an overt love letter to Australian music because it's an unashamed hagiography of Gudinski. Although the movie doesn't deliver wall-to-wall praise, it comes close. When it begins to hint at any traces of arrogance, moodiness or ruthlessness, it quickly does the doco equivalent of skipping to the next track. Australian Rules and Suburban Mayhem director Paul Goldman, a seasoned hand at music videos as well, has called his feature Ego and there's no doubting his subject had one; however, the takeaway in this highly authorised biography is that anything that doesn't gleam was simply part of his natural mischievousness and eager push for success. Ego: The Michael Gudinski Story is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. DRACULA: VOYAGE OF THE DEMETER In the Bram Stoker vampire novel that's inspired almost all other vampire novels, Dracula is undead. In popular culture since and forever, the fictional Transylvanian bloodsucker will never die. Regardless of his fate on the page back in 1897, the most-portrayed character in horror movies ever keeps baring his fangs on-screen, rising again and again like the sun that this creature of the night can never bask in. 2023 brings two new Dracula films, which isn't overly notable, but this crop of Stoker-influenced flicks doesn't simply retell the usual 126-year-old tale. Leaning into comedy and action, Renfield sunk its teeth in by giving the vampire's long-suffering familiar some love. Now the dread-dripping Dracula: Voyage of the Demeter hones in on one chapter of the book that started it all, detailing the captain's log from the neck-munching fiend's journey to London via ship. Starring for Trollhunter, The Autopsy of Jane Doe and Scary Stories to Tell in the Dark director André Øvredal: Corey Hawkins (In the Heights) as physician Clemens, Aisling Franciosi (The Nightingale) as stowaway Anna and Liam Cunningham (Game of Thrones) as Captain Eliot. The former hops onto the latter's ship in Eastern Europe, where a promised job falls through due to his race, forcing a pivot onto the Demeter's crew to return to England. Clemens isn't the only new boarding, with the vessel also welcoming 50 unmarked crates from the Carpathian Mountains. Given that the film is named Dracula: Voyage of the Demeter Down Under — elsewhere, it's known as just The Last Voyage of the Demeter — there's no surprises about what's among the cargo. So, as initially told in Dracula's seventh chapter, in the epistolary format of letters, journals and clippings that Stoker's tome deployed across the entire novel, the key contents of those mysterious wooden chests soon begins offing fellow seafarers. Dracula: Voyage of the Demeter is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. GRAN TURISMO: BASED ON A TRUE STORY Speeding onto screens with instant brand awareness is 2023's big trend. Air, Tetris, The Super Mario Bros Movie, Flamin' Hot and Barbie: they've all been there and done that already. Now it's Gran Turismo's turn, albeit with a film that isn't quite based on the video game of the same name. Directed by Neill Blomkamp (District 9, Elysium, Chappie), and penned by Jason Hall (American Sniper) and Zach Baylin (King Richard), it also doesn't tell the racing simulator's origin story. Rather, this pedal-to-the-metal flick focuses on the real-life Nissan PlayStation GT Academy initiative from 2008–16, and the tale of British racer Jann Mardenborough specifically. The overall program endeavoured to turn the world's top Gran Turismo players into IRL motorsports drivers — and the Cardiff-raised Mardenborough is one of its big success stories. The ins and outs of GT Academy receives hefty attention in Gran Turismo: Based on a True Story, plus Mardenborough's (Archie Madekwe, Beau Is Afraid) life-changing experience along with it; however, much is also made of a massive marketing push. Here, Nissan executive Danny Moore (Orlando Bloom, Carnival Row) wants to attract new customers, ideally those leaping from mashing buttons to hitting the road. Accordingly, he conjures up the console-to-racetrack idea to help make that sales boost happen, even if racing veteran Jack Salter (David Harbour, Violent Night) is skeptical when asked to come onboard as a trainer. You don't see it in Gran Turismo the feature, but surely taking the whole situation into cinemas if the underlying concept proved a hit was part of that initial plan as well. Amid the ample product placement anywhere and everywhere that the film can slide it in, that certainty thrums constantly. Gran Turismo: Based on a True Story is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. STRAYS Canines are so beloved in cinema that the Cannes Film Festival even gives them a gong: the Palm Dog, which has been awarded to a performing pooch (sometimes several) annually since 2001. Among the past winners sit pups in Marie Antoinette, Up, The Artist, Paterson, Dogman and Once Upon a Time in Hollywood — most real, one animated, some anointed posthumously and none scoring their prize for a quest to bite off someone's penis. That genitals-chomping journey belongs to the four-legged stars of Strays alone. They're played by actual animals, with CGI assisting with moving lips and particularly raucous turns, and they're unlikely to win any accolades for this raunchy lost-dog tale. The pooches impress. They're always cute. Also, they're capable of digging up laughs. But Strays is a one-bark idea that's tossed around as repetitively as throwing a tennis ball to your fluffy pal: take a flick about adorable dogs, and talking ones at that, then make it crude and rude. Games of fetch do pop up in Strays, but via a version that no loving pet owner would ever want to play. This one is called "fetch and fuck", with stoner and constant masturbator Doug (Will Forte, I Think You Should Leave with Tim Robinson) doing the pitching. He isn't a kindly human companion to Reggie (voiced by Will Ferrell, Barbie). He's cruel and resentful — and constantly drives Reggie to various distant spots, sends him running and ditches the pooch. With unwavering affection, plus the naivety to only see the good in his chosen person, Reggie thinks that it's all meant to be fun until he's abandoned in a city hours away. There, he meets Boston terrier Bug (Jamie Foxx, They Cloned Tyrone), Australian shepherd Maggie (Isla Fisher, Wolf Like Me) and great dane Hunter (Randall Park, Ant-Man and the Wasp: Quantumania). Realising the truth about his relationship with Doug, he's sent by Barb and Star Go to Vista Del Mar director Josh Greenbaum and American Vandal creator/writer Dan Perrault on a canines-gone-wild revenge mission with his new dog squad trotting along to help. Strays is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. HAUNTED MANSION There's almost nothing that's bold about Haunted Mansion, but making the Disney family-friendly horror-comedy about moving on from the past is downright audacious. What the film preaches, the company behind it isn't practising — with this specific movie or in general. This flick isn't the first that's based on the Mouse House's The Haunted Mansion theme-park attraction, thanks to a 2003 Eddie Murphy (You People)-starring feature. In 2021, the entertainment behemoth also combined the Disneyland, Walt Disney World and Tokyo Disneyland highlight with The Muppets in streaming special Muppets Haunted Mansion. And, no matter how Haunted Mansion circa 2023 fares at the box office, there's no doubting that the idea will get another spin down the line. Nearly everything Disney does; this is the corporation that keeps remaking its animated hits as live-action pictures (see: The Little Mermaid), revelling in sequels even decades later (see: Indiana Jones and the Dial of Destiny), and getting franchises sprawling as films and TV shows alike (see: Marvel and Star Wars). When Dear White People and Bad Hair filmmaker Justin Simien begins his Haunted Mansion, it's with backstory that explains why astrophysicist Ben Matthias (LaKeith Stanfield, Atlanta) is himself so unwilling to embrace the future. He meets Alyssa (Charity Jordan, They Cloned Tyrone), falls in love, then understandably falls apart when he's suddenly a widower — and, once he's consumed by mourning he's committed to staying that way. Then priest and exorcist Father Kent (Owen Wilson, Loki) ropes him into a gig at the movie's central abode, enlisting not just his help but the use of his specially developed camera that photographs dark matter and, ideally, spectres. The gadget was a labour of love for Alyssa, who worked as a ghost tour guide around New Orleans, a job that Ben has swapped science and the lab for after her passing. Now, he needs his invention to assist Gabbie (Rosario Dawson, Ahsoka), a doctor who has just relocated with her son Travis (Chase W Dillon, The Harder They Fall) — while calling in psychic Harriet (Tiffany Haddish, The Afterparty) and college historian Bruce Davis (Danny DeVito, It's Always Sunny in Philadelphia) to also lend a hand. Haunted Mansion is available to stream via Disney+, iTunes and 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, March, April, May, June, July, August and September, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies of 2023 so far
Dining out is back in — and it's back with a vengeance. As we cruise to the mid-way point through this gloriously lockdown-free year, Australia's wining and dining scene is returning to its former glory. And it seems the rest of the world is taking notice, too. The esteemed World's 50 Best Restaurants awards unveiled their annual 51-100 list overnight, with one Aussie restaurant named among them — celebrated chef Andrew McConnell's Melbourne diner, Gimlet at Cavendish House. [caption id="attachment_860200" align="alignnone" width="1920"] Ben Moynihan[/caption] The CBD restaurant took out the number 84 spot in the Top 100 longlist, on its World's 50 Best debut. It was in good company, too, ranking alongside a diverse spread of lauded venues from Singapore to São Paulo, and Munich to Marseille. If you're plotting an overseas food holiday, this lineup is well worth a look. The awards' 51-100 list was unveiled at a ceremony in the UK yesterday, with the restaurant world now holding its breath for the Top 50 lineup, set to be announced on the evening of Monday, July 18 (UK time). Just two Aussie restaurants claimed spots in last year's awards, both of them Victorian, with Dan Hunter's Brae placing 57th and Ben Shewry's Ripponlea fine diner Attica coming in at number 97. [caption id="attachment_826376" align="alignnone" width="1920"] Jo McGann[/caption] Running annually since 2002, the World's 50 Best awards are chosen by a panel of over 1000 culinary experts, guided by a strict voting procedure. They're now hosted by a different country each year, with Melbourne playing host city back in 2017. To check out the full World's 50 Best Restaurants Top 100 list, see the website. Top Image: Earl Carter
Yarra Valley winery Helen & Joey Estate has just leapt into the world of dining and accommodation by setting up Re'em within its vast 200-acre property. The new Victorian site has been designed to take full advantage of the estate's rolling vineyard and ornamental lake, with the dining rooms and each of the 16 boutique rooms boasting views across the winery and surrounding region. In the 80-seat restaurant, guests can cosy up in booths by floor-to-ceiling windows or head to the shaded terrace to sample an impressive selection of contemporary Chinese dishes, each of which have been designed to match well with the estate's new-world wines. The menu honours owners Helen and Joey's Chinese heritage, but they've given culinary consultant Mark Ebbels (ex-The Fat Duck, Bacchanalia, TarraWarra Estate) and Head Chef Abe Yang (ex-TarraWarra Estate and Levantine Hill) plenty of room to leave their own mark on Re'em. This collaboration has resulted in plenty of raw dishes like the Sichuan beef tartare, plus dry-aged Buxton trout covered in a vibrant ginger, soy and star anise sauce. Hot dishes from the kitchen's woodfired grill also make an appearance alongside fried veggie dumplings, Hainanese chicken and crispy eggplant slathered in a capsicum doubanjiang (fermented bean paste and chilli sauce). The food offerings champion both traditional and contemporary Chinese cooking techniques while heroing seasonal Aussie produce. The team has also relocated its cellar door to the new site, where guests can sip their way through Helen & Joey Estate's new and aged drops — yet again boasting views across the winery. They've even set up a private wine-tasting room downstairs, so patrons can have a more intimate drinking experience surrounded by oak barrels and custom-made artworks. Stay at these two drinking and dining spots to catch the sunset over the vineyard, or sneak away to one of the boutique hotel rooms to stick around till sunrise the next day. Each of the 16 rooms has been designed to take advantage of the natural landscape — either through the floor-to-ceiling windows or balconies and patios. King beds, deep standalone baths, sleek kitchenettes and olive oil bath products add some luxury touches to the experience as well. Find Re'em Yarra Valley at Helen & Joey Estate, 12-14 Spring Lane, Gruyere, open every day of the week. For more information, head to the venue's website.
Nestled in The Archway on Katherine Place, Delhi Streets brings authentic Indian market food to the city of Melbourne. Owner Charan Singh likes to pride himself on not running a typical Indian restaurant. Expect a more snack-based, market style affair. The menu kicks off with a 'Feed Me' option, designed to take the stress away from the indecisive diner and let them sit back and relax while the chefs decide. Alternatively you can back yourself and order away off the 'Street Chaat' menu, which includes delights such as the pain puri, crispy cracker balls stuffed with potatoes, chickpeas, tamarind and yoghurt, or the Mumbai staple; pav bhaji, a spiced mixture of mashed veggies served in two toasty, buttery buns. It also does pizzas and wraps with an Indian focus, which sets this place apart from the more traditional Indian restaurants in Melbourne. The tandoori chicken pizza is an open-faced naan with masala sauce, chicken tikka, cheese, tomato and onions while the paneer pizza is a mouth-watering vegetarian option with capsicum, coriander, tomatoes, onions and crumbled Indian cheese on masala sauce. Then there are thali classics. This includes butter chicken or goat served with rice, naan, pappadum and pickles as well as heaps of vegetarian options. Keeping it all in the family, his dad, Resham, is manning the tandoor. From the tandoor oven, we recommend you try a mixed grill or stick with the classic chicken in a garlic and ginger marinade. Open Monday to Friday for lunch and Monday to Saturday for dinner, Delhi Streets is the perfect venue for any occasion, so long as the brief is fun and laidback.
Head to Melbourne's Reine and La Rue for a French meal in the luxe surroundings of the neo-gothic Melbourne Stock Exchange building, or to Purple Pit in the same abode for Euro-style cocktails, and you'll be eating and drinking at Australia's two most-stylish hospitality venues for 2024. At this year's Australian Interior Design Awards, which were announced on Friday, June 14 in Sydney, the pair shared the Hospitality Design accolade in a night that showered plenty of love upon Victorian locations. A house in Northcote earned the top award at this year's ceremony, the Premier Award for Australian Interior Design. Unsurprisingly, it also took out the Residential Design Award, although it had company there with a a New South Wales abode named Daddy Cool. And if you're wondering what makes a home dazzle so much that it's considered the absolute pinnacle of interior design in Australia for the past year, Northcote House earned praise for boasting an "exciting collision of technology, sculpture and innovative material use" — and also for its "unfamiliar yet captivating interior spaces". [caption id="attachment_962126" align="alignnone" width="1920"] Reine and La Rue, Tim Salisbury[/caption] Now in its 21st year, AIDA highlights spectacular decor in shops, workplaces, homes and public settings. When it revealed its shortlisted picks for this year in April, it whittled down its choices to 222 projects from around the country (plus a few overseas that spring from local talent), which is a record for the awards. Back in the Hospitality Design field, four other venues received commendations, giving the revamped Gerard's in Brisbane, Bar Besuto in Sydney, The Sporting Club Hotel in Melbourne and Bambino in Vietnam some affection. [caption id="attachment_962130" align="alignnone" width="1920"] Northcote House, Tom Ross[/caption] In the Retail Design category, the flagship store for fashion outfit Song for the Mute in George Street in Sydney did the honours, with the city's LeTAO getting a commendation alongside Melbourne's Pidapipó Laboratorio, July at QVM and Up There. The list of award-winning spots — and commended ones — that the public can easily check out includes the Public Design field, where the Berninneit Cultural and Community Centre on Phillip Island in Victoria emerged victorious. The Art Gallery of New South Wales' library and members lounge scored a commendation, as did the Memorial Hall at Christ Church Grammar School in Melbourne and The Embassy of Australia in Washington DC in the US. [caption id="attachment_962131" align="alignnone" width="1920"] Song for the Mute, Tom Ross[/caption] While you can't head along anymore, the Installation Design Award went to the design wall championing Melbourne-born product designs at the National Gallery of Victoria, in a category that commended the Community Hall at the NGV's 2023 Melbourne Now exhibition, as well as Zampatti Powerhouse — a retrospective devoted to fashion designer Carla Zampatti — at Sydney's Powerhouse Museum. The Australian Interior Design Awards also make state-by-state choices from both commercial and residential premises, with plenty of the above spots also popping up. In Victoria, Reine and La Rue and Northcote House topped the list, while 477 Pitt Street and Daddy Cool were NSW's picks, and Gerard's and a Gold Coast apartment were Queensland;s. Vin Populi and Proclamation House did the honours in Western Australia, as did the Samstag Museum of Art at University of South Australia and Stirling Residence in SA. [caption id="attachment_962127" align="alignnone" width="1920"] Gerard's, David Chatfield[/caption] [caption id="attachment_962128" align="alignnone" width="1920"] Bar Besuto, Damian Bennett[/caption] [caption id="attachment_962129" align="alignnone" width="1920"] The Sporting Club Hotel, Derek Stawell[/caption] For the full Australian Interior Design Awards 2024 winners, head to the AIDA website. Top image: Purple Pit, Peter Clarke Photography.
Streaming services overflow with TV series to watch, with new titles added daily, but the best of them achieve a particular feat. We all have our favourite television show that it feels like we live inside; however, that isn't a sensation that any old program can manage. From 2023's new TV offerings so far, only the best of the best can make that claim. If you've already started planning a move to Tasmania thanks to an Australian murder-mystery comedy, you understand this. If you feel in your bones like you know how you'd react to the apocalypse, or having Pedro Pascal as your surrogate dad, you do as well. And if you just want to hang out in a coffee cafe with Aussie comedians, you're definitely ticking that box. They're some of 2023's best new TV shows so far — the series that, no matter how little couch time you have or how easy it is to just revisit Parks and Recreation again, you need to see. After hours and hours of viewing, we've chosen 15 of them now that 2023 is halfway through. Play catchup and you won't be able to say that you don't have anything to watch before the year is through. DEADLOCH Trust Kate McCartney and Kate McLennan, Australia's favourite Kates and funniest double act, to make a killer TV show about chasing a killer that's the perfect sum of two excellent halves. Given their individual and shared backgrounds, including creating and starring in cooking show sendup The Katering Show and morning television spoof Get Krack!n, the pair unsurprisingly add another reason to get chuckling to their resumes; however, with Deadloch, they also turn their attention to crime procedurals. The Kates already know how to make viewers laugh. They've established their talents as brilliant satirists and lovers of the absurd in the process. Now, splashing around those skills in Deadloch's exceptional eight-episode first season lead by Kate Box (Stateless) and Madeleine Sami (The Breaker Upperers), they've also crafted a dead-set stellar murder-mystery series. Taking place in a sleepy small town, commencing with a body on a beach, and following both the local cop trying to solve the case and the gung-ho blow-in from a big city leading the enquiries, Deadloch has all the crime genre basics covered from the get-go. The spot scandalised by the death is a sitcom-esque quirky community, another television staple that McCartney and McLennan nail. Parody requires deep knowledge and understanding; you can't comically rip into and riff on something if you aren't familiar with its every in and out. That said, Deadloch isn't in the business of simply mining well-worn TV setups and their myriad of conventions for giggles, although it does that expertly. With whip-smart writing, the Australian series is intelligent, hilarious, and all-round cracking as a whodunnit-style noir drama and as a comedy alike — and one of the streaming highlights of the year. Deadloch streams via Prime Video. Read our full review. I'M A VIRGO No one makes social satires like Boots Riley. Late in I'm a Virgo, when a character proclaims that "all art is propaganda", these words may as well be coming from The Coup frontman-turned-filmmaker's very own lips. In only his second screen project after the equally impassioned, intelligent, energetic, anarchic and exceptional 2018 film Sorry to Bother You, Riley doesn't have his latest struggling and striving hero utter this sentiment, however. Rather, it springs from the billionaire technology mogul also known as The Hero (Walton Goggins, George & Tammy), who's gleefully made himself the nemesis of 13-foot-tall series protagonist Cootie (Jharrel Jerome, Spider-Man: Across the Spider-Verse). Knowing that all stories make a statement isn't just the domain of activists fighting for better futures for the masses, as Riley is, and he wants to ensure that his audience knows it. Indeed, I'm a Virgo is a show with something to say, and forcefully. Its creator is angry again, too, and wants everyone giving him their time to be bothered — and he still isn't sorry for a second. With Jerome as well-cast a lead as Atlanta's Lakeith Stanfield was, I'm a Virgo also hinges upon a surreal central detail: instead of a Black telemarketer discovering the impact of his "white voice", it hones in on the oversized Cootie. When it comes to assimilation, consider this series Sorry to Bother You's flipside, because there's no way that a young Black man that's more than double the tallest average height is passing for anyone but himself. Riley knows that Black men are too often seen as threats and targets regardless of their stature anyway. He's read the research showing that white folks can perceive Black boys as older and less innocent. As Cootie wades through these experiences himself, there isn't a single aspect of I'm a Virgo that doesn't convey Riley's ire at the state of the world — that doesn't virtually scream about it, actually — with this series going big and bold over and over. I'm a Virgo streams via Prime Video. Read our full review. DEAD RINGERS Twin gynaecologists at the top of their game. Blood-red costuming and bodily fluids. The kind of perturbing mood that seeing flesh as a source of horror does and must bring. A stunning eye for stylish yet unsettling imagery. Utterly impeccable lead casting. When 1988's Dead Ringers hit cinemas, it was with this exact combination, all in the hands of David Cronenberg following Shivers, The Brood, Scanners, Videodrome and The Fly. He took inspiration from real-life siblings Stewart and Cyril Marcus, whose existence was fictionalised in 1977 novel Twins by Bari Wood and Jack Geasland, and turned it into something spectacularly haunting. Attempting to stitch together those parts again, this time without the Crimes of the Future filmmaker at the helm — and as a miniseries, too — on paper seems as wild a feat as some of modern medicine's biggest advancements. This time starring a phenomenal Rachel Weisz as both Beverly and Elliot Mantle, and birthed by Lady Macbeth and The Wonder screenwriter Alice Birch, Dead Ringers 2.0 is indeed an achievement. It's also another masterpiece. Playing the gender-swapped roles that Jeremy Irons (House of Gucci) inhabited so commandingly 35 years back, Weisz (Black Widow) is quiet, calm, dutiful, sensible and yearning as Beverly, then volatile, outspoken, blunt, reckless and rebellious as Elliot. Her performance as each is that distinct — that fleshed-out as well — that it leaves viewers thinking they're seeing double. Of course, technical trickery is also behind the duplicate portrayals, with directors Sean Durkin (The Nest), Karena Evans (Snowfall), Lauren Wolkstein (The Strange Ones) and Karyn Kusama's (Destroyer) behind the show's lens; however, Weisz is devastatingly convincing. Beverly is also the patient-facing doctor of the two, helping usher women into motherhood, while Elliot prefers tinkering in a state-of-the-art lab trying to push the boundaries of fertility. Still, the pair are forever together or, with unwitting patients and dates alike, swapping places and pretending to be each other. Most folks in their company don't know what hit them, which includes actor Genevieve (Britne Oldford, The Umbrella Academy), who segues from a patient to Beverly's girlfriend — and big-pharma billionaire Rebecca (Jennifer Ehle, She Said), who Dead Ringers' weird sisters court to fund their dream birthing centre. Dead Ringers streams via Prime Video. Read our full review. THE LAST OF US If the end of the world comes, or a parasitic fungus evolves via climate change, spreads globally, infests brains en masse and almost wipes out humanity, spectacular video game-to-TV adaptation The Last of Us will have you wanting Pedro Pascal in your corner. Already a standout in Game of Thrones, then Narcos, then The Mandalorian, he's perfectly cast in HBO's latest blockbuster series — a character-driven show that ruminates on what it means to not just survive but to want to live and thrive after the apocalypse. In this smart and gripping show (one that's thankfully already been renewed for season two, too), he plays Joel. Dad to teenager Sarah (Nico Parker, The Third Day), he's consumed by grief and loss after what starts as a normal day, and his birthday, changes everything for everyone. Twenty years later, he's a smuggler tasked with tapping into his paternal instincts to accompany a different young girl, the headstrong Ellie (Bella Ramsey, Catherine Called Birdy), on a perilous but potentially existence-saving trip across the US. Starting to watch The Last of Us, or even merely describing it, is an instant exercise in déjà vu. Whether or not you've played the hit game since it first arrived in 2013, or its 2014 expansion pack, 2020 sequel or 2022 remake, its nine-part TV iteration ventures where plenty of on-screen fare including The Road and The Walking Dead has previously trodden. The best example that springs to mind during The Last of Us is Station Eleven, however, which is the heartiest of compliments given how thoughtful, empathetic and textured that 2021–22 series proved. As everything about pandemics, contagions and diseases that upend the world order now does, The Last of Us feels steeped in stone-cold reality as well, as spearheaded by a co-creator, executive producer, writer and director who has already turned an IRL doomsday into stunning television with Chernobyl. That creative force is Craig Mazin, teaming up with Neil Druckmann from Naughty Dog, who also wrote and directed The Last of Us games. The Last of Us streams via Binge. Read our full review. THE MAKANAI: COOKING FOR THE MAIKO HOUSE At the beginning of The Makanai: Cooking for the Maiko House, 16-year-old best friends Kiyo (Nana Mori, Liar x Liar) and Sumire (Natsuki Deguchi, Silent Parade) leave home for the first time with smiles as wide as their hearts are open. Departing the rural Aomari for Kyoto in the thick of winter, they have internships as maiko lined up — apprentice geiko, as geishas are called in the Kyoto dialect. Their path to their dearest wishes isn't all sunshine and cherry blossoms from there, of course, but this is a series that lingers on the details, on slices of life, and on everyday events rather than big dramatic developments. Watch, for instance, how lovingly Kiyo and Sumire's last meal is lensed before they set out for their new future, and how devotedly the camera surveys the humble act of sitting down to share a dumpling soup, legs tucked beneath blankets under the table, while having an ordinary conversation. Soothing, tender, compassionate, bubbling with warmth: that's The Makanai: Cooking for the Maiko House from the outset. There's a key reason that this cosy and comforting new treasure overflows with such affection and understanding — for its characters, their lives and just the act of living. Prolific writer/director Hirokazu Kore-eda simply isn't capable of anything else. Yes, Netflix has been in the auteur game of late, and The Makanai: Cooking for the Maiko House is unmistakably the work of its rightly applauded creative force. One of the biggest names in Japanese cinema today, and the winner of the received Cannes Film Festival's Palme d'Or back in 2018 for the sublime Shoplifters, Kore-eda makes empathetic, rich and deeply emotional works. His movies, including the France-set The Truth and South Korea-set Broker, truly see the people within their frames. On the small screen, and hailing from manga, the nine-episode The Makanai is no different. It's also as calming as a show about friendships, chasing dreams and devouring ample dumplings can and should be. The Makanai: Cooking for the Maiko House streams via Netflix. RAIN DOGS In 2019's Skint Estate, Cash Carraway told all; A memoir of poverty, motherhood and survival completes the book's full title. Penned about working-class Britain from within working-class Britain, Carraway's written jaunt through her own life steps through the reality of being a single mum without a permanent place to live, of struggling to get by at every second, and of being around the system since she was a teenager. It examines alcoholism, loneliness, mental illness and domestic violence, too, plus refuges, working at peep shows, getting groceries from food banks and hopping between whatever temporary accommodation is available. Rain Dogs isn't a direct adaptation. It doesn't purport to bring Carraway's experiences to the screen exactly as they happened, or with slavish fidelity to the specific details. But this HBO and BBC eight-parter remains not only raw, rich, honest and authentic but lived in, as it tells the same story with candour, humour, warmth and poignancy. Slipping into Carraway's fictionalised shoes is Daisy May Cooper — and she's outstanding. Her on-screen resume includes Avenue 5 and Am I Being Unreasonable?, as well as being a team captain on the latest iteration of Britain's Spicks and Specks-inspiring Never Mind the Buzzcocks, but she's a force to be reckoned with as aspiring writer and mum (to Iris, played by debutant Fleur Tashjian) Costello Jones. When Rain Dogs begins, it's with an eviction. Cooper lives and breathes determination as Costello then scrambles to find somewhere for her and Iris to stay next. But this isn't just their tale, with the pair's lives intersecting with the privileged but self-destructive Selby (Jack Farthing, Spencer), who completes their unconventional and dysfunctional family but tussles with his mental health. Including Costello's best friend Gloria (Ronke Adekoluejo, Alex Rider), plus ailing artist Lenny (The Young Ones legend Adrian Edmondson), this is a clear-eyed look at chasing a place to belong — and it's stunning. Rain Dogs streams via Binge. Read our full review. SILO Rebecca Ferguson will never be mistaken for Daveed Diggs, but the Dune, Mission: Impossible franchise and Doctor Sleep star now follows in the Hamilton Tony-winner's footsteps. While he has spent multiple seasons navigating dystopian class clashes on a globe-circling train in the TV version of Snowpiercer, battling his way up and down the titular locomotive, she just started ascending and descending the stairs in the underground chamber that gives Silo its moniker. Ferguson's character is also among humanity's last remnants. Attempting to endure in post-apocalyptic times, she hails from her abode's lowliest depths as well. And, when there's a murder in this instantly engrossing new ten-part series — which leaps to the screen from Hugh Howey's novels, and shares a few basic parts with Metropolis, Blade Runner and The Platform, as well as corrupt world orders at the core of The Hunger Games and The Maze Runner flicks — she's soon playing detective. Silo captivates from the outset, when its focus is the structure's sheriff Holston (David Oyelowo, See How They Run) and his wife Allison (Rashida Jones, On the Rocks). Both know the cardinal rule of the buried tower, as does deputy Marnes (Will Patton, Outer Range), mayor Ruth (Geraldine James, Benediction), security head Sims (Common, The Hate U Give), IT top brass Bernard (Tim Robbins, Dark Waters) and the other 10,000 souls they live with: if you make the request to go outside, it's irrevocable and you'll be sent there as punishment. No matter who you are, and from which level, anyone posing such a plea becomes a public spectacle. Their ask is framed as "cleaning", referring to wiping down the camera that beams the desolate planet around them onto window-sized screens in their cafeterias. No one has ever come back, or survived for more than minutes. Why? Add that to the questions piling up not just for Silo's viewers, but for the silo's residents. For more than 140 years, the latter have dwelled across their 144 floors in safety from the bleak wasteland that earth has become — but what caused that destruction and who built their cavernous home are among the other queries. Silo streams via Apple TV+. Read our full review. AUNTY DONNA'S COFFEE CAFE If comedy is all about timing, then Aunty Donna have it — not just onstage. In 2020, Aunty Donna's Big Ol' House of Fun was the hysterical sketch-comedy series that the world needed, with the six-episode show satirising sharehouse living dropping at the ideal moment. While the Australian jokesters' Netflix hit wasn't just hilarious because it arrived when everyone had been spending more time than anyone dreamed at home thanks to the early days of the pandemic, the ridiculousness it found in domesticity was as inspired as it was sidesplittingly absurd. Three years later, heading out is well and truly back, as are Aunty Donna on-screen. Their target in Aunty Donna's Coffee Cafe: cafe culture, with Mark Samual Bonanno, Broden Kelly and Zachary Ruane returning to make fun of one of the simplest reasons to go out that there is. Grabbing a cuppa is such an ordinary and everyday task, so much so that it was taken for granted until it was no longer an easy part of our routines. Unsurprisingly, now that caffeine fixes are back and brewing, Aunty Donna finds much to parody. With fellow group members Sam Lingham (a co-writer here), Max Miller (the show's director) and Tom Zahariou (its composer), Aunty Donna's well-known trio of faces set their new six-parter in the most obvious place they can: a Melbourne cafe called 'Morning Brown'. The track itself doesn't get a spin, however, with the show's central piece of naming is its most expected move. As demonstrated in episodes that turn the cafe into a courtroom, ponder whether Broden might still be a child and riff on Australian Prime Minister Harold Holt's 1967 disappearance, nothing else about Aunty Donna's Coffee Cafe earns that description. Pinballing in any and every direction possible has always been one of the Aussie comedy troupe's biggest talents, with their latest series deeply steeped — riotously, eclectically and entertainingly, too — in that approach. Think: Richard Roxburgh (Elvis) playing Rake, even though that's not his Rake character's name; Looking for Alibrandi's Pia Miranda making tomato day jokes;. stanning Gardening Australia and skewering unreliable streaming services, complete with jokes at ABC iView's expense; and relentlessly giggling at the hospitality industry again and again. Aunty Donna's Coffee Cafe streams via ABC iView. Read our full review. BEEF As plenty does (see also: Rye Lane above), Beef starts with two strangers meeting, but there's absolutely nothing cute about it. Sparks don't fly and hearts don't flutter; instead, this pair grinds each other's gears. In a case of deep and passionate hate at first sight, Danny Cho (Steven Yeun, Nope) and Amy Lau (Ali Wong, Paper Girls) give their respective vehicles' gearboxes a workout, in fact, after he begins to pull out of a hardware store carpark, she honks behind him, and lewd hand signals and terse words are exchanged. Food is thrown, streets are angrily raced down, gardens are ruined, accidents are barely avoided, and the name of Vin Diesel's famous car franchise springs to mind, aptly describing how bitterly these two strangers feel about each other — and how quickly. Created by Lee Sung Jin, who has It's Always Sunny in Philadelphia, Dave and Silicon Valley on his resume before this ten-part Netflix and A24 collaboration, Beef also commences with a simple, indisputable and deeply relatable fact. Whether you're a struggling contractor hardly making ends meet, as he is, or a store-owning entrepreneur trying to secure a big deal, as she is — or, if you're both, neither or anywhere in-between — pettiness reigning supreme is basic human nature. Danny could've just let Amy beep as much as she liked, then waved, apologised and driven away. Amy could've been more courteous about sounding her horn, and afterwards. But each feels immediately slighted by the other, isn't willing to stand for such an indignity and becomes consumed by their trivial spat. Neither takes the high road, not once — and if you've ever gotten irrationally irate about a minor incident, this new standout understands. Episode by episode, it sees that annoyance fester and exasperation grow, too. Beef spends its run with two people who can't let go of their instant rage, keep trying to get the other back, get even more incensed in response, and just add more fuel to the fire again and again until their whole existence is a blaze of revenge. If you've ever taken a small thing and blown it wildly out of proportion, Beef is also on the same wavelength. And if any of the above has ever made you question your entire life — or just the daily grind of endeavouring to get by, having everything go wrong, feeling unappreciated and constantly working — Beef might just feel like it was made for you. Beef streams via Netflix. Read our full review. POKER FACE Cards on the table: thanks to Russian Doll and the Knives Out franchise, Natasha Lyonne and Rian Johnson are both on a helluva streak. In their most recent projects before now, each has enjoyed a hot run not once but twice. Lyonne made time trickery one of the best new shows of 2019, plus a returning standout in 2022 as well, while Johnson's first Benoit Blanc whodunnit and followup Glass Onion: A Knives Out Mystery were gems of the exact same years. The latter also saw the pair team up briefly — Lyonne and Johnson, that is, although getting a Russian Doll-meets-Knives Out crossover from the universe, or just the Netflix algorithm, would be a dream. Until that wish comes true, there's Poker Face. It's no one's stopgap or consolation prize, however. This new mystery-of-the-week series is an all-out must-see in its own right, and one of 2023's gleaming streaming aces already. Given its components and concept, turning out otherwise would've been the biggest head-scratcher. Beneath aviator shades, a trucker cap and her recognisable locks, Lyonne plays detective again, as she did in Russian Doll — because investigating why you're looping through the same day over and over, or jumping through time, is still investigating. Johnson gives the world another sleuth, too, after offering up his own spin on Agatha Christie-style gumshoes with the ongoing Knives Out saga. This time, he's dancing with 1968–2003 television series Columbo, right down to Poker Face's title font. Lyonne isn't one for playing conventional detectives, though. Here, she's Charlie Cale, who starts poking around in sudden deaths thanks to an unusual gift and a personal tragedy. As outlined in the show's ten-part first season, Charlie is a human lie detector. She can always tell if someone is being untruthful, a knack she first used in gambling before getting on the wrong side of the wrong people. Then, when a friend and colleague at the far-from-flashy Las Vegas casino where Charlie works winds up dead, that talent couldn't be handier. Poker Face streams via Stan. Read our full review. MRS DAVIS It was back in March 2022 that the world first learned of Mrs Davis, who would star in it and which creatives were behind it. Apart from its central faith-versus-technology battle, the show's concept was kept under wraps, but the series itself was announced to the world. The key involvement of three-time GLOW Emmy-nominee Betty Gilpin, Lost and The Leftovers creator Damon Lindelof, and The Big Bang Theory and Young Sheldon writer and executive producer Tara Hernandez was championed, plus the fact that Black Mirror: San Junipero director Owen Harris would helm multiple episodes. Accordingly, although no one knew exactly what it was about, Mrs Davis existed months before ChatGPT was released — but this puzzle-box drama, which is equally a sci-fi thriller, zany comedy and action-adventure odyssey, now follows the artificial intelligence-driven chatbot in reaching audiences. Indeed, don't even bother trying not to think about the similarities as you're viewing this delightfully wild and gleefully ridiculous series. There's also no point dismissing any musings that slip into your head about social media, ever-present tech, digital surveillance and the many ways that algorithms dictate our lives, either. Mrs Davis accepts that such innovations are a mere fact of life in 2023, then imagines what might happen if AI promised to solve the worlds ills and make everyone's existence better and happier. It explores how users could go a-flocking, eager to obey every instruction and even sacrifice themselves to the cause. In other words, it's about ChatGPT-like technology starting a religion in everything but name. To tell that tale, it's also about nun Simone (Gilpin, Gaslit), who was raised by magicians (Love & Death's Elizabeth Marvel and Scream's David Arquette), and enjoys sabbaticals from her convent to do whatever is necessary to bring down folks who practise her parents' vocation and the show's titular technology. She also enjoys quite the literal nuptials to Jesus Christ, is divinely bestowed names to chase in her quest and has an ex-boyfriend, Wiley (Jake McDorman, Dopesick), who's a former bullrider-turned-Fight Club-style resistance leader. And, she's tasked with a mission by the algorithm itself: hunting down the Holy Grail. Mrs Davis streams via Binge. Read our full review. SWARM Becky with the good hair gets a shoutout in Swarm. Facial bites do as well, complete with a Love & Basketball reference when the culprit flees. This seven-part series about a global pop sensation and her buzzing fans and stans also has its music icon unexpectedly drop a stunner of a visual album, ride a white horse, be married to a well-known rapper, become a mum to twins and see said husband fight with her sister in an elevator. Her sibling is also a singer, and plenty of folks contend she's the more interesting of the two. Still, Swarm's object of fascination — protagonist Dre's (Dominique Fishback, Judas and the Black Messiah) undying obsession — sells out tours, breaks Ticketmaster and headlines one of the biggest music festivals there is. And, while they call themselves the titular term rather than a hive, her devotees are zealous and then some, especially humming around on social media. Donald Glover and Janine Nabers, the show's creators and past colleagues on Glover's exceptional, now-finished Atlanta — Nabers also worked on Watchmen, too — couldn't be more upfront about who they're referring to. No one says Beyoncé's name, however, but Swarm's Houston-born music megastar is the former Destiny's Child singer in everything except moniker. In case anyone watching thinks that this series is trading in coincidences and déjà vu, or just failing to be subtle when it comes to Ni'Jah (Nirine S Brown, Ruthless), the Prime Video newcomer keeps making an overt opening declaration. "This is not a work of fiction. Any similarity to actual persons, living or dead, or events, is intentional," it announces before each episode. From there, it dives into Dre's journey as a twentysomething in 2016 who still adores her childhood idol with the same passion she did as a teen and, instalment by instalment, shows how far she's willing to go to prove it. Swarm streams via Prime Video. Read our full review. CUNK ON EARTH If you've ever watched a David Attenborough documentary about the planet and wished it was sillier and stupider, to the point of being entertainingly ridiculous and ridiculously entertaining alike, then Netflix comes bearing wonderful news. Actually, the BBC got there first, airing history-of-the-world mockumentary Cunk on Earth back in September 2022. Glorious things come to waiting viewers Down Under now, however — and this gleefully, delightfully absurd take on human civilisation from its earliest days till now, spanning cave paintings, Roman empires, Star Wars' empire, 1989 Belgian techno anthem 'Pump Up the Jam' and more, is one of the best shows to hit Australia in 2023 so far. This series is a comedy masterclass, in fact, featuring everything from a Black Mirror-leaning skit about Beethoven resurrected inside a smart speaker to a recreation of a Dark Ages fray purely through sound also thrown in. It's flat-out masterful, too, and tremendously funny. This sometimes Technotronic-soundtracked five-part show's beat? Surveying how humanity came to its present state, stretching back through species' origins and evolution, and pondering everything from whether the Egyptian pyramids were built from the top down to the Cold War bringing about the "Soviet onion". The audience's guide across this condensed and comic history is the tweed-wearing Philomena Cunk, who has the steady voice of seasoned doco presenter down pat, plus the solemn gaze, but is firmly a fictional — and satirical — character. Comedian Diane Morgan first started playing the misinformed interviewer in 2013, in Charlie Brooker's Weekly Wipe, with Black Mirror creator Brooker behind Cunk on Earth as well. Over the past decade, Cunk has also brought her odd questions to 2016's one-off Cunk on Shakespeare and Cunk on Christmas, and 2018's also five-instalment Cunk on Britain. After you're done with the character's latest spin, you'll want to devour the rest ASAP. Cunk on Earth streams via Netflix. Read our full review. SHRINKING Viewers mightn't have realised they'd been lacking something crucial until now, but Shrinking serves it up anyway: a delightfully gruff Harrison Ford co-starring in a kind-hearted sitcom. Creating this therapist-focused series for Apple TV+, Bill Lawrence, Brett Goldstein and Jason Segel didn't miss this new gem's immediate potential. Lawrence and Goldstein add the show to their roster alongside Ted Lasso, which the former also co-created, and the latter stars in as the also wonderfully gruff Roy Kent to Emmy- and Golden Globe-winning effect. It too bathes in warmth amid chaos, all while understanding, exploring and accepting its characters as the flawed folks we all are. As for Segel, he's no stranger to playing the type of super-enthusiastic and super-earnest figure he inhabits again here, as seen in Freaks and Geeks and How I Met Your Mother. If Ted Lasso downplayed the soccer, instead emphasising the psychologist chats that were a pivotal part of season two, Shrinking would be the end result. Also, if Scrubs, another of Lawrence's sitcoms, followed doctors specialising in mental health rather than working in a hospital, Shrinking would also be the outcome. Round up those familiar elements and details brought over from elsewhere, and Shrinking turns them into a series that's supremely entertaining, well-cast and well-crafted — and an engaging and easy watch. The focus: Segel (Windfall) as Jimmy Laird, a shrink grieving for his wife Tia (Lilan Bowden, Murderville), making bad decisions and leaving parenting his teen daughter Alice (Lukita Maxwell, Generation) to his empty-nester neighbour Liz (Christa Miller, a Scrubs alum and also Lawrence's wife). When he decides to start checking back in, and to also give his patients like young war veteran Sean (Luke Tennie, CSI: Vegas) some tough love, it causes ripples, including for his boss Paul (Ford, The Call of the Wild) and colleague Gaby (Jessica Williams, Fantastic Beasts: The Secrets of Dumbledore). Shrinking streams via Apple TV+. Read our full review. PLATONIC Sometime in the near future, Rose Byrne, Seth Rogen and filmmaker Nicholas Stoller could easily join forces on a new rom-com. In fact, they should. Until then, buddy comedy Platonic makes a hilarious, engagingly written and directed, and perfectly cast addition to each's respective resumes. Reuniting the trio after 2014's Bad Neighbours and its 2016 sequel Bad Neighbours 2, this new series pairs Australia's comedy queen and America's go-to stoner as longterm pals who are never anything but mates — and haven't been in touch at all for years — but navigate a friendship that's as chaotic and complicated as any movie romance. That's an easy setup; however, watching the show's stars bicker, banter and face the fact that life doesn't always turn out as planned together proves as charming as it was always going to. Also, Platonic smartly doesn't try to be a romantic comedy, or to follow in When Harry Met Sally's footsteps. Instead, Platonic explores what happens when two former besties have gone their own ways, then come back together. The show knows that reconnecting with old pals is always tinged with nostalgia for the person you were when they were initially in your life. And, it's well-aware that reckoning with where you've ended up since is an immediate side effect. Enter Sylvia (Byrne, Seriously Red), who reaches out to Will (Rogen, The Super Mario Bros Movie) after hearing that he's no longer with the wife (Alisha Wainwright, Raising Dion) she didn't like. She's also a suburban-dwelling former lawyer who put work on hold to become a mother of three, and can't help feeling envious of her husband Charlie's (Luke Macfarlane, Bros) flourishing legal career. Her old BFF co-owns and runs an LA brewpub, is obsessive about his beer and hipster/slacker image, and hasn't been taking his breakup well. They couldn't be in more different places in their lives. When they meet up again, they couldn't appear more dissimilar, too. "You look like you live at Ann Taylor Loft," is Will's assessment. Sylvia calls him "a '90s grunge clown." Neither is wrong. Platonic streams via Apple TV+. Read our full review. Looking for more viewing highlights? Check out our list of film and TV streaming recommendations, which is updated monthly. We also keep a running list of must-stream TV from across the year so far, complete with full reviews.
When SXSW's OG film festival in Austin swoons, the entire movie world can fall in love. Just two years ago, Everything Everywhere All At Once premiered at the fest, then won a swag of Oscars exactly 12 months and one day later. Over the past decade, A Quiet Place, Us, Atomic Blonde, The Disaster Artist, Bodies Bodies Bodies and Bottoms have all premiered there. 2023 Aussie horror hit Talk to Me made the influential event one of its many early stops. And in 2024, alongside everything from Immaculate to The Fall Guy, Dev Patel's feature directorial debut Monkey Man was on the program. The line spanned blocks, and the response was rightly glowing — a standing ovation included. Of course the festival that hosted John Wick: Chapter 4's premiere a year prior first introduced this propulsive new revenge-thriller to audiences. Patel's instant action classic even namechecks the Keanu Reeves-starring franchise in its dialogue. But with Monkey Man, its star, helmer, producer and co-writer (the latter with Boy Swallows Universe's John Collee and Keith Lemon: The Film's Paul Angunawela) takes a lifetime of loving his new picture's genre in all of its forms around the globe, plus his fondness for vengeance-fuelled Korean cinema and also Bollywood musicals, then mixes it with the story of Hindu deity Hanuman, all to make his dream movie — while making one of his big dreams happen as well. 2024 marks 17 years since Patel initially came to fame in his debut acting role, playing Anwar in British teen drama Skins. In his first-ever film performance in Slumdog Millionaire, he starred in an Oscar-winner for Best Picture and Best Director. If that isn't the kind of start to an on-screen resume that fantasies are made of, then nothing is. Just a decade after stepping in front of the camera, he had an Academy Award nomination for Best Actor for Australian drama Lion, too. But even as his career took him to the Aussie-made Hotel Mumbai, not one but two The Best Exotic Marigold Hotel films, TV's The Newsroom, The Green Knight, The Personal History of David Copperfield and a pair of Wes Anderson shorts (including another Oscar-winner in The Wonderful Story of Henry Sugar), wanting to lead an action flick — and helm one — was always an ultimate goal, Patel tells Concrete Playground. "It was always an aspiration. It feels really far-fetched and it took a long while to realise it, and at times I didn't even think I was going to be the director," he advises. "I was pitching it to a director friend of mine, Neill Blomkamp [who directed Patel in Chappie], and slowly I think I got nudged into the director's seat or the driver's seat of this whole thing. But it was truly a very humbling experience and a dream come true all in one." Monkey Man follows a character known only as Kid, who Patel plays in a magnetic action-star performance (Bond producers, take note) — and also introduces as a Hanuman-worshipping adult donning a gorilla mask in the ring, where he gets pummelled at an underground fight club to get by. His true brawl is with far more than just whoever his opponent happens to be in any given bout, though. Searing with pain ever since his mother's murder when he was a child, he's on a quest for retribution not just against the man responsible, but the system and its authorities that let it happen in the fictional Indian city of Yatan — a mission that's also about the oppressed mobilising against the forces pushing them aside. Patel's film is many things, then. It's an underdog story. It's a revenge movie, clearly. It's a feature about faith as well. It's about a son's devotion to honouring his mother. It's a rally against corruption and cruelty — and subjugation and exploitation, too. It's also a picture that was originally destined for streaming only, until fellow actor-turned-filmmaker Jordan Peele (Nope) came onboard with his Monkeypaw Productions company. As a result, Monkey Man is also one helluva big-screen experience. With the movie releasing in cinemas Down Under on Thursday, April 4, we chatted with Patel about making it his own quest to bring his dream film to fruition, his first experiences with Hanuman, the ten-plus-year process of getting Monkey Man to theatres and its mix of elements. He also told us about the balancing act of starring, directing, writing and producing — as well as his cinematic influences, including from directors that he's worked with in the past, plus his journey from Skins to here, and the film's SXSW experience. On Taking It Upon Himself to Make the Kind of Movie That Patel Has Always Wanted to Be In "It's been over ten years since I first started with the idea, and started writing it. And at that point in my career, more so than now, I wasn't getting roles like this — and I don't think the industry saw people like myself like that. We were more going to be the comedic relief, or the guy that hacks the mainframe for the lead guy or whatever. But I love action cinema. I love Korean revenge films. And also, I've been exposed to Bollywood cinema with my grandparents and my parents. And I just wanted to put that in this one cannon and fucking blast it out — sorry, mind my French, but that's where this was born from." On Patel's First Experience with the Deity Hanuman — and When He Knew He Wanted to Draw Upon It for Monkey Man "My dad had a chain — or has a chain — around his neck with this little cool little Hanuman figure on it, and I always used to ask him about it. And he's like 'wait till your granddad comes and he'll tell you the story better than I can'. My granddad used to fly in from Kenya, and he used to sit in my little box room and I wouldn't let him leave, and he would tell me these cool stories of these big epic battles. And Hanuman was the character that I absolutely loved. He was kind of an outsider. He had superhuman strength. Half man, half monkey — just so cool. If you go to India, you'll see in every rickshaw or taxi, there's a little Hanuman thing swinging from the mirror. If you go to the gyms, they've got Schwarzenegger, the weightlifter Ronnie Coleman and Hanuman on the walls. He represents nobility, masculinity, strength, courage, all of those things." On How Monkey Man Evolved Over the Ten Years That It Took to Bring It to the Screen "It kept changing. You keep adding bits of armour to it. But the genesis of it, I wanted this guy who was inspired by this iconography to be a self-flagellating, masochistic young man who doesn't know how to deal with trauma, so he dons this rubber mask and is a literal performing monkey in this really claustrophobic wrestling ring. The politics of the world started to fill out the more I researched, and the mythology, but at its core it's a revenge film about faith — but it constantly evolved and changed." On Making a Film About Faith That's Also a Revenge Movie, a Rally Against Corruption and Oppression, and About a Man's Devotion to Honouring His Mother "It all does sprout from that one notion — so it's how can faith be manipulated and weaponised to the masses? How can it sway elections and influence officials, police brutality, violence against women? These systemic issues are global issues. They're not just Indian issues. And it kind of just started falling out of me. Once you have a guy that's grappling with his own beliefs in himself, in the iconography that he so fell in love with as a child and then faced trauma, and then stopped believing in anything, it starts writing itself in a way." On the Balancing Act of Making Patel's Feature Directorial Debut While Writing, Producing and Starring as Well "It definitely was. There was an imbalance more than a balancing act, I guess. It was chaos. It was absolute chaos. Looking back on it, I really don't know how I did it, actually, because we're in the middle of the pandemic and it was madness. I don't know if you've seen the documentary Hearts of Darkness, about the making of Apocalypse Now? It was kind of like my own version of that. There's a lot of hats to wear." On Preparing for the Film's Impressive and Relentless Action Choreography, Both as an Actor and a Director "I just spent a lot of time with the stunt team. We were just trying to push the action as far as we could without it feeling like choreo — I wanted it to feel primal and animalistic and raw. And actually, to try make choreo feel jagged and messy is the most difficult thing. So you're not preempting a move and waiting — and it's like, how does it feel like it's coming at you? You're getting caught off guard, and stumbling and tripping and sliding, and bouncing off windows and biting. That was the challenge with it. And we wanted to try to create a camera movement that was trying to keep up with the action, instead of preempting it." On Finding Inspiration in a Love of Action Cinema, the Art of Action Choreography, Korean Cinema, Bollywood and More "All of it, to be honest. I'm a huge fan of the genre. I am a fanboy and a consumer of this stuff. So everything from Bruce Lee — as a kid, who was my entry point to cinema — and Jackie Chan, Jet Li, Donnie Yen, Sammo [Hung], Iko [Uwais] from The Raid franchise to Keanu [Reeves] and John Wick. And then the Koreans, and the way they just blisteringly make the best revenge cinema there is — movies like The Man From Nowhere, Oldboy, I Saw the Devil. These guys — and the pathos they can infuse in their stories, as well as the most gory violence. And Bollywood, and that musical bombastic kind of cinema, all of it lives in this." On What Patel Has Learned From the Filmmakers He's Worked with That Helped with His First Stint as a Director "Having never been to an acting class or a directing workshop or anything like that, I didn't know about lenses or anything starting this. It was all just being super excited — and I guess through osmosis being around these great, very different kind of filmmakers, it's bled into this. You'll see little hints and hat tips to Danny Boyle [his Slumdog Millionaire director], and some humour, comedy to Armando [Iannucci, who directed him in The Personal History of David Copperfield] — or even David Lowery [The Green Knight's filmmaker] with some of the more spiritual aspects that deal with time and all of it. So it's all in there. On What Patel Makes of His Career Almost Two Decades After Skins First Made Him a Star "It's so hard to step back and take it all in. When you're in it, you have no objectivity. But I would say more than anything, it constantly surprises me how good the audiences and fans can be. Like with SXSW — I'd been away for a while, and I was like 'are people going to even remember me or show up for this thing?' It's been ten years. I've turned down a lot of work to make this thing. And then, lines three blocks down the road and a standing ovation. We won the audience award. It was amazing." Monkey Man opened in cinemas Down Under on Thursday, April 4, 2024. Read our review.
In one of the many audio clips that comprise One to One: John & Yoko's impressive array of 70s-era archival materials, the documentary's two namesakes are asked how they want to be remembered. John Lennon's answer: "just as two lovers". It's an apt description, and one that applies in multiple senses in the latest film by Kevin Macdonald — a doco that joins the likes of Oscar-winner One Day in September, plus Touching the Void, the crowdsourced Life in a Day, and the also music-focused Marley and Whitney on the Scottish director's resume, as well as features such as The Last King of Scotland, State of Play, How I Live Now and The Mauritanian. Standing out in the the well-populated realm of Beatles movies, factual and dramatised alike, One to One: John & Yoko steps through Lennon and Yoko Ono's love for each other and for music, and also for doing what they can to make the world a better place. As much as that "two lovers" quote resonates in the movie, that idea wasn't one of the lenses through which Macdonald, a lifelong Beatles fan and someone who considers Lennon his first pop-culture hero, approached the film. "Not specifically, actually, the kind of love affair between them," he tells Concrete Playground. "I think that comes across as between the cracks, in a way." Instead, in a film that explores a marriage, a milestone concert that also gives the doco its title, and a moment — that's as fascinated with the reality that greeted John and Yoko when they moved to the US from Britain in 1971, how the couple witnessed the era through American TV and their activist efforts to make a difference IRL — he was keen to show Lennon and Ono's romance as a union of equals. [caption id="attachment_1010512" align="alignnone" width="1920"] © Bob Gruen / www.bobgruen.com[/caption] "I was very interested, though, in trying to give Yoko a bit more of a voice and get her perspective on this period, and on the immediate aftermath of this breaking up of The Beatles and the influence she had on John. And for the audience to see, I think, what to me was very clear as I looked at all this material — is that this is a real marriage of true partners, love partners but also creative partners, and the respect that they have for each other comes across in the film," Macdonald continues. "I think it's a very mature kind of love, I suppose, as in it's not the kind of usual movie romantic, tweeting-birds kind of love. It feels like love that is part of a profound relationship of respect. I think that's what's so striking about it." "And I'm particularly struck always by, when I watch the film, by seeing John go to the International Feminist Conference at the end — and thinking in early 1973, which other massive rockstar of that period would do that, would be the only man in the room with a bunch of very hardcore feminists, and be open to that, those ideas and that experience, and giving the platform to their partner in such a way? I think that even today, that would be quite rare with a male star." Macdonald's latest documentary started its life with the One to One concert footage, which was John's last full-length gig — and also his only one after The Beatles. An interview that the filmmaker heard with John speaking about how all he did was watch TV when he arrived in the US, which is quoted at the beginning of the movie, was just as crucial. So began a project with a tricky task, given how frequently cinema's focus falls upon John and The Beatles still. The job: when Sam Mendes' (Empire of Light) four films starring Harris Dickinson (Babygirl), Paul Mescal (Gladiator II), Barry Keoghan (Bird) and Joseph Quinn (Warfare) are on the way — and the Martin Scorsese (Killers of the Flower Moon)-produced Beatles '64 arrived in 2024, The Beatles: Eight Days a Week from Ron Howard (Jim Henson Idea Man) came out in the last ten years and The Beatles: Get Back by Peter Jackson (The Shall Not Grow Old) isn't even half-a-decade old (and that's without thinking about Nowhere Boy and Backbeat and so much more) — how do you come up with something that feels new? The answer here: fleshing out One to One: John & Yoko not only around the Madison Square Garden benefit concert for children with intellectual disabilities at Staten Island's Willowbrook institution, and not even just through the pair's music, either, but also by using their television viewing to give context to what was happening in America at the time. Also, by giving the movie the vibe — with home movies, plus unheard tapes of John and Yoko's phone calls, too — of hanging out with the pair. Accordingly, Macdonald pairs restored 16mm footage of the pivotal gig with personal clips, archival news, TV snippets and commercials, and even a recreation of John and Yoko's Greenwich Village apartment from the era. The duo's presence in the political and social movements of the time is in focus as well, as is simply revelling in their presence together. Sean Ono Lennon has said that it's the first film that's truly captured who his mother was as an artist and a person, Macdonald has shared. That's one of many striking elements to the doco. How clearly it highlights the similarities between the 70s and now, how it embraces John and Yoko's fondness for creative experimentation in its approach, its collage-like structure that the director likens to TikTok: they're others. We chatted to Macdonald about the above, plus what it means to him to make One to One: John & Yoko as such a Beatles and Lennon fan, his career journey and more. On Sean Ono Lennon Saying That This Is the First Film He's Seen That Has Truly Captured His Mother as an Artist and a Person "I was really happy with that, obviously, because first of all, you make anything about The Beatles or about The Beatles solo and there's so many films and so many books, and so much has been said and written. So to try to do anything that's new, that was my starting point. I don't want to make a film like every other film that's been made. I want to show something different. But I'm not going to factually show you much that's new — there are probably some things up here that the real Beatles fans can go 'oh that, I didn't know this little fact, that little fact', but it's not really about that. To me, it's more about the experiential thing of being with these people in a very domestic, everyday setting for a lot of it. I mean, just hanging with them. And I wanted people to have the sense of hanging out on the bed with John and Yoko. So naturally, of course, that means that you, because you're seeing Yoko not always in her public persona, I think you feel closer to her. And I think there's something about the phone calls, the phone calls that she's on — particularly the one where she talks about how The Beatles treated her, and how people sent her dolls with pins in them and things, which I think give you a great deal of empathy for her, which then is redoubled when you hear the story of her daughter Kyoko. Which, by the way, I thought I knew quite a lot about The Beatles — I didn't even know about Kyoko. And I think that says an awful lot about how her perspective has not been taken in terms of telling the story in the past. Because John and Yoko went to New York largely because they were looking for Kyoko. They were escaping from what they perceived as the unwelcoming attitude in Britain for Yoko, but they were primarily there because they were trying to find Yoko's daughter. And that drove them through all of this period, and yet that's not something that's talked about. So I as soon as I started to learn about that story and learn about how that was really the emotional driver for the concert being put on in the first place — this sense that both of them had for the terrible conditions that these kids were being brought up in, which was particularly raw for them because they both undergoing this sense of loss of Kyoko — I think once I put all that together, that gave a perspective on Yoko emotionally, which I think changes the way you feel about her. Because when you empathise with someone, you tend to like them more." On the Importance of Giving One to One: John & Yoko a Tangible Element Through a Detailed Recreation of Lennon and Ono's Greenwich Village Apartment "When I got involved in the film, as I said, I was thinking first and foremost about 'how can I open up a different kind of window on them and give people a sense of getting to know them on a deeper, more immediate level?'. And I heard this comment that John made, very early on in my research, where he talked about how television was his window on the world, and how he spent most of his time when he first arrived in America watching TV and learning about the country through the TV. And I thought — that's a light-bulb moment, I thought 'well, that's how I should structure the whole film, is around that concept. And we should see them watching TV or feel like we're with them, feel like they just left the room and they left the TV on and the cigarettes still in the ashtray'. And so, as I said earlier, to have the feeling that we are on the bed with them, watching what's going on in America — and I like the idea that we're understanding history through shards, in the same ways we do in everyday life. We don't have a perfect knowledge or understanding of what's going on around us. We pick up little bits and pieces, and we create a narrative in our heads. And that's I wanted to reproduce, that experience, which is the experience of how human beings pass through the world. We don't have perfect narratives that are presented to us and everything coheres and makes sense. We are taking these imperfect little moments and giving them meaning and putting them together in narratives." On Whether Macdonald Anticipated the Parallels Between America in the 70s and Today That Are Evident inthe Documentary "No, I actually didn't. I didn't. We started this, I guess, in early 2023, and the legal situation, the political situation in the world, was very different. And it did feel at times — still does feel — like the world is copying our movie. Things keep happening that we're like 'oh my god, that's like the scene where such and such happens in the film'. And I did for a long time wonder about whether, is this kind of echoing, is this something? I've since read quite a lot about it, actually, and I'm not the only person to have noticed it — it is something which quite a lot of historians have commented upon. And I think even if you go back in time, there's even earlier periods in American history which have a similar rise of populism, demonstrations, economic turmoil. I think a lot of those things come back in some cyclical way in America every 50–60 years. And I think that they'll probably come back in different ways in other countries. I think it's something I'd be very curious to find out more about. But I was struck, as we were making the film, that all these echoes and similarities just arose around me. Because it really was — we didn't know that Donald Trump was going to have an attempted assassination. We didn't know that Kamala Harris was going to be the first Black woman to stand for presidency. And we had Shirley Chisholm, who was trying to get on to that ticket [in 1972]. All these many, many connections, they weren't there when we started cutting the film, even. So it was peculiar. But I think that why I find it comforting in a way, is that we all like to think that our period is a particularly catastrophic, apocalyptic period. It's a kind of vanity, I suppose, we all have as human beings — you think 'oh my god, we're living through the worst of times'. But actually, to see that things were pretty bad before, passions were very high, and then we had Jimmy Carter and things. We had sort of boring presidents and stabilisation in the world, and things did get a little better. I suppose I took some comfort from that. But I guess you can read it also the other way around. You can read it as 'oh my god, why don't we learn anything?'." On Making One to One as a Lifelong Beatles Fan and Someone Who Considered Lennon His First Pop-Culture Hero "I think I — maybe in common with other people, I don't know — the passions that you have when you are in your early teenage years, or between the ages of 11 and 16 or whatever, you never feel passion for anything quite as much again in the way that you did for those things. Whether they be movies or songs or artists, whatever it is, I think you're more open and raw, and everything is new to you and it's super exciting. And so to be able to go back to one of the people who really was my great hero of that [age]. I think I was aware of The Beatles in 1979 when I was 11 or 12, and then John was shot, and then that confluence of those two things is what made him such a focus of attention for me. But I think that to be able to revisit that period of your life is real pleasure — from an adult perspective, from a more cynical, seen it all, been-there-done-that perspective. Because it reminds you of who you are and the passion that you had. And you can see how right you were in some ways, to love those things. And it reawakens that love that maybe you were a bit cynical about it. So yeah, I think I find myself, interestingly, in a lot of films and documentaries I've done, going back to this period in the 70s — which is, I guess, the formative period for me. I had an American grandmother and I used to go to stay with her all my holidays in America and watch TV. I remember the Nixon hearings and things like that being on TV. And I remember my grandmother supporting Nixon. I remember her vividly saying 'oh, that poor man, Mr Nixon, why don't they leave him alone?'. So maybe we're all revisiting our childhood experiences." On Whether One to One Was Actively Aiming to Match Lennon and Ono's Creative Experimentation with Its Own Approach "No, not so much. I was looking at what remains of them and what it says. I thought it would be an interesting process to just say 'I'm not going to take any extraneous information, very little extraneous information, in the film, except that which exists in archive footage and audio and whatever. I'm going to see what I can make, how I can create an experience, but also somewhat of a story'. And it's always a balance in this sort of film. I wanted it to be something that when you experience narrative, you feel like things move forward and change, but for it to also feel moment to moment like it's chaos and anarchy, and you don't know where it's going to go. But actually, I want the audience to feel that, as they watch it, like 'oh, the filmmakers do have an idea — they are taking me somewhere. This is going somewhere. There is a progression. There is a narrative'. So it's trying to finely balance the chaotic and the structured. And there is a very thought-out structure to it. But it just seems to me like it's interesting to use the crumbs that have been left down the back of the sofa. You can put it like that. It's like you live your life and most of it vanishes with you when you're gone, and those times are gone, but certain crumbs are left down the back of the sofa, and a few coins that fell out of your pocket — and what do they say about you? And they're not the whole truth. They can't be. Because we can never reconstruct the whole truth of the past. And then, not to get too pretentious, so that's what different documentary forms which are about the past are trying — different ways to evoke and describe that which you know can't be fully brought back to life, can't fully be understood, in an hour and a half or two hours or whatever it is. And so there's a joy for me in the experimentation, and in the trying to find a different way to bring this period to life, to bring these characters to life, to mix their personal lives with the bigger political scene, and the bigger cultural scene, without trying to explain it all too much. I've had younger viewers watch the film and say 'this is like the TikTok experience'. This is basically how young people experience the world, watching TikTok, where you just see people, characters, situations appear, and you are very rapidly are making calculations in your head about 'who are they? Where they from? What's the purpose of this? Are they selling me something? Are they just trying to be funny?'. And I think that's the way I want be able to experience this film — that you're making all these connections. You're not being totally passive in it. You have to bring your own mind, bring your own sense of narrative to it." On Macdonald's Three-Decade Career So Far, Including Jumping Between Documentaries and Dramas "I feel, on one level, just really lucky to continue to be able to make films and continue to be able to make them in the way that I want to make them. And I have to give thanks to Mercury Studios, who let me make this film — sort of a mainstream experimental film, if we call it that. And to get the opportunity for people to give you money to be able to make a film is always a privilege. To get a make a film which is idiosyncratic and personal is really an exceptional thing. So after 30 years of making documentaries and films, yeah, first of all I just feel lucky to have been able to do that and to have supported myself and made a living out of doing it. And I love doing something which you can never perfect. You're always having to realise what did and didn't work in what you last did, and try to do something new — and I think that's maybe the defining feature of my work, which is that it's very varied and I'm always excited to try something different, try something new and go with my own passions for the most part. Although sometimes, obviously, we do things for money — but for the most part we do things for passion. And also, I'm very happy that I've continued to do both documentary and fiction — and the breathing space that each one gives me and renews in me, that gives me the time to renew my passion for the other one. So when I make a documentary, I'm at the end of it and I'm like 'oh my god, I really want to work with some actors who give me exactly what I asked them to so I don't have to find it in all this footage' and vice versa." One to One: John & Yoko opened in Australian cinemas on Friday, June 20, 2025 — and streams via DocPlay from Monday, July 21, 2025. Images: Magnolia Pictures.
When it's hot and humid you'll find us hurling ourselves into the nearest water source to take the heat off. And after the past couple of years we've all had, we're pretty keen to cool off somewhere extra special in 2022. One place that is overflowing with waterfalls and crystal clear freshwater swimming holes is Tropical North Queensland. Autumn is the perfect time to see the rainforest and its waterfalls truly thrive thanks to higher rainfall. From natural rock waterslides to rope swings in the Daintree, there's no shortage of incredible ways to make a splash and extend your summer in the north this year. Just make sure you always follow the advice from Queensland Parks and steer clear of out of bounds zones, flooded waters or dangerous areas so you're always swimming safely. [caption id="attachment_830046" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] SLIDE DOWN A NATURAL WATERSLIDE AT JOSEPHINE FALLS When you drive 75 kilometres south of Cairns to Josephine Falls, you'll quickly realise why this picturesque playground is so popular among locals and tourists. Located in Wooroonooran National Park, which is home to the Noongyanbudda Ngadjon people, this incredible waterfall cascades through World Heritage-listed rainforest near Queensland's highest peak, Mount Bartle Frere. From the carpark, you'll wander 600 metres through lush rainforest before reaching the viewing decks that overlook the falls. Here, you can take a few snaps of the incredible view before making your way down to the water peppered with smooth boulders for you to perch on — then it's time to get wet. If you're feeling adventurous, have a crack at the natural waterslide in the main pool. Or, if you like to take your swimming at a slower pace, there's plenty of space to float about in the rejuvenating water fresh from the mountain. [caption id="attachment_830048" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] HIKE THROUGH AN INCREDIBLE NATIONAL PARK TO CLAMSHELL FALLS If you want to get properly warmed up before jumping into fresh rainforest water, take the track through Behana Gorge to discover the impressive swimming spot that is Clamshell Falls. Situated 30 minutes drive south of Cairns, the track winds its way alongside a babbling creek for 3.5 kilometres before opening up to a dreamy dip destination. The waterfall itself acts as an active backdrop to the gentler swimming hole that sits below. The incline of the walk can be challenging in parts which means it's likely there won't be too many people around. Just make sure you take all your essential items with you as there are no amenities when you're this deep into the jungle. [caption id="attachment_830044" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] GET UNDERNEATH THRIVING FALLS IN THE ATHERTON TABLELANDS If seeing one waterfall in a day isn't enough, head to the highlands to experience the beauty of the Atherton Tablelands waterfall circuit. With a bunch of tumbling waterfalls and vast crater lakes to explore, the trip up the mountain range to these rainforest delights is essential Tropical North Queensland travel. Take the Gillies Highway from Cairns to Crater Lakes National Park to dive into Lake Barrine and Lake Eacham. Unlike their explosive origins, these water-filled volcanic craters are ideal for a serene morning float. Next, drive to the nearby town of Millaa Millaa to find out why its eponymously named falls are one of the most photographed cascades in the country. Have a soak in the swimming hole at the base of Millaa Millaa Falls or get underneath its 18-metre drop to have your very own rainforest shower. And, if more waterfall action is what your heart desires, visit nearby Zillie Falls and Ellinjaa Falls to round out the circuit. [caption id="attachment_830047" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] SWING INTO THE PRISTINE WATERS OF THE DAINTREE RAINFOREST Willing to head off the beaten track to find a quality swimming hole? Then head a couple of hours north of Cairns to beat the heat at Emmagen Creek. You'll bounce down an unsealed road to reach this picturesque pool located five kilometres north of Cape Tribulation in the Daintree National Park. From the carpark, head toward the Emmagen Creek road crossing and take the track on the left-hand side to the swimming section of the creek located a few hundred metres upstream. If the water is high, consider plonking yourself in the clear rainforest water via the rope swing. Or, clamber down the twisting tree roots to enter the freshwater swimming hole slowly and try to spot a cassowary from the creek. [caption id="attachment_830054" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] BE SPOILED FOR CHOICE AT CRYSTAL CASCADES When you want to get wet on a whim in Tropical North Queensland, head to Crystal Cascades. This stunning swimming spot is a popular place for locals to plunge and it's located only a 20-minute drive from the Cairns CBD. Crystal Cascades boasts a series of swimming holes and waterfalls that tumble down the mountain in a section of Freshwater Creek. If you don't feel like walking far, cool off in one of the cascade's lower pools. Or, if you're keen for a longer stroll, head to the top to take a dip at the larger waterfall at the track's end. The arching rainforest canopy provides for shady swimming and the granite boulder-filled creek helps to keep the pools cool year-round. There are picnic tables and barbecue facilities available too, so pack yourself some seasonal tropical fruit to refuel after all your waterfall exploration. [caption id="attachment_830049" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] SPEND THE NIGHT CAMPING AT DAVIES CREEK Drifting off to sleep to the sound of falling water doesn't have to be created through a mindfulness app and your imagination when you're in Tropical North Queensland. If you head to Davies Creek National Park and Dinden National Park, you can listen to the sounds of an actual babbling creek situated right next to your campsite. To get there, drive an hour west of Cairns and then pitch a tent at either the Lower Davies Creek or Upper Davies Creek campsites. Then, spend a couple of days exploring the hikes, mountain bike trails and waterfalls throughout the neighbouring parks. Just make sure you book your campsite in advance as there are only eight spots available at each campground. [caption id="attachment_832593" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] EXPLORE THE JUNGLE AT STONEY CREEK In the rainforest at the back of Cairns, you'll find locals cooling off at much-loved swimming hole Stoney Creek. Whether you want a quick dip not too far from town or to hike your way to a waterfall further afield, this series of private swimming holes has all your swim cravings covered. It's just a short walk from the carpark in Barron Gorge National Park to the first pool perched underneath a small footbridge. Swim here or continue down the left side of the creek adjacent track past a series of swimming spots before reaching the spilling waters at Old Weir Falls. If you're keen for even more mountain action, head back to the footbridge after a swim at the falls and take the right side track up to Glacier Rock. [caption id="attachment_832594" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption] DIVE INTO THE MAGIC OF FAIRY FALLS If you make your way to Crystal Cascades, it's worth checking out its little sister swimming spot located close by, too. Tucked away in the dense rainforest next door to the cascades, you'll soon realise what's so magical about Fairy Falls. Take the track to the left of the carpark at Crystal Cascades to make your way to the mystical falls a 15-minute walk away. The narrow waterfall shoots into a clear blue swimming hole and the log wedged in the centre of its stream makes it easy to imagine fairies frolicking in this picture-perfect rainforest pool. Just make sure you follow the path along the creek when you're trying to find this veiled treasure — the alternative track at the fork won't lead you to the magical place you're seeking. [caption id="attachment_832597" align="alignnone" width="1920"] Raging Thunder Adventures[/caption] FLOAT DOWN THE TULLY RIVER TO PONYTAIL FALLS A couple of hours south of Cairns is where you'll find the spectacular sights of Tully Gorge National Park. The Tully River churns its way down the mountain creating rapids and world-class white water rafting throughout this stunning gorge. But it's not all rough and tumble in at every turn along this river. You have two options to find Ponytail Falls — by car or by raft with Raging Thunder Adventures. For drivers, follow signs to Cardstone Weir until you spot the number 11 painted on the road. Then, take a short stroll through the rainforest to uncover the hair-like spout that spills into pale blue water below. Or, if you want to see the falls from a raft, sign up to a white water rafting adventure and a guide will take you there via wet and wild rapids. Ready to extend your summer by soaking up waterfalls and freshwater swimming holes in Tropical North Queensland? For more information and to book your holiday in the tropics, visit the website. Top images: Tourism Tropical North Queensland.
From futuristic Supertrees to idyllic beaches and tropical gardens, Singapore weaves leafy stretches of nature throughout its bustling urban landscape. But reconnecting with nature doesn't have to mean trekking through forests or sleeping in a tent — it can also be farm-to-table dining with local produce, urban parks and luxe hotels with verdant spaces. In partnership with Singapore Tourism, we've pulled together a few imaginative ways to eat, stay and play in nature around Singapore, without straying too far from the middle of the city. [caption id="attachment_976861" align="alignnone" width="1920"] Marklin Ang[/caption] Play Known as the Garden City, Singapore is home to both hidden pockets and wide expanses of greenery, even in the middle of the city. Take the iconic Gardens by the Bay, which boasts temperature-controlled conservatories filled with exotic plants and flowers from around the world, towering Supertrees, freshwater wetlands and a Japanese zen garden. The UNESCO World Heritage-listed Singapore Botanic Gardens is equally impressive with a more classic slant — think elegant swans, a heritage museum and bandstand, and a national orchid garden with over 1000 species. [caption id="attachment_980992" align="alignnone" width="1920"] Danny Santos[/caption] For a dose of history on your outdoor adventure, head to Fort Canning Park to explore nine historical gardens, a spice garden dating back to 1822, two informative galleries and various colonial monuments. Fort Canning was home to the palatial resorts of Malay kings during the 14th century, before it was used by the British as military headquarters until WWII. As you exit to Penang Road near Dhoby Ghaut station, be sure to admire the sunlight and foliage streaming in from the top of the Fort Canning Park Tree Tunnel. If you're looking to get out of the city for a day, hop on a 15-minute ferry ride to Pulau Ubin from Changi Point Ferry Terminal. One of Singapore's former kampongs (villages), the island still retains some of the landmarks from its rich history, including a model kampong house, Fo Shan Ting Da Bo Gong Temple and the German Girl Shrine. For wildlife lovers, Pulau Ubin is home to a diverse range of native plants, birds and animals, many of which cannot be found on the mainland. Discover these critters at sites such as Butterfly Hill, Chek Jawa Wetlands and Sensory Trail Pond on foot or by bike. Eat and Drink You don't have to venture out to get a taste of the great outdoors. Sample fresh local produce while paying respect to the land at these sustainability-driven restaurants. Located a short distance from Orchard Road, Open Farm Community's menu focuses on produce sourced from its very own urban farm, along with local suppliers. Visitors are welcome to join in on a farm tour before enjoying farm-to-table fare with locally inspired flavours. Kaarla also boasts its own urban farm — at 51 stories high, the 1-Arden Food Forest is the tallest urban farm in the world. The restaurant prepares Australian cuisine on a wood-fired grill, with produce sourced from the surrounding farm, as well as Singaporean and Australian producers. Helmed by chef LG Han, Labyrinth's new Singaporean cuisine and sustainable efforts have been rewarded with a Michelin Star and the Flor de Caña Sustainable Restaurant Award. Han takes inspiration from hawker fare and traditional Singapore flavours to create his innovative dishes, using locally sourced ingredients and carefully utilising all parts of the produce. Influenced by Danish principles of sustainability, FURA is a sleek cocktail bar that uses environmentally friendly ingredients with a low carbon footprint, such as insect proteins, invasive species or produce that is widely available throughout Asia. For a picturesque dining experience among the trees, look no further than 1-Flowerhill. The elegant chateau houses three restaurants — Camille, Wildseed Cafe, and Wildseed Bar and Grill — and sits atop Sentosa's Imbiah Hill with views across the island. Stay Bring nature to you at one of these luxe hotels in the heart of Singapore, which champion sustainability and integrate greenery into their design. Aptly named, the ParkRoyal Collection hotels in Pickering and Marina Bay incorporate environmentally conscious processes, including solar panels, filtered water systems, biodegradable amenities and rooftop urban farms. Similarly, The Pan Pacific Orchard adopts sustainable practices throughout the hotel, such as energy-saving glass, motion sensors and integrated energy, water and waste systems. The hotel also features four nature-inspired terraces — the Forest, Beach, Garden and Cloud Terraces — with abundant tropical foliage. You can't miss Oasia Downtown amongst the Singapore skyline — the 27-storey building is wrapped in over 20 species of plants woven throughout the aluminium mesh exterior. As the plants continue to grow across the building, they provide shade and a cooling effect throughout the building. The greenery continues inside, with 33 species of plants in communal areas such as the lobby, rooftop pools and Sky Terrace. A short stroll from the Singapore Botanic Gardens, The Singapore Edition is a tranquil retreat with lush tropical plants, a rooftop pool and trendy bars. The hotel's eco-friendly initiatives include using carbon-neutral and biodegradable room keys, recycled materials and green cement. The hotel restaurant, Fysh, is also acclaimed Australian chef Josh Niland's first international foray, with an emphasis on sustainable seafood and responsibly sourced produce. Book your Singapore holiday now with Flight Centre. All images courtesy of Singapore Tourism Board.
Zekkai is Queen Street's newest penthouse restaurant, cocktail bar and club with sweeping views across Melbourne's skyline. In the kitchen, an ex-Nobu chef is bringing luxe Japanese dining to new heights. The new venue, which takes over the site where Blue Diamond speakeasy, a members-only jazz club, once stood, is from Lam Kai Fung (former Executive Chef of Nobu) and the promotional team behind some of Melbourne's most-loved clubs such as Bond, Trak and Ms Collins. While the rooftop venue has been given a contemporary makeover, it still pays homage to its former personality with the original grand piano remaining a centrepiece in the room — albeit now alongside a DJ booth. "Melbourne has some incredible rooftop bars, but we wanted to create something that feels truly international," says Venue Manager Warrence Moorghen, "A place you could find in New York, Tokyo or Dubai, yet still distinctly Melbourne in character." Lam Kai's menu leans luxe with dishes such as wagyu with truffle paste and mango dragon rolls. "Zekkai's menu is inspired by my journey through some of the world's top kitchens, blending Japanese precision with Melbourne's diverse palate," says Lam Kai, "Every dish is about balance, beauty, flavour and a touch of surprise." If you're looking to splash some cash, the Millionaire Margarita comes in at a whopping $115, which sees Herradura Selección Tequila finished with gold leaf and caviar. On the other extreme, happy hour offers affordable specials such as $1 gyoza, between 5 and 8 pm. The team's sky-high ambition is to create a venue where you can expect everything from elevated Japanese dining to lively sunset cocktails on the cigar terrace and a late-night party under the stars. Moorghen says, "Zekkai is about more than just dining or nightlife, it's about creating a complete experience. From our panoramic views to our curated DJ sets and premium cocktails, we've designed a venue where every visit feels unforgettable." Images: Supplied.
At some point, we all have to realise that we just can't watch every TV show ever made. It's a sad revelation, and it mightn't feel the case after a few years spent at home more often than anyone would've liked, but it's the practical reality. So many streaming platforms to choose from, so many new series hitting each and every one of them all the time — throw in all the regular old television channels, too, and that's every TV fan's current, ongoing, never-ending dilemma. We all have gaps in our viewing as a result. And while it seems like every television program that's ever hit airwaves or the internet is always available all of the time, even the list of shows that you can watch in Australia has gaps, because we don't necessarily get access to everything the moment it lands overseas. With all of that in mind, it's been impossible to watch everything new that's hit the small screen Down Under over the past year — but summer is a great time for catching up. Here are 12 standout series that mightn't have made their way to your streaming queues yet, but you should make a date with as soon as you can. And if you've seen them already, summer is also the perfect time for a rewatch. THE SEX LIVES OF COLLEGE GIRLS Here's a great way to know whether a new TV comedy is worth watching: check whether Mindy Kaling is involved. After stealing every scene she could in The Office, then turning The Mindy Project into a smart, funny and adorable rom-com sitcom made with oh-so-much love for the genre, she just keeps adding new shows to her resume as a co-creator, writer and producer. The Sex Lives of College Girls is the latest, and quickly thrives thanks to the kind of savvy, authentic, honest and highly amusing writing that's always been a hallmark of Kaling's work. If you didn't know she was behind it going in, you'd easily guess. It also sports an immensely descriptive title, following four college freshmen — strangers to each other, but now roommates — as they navigate the move from high school to the fictional Essex College in Vermont. Because three movies currently in cinemas starring a member of Chalamet family just isn't enough (aka Dune, The French Dispatch and Don't Look Up), The Sex Lives of College Girls features his Timothée's sister Pauline (The King of Staten Island). She plays Kimberly Finkle, who heads to Essex as valedictorian of her small-town school, is more excited about the classes than the parties, but still wants to have the full college experience. And, she's thrilled to find herself rooming with aspiring comedy writer Bela Malhotra (Amrit Kaur, The D Cut), star soccer player Whitney Chase (first-timer Alyah Chanelle Scott) and the wealthy Leighton Murray (theatre star Reneé Rapp) — even if the latter in particular doesn't initially return the enthusiasm. The quartet's exploits from there navigate all the usual kinds of relatable college antics, but do so with a warm-hearted vibe, a great cast, insightful humour, and a shrewd focus on friendships and figuring out who you want to be. The first season of The Sex Lives of College Girls is available to stream via Binge. THE PURSUIT OF LOVE Bolters and stickers. They're the two labels given to women in The Pursuit of Love, a lavish, effervescent and also impeccably shrewd new three-part miniseries adaptation of Nancy Milford's 1945 novel of the same name. Befitting its source material's timing, the storyline leads into the Second World War, all as chalk-and-cheese cousins Linda Radlett (Lily James, The Dig) and Fanny Logan (Emily Beecham, Little Joe) grow from teens into women — and the former, the impulsive and passionate daughter of a Lord (Dominic West, Stateless) who doesn't believe in educating girls and hates foreigners, chases romance at all costs. Fanny narrates the story, detailing Linda's ups and downs alongside her own. Her own mother (Emily Mortimer, Relic) is purely known as "the Bolter", having left Fanny with her sister (Annabel Mullion, Patrick Melrose) as she too sought love again and again. It's a label that Linda despises when it's applied to her, though. Whether having her eyes opened to the world by her bohemian neighbour (Andrew Scott, His Dark Materials), falling for the first arrogant boy (Freddie Fox, Fanny Lye Deliver'd) she spends any real time with, or later crossing paths with a motivated Communist (James Frecheville, The Dry) and a French duke (Assaad Bouab, Call My Agent!), she does keep leaping forward, however. In contrast, Fanny literally bumps into Oxford academic (Shazad Latif, Profile) and settles into domestic bliss, all while worrying about her cousin. Mortimer also makes her directorial debut with this swiftly engaging look at well-to-do lives, and unpacking of the way women are perceived — and it's the latter, the vivid staging and cinematography, and the vibrant performances that make this a must-see. The Pursuit of Love is available to stream via Amazon Prime Video. CALLS Everyone has heard about the response that The War of the Worlds reportedly sparked back in 1938. That's when Orson Welles adapted HG Wells' novel into a radio play, and the result was so convincing that it reportedly incited panic among listeners. Watching Calls, it's easy to understand how. 'Watching' isn't exactly the right term for this mystery series, though. Like all those folks glued to their radios 83 years ago, Calls' audience is forced to listen intently. Indeed, in terms of visuals, the series only provides two types: words transcribing the conversations heard, and abstract visuals that move and shift with each sentence uttered and every suspenseful pause left lingering. Accordingly, focusing on the snippets of phone chats that tell the program's stories is what Calls is all about. Remaking the French show of the same name, and directed by Evil Dead and Don't Breathe's Fede Álvarez, something much more than a small-screen version of a story-fuelled podcast eventuates. A starry cast voices the chats — including everyone from Parks and Recreation duo Aubrey Plaza and Ben Schwartz to Wonder Woman 1984's Pedro Pascal and Zola's Riley Keough — but it's the tension and power of their words that leaves an impression. Each of the nine episodes tells a short story that eventually builds an overall picture, and getting caught up in them all is far easier than the underlying concept might initially make you think. Calls is available to stream via Apple TV+. THIS WAY UP In Britain, This Way Up didn't drop both of its seasons in the same year; however, that's how it panned out for Australian viewers. And, that's a great thing — not only because this smartly written, astute, insightful and delightfully acerbic series about London-based Irish siblings Áine (Aisling Bea, Living With Yourself) and Shona (Sharon Horgan, Catastrophe) keeps viewers hooked episode after episode, but because binging your way through it immerses you wholeheartedly in their chaotic lives and headspace. As the first season establishes, English teacher Áine is riding the ups and downs of a mental health journey that saw her spend some time receiving in-patient treatment, and has left Shona, the high-powered overachiever of the pair, perennially worried. Even as COVID-19 approaches and begins to affect their lives in the second season, that dynamic is still in place. But Áine is now embarking upon a relationship with Richard (Tobias Menzies, The Crown), the father of a French boy (Dorian Grover, The White Princess) she tutors, all while trying to hide it from her bosses and said kid. Shona is the least-fussed bride-to-be there is as she prepares to get married to her long-term boyfriend and ex-colleague Vish (Aasif Mandvi, Evil), and also navigates more than a little awkwardness with her friend and new business partner Charlotte (Indira Varma, Official Secrets). The heart of this series is the push and pull between this sisters, and how they try to weather everything that life throws their way — and it remains firmly intact across its full run so far. The first and second seasons of This Way Up are available to stream via Stan. THE NORTH WATER When ex-army surgeon Patrick Sumner (Jack O'Connell, Seberg) secures a gig on a whaling expedition to the Arctic working as the ship's doctor, he's clearly running from something. His new colleagues are instantly suspicious of his story, bloodthirsty harpooner Henry Drax (Colin Farrell, Voyagers) among them — although Captain Brownlee (Stephen Graham, Venom: Let There Be Carnage) and whaling company owner Baxter (Tom Courtenay, Summerland) are mostly just happy for his cheap services. That's the setup for The North Water, the 19th-century-set, five-part miniseries that takes to the seas, to the cold and to a brutal world, and proves grimly mesmerising with its Moby Dick-meets-Heart of Darkness vibes. Charting a survivalist tale not just of the physical kind amid all that unforgiving ice (and on those treacherous waters), but also of the emotional and mental variety as well, this is one of the most relentlessly intense shows to hit screens in 2021 — and it's also gripping from start to finish. The first episode sets the scene in a slow-burn fashion, culminating in sights so searing they're impossible to forget — and the story, as well as the vast chasm between Sumner and Drax, only grows from there. Writer/director Andrew Haigh adapts Ian McGuire's novel of the same name, but this series has the Weekend, 45 Years and Lean on Pete filmmaker's stamp all over it. He finds as much empathy here as he has throughout his stellar big-screen projects, and once again demonstrates his extraordinary eye for detail, exceptional sense of place and winning way with actors. With the latter, having O'Connell and Farrell lead the charge obviously helps. They're not only reliably phenomenal; they each put in some of their best-ever work, and their performances seethe with complexity. So does the entire miniseries, which is never willing to pose easy answers or provide straightforward interpretations when ruminating over the minutiae is much more riveting, fascinating and realistic. The North Water is available to stream via Binge. PHYSICAL On a typical early-80s day, San Diego housewife Sheila Rubin (Rose Byrne, Irresistible) will make breakfast for her professor husband Danny (Rory Scovel, I Feel Pretty), take their daughter to school, then run errands. She'll also buy three fast food meals, book into a motel, eat them all naked, then purge. Physical can be bleak — about the pain festering inside its bitterly unhappy protagonist, her constantly fraying mental health, the smile she's forced to plaster across her face as she soldiers on, and her excoriating options of herself — but it also finds a rich vein of dark comedy in Sheila's efforts to change her life through aerobics. Add the series to the list of 80s-set shows about women getting sick of being cast aside, breaking free of their societally enforced roles and jumping into something active. GLOW did it. On Becoming a God in Central Florida did, too. And now those two excellent series have a kindred spirit in this sharp, compelling and often brutally candid show. Byrne is a force to be reckoned with here, in one of her best performances in some time (and a reminder that in everything from Heartbreak High to Damages and Mrs America, she's always done well on TV). Also entrancing, engaging and difficult to forget: Physical's desperate-but-determined tone, and the way it seethes with tension beneath the spandex, sequins and sunny beach shots. The first season of Physical is available to stream via Apple TV+. MADE FOR LOVE When author Alissa Nutting penned Made for Love, no one needed to think too hard about her source of inspiration. Now bringing its tale to the small screen courtesy of the series of the same name, her story ponders one of the possible next steps in our technology-saturated lives. Hazel Green-Gogol (Cristin Milioti, Palm Springs) seems to live a lavishly and happily with her tech billionaire husband Byron (Billy Magnussen, No Time to Die). They haven't left his company's desert campus in the entire ten years they've been married, in fact. The site is designed to cater for their every desire and whim, so they shouldn't need to go anywhere else — or that's how Byron views things, at least. Then his next big idea looks set to become a reality, and Hazel decides that she can't keep up the charade. She certainly doesn't want to be implanted with a chip that'll allow Byron to see through her eyes, access her feelings and always know where she is, and she's willing to take drastic actions to escape his hold over her life. Bringing the plot to the screen herself, Nutting favours a darkly comedic and sharply satirical vibe as she follows Hazel's quest for freedom, with Made for Love filled with blisteringly accurate insights into the tech-dependence that's become a regular part of 21st century existence. That said, the series wouldn't be the gem it is without Milioti, as well as Ray Romano (The Irishman) in a scene-stealing supporting part as Hazel's father. The first season of Made for Love is available to stream via Stan. THE VIRTUES Director and screenwriter Shane Meadows has a fantastic track record, spanning everything from Dead Man's Shoes to This Is England — as well as the multiple TV shows inspired by the latter. Fellow screenwriter Jack Thorne is no stranger to working with Meadows, also thanks to the This Is England franchise; however his individual resume includes Dirt Music, Radioactive, The Secret Garden, Enola Holmes, The Eddy and His Dark Materials over just the past couple of years. So, the pair's involvement in The Virtues immediately marks it as a miniseries to watch. So does its star Stephen Graham, yet another veteran of This Is England. Here, all three combine for a four-part drama that's bleak, raw, frank and devastating — and, once you've started watching, it's also impossible to tear your eyes away from until the credits roll on the final episode. After it finishes, it's downright impossible to forget, in fact, a claim that can't be made of most television shows. Graham plays Joseph, a labourer who's barely getting by. When his ex-partner and his young son move to Australia, he hits the bottle, has a big night, and wakes up certain that he has to head back to Ireland and confront his troubled past. So starts an emotional journey that's never easy — not for a single second — but is also never anything less than astounding. The Virtues is available to stream via Stan. INVINCIBLE If you've ever shopped for a specific item on Amazon and found multiple similar versions of the same thing, then you already know what it can be like to dive into Amazon Prime Video's streaming catalogue. Many of its new additions instantly bring other shows in its catalogue to mind by sharing and mimicking elements, and Invincible follows that trend. At first, it'll have you thinking about The Boys. Next, you'll start recalling Undone. Those two series mightn't seem like a natural fit, but the combination of superheroes and existential malaise works well here. Animated like the latter, but willing to get bleak and dark with caped crusaders as the former does repeatedly, Invincible focuses on Mark Grayson (voiced by newly minted Oscar nominee Steven Yeun, Minari). The 17-year-old son of the well-known Omni-Man (J Simmons, Palm Springs), he's been waiting for his own powers to kick in — and, when they do, he's forced to grapple with exactly what that means. Among the star-studded cast, Sandra Oh (The Chair), Mark Hamill (Star Wars) and Mahershala Ali (Green Book) all lend their vocal tones. Off-screen, The Walking Dead co-creator Robert Kirkman is responsible for not only doing the same with the Invincible comic book, but with the series. What lingers most here is the mood, though, with the show at its best when it's getting contemplative and introspective with its teen protagonist. The first season of Invincible is available to stream via Amazon Prime Video. LOS ESPOOKYS It has taken almost two years for the delight that is Los Espookys to reach Australian screens — and it'll take you less than three hours to binge its six-episode first season. This HBO comedy is both worth the wait and worth devouring as quickly as possible, though. The setup: horror aficionado Renaldo (Bernardo Velasco, Museo) wants to turn his obsession into his profession, so he starts staging eerie scenarios for paying customers, enlisting his best friend Andrés (Julio Torres, Shrill), pal Úrsula (Cassandra Ciangherotti, Ready to Mingle) and the latter's sister Tati (Ana Fabrega, At Home with Amy Sedaris) to help. Torres and Fabrega co-created the show with Portlandia and Saturday Night Live's Fred Armisen, who also pops up as Renaldo's parking valet uncle. This mostly Spanish-language series only uses its biggest name sparingly, however, because its key cast members own every moment. Following the titular group's exploits as they attempt to ply their trade, and to weave it into their otherwise chaotic lives, Los Espookys always manages to be both sidesplittingly hilarious and so meticulous in its horror references that it's almost uncanny. There's nothing on-screen quite like it and, thankfully, it has already been renewed for a second season. The first season of Los Espookys is available to stream via Binge. MR MAYOR Here are five of the most glorious words you're ever likely to read: Ted Danson plays the mayor. The sitcom stalwart (see also: Cheers, Becker, Bored to Death and Curb Your Enthusiasm) has hopped from The Good Place into Mr Mayor, actually, and into the latest TV comedy created and/or produced by Tina Fey. Fans of the latter's other shows — 30 Rock, obviously, and also Unbreakable Kimmy Schmidt, Great News and Girls5Eva — will know the sense of humour her series tend to work with, and it's a fabulous match for Danson. So too is Mr Mayor's setup, which sees a wealthy, clueless but amiable businessman decide he can improve a post-COVID-19 Los Angeles, and get elected. Firmly a workplace comedy, the series chronicles the ups and downs in the mayor's office as Danson's Neil Bremer tries to do a job he clearly isn't qualified for. Naturally, with the arrogance of a rich, white and otherwise successful man of a certain age, he believes otherwise. Mr Mayor is firmly an ensemble comedy as well, however, and both Holly Hunter (Succession) and Bobby Moynihan (Saturday Night Live) are comedic gems as Bremer's over-enthusiastic deputy mayor and bumbling communications director, respectively. The series is a tad less successful when it endeavours to be a family comedy, too, bringing the mayor's teenage daughter Orly (Kyla Kenedy, Speechless) into the mix. But when its gags land — and whenever Danson and Hunter share the screen, which is often — it's smart, hilarious and all-too-easy to binge. The first season of Mr Mayor is available to stream via 9Now. SPREADSHEET When Katherine Parkinson starred in The IT Crowd 15 years ago, she played a woman trying to exude a cool, calm and collected air, but constantly finding her life — and her new job in IT — hindering that aim. In Spreadsheet, her new sitcom role, Parkinson's latest character isn't attempting the same feat. Instead, freshly divorced Melbourne-based lawyer and mother-of-two Lauren has has accepted that her existence is now messy; however, having a spreadsheet to keep track of her revamped love life is meant to help. Embracing being single, and all the opportunities for casual hookups that apps now bring, she isn't looking for a relationship. She even has her colleague Alex (Rowan Witt, Adore) helping to maintain her fast-growing database of sexual options. But this clearly wouldn't be a comedy if her new status quo turned out smoothly and stress-free. As this new Australian sitcom knows and keenly relies upon, there's a breeziness to Parkinson's comic performances that hits both humorous and relatable notes. Indeed, the British actor is the key reason that Spreadsheet's eight-episode first season is so incredibly easy to binge. Whether Lauren is being introduced in the throes of pleasure in the car park outside the Palais Theatre, is getting intimate in a snake dungeon or sports an eye patch after a run-in with a cuckoo clock, Parkinson is a comedic whirlwind. In a series that approaches its 'sex in the suburbs' setup with smarts and insights, too, she's also surrounded by an impressive local cast that includes Witt, Stephen Curry (June Again), Katrina Milosevic (Wentworth) and Zahra Newman (Long Story Short). The first season of Spreadsheet is available to stream via Paramount+.
Maybe you first saw Britain's Penguin chocolate biscuits in the supermarket during a UK holiday. Perhaps you have a British partner or pal who raves about how delicious they are. Or, like almost all Australians, you could just really love Tim Tams — and, as a result, you're eager to give any biscuit that even remotely resembles them a try. Whichever category you fall into, you can now get your hands on Penguins in all their famed glory, as they've just landed on Aussie shelves for the first time. You'll need to head to Coles to pick up a six-pack, which'll set you back $2.80. If you're currently thinking "hmmmm, but we already have Tim Tams", these chocolate-covered, chocolate cream-filled bikkies actually pre-date them. Penguins have even been dubbed "the original Tim Tam", which might sound almost sacrilegious Down Under — but, although they're longer and crunchier than the Aussie biscuit we all know and love, they first debuted in Britain in 1932, more than three decades before Australians started munching on Tim Tams in 1964. Discovering whether another bikkie really is as great as a Tim Tam is probably all the motivation you need to "p-p-pick up a Penguin!", as its slogan encourages, and give them a try. If you need more, though, Penguins also come with penguin-themed jokes printed on the wrapper (maybe keep them away from your dad). And, back in the 70s, the British treats inspired quite the advertisement — which you can watch here. Six-packs of Penguin biscuits are now available at Coles for $2.80.
Even if it's just for a night, and no matter if you're only travelling as far as the CBD in your own city, spending an evening in a hotel instantly changes your mindset. There's something about walking through the lobby, then getting cosy in fuzzy robes and with a minibar right there, that switches your brain to relaxation mode. That effect is why we all love staycations when we can't head away for a vacation. Of course, the feeling is temporary — but if you took the bed, sheets, TV, towels, bar fridge and more home with you, maybe it wouldn't be? That's the bet that QT Hotels & Resorts is making in February by giving away almost the entire contents of two of its rooms. Sure, you might've taken a hotel notepad and pencil with you after your stay before, or the tiny toiletries and shower cap, but this giveaway goes much, much further. From cushions, the kettle, the Nespresso machine, glasses, crockery and the bathmat through to a Dyson hair dryer, the minibar contents, the in-room safe, the iron and ironing board, and the alarm clock, you'll nab them all — so you'll get a room, then you'll basically be able to recreate that room at your own abode. You'll also receive the tissues, an umbrella, pillows, Kevin Murphy toiletries, a cocktail shaker, coat hangers, a shoe horn, coasters, playing cards, a bin and slippers — and the list from there still goes on. Everything you get will be new, too. The promotion has been dubbed 'Get a Room!', in fact, and does indeed require you to book in at a QT hotel or buy a gift card for at least $100 for a stay via the chain's website. It's also timed around Valentine's Day, so you'll have to slumber at QT between Thursday, February 1–Thursday, February 29, 2024, or purchase that gift card in the same window. Wondering where to check in? The campaign is running across the entire QT Hotels & Resorts chain in Australia and New Zealand for the month of February, which includes in Sydney, Bondi, Canberra, Melbourne, the Gold Coast, Newcastle, Perth, Auckland, Wellington and Queenstown. Regardless of where you pick, you'll be in the draw once you go to the promo's website and submit your booking confirmation or the order number from buying your gift card. Winners will be announced once early March rolls around, and there's two prizes up for grabs: the contents of a whole room in both Australia and Aotearoa. Now, to start planning where you'll put everything — or, if you'll be staying at QT with a date or mate, who gets what. QT Hotels & Resorts' 'Get a Room!' campaign covers stays between and gift cards purchased during Thursday, February 1–Thursday, February 29, 2024 — head to the company's website for further information.
Aussie festival lovers, get your best Queen voice on. It looks like another one’s biting the dust (for a year at least). The Hunter Valley's Gum Ball organisers Matt Johnston and his fiancée Jess have just announced that there’s every chance the event won’t be happening next year. We shouldn’t be too hard on the live music-loving couple, though. After ten years of providing stages for the likes of Jinja Safari, Ed Kuepper and Turin Brakes, they’re going to take some time out to tie the knot. “What I do want to tell you is that excitedly Jess and I are getting married early next year,” Johnston said. The statement begs the obvious question: why not kill two birds with one stone and get hitched at Gum Ball, in front of thousands of loyal festival fans? Not the plan, apparently. All might not be lost quite yet, however. Johnston did suggest the possibility of outsourcing the organisational frenzy to another party. “No exact plans have been made... as yet,” he explained. “Though, there is a bit of a desire to go on an extended holiday at a time that would otherwise be peak Gum Ball preparation time. “Perhaps we can source someone to help us make it all happen... The thing is you can’t do this event in halves and, as has been the case for the last ten years, you can’t really expect to have much downtime when you take it on.” If this, combined with Sound Summit’s recent hiatus announcement, has you crying all the rivers, don’t despair entirely. After all, Matt and Jess aren’t leaving us totally high and dry – PigSty in July is coming up on July 5. And, given Gum Ball’s popularity, it’s highly likely to be back on the festival calendar come 2016. Via TheMusic.com.au.
Whether it's launching yourself off a snow-covered mountain when the stars are out, diving headfirst into a gorge on a bungee jump, exploring the depths of a cave network, or taking in the sights from a balloon in the sky, Aotearoa New Zealand is packed with experiences guaranteed to get your heart racing and adrenaline flowing. You can experience the country's most breathtaking settings on foot, by air, or in a balloon, to name just a few. We've teamed up with 100% Pure New Zealand to help you seek out some of the most exciting, adrenaline-pumping activities — plus the best time to experience them — so that your next adventure in New Zealand is one for the memory books. Flick the switch for seasonal adventures waiting for you in autumn, winter and spring. Jump to switcher
Take one of popular culture's biggest supervillains, throw in one of today's very best actors and add the director of The Hangover trilogy. Only a few years ago, the above sentence might've seemed like a joke. Today, it's the reality we're living in — the reality that sees a standalone Joker movie cackling its way towards cinema screens, starring Joaquin Phoenix in the titular role. Move over Cesar Romero, Jack Nicholson, Heath Ledger and Jared Leto — it's Phoenix's time to don exaggerated clown makeup, wield a killer smile and wreak havoc on Gotham City. The just-released final trailer for Joker promises plenty of all three, as failed standup comedian Arthur Fleck turns to a life of facepaint-wearing crime (and eventually obsessing over Batman, we're guessing). As directed and co-written by Todd Phillips (Old School, Starsky & Hutch, Due Date), Joker also comes with a suitably unhinged vibe, as if Phoenix's You Were Never Really Here character stumbled into Martin Scorsese's The King of Comedy. (Fittingly, the latter film plus Taxi Driver and Raging Bull have been cited as inspirations for the new DC Comics flick, and Scorsese is one of Joker's executive producers.) It also looks certain to help everyone forget that the last take on the famous villain only arrived three years ago, because who wants to remember Leto's green-haired turn in Suicide Squad? If the first and second trailers are anything to go by, it looks like Phoenix will — thankfully — follow in the footsteps of Nicholson and Oscar-winner Ledger instead, as he plays alongside his nemesis (and talk show host) Robert De Niro, his love interest Atlanta's Zazie Beetz and his mother Frances Conroy, as well as Marc Maron and Brett Cullen. But we'll have to wait till October to know for sure. If you'd like a dose of terrifying clown cinema before then, IT: Chapter Two drops next week. In the meantime, check out the final trailer below: https://www.youtube.com/watch?v=zAGVQLHvwOY Joker releases in Australian cinemas on October 3, 2019.
The Sydney Dance Company has announced they'll be kicking off their 2013 season with a killer show, De Novo, which features costumes by Dion Lee and the music of Sarah Blasko and Nick Wales. The artists are collaborating on artistic director Rafael Bonachela's Emergence, one part of a trio of dance works that make up De Novo. It will be a testament to Bonachela's belief in the value of pop culture and other artistic practices to contribute to contemporary dance, with Blasko's vocals and Wales's soundscape providing the inspirational fuel for the piece. It's certainly piqued our interest, even more so because Lee's and Blasko's aesthetics don't suggest an immediate match. Will it be severely tailored, or adorably vintage? Adorably tailored? The start of a new cultural epoch? The only thing we know for certain is that it will be memorable. The other two works in De Novo have their own lure. Cacti is the product of renowned Swedish choreographer Alexander Ekman, currently working with the Netherlands Dance Theatre, and features 16 dancers, a string quarter, and a dynamic set with the titular cacti. Meanwhile, the third dance, Fanatic, is about a fan outraged over the Alien vs Predator franchise — a choreographic theme as old as star-cross'd romance. De Novo opens in Sydney on March 1. Tickets are available from the SDC website.
If you consider yourself a Lord of the Rings fan — of JRR Tolkien's books, Peter Jackson's movies or both — then one TV series has sat at the top of your most-anticipated list for the past few years. That'd be Amazon Studios' new LOTR show, bringing the beloved property from the page to the cinema to your TV. A five-season series was first announced in 2017, then received the official go-ahead in mid-2018. In case anyone thought that the new program would just be a simple rehash, it was revealed back in 2019 that it wouldn't simply be remaking events already covered by the movies, with show's official Twitter account hinting at spending time in Middle-earth's Second Age. If you're a little rusty on your LOTR lore, the Second Age lasted for 3441 years, and saw the initial rise and fall of Sauron, as well as a spate of wars over the coveted rings. Elves feature prominently, and there's plenty to cover, even if Tolkien's works didn't spend that much time on the period — largely outlining the main events in an appendix to the popular trilogy. Knowing when the new series will be set is all well and good, but that description is still rather scarce on details. Thankfully, Amazon has now dropped an official synopsis for the show that provides more information. "Amazon Studios' forthcoming series brings to screens for the very first time the heroic legends of the fabled Second Age of Middle-earth's history," it confirms. "This epic drama is set thousands of years before the events of JRR Tolkien's The Hobbit and The Lord of the Rings, and will take viewers back to an era in which great powers were forged, kingdoms rose to glory and fell to ruin, unlikely heroes were tested, hope hung by the finest of threads, and the greatest villain that ever flowed from Tolkien's pen threatened to cover all the world in darkness." https://twitter.com/LOTRonPrime/status/1349519737655611392 Yes, you can expect Sauron to feature, and to give the show's main figures some trouble. "Beginning in a time of relative peace, the series follows an ensemble cast of characters, both familiar and new, as they confront the long-feared re-emergence of evil to Middle-earth," the official synopsis continues. "From the darkest depths of the Misty Mountains, to the majestic forests of the elf-capital of Lindon, to the breathtaking island kingdom of Númenor, to the furthest reaches of the map, these kingdoms and characters will carve out legacies that live on long after they are gone," it also advises. Exactly when Amazon's series will arrive on screens hasn't yet been revealed but, pre-pandemic, it was originally expected to drop sometime in 2021. It is currently in production, though — in New Zealand, of course. A huge number of cast members have been announced, however — plus some talent behind the scenes. Among the actors traversing Middle-earth are Tom Budge (Judy & Punch), Morfydd Clark (Saint Maud), Ismael Cruz Córdova (The Undoing), Joseph Mawle (Game of Thrones), Cynthia Addai-Robinson (The Accountant), Maxim Baldry (Years and Years), Peter Mullan (Westworld), Benjamin Walker (Jessica Jones) and comedian Lenny Henry. And, the series is being overseen by showrunners and executive producers JD Payne and Patrick McKay, while filmmaker JA Bayona (A Monster Calls, Jurassic World: Fallen Kingdom) directs the first two episodes. Amazon's new Lord of the Rings series will hit screens sometime in the future — we'll update you with release details when they come to hand.
Penélope Cruz didn't score an Oscar this year for Parallel Mothers. Her husband Javier Bardem didn't win one for Being the Ricardos, either. And, just a couple of years ago, Antonio Banderas also didn't nab a shiny Academy Award for Pain and Glory — but the three acclaimed actors are all winners at the 2022 Spanish Film Festival. The annual cinema showcase spotlights not just Spanish but also Latin American cinema, and it's back for another Aussie tour throughout April and May — hitting up Sydney, Canberra, Melbourne, Perth, Adelaide, Brisbane and Byron Bay. On the bill: 34 movies that hail from both regions, or tie into them in one way or another, including several with Cruz, Bardem and or Banderas at their centre. Kickstarting this year's Spanish Film Festival with the Cruz- and Banderas-starring Official Competition must've been the easiest programming choice in the fest's history. A filmmaking satire, it casts Cruz as a famous director entrusted to bring a Nobel Prize-winning novel about sibling rivalry to the screen, and enlists Banderas as a Hollywood heartthrob. Throw all of that together and it's clearly film festival catnip, as the movie's berths at overseas fests such as Venice, Toronto and San Sebastián have already shown — and it'll enjoy its Australia premiere as the Spanish Film Festival's opening night pick. The aforementioned — and sublime — Parallel Mothers is also on the lineup after releasing in Aussie cinemas earlier this year, if you missed it then. And, so are two Cruz-Bardem collaborations: Jamón Jamón, the pair's first film together, which marks its 30th anniversary in 2022, and 2017's Loving Pablo, which sees Bardem play Pablo Escobar. Of course, the Spanish Film Festival spans plenty of movies that don't star Spanish cinema's best-known acting names, too — with 2022 Goya-winning political drama Maixabel, fellow Goya-recipient Mediterráneo: The Law of the Sea, psychological horror flick The House of Snails, road-movie comedy Carpoolers, and the coming-of-age-focused Once Upon a Time in Euskadi also on the program. Or, there's Girlfriends, about childhood pals reuniting; dramatic thriller The Daughter, which hones in on a pregnant teen; mother-daughter drama Ama; the Himalayas-set Beyond the Summit; and The Cover, about a pop star impersonator. From the Cine Latino strand, ten films hail from the likes of Argentina, Mexico, Uruguay and the Dominican Republic — including rom-com The Big Love Picture, thriller Immersion, the footballer-centric 9 and Goya-winner (yes, another one) Forgotten We'll Be. Plus, the lineup also includes Language Lessons, which is directed by and starring Natalie Morales (The Little Things), and also features Mark Duplass (Bombshell) — with the pair navigating an online setup to play a Spanish teacher and her student. And, there's sessions of the Spanish-language version of Disney's Encanto as well. SPANISH FILM FESTIVAL 2022 DATES: April 19–May 15: Palace Norton Street, Palace Verona, Palace Central and Chauvel Cinema, Sydney April 20–May 15: Palace Electric, Canberra April 21–May 15: The Astor Theatre, Palace Cinema Como, Palace Brighton Bay, Palace Westgarth, The Kino, Palace Balwyn and Pentridge Cinema, Melbourne April 27–May 18: Palace Nova Eastend Cinemas, Adelaide April 27–May 18: Palace Raine Square Cinemas, Luna Leederville and Luna on SX., Perth April 28–May 18: Palace Barracks and Palace James Street, Brisbane April 29–May 15: Palace Byron Bay, Byron Bay The Spanish Film Festival tours Australia from Tuesday, April 19–Wednesday, May 18. For more information or to buy tickets, visit the festival's website.
Motoi Yamamoto’s sculpture is bringing a new meaning to ‘living in the moment’. The supremely disciplined artist from Hiroshima creates installations out of grains of salt. Using intricate techniques that involve layering, shaking, sweeping and infinite amounts of patience, he has made a labyrinth, a set of steps, a ‘corridor to remembrance’ and a series of complex patterns that imitate biological systems. When the works have run their course, he sends them back to the sea. Yamamoto’s engagement with salt as a form started eighteen years ago, when he lost his sister to brain cancer. She was just 24, and struggling to cope with the loss, Yamamoto sought a way to recall his memories through his art. His very first piece was a bed comprised of bricks and the second, a three-dimensional representation of the human brain. In Japan, salt symbolises the processes of cleansing and mourning. Its use forms an important part of funeral rituals. Restaurateurs and small business owners often place salt at their doors, in the belief that it deters evil spirits and magnetises forces for good. “I can’t tell if my feelings of death have been changed by the passage of time or by the process of creating my work,” Yamamoto told the Daily Serving in June last year. “I don’t have any way to compare to the two alternatives because I’ve only experienced this through my work, not through a more conventional mourning process. I would like to think that it altered my thoughts on loss gradually, but I don’t know.” Yamamoto’s salt installations have been exhibited in galleries all over the world, from the Ierimonti Gallery in Milan to the Halsey Institute of Contemporary Art in Charleston, USA. Last month, they were on show at the Mint Museum in Charlotte.
Team bonding aside, the EOFY is the perfect excuse to reflect on the year that was and celebrate all those hard-earned wins with a couple of bevvies. And what could make this better than hitting a pub with no minimum spend for your function? If you work in the Melbourne CBD or nearby, we've narrowed down the top CBD and inner city spots where you can book EOFY drinks. And, each venue we've chosen has no minimum spend for EOFY functions, so you can celebrate the way you like without the stress of blowing a budget on bookings alone. With a little help from The Pass, an app that allows you to order food and drinks, earn points and redeem rewards at over 190 pubs, bars and restaurants, we're here to help make sure you and the team have a good night. Garden State Hotel, Flinders Lane The EOFY will be going off at the Garden State Hotel. You'll find a mix of different spaces at this classic greenery-packed Melbourne pub. With a beer garden, an observatory with stunning city views, and a Rose Garden, there's a spot for every type of team. Simply take your pick and celebrate your team's wins with a beverage or two. The Duke of Wellington, Flinders Street If your team follows the 'work hard, play hard' mentality, then a trip to The Duke in Melbourne's CBD will not go amiss. This historic pub offers a range of private and semi-private spaces, plus a rooftop with views of the Forum, Fed Square and Flinders Street. 'Nuff said. Imperial Bourke St Do EOFY right at the Imperial Bourke Street. Offering equal parts city views and good vibes in the heart of Melbourne, hosting your team here is a no-brainer. Depending on the mood, choose from an intimate team lunch, casual after-work cocktails or a full-blown rooftop party. There are also customisable function packages to make the whole process even more seamless. Melbourne Public, South Wharf Melbourne Public offers a range of event spaces perfect for an EOFY blow-out. From intimate dining rooms to a stunning open terrace, the pub delivers fully serviced events featuring a seasonal menu and delicious drinks. Its prime location near the edge of the Yarra River's scenery in the heart of South Wharf is the cherry on top. State of Grace, King Street Got a whole host of completed KPIs to say cheers to this end of financial year? Do it at State of Grace. Located on King Street, the luxe spot gives hidden speakeasy vibes. This means it's the perfect backdrop for all the kinds of out-of-office antics to be expected at EOFY drinks. The bar offers tailored packages, bespoke cocktails, and a range of spaces. Public House, Richmond Perhaps the most well-known rooftop in Richmond, Public House offers good food, great vibes, and plenty of different spaces — and the best bit? No minimum spend on group bookings. Choose from the rooftop garden, VIP lounges and outdoor courtyards. The options are endless. This is an inner city spot where you can book EOFY drinks for the whole team and feel confident you will have a good time. Prince Alfred, Richmond With a range of private and semi-private function spaces, Prince Alfred is one of Richmond's most sought-after function venues. Whether you're planning an intimate celebration or an all-out blowout with the team, Prince Alfred has you sorted. You can book the elegant function room for an air of sensibility or settle in the beer garden with a pint for a more casual vibe. Yarra Botanica, Southbank Fancy celebrating the EOFY at a two-level floating bar and eatery on the Yarra River? The Yarra Botanica is just that: it serves up a seasonal food and drink menu, local produce, and unbeatable city views. Plus, the riverside spot has a range of flexible packages to suit every kind of team. The Prince, St Kilda At The Prince, EOFY bevvies never looked so good. The much-loved art deco hotel is a popular go-to for events and functions in Melbourne. And for good reason, too. With ample space, floor-to-ceiling windows and a large timber deck to soak up the sea breeze and panoramic views, we can't think of a much better backdrop for EOFY celebrations. The Espy, St Kilda Just a stone's throw away is the Hotel Esplanade in St Kilda, more fondly known as The Espy, another great CBD and inner city spot where you can book EOFY drinks for the whole team. With six levels and a range of unique spaces to choose from, you can opt for the sunroom, the balcony bar, a Cantonese-inspired dining room, a private bar with a baby piano or Louey's Bar & Kitchen, The Espy's main dining venue, perfect for casual gatherings. Enquire now at https://thepassapp.com.au/. Images: Supplied.
So, you want to start your own business. Maybe you're tired of your nine-to-five gig and looking for a change of scenery. Perhaps it's time to turn your side hustle into a full-fledged venture. Or maybe you're still throwing around a few ideas? Whatever stage of the start-up cycle you're at, doing your research is a smart idea. And what better resource to leverage than the entrepreneurs who've paved the way before you? To help you get your big idea off the ground, we've teamed up with Westpac to hear from five powerhouse business owners about the lessons they've learned along the way. These entrepreneurs know the importance of building a strong foundation and staying connected when it matters most, which they do with the help of Westpac's Presto Smart point-of-sale system. This platform is designed with small businesses in mind, delivering reliable coverage, real-time settlements and simple setup to help you get started sooner. RESEARCH AND UNCOVER A GAP IN THE MARKET When we stumble upon a great idea, it's easy to get carried away. But, what makes your offering unique? What competitors will you have to contend with? And, most importantly, are you filling a gap in the market? For entrepreneur, environmental advocate and caffeine enthusiast, Benjamin Young, his business idea was forged over his morning brew. Founded in Melbourne, frank green was launched in 2013, delivering stylish, convenient and well-designed reusable cups and (more recently) bottles. But the journey from concept to cup didn't happen overnight. "The most important thing that we did to bring frank green to life was market research. We looked at why reusable products weren't being used by mainstream consumers," explains Young. "We went through a painstaking process of really looking at what a consumer wanted out of a product. There were a hundred things on our list that we had to tick off before we went live, otherwise we were doing reusable products a disservice." [caption id="attachment_740542" align="alignnone" width="1920"] Kitti Gould[/caption] TAKE TIME TO CONCEPTUALISE YOUR BUSINESS When we're young, the question 'what do you want to be when you grow up?' looms overhead like a dark cloud. One day, we're picking our favourite crayon colour, the next we're diving into four-year degrees, blindly hoping everything will fall into place. And as many of us will now attest, our careers don't follow a linear path. When Luke Powell, head chef and owner of Chippendale's LP's Quality Meats, decided to leave an established gig, he couldn't imagine how his career path would shift and unfold. "It was 2012, I had just left the head chef job at Tetsuya's, and I really wanted to open something but was not sure what," says Powell. By taking the time to scope out the field, Powell slowly uncovered where he wanted to head next. "I decided I would do one last trip to New York for inspiration and stayed at Blue Hill at Stone Barns for one month. They were pulling pigs off the property and turning them into sausages and charcuterie. I had never done anything like that before... I was hooked." BE OPEN TO SHAKING THINGS UP Getting a new business off the ground is the first hurdle. But then, the challenge to remain relevant emerges. Since launching the award-winning Rosebery distillery in 2014, Archie Rose's founder Will Edwards has always been looking at the next move. With a stellar selection of gin, vodka and newly launched whisky, keeping things fresh is his key to business success. "We can be quite restless, and being a young company, we like to explore," tells Edwards. "Some great examples of innovation product-wise are our Virgin Cane Rhum, our Summer Gin Project Bush and Coast Gins and our latest release, ArchieMite, a buttered toast spirit created in collaboration with Sonoma and Pepe Saya butter." Although Archie Rose's core range remains unchanged, Williams believes investing in small-batch releases with likeminded brands is key to staying ahead of the pack. "Collaborations are a huge part of what we do and a key way in which we can present our products in new and interesting ways." [caption id="attachment_709543" align="alignnone" width="1920"] Jasper Avenue[/caption] IF IT'S NOT BROKEN, DON'T FIX IT As tempting as exploring new avenues can be, it's also important not to lose sight of your original purpose. For Derek Puah, owner of much-loved cafe group Devon changing things up proved one of his biggest learnings during his first years in business. "When we first opened [in Surry Hills], changing the menu too many times and having too many options on there was a big mistake," Puah explains. "While some customers like the variation, others get upset that they missed out on beloved products and menu items." With this wisdom in mind, Puah has gone on to open another three more Devon locations (Barangaroo, North Sydney and Brisbane), plus a new venture, Dopa, in Electric Treat Street in Sydney's Darling Square precinct. His secret to building a successful brand has been sticking to a successful concept and listening to customer feedback along the way. [caption id="attachment_693841" align="alignnone" width="1920"] Nikki To[/caption] EMBRACE THE UNKNOWN AND TAKE A RISK Trying something new can be a daunting experience — it takes guts and grit to keep you going. Backed by the success of their beloved Bronte brunch spot, Three Blue Duck's co-founder Mark Labrooy remembers the moment his team decided to expand their operations. The urge to try something new became an itch they couldn't ignore. "You start wondering, 'I wonder what else is out there?' You have thoughts of exploration and start considering what are you capable of," Labrooy explains. When a new opportunity arose at Byron Bay's The Farm, the TBD team knew they had to take the plunge. "A couple of us relocated up north to Byron, I moved up there… and then we embarked on the project at The Farm," explains Labrooy. He cites the data (which you can get from tools like Westpac's Presto terminal) of how many people were coming through the doors and the capital they were generating making it feel like a safe leap. "If the same opportunity came up tomorrow I would 100 percent do it all again," he says. Now that you have these handy tips, it's time to make the jump. And when it comes time to set up your payment technology, look to Westpac's Presto Smart terminal. It's made for speedy payments, busting queues, reducing keying errors and seamlessly connecting to a range of Point of Sales systems to help you keep track of cashflow. Please note that the above information is intended to be general in nature and should not be relied upon for personal financial use. Request more info and speak to Westpac here. Top Image: Trent Van der jagt.
Spoiler warning: this interview incudes specifics about Smoke if you aren't up to date with the series before reading. Noticing patterns sits at the heart of most detective narratives. For the characters in Smoke, that's firmly part of the job. Dave Gudsen (Taron Egerton, Carry-On) is a former firefighter-turned-arson investigator on the trail of two serial pyromaniacs — one using milk bottles to set their blazes, the other starting multiple infernos at once to attempt to split the fire department's resources — and, as a result, he's hunting for recurring clues in the ashes. So is Michelle Calderone (Jurnee Smollett, The Order), his new partner and a police officer who has been transferred to the fictional Umberland's arson squad not by choice. Add these figures to the list, too, in the nine-part Apple TV+ miniseries: Captain Steven Burke (Rafe Spall, William Tell), who is behind Michelle's reassignment; Commander Harvey Englehart (Greg Kinnear, Off the Grid), Umberland's fire chief; Ezra Esposito (John Leguizamo, Bob Trevino Likes It), the cop who was previously by Gudsen's side; and Special Agent Dawn Hudson (Anna Chlumsky, Bride Hard). Spotting connections falls on Smoke's audience as well, although it's an easy task at the outset. Here, Egerton leads, Kinnear co-stars and author-turned-TV showrunner Dennis Lehane is behind the miniseries, drawing upon a true-crime tale to make a thriller series about questioning appearances — who is reliable as a character, who isn't, and the difference between how someone is perceived and their reality — where unpacking the human psyche is a key factor. This all also proved the case with the streaming platform's Emmy- and Golden Globe-winning Black Bird in 2022. Smoke boasts a few more nifty links. Back when Egerton was just starting his on-screen career, one of his first roles was in the 2014 firefighter-focused British series The Smoke, for instance. "It's a weird moment," Egerton advises. "When I first started working on this, I sent a photo of myself in the firefighter gear to Rhashan Stone [Midsomer Murders] and Jamie Bamber [Beyond Paradise], who were two actors I worked with on that TV show The Smoke, saying 'this is weird'," he continues. "I'm glad that I've been employed long enough to end up doing two shows that are called the same thing. That's got to be a success on some level, right?" Then there's the fact that this Smoke, which debuted with two episodes at the end of June 2025 and is unveiling the rest of its instalments weekly, is drawn from the Firebug podcast focusing on IRL serial arsonist John Orr — and that when a 2002 HBO TV movie also told his tale, it starred Black Bird's Ray Liotta alongside now-Smoke supporting cast member Leguizamo. What interested the latter in stepping back into this story a second time? "Because this time it's better-written, it's better-directed — no offence. Ray Liotta was brilliant as John Orr, but I think this is a better version," Leguizamo tells Concrete Playground. "I think Dennis Lehane took some liberties, which I think made it much more interesting. It's based on, not a direct copy of what really happened, so I think that makes it more fun. He had a whole bunch of new characters, and he really gets into the mind and pathology of this character, the arsonist. And I think that's what's fascinating about this series." As Leguizamo notes, Smoke isn't a strict adaptation of John Orr's life. He isn't a character in the series, in fact. Lehane, who enjoyed great success on the page before his screen work — his books Mystic River, Shutter Island, Gone Baby Gone and Live By Night were all adapted into movies directed by Clint Eastwood, Martin Scorsese and Ben Affleck, respectively (Affleck helmed both Gone Baby Gone and Live By Night) — fictionalises many details, including monikers, in finding a new way into this story not only after Firebug but also Point of Origin. "I was trying to write about self-delusion. I was trying to write about chaos," the scribe who got his TV start penning episodes of The Wire, then worked on Boardwalk Empire, Mr Mercedes and The Outsider, explains. "I was trying to write about a world in which people feel so powerless and confused now that there are extremely powerful people who suggest with a straight face what we need to do is just burn it all down. Burn it all down. You don't like the way the government works? Burn it all down. Do we have anything to replace it with? Nope. But burn it all down. That's going on in the world, and at a pretty consistent level. And I thought this would be a fun way to look at it." "So everybody in this show is, I think, both psychologically complex and psychologically chaotic. And then they're emotionally chaotic. And then there's fire moving everywhere, which is chaotic unto itself. And it was just a way to look at a world that right now feels like it's on fire." [caption id="attachment_1014821" align="alignnone" width="1920"] John Lamparski/Getty Images for Tribeca Festival[/caption] Plenty of Smoke's complexity and chaos springs from Gudsen, who isn't just looking into the fires that are burning across his town, and is also an aspiring novelist writing about what he knows. "Dave is such a fascinating, extreme role," reflects Egerton of his latest recent part with a cat-and-mouse dynamic, because Black Bird and Carry-On also fall into the same category. "There's a few moments in this show that really come to mind very quickly as being extreme or strange moments. And I've got to be honest with you, I really love doing those moments," he says. "I do think of myself as an artist, but deep down inside I'm still the kid who wanted to climb on my school desk and have everybody look at me — so those moments, I do enjoy as an actor." What appealed to Egerton, Lehane and Kinnear about reteaming so soon after Black Bird? And to Spall, Leguizamo and Chlumsky about being a part of a series about the fine line between arsonists and arson investigators with them? What's the draw, too, of portraying morally ambiguous yet playful characters — and of jumping in when there isn't a single person in the series who is clearcut, and keeping audiences guessing about almost everyone is baked into the story? In addition to reckoning with people not being who you think they are, plus exploring what makes folks tick when they're attracted to things that can kill them or bring about their downfall, we also spoke with Egerton, Lehane, Kinnear, Spall, Leguizamo and Chlumsky about all of the above, plus more. On Reteaming on Another Crime-Thriller Series Developed by Lehane, Starring Egerton and Co-Starring Kinnear That's Unpacking the Human Psyche and Questioning Appearances Taron: "I think as an actor, you are only ever as good as the words on the page, and you're only ever as good as the person opposite you in the scene. And I really believe that. And I think in the case of the work I've done with Dennis, they are — both Jimmy and Dave — just very, very rich, well-drawn characters. And they're characters drawn by Dennis. And so I feel very privileged to be in this collaborative partnership with him. As long as he wants to employ me, I'm going to work with him because he writes tremendous roles. It's not always going to be the case. He's going to want to do things without me and that's cool. But if he wants me to do something, I'm down. I really love working with Dennis, and we've struck up a really great friendship and partnership over the past five years." Dennis: "I knew I wanted to do it with Taron because I love working with Taron, and because the two of us have a great shorthand and a rather immense amount of trust between each other — for where we're willing to go and how we're willing to push each other. So in that regard, that was a no-brainer to bring Taron in on this. It's an interesting thing, because Jimmy in Black Bird goes on a journey in which he's kind of a callow, shallow guy at the beginning, and by the end, by moving through this transformation, he's become a better human being, but he's lost a lot of his swagger. Dave starts off as oh, you think he's this sweet, heroic fireman, arson investigator — but very quickly, we start to put a lie to that, and by the third episode we've pretty much lit the whole concept on fire. And now it's really about the rabbit hole of 'how demented is this guy's psyche?' — and that becomes the journey of the show. So it's almost inverse. And it was fun to write, it was fun for Taron to play." Greg: "I just think they're good dudes. What can I say? Taron and Dennis, they're both super-talented. Who doesn't like to work with talented people? And in addition to them, we have a whole cast of talented people. So I knew, I just had great confidence that that this would be a good show. And it would be unexpected — and it would like any good novel, it would be a page-turner and keep the audience hooked and guessing. He certainly didn't disappoint in Black Bird. I know he — I mean, I guess you never know, but I have great confidence just in his ability." On What's Interesting About Digging Into a Cat-and-Mouse Dynamic as an Actor Taron: "I think there's obviously tremendous tension in a cat-and-mouse dynamic — and the feeling that a great deal is at stake. And stakes are important for really good storytelling, I suppose. I have to say, I do, having been the mouse in the cat and mouse dynamic of Carry-On, there is something nice about playing Dave, who is probably a little bit of both. I think he would probably style himself as a persecuted man at a certain point in this show, but as we know, he's anything but a victim. But that's very central to his pathology, I think. I think he's a man who styles himself as what he needs to be at any one time. And I think it probably suits Dave's needs to be thought of as a victim, as a mouse, some of the time." Anna: "A lot of acting is about identifying intentions, and the cat-and-mouse structure of storytelling is delicious for that. You have to commit. You have to ask 'why this mouse?' if you're the cat — 'why this cat?' if you're the mouse, to extend the metaphor. And it's all about figuring out those motivations. And what's so awesome is, in a show like ours, because it refuses to be cut and dry, you're always discovering new motivations. And you're always discovering like 'oh wait, this is what I thought this was', but once you see it, you're like 'oh, maybe that's what it was like'. It keeps living. It doesn't die on the page. It just keeps living and generating its own fire." [caption id="attachment_1014824" align="alignnone" width="1920"] John Lamparski/Getty Images for Tribeca Festival[/caption] On Whether Moving Into Creating TV Shows Was the Plan for Lehane When He Penned His First Novel or Scored His First Screenwriting Gig Dennis: "It definitely wasn't 30 years ago. It didn't really take effect — it didn't take hold even when I was doing The Wire. I think it was when I was doing Boardwalk that I said 'well, I really like this. I like the social aspect of this. I like the feel of it. Maybe one day I'll run a show'. And then we moved to LA three years later, and then it just really, my life changed drastically, and then it just took hold. And I ultimately became a showrunner." On How Lehane Having His Own Books, Such as Mystic River and Shutter Island, Adapted for the Screen Helped Put Him on the Path to Making Television Himself Dennis: "I think it opened some doors for me in LA, in Hollywood. People knew who I was. But my desire was never to make movies — which is weird because I love movies. I'm a movie fanatic. But my desire, I started to realise — it was when I was doing Mr Mercedes with David Kelley that I realised 'wow, the form seems to feel just like writing a novel'. If you've got ten episodes and they're 50 minutes apiece, that's 500 pages. Most novels and manuscripts are somewhere between 400–500 pages. That felt natural. So it felt as if I understood, at an organic level, how to tell a story for television — where writing for the movies is much more like writing a short story." On the Appeal of Being a Part of a Series That Explores the Fine Line Between Arson Investigators and Arsonists Rafe: "It's an unusual subject matter. I don't think I've ever thought about the idea of arson investigation. I don't think it ever crossed my mind. But of course it's a thing. Now, it's an extraordinary story, based in some ways on a real case. And yeah, I was interested in that, the idea of it, but what really hooked me in was the complexity of the characters — was their moral ambiguity, was their richness, was how each character was so well-defined, and how each character went on a very succinct journey. And I was really excited to play Steven. I was really thrilled to have a conversation with Dennis Lehane about it. I was really flattered to be asked. It's really great when people that you respect ask you to be in stuff. I never get over that. I'm always really made-up and flattered when someone of his calibre would want me to be in one of his shows. So I was flattered into doing it." John: "First of all, Dennis Lehane is one of the great writers, true-crime writers of our time. So the series was so well-written, and you don't get great writing like this too often. So that was a gift in itself. And then this character he wrote for me is unbelievable. This crazy, broken loser, loveable loser, who nobody believes but he knows the truth. It's an incredible role to play. I was so excited to be a part of it." [caption id="attachment_1014837" align="alignnone" width="1920"] John Lamparski/Getty Images for Tribeca Festival[/caption] Anna: "The writing. It's always the writing — the writing, the writing. Dennis Lehane is, I think, exactly what the world needs right now. We have to examine the things that he is fearlessly willing to examine. The way he writes, he gives every character that he's creating space and advocacy. And he allows the audience to ask their own questions and to engage with the storytelling. He's never telling you what to think — and this is exactly what I sign up for as an actor." On Going From Black Bird to Taking Inspiration From the Firebug Podcast and John Orr's Story Dennis: "So the sort of missing piece there is a guy named Kary Antholis. So Kary Antholis was a producer with me on Black Bird. Kary was obsessed with the John Orr case and had created Firebug. So he was the producer and narrator and writer of Firebug. And he pitched me when we were in the final stages on Black Bird, and I listened to it, and I said 'well, I don't think I'm the guy to tell the story of John Orr's trial, or the fires in San Bernardino and Glendale in the 1980s. That's not really my jam. It's not what I want to do. But I love the pathology of this guy. I would love to base a character on him, on his pathology. I would like to create a guy who is just as delusional, who is just as in denial, who is an arson investigator chasing an arsonist who happens to be him, and writing a book about an arson investigator chasing an arsonist whose arsons are mirrors for the real arsons that only the real arsonists would know about. That's a story I want to tell. Everything else, I kind of want to throw out'. And he was like 'great'. And so that's what we did as our launching pad. And I went off and told this story, which is very different than the John Orr story." On Stepping Into a Series with Real Life as a Basis, Even If the True Story Is Being Fictionalised Greg: "I was familiar with the podcast. And certainly there are fire chiefs, some people in that storyline, that I guess maybe Harvey is based on, but he's an amalgamation of a maybe a few different people. Most of it was just in the script I felt like Dennis had really written. Like I say, I used the basis of that podcast, a great piece of source information — I suspect we'll be seeing a lot more podcasts as sources for shows, because they're so rich and they offer so much creative backdrop to work with. I felt like this, though, had all been put into a script. And I felt like all of the characters had a real journey. I liked the character he had asked me to play. I worked with the Dennis, of course, on Black Bird, so it was great to come back to the party again." On Egerton's Run of Portraying Morally Ambiguous, Playful Characters — and Being Great At It Taron: "The secret is, the truth is, he is me. That's the thing. When you're an actor, sometimes when actors talk about the lengths with which they go to become someone else, there's something I think is slightly disingenuous about it because — or not disingenuous, that's mean, that's sounds judgmental. My experience of being an actor is not that you become someone else, it's that you express yourself through the prism of a character that has traits that are different to you. It's still you. It's still Taron. It's still me. It's still Taron existing in a set of imaginary circumstances that are different from the ones that have characterised my own life. So Dave is — although I am not an arsonist, I am exercising the muscles of imagination to be a version of me in that situation. I think I have a few of those on the way over the next 18 months — a few morally, either ambiguous or bankrupt, characters. And for some reason I'm entering a phase in my life where those are the roles that I'm playing, and I'm really okay with it. It's interesting. I think as somebody who started their career playing more archetypically heroic roles, there's a real appeal in like fucking shit up a bit, you know?" On Fleshing Out Characters When There Isn't a Single Person in the Series That's Clearcut — and When Keeping Audiences Guessing About Almost Everyone Is Baked Into the Story John: "Oh, I love that. That's what I live for — these roles that are not black and white, that are really complex and you can sink your teeth into, that allow you to be the full spectrum of human life. Life doesn't present itself with villains and heroes. It's just very complex and grey — in the grey zone. I really enjoyed this character, because there was so much to do in terms of he thinks he's sexy, nobody believes him, he thinks he's right, everybody thinks he's wrong. I think it's a very relatable sort of character. So it was a lot of fun for me." Rafe: "I think that the first thing you need to work out is the character's intention, is what they want and how they go about getting it, without passing judgment on it. You can never really have your own personal view on the person that you're playing. You need to believe that they're doing what they think is right. And so Steven, my character, from the outside is obviously dubious at points. But he is able to justify everything he does in his own mind. Now, from an objective point of view, a lot of the things that he does are wrong. But he would be very good at telling you why you were wrong in thinking he was wrong. And he's someone that's used to getting what he wants. So all of this stuff that I'm talking about is the stuff that me, as an actor, hooks into. What does the character want? What does he need? How does he go about getting those things? What gets in the way of him achieving those objectives? All of those things are really playable. And when you've got writing as detailed, as rich as this, it makes that pretty easy. Then you get there on the day and you try and make it sound real. That's it. You try and make it sound real and like real people talking — which, as I say, is easier when the when the writing is as excellent as this." On Playing Someone Who Is Forced to Reckon with the Fact That a Person He Knows Is Completely Different to Who He Thought He Was Greg: "I don't think people want to see what they don't want to see. I think Harvey is, I don't think it's — I guess he could be naive, but I just think it's that human condition of not wanting to be surprised by a friend. It's too painful. It hurts to have someone you trust break that. So he's kind of the last man standing in this when it comes to his assessment of one particular character, but he comes around and gets on board, but it takes a minute." On Chlumsky Taking on Roles with a True-Crime Angle After Veep with Inventing Anna and Now Smoke Anna: "I will engage in true-crime as a genre if the story is good — and when the story is good, that's what matters to me. It's funny, but these roles have been really excellent journeys into the people who are having to engage with these kinds of things every single day. And I appreciate it. I appreciate getting to play them." On Exploring What Makes People Tick When They're Drawn to Things That Can Kill Them or Bring About Their Downfall, Especially When They're Far From Being Honest About Themselves Rafe: "That's a really good question. I think that bad people don't know they're bad people. They think they're good. I think everyone thinks they're good. And so it's interesting to work out, when you're playing a character, what he puts out into the world and how others perceive him, and the dichotomy between those two things. He makes mistakes, but I like him, and I think that that is always good. And I think I always like the characters that I play, even if they're bad people, because I'm inside them. It's difficult to talk about acting, really, because it's such a sort of slippery old thing — and ultimately it is the process of throwing a load of shit against the wall and seeing what sticks. And it's quite a private process. But sometimes it's really fun, and this was one of those cases — and I don't know why. I think it's to do with the people that I was working with. I think that's what it comes down to, is being surrounded by really clever people that make your job easier." On the Crucial Commitment to Using Practical Effects Wherever Possible — and Getting Performances That Are Truly Responding to the Fire as a Result Dennis: "We were adamant about that from the very beginning. The first production meeting, that was the topic: 'how do we make this?'. If they could do it in Backdraft before CGI existed, then the problem has to be how CGI is being employed, not how they used to do fire. So we came up with a fusion of practical fire, CGI fire, put them together. If you had the practical fire in a scene, then the CGI artist could go in there and know what he was matching to. There's a fire — match to that. With the opening scene in which the fireman, Dave Gudsen, is trapped in a fire and runs toward his own reflection — that opening sequence was shot with Taron using nothing but practical fire on what's called a burn stage. So I don't think Taron had to do much acting there. That was pretty much 'aaaaah' — I wasn't going on that stage. But later, in some of the other scenes where the fire was far less practical, the actors were just bringing it, man. They were just bringing it. And we were documenting it and then filling in those fires later." Taron: "It's interesting. I didn't anticipate, when I first read the scripts, that Dennis would elect to shoot the fire practically. And it's a really amazing sequence. I think he chose to do that because that moment, for Dave, the opening sequence of the show, it's more than just the turbulent moment from his past. It's a kind of existential moment where something happened for him that changed who he is, and even I don't fully understand what that was, but it's something to do with his relationship with himself. It's something to do with his own self-image. And I think the significance of that event meant that it needed to be particularly cinematic and almost visually poetic. And the fire looked stunning in that sequence. It really is quite beautiful to behold. And I'd argue that it's better executed than anything that could have been done with computer-generated imagery. So I really loved that sequence. In terms of preparation, you do a little bit of training with the breathing apparatus to make sure that you're safe and set to go in there — because you can't step on a set like that without a regulator, and all the crew are wearing them as well. But beyond the rehearsal we did, which was quite rigorous because it's a dangerous set, I didn't go and do any special firefighter training or anything." On How the Smoke Cast Reflects Upon Their Careers So Far and Their Paths to the Series Taron: "The life of an actor is strange for many reasons, but it's very strange to have a moving video chronology of your own life. And sometimes I'll put on the telly or put on Netflix, like things I've been in sometimes pop up on Netflix and I'm all of a sudden having, like I put on the telly and there's a bit of me at 24 — and I find it really weird. And it's quite creepy. Because in my head, I look the same as I did when I was 24. And then I see a bit of a clip of Kingsman and I'm like 'no, no, definitely not'. And it's weird. I don't get super-reflective about my career so far, and I feel just enormously grateful to still be working and really grateful to be playing leading roles — and to be working with the great people that I get the chance to work with. And I don't take any of it for granted, ever. I am such a fortunate individual. I'm really glad that I'm still being employed." Rafe: "It's one thing getting opportunities, I think, as young actors. And I think that we put a lot of stock in like 'the big break', the idea of that — and there's a lot of reverence of that. That's never really been the case in my career. Like, I've always just done, just kept going, and done one thing and another thing and keep getting asked to do things. It's all I've ever wanted, really, is just to sustain a career. Because that's the most-difficult thing, is sustaining — is to keep going and to keep employed in good work. It's really difficult. It's a really difficult thing. So I'm just very, very grateful that I get to do it, because I really like my job. I really, really like — I love acting. I love actors. My dad's an actor, grew up around them. I think it's both a very important and very silly thing to do, and I'm very grateful for those things." Greg: "It's funny, we [Kinnear and Spall] both played Atticus Finch [in To Kill a Mockingbird], so we've both been through the same path. Plus, Rafe's done a lot of comedy and a lot of drama. I have been able to have kind of done both of that as well, which is really great. I feel very fortunate to be able to do both. This, I feel like Harvey's got — there's a little humour and a little warmth with him, and there's a little drama mixed into it. Whatever's led me here, it's the right mix of stuff, because I find myself more often than not being real happy with whatever it is that I'm doing at the time. That's certainly the case of Smoke." Anna: "I just want to tell the truth and explore the human condition. And if I get to in beautiful text, then I feel like I'm engaging in the culture and I'm engaging in the world, that's really anything anybody can ask for. So I'm just very proud that I'm still getting to answer questions about a show that I still feel that way about. I'm that kind of actor who's always wanting to stretch in different in ways. It's what keeps me alive in the craft. So it always feels like a gift when I get to stretch something." John: "I love to be a part of things that really make you think deeper than most shows. I like to be in work that makes a statement, that tries to change the way the world is and makes it a better place. That's what I strive for. And hopefully I hit that mark more than not. I've had to fight for appropriate representation and appropriate roles that I felt should have came my way, or been offered to me, because I'm a Latin actor in America. And I've had to deal with quite a bit of racism in this country, even though we're such a huge — we've been here since the beginning, the first European language spoken in this country was Spanish, not English, but we're still the most aggressively excluded ethnic group in America, even though we're 20 percent of the population. So I've had to deal with a lot of a lot of that, and luckily I haven't given up, and have persevered. And I think my fanbase is what's helped me to stay strong and to continue. And luckily Dennis Lehane saw something in me for the role of Ezra, and I'm really thankful for that." Smoke streams via Apple TV+.
