Summer is well and truly upon us and that means one thing: it's boat party season. Whether you're a seasoned sailor or a nautical novice, packing for a boat trip can be a surprisingly tricky task. As space on board is limited, you'll want to make sure you pack the perfect mix of practical and pleasurable items to elevate your time on the high seas. To make things a little easier, we've teamed up with our friends at Jim Beam to bring you three essential items that'll upgrade your day, from covetable coverage to an impressive drink to make for the whole crew. UPGRADE YOUR SPF TO THIS CHIC THREE-IN-ONE Since the 80s, Sid the Seagull has been encouraging us to slip, slop and slap, and you best believe that includes during boat trips. With the sun's rays reflected off the water, your chance of getting sunburn increases — so you'll want to bring a seriously good sunscreen to protect you from those harmful UV rays. Level up your sun protection with Aussie brand Ultra Violette and its Supreme Screen SPF 50+ Hydrating Facial Sunscreen ($45). It's a moisturiser, sunscreen and primer all in one. This lightweight all-rounder is the perfect size to slip into your beach bag and it has super-cute packaging sure to make you appear sun-smart and chic all at once. BRING THE PARTY VIBES WITH FUN INFLATABLES The best thing about a boat trip is being able to oscillate between the wet and the dry so freely. And, for the party-starters among us, you can have the best of both worlds with inflatables. Thankfully, the team at Sunnylife has your back with Rosie, a rose gold inflatable flamingo ($79.95), that gives you a vibrant, show-stopping seat on which to soak up the summertime gladness and look the part for all those boat party snaps. It's perfect if you want to stay mostly dry while still getting your feet wet, so long as your mates don't dunk you into the drink. SWAP BEERS FOR A ROUND OF HIGHBALLS Speaking of drink, a day on the water is thirsty work. If you want to impress your mates with something other than beer or wine on your next outing, pack a bottle of Jim Beam and some cordials to make this no-fuss highball for everyone aboard. To make the drink, simply pour 15ml of lemon cordial (like this one by Bickford's), 5ml of lime cordial and 30ml of Jim Beam into a cup. Add ice and top with soda water. Easy! It's a refreshing beverage that is guaranteed to go down a treat among your friends this summer. Top image: Angelo Pantazis via Unsplash
UPDATE, December 9, 2020: Yesterday is available to stream via Amazon Prime Video, Binge, Foxtel Now, Google Play, YouTube Movies and iTunes. Dreaming of music stardom but spending a decade gigging around seaside Essex pubs, Jack Malik (Himesh Patel) is nobody's John Lennon, Paul McCartney, George Harrison or Ringo Starr. No one's except his lifelong friend and dedicated manager Ellie (Lily James), who thinks he's the fab four all rolled into one, and has remained by his side with a devotion that can only be explained by romantic affection (although Jack, of course, is blissfully unaware). Then, after a disastrous festival appearance, the aspiring singer-songwriter is hit by a bus during a global power outage. It's chaotic, and yet it's also a stroke of good luck. When he next whips out his guitar among friends, strumming and crooning The Beatles' 'Yesterday', he discovers that no one recognises what he's playing. "It's no Coldplay," one pal remarks. A lack of music knowledge doesn't explain his mates' obliviousness. As a quick internet search shows, the world knows nothing of John, Paul, George or Ringo (or Oasis, understandably). So springs Yesterday's terrific concept, as well as Jack's clearcut path to fame and fortune. Passing off The Beatles' work as his own, all his troubles seem so far away — if he's ever had a ticket to ride, this is it. Ed Sheeran (playing himself) hears his tunes, takes Jack under his wing and unleashes him on the public. A gleefully amoral Hollywood record executive, Debra (Kate McKinnon), helps capitalise upon his growing popularity. Releasing tracks like 'Let It Be' and 'I Wanna Hold Your Hand', he's soon bigger than, well, the band that no one has ever heard of. Arriving in the same year that has seen The Twilight Zone make a comeback and Black Mirror keep kicking on (and taking on pop music, too), Yesterday's premise is rife with smart satire, not to mention commentary about how the times are a-changing and cultural history along with it. The key word there is 'premise'. It's worth remembering that this jukebox musical is written by Love Actually's Richard Curtis, who has made feel-good romance a staple of everything from Four Weddings and a Funeral to Notting Hill to About Time. As a result, all his latest film and protagonist really need is love, apparently — and Jack and Ellie's will-they, won't-they dance is the least interesting part of Yesterday. It's easy to forgive the script for thinking that today's listeners could hear 'She Loves You' and 'Hey Jude' at basically the same time and think they're equally excellent, as unlikely as that would be. It's much harder to overlook the fact that the film just uses its promising gimmick (and excellent soundtrack) for nothing more than an average rom-com. Patel, playing the latest in Curtis' long line of flustered everyman characters, radiates genuine charisma. He's a joy to watch — and the fact that Yesterday embraces diversity, unlike the writer's previous work, is a pleasing development. James, nowhere near the star of the show as she was in the similarly music-driven, nostalgia-dripping Mamma Mia! Here We Go Again, is less convincing, but her chemistry with Patel is enough. It's telling, though, that both are outshone by McKinnon. Watching the SNL star upstage everyone she's working with has become a regular occurrence, and she's operating on such a zany comic level here that you can be excused for wishing the movie took her lead. Indeed, in a film about a man first squandering his potential, then finding an opportunistic way to make the most of an incredibly strange situation, Yesterday seems all too content to stay in the first category. None of these issues make Yesterday a bad movie — just a blandly pleasant, overly sweet, happily lighthearted and hardly memorable one. It's the cinematic equivalent of tapping your toes to an ace playlist that you know is trying to entice you onto your feet, but just never being inspired to get up and dance, let alone scream, twist and shout. But perhaps the picture's most perplexing element is its choice of director. Or, more accurately, the lack of impact that the usually vibrant and energetic Danny Boyle has. Only in swift scene transitions, large titles splashed across the screen, upbeat montages and a few instances of recreating Beatlemania does the filmmaker behind Trainspotting come close to making his presence felt. Boyle has dallied with love and music before in both A Life Less Ordinary and Slumdog Millionaire, and they're each vastly more vivid and lively. His skill with the soundtracks to his prior movies, including the pulsating drug-fuelled film that brought him to broader attention, is worlds above his work here. If Yesterday slots into his usual oeuvre, however, it's because it's a heist flick of sorts. The director keeps making them, focusing on characters who take what isn't theirs for their own gain, and pull the wool over someone's eyes in the process. And while this alternative-universe piece of Beatles worship blasts the same kind of tune, clearly, it's also guilty of playing just as fast and loose with the audience — selling them a quirky 'what if?' caper, but delivering a corny, business-as-usual romance. https://www.youtube.com/watch?v=E6jfp78Ho3k
The Melbourne weather gods have finally started to answer our post-winter prayers and the season of weekend escapes is well underway. And now you've got another great reason to round up the crew and get out of town: a brand new music, food and wine festival, called A Weekend With. This one's going down about three hours north of Melbourne, taking over an historic winemaking facility in Victoria's Rutherglen region from November 23 to 25. The 120-year-old venue on Mount Ophir Estate is set to host a thoughtful program filled with the good stuff, from tunes and art to great local booze. The fun kicks off with a huge communal feast for 500 people on the Friday night, complete with beer from Sample, natural wines from labels like Boomtown and Chevre, and live music selected by Hope St Radio showcasing acts like Brooke Powers and Merve. After a mass outdoor yoga session, Analogue Attic Recordings takes the reins, pulling together a musical lineup including Albrecht La'Brooy and Steve Magnusson, while a Daydreams-curated afternoon session promises sounds from Claudia Jones, Digital Afrika and SHOUSE. Later that night, you'll get to enjoy a visual feast, with captivating installations and artworks by the likes of DIN, Andy Garvey x Lou Karsh and Bayu. The festival's capped at just 500 punters and you've got the opportunity to stay on-site within a three-storey French provincial tower or glamp. First release tickets are currently on sale for $235.
Already home to the annual Midsumma Festival and Pride March, and soon to welcome Australia's First Pride Centre, Melbourne could also host a huge one-off pride celebration in 2021. If Victoria's Labor government is re-elected next weekend, it has pledged to host an event on par with pride celebrations in London, New York and Berlin. Dubbed Melbourne Pride 2021, the festival would take place on and around Fitzroy's Smith Street and Gertrude Street — with the area's pubs, bars and restaurants all involved in a street party held both indoors and outdoors. To be organised by tourism body Visit Victoria in consultation with LGBTQIA+ community leaders, just what else the festival will entail is yet to be revealed — although the timing is designed to mark 40 years since Victoria's state parliament decriminalised homosexuality. "By backing Melbourne's very own pride event, we're sending a clear message: here in Victoria, equality is not negotiable," said Victorian Premiere Daniel Andrews. Regional Victoria could also be set to host more LGBTQIA+ festivities, with $200,000 in funding also promised for rural pride events. Image: Midsumma Carnival, Jackson Grant.
Lockdowns might have robbed us of some fun things this year, but if all goes to plan, our annual celebration of King of All Fruits — aka the cherry — won't be one of them. Another Victorian cherry season is set to kick off early November, heralding two glorious months spent orchard-hopping, picnicking among the fruit trees and staining one's tongue pink gorging on locally-grown cherries. Some of Australia's most popular cherry varieties are cultivated right here in Victoria, with orchards spread throughout the Sunraysia region, northern and central Victoria, and around Melbourne. And once restrictions allow, your best bet for exploring them all is with a jaunt along the dedicated Victorian Cherry Trail. [caption id="attachment_828684" align="alignnone" width="1920"] Yarra Valley Cherries[/caption] Put together by the experts at the Victorian Cherry Association, the harvest trail identifies eight orchards and cherry-related businesses located across the prime cherry-growing regions of the Upper Goulburn Valley; the Yarra Valley and Yarra Ranges; the Macedon Ranges and the Mornington Peninsula. Favourites like Red Hill Cherry Farm, Seville's Yarra Valley Cherries and Cherryhill Orchards — home of the annual Blossom Festival — are all on the list. Download the digital brochure and plot a fruit-filled tour around the best local spots where you can pick your own cherries, buy farm-fresh fruit and stock up on various other cherry products, including cherry ice cream. With the fruiting season running from early November through till mid-January, you've even got enough time to tackle one new location each weekend. Images: Yarra Valley Cherries
Feeling a little anxious about saying farewell to Brooklyn Nine-Nine? Since it was announced earlier this year that the beloved sitcom would end after its next (and eighth) season, that's been an understandable reaction. Long-running shows become a comforting part of our routines, giving us something to look forward to with each new episode — and in the case of this supremely warm-hearted comedy, giving us all plenty of feel-good laughs as well. If you think that you're dreading B99 coming to an end, you might still want to spare a thought for Charles Boyle (Joe Lo Truglio). If the show comes to a conclusion and sees him spend less time with Jake Peralta (Andy Samberg), he obviously won't cope well. That's the angle the just-released full trailer for the series' final season takes, in fact. "No more stakeouts, or drinks after a long shift, or midnight calls when you've had a breakthrough in a case," Boyle laments — while wearing a big fluffy coat for some reason. Heart and laughs: that's been a noice, toit and cool cool cool formula for Brooklyn Nine-Nine over the years. "Title of your sex tape" jokes, Die Hard nods and Halloween heists have all worked well, too. Cross your fingers that's all in the pipeline during the last batch of ten episodes as well, which will start streaming on SBS On Demand and airing on SBS in Australia come Friday, August 13. Definitely on the bill: other districts' versions of Hitchcock (Dirk Blocker) and Scully (Joel McKinnon Miller), Raymond Holt (Andre Braugher) accidentally sending intimate pics, Peralta and Amy Santiago (Melissa Fumero) trying to handle parenthood, Rosa Diaz (Stephanie Beatriz) on edibles and Terry Jeffords (Terry Crews) popping his pecs. And, to answer an obvious question, it wouldn't be a last ride for Brooklyn's fictional 99th police precinct without Gina Linetti (Chelsea Peretti) making a final appearance. Check out the full trailer for Brooklyn Nine-Nine's final season below: The first two episodes of Brooklyn Nine-Nine's eighth and final season will be able to stream via SBS On Demand (and to view on SBS) on Friday, August 13, with new episodes dropping weekly afterwards.
One of the defining faces of American independent cinema is lighting up the big screen at ACMI. From her breakout role in Richard Linklater's Dazed and Confused to her hysterical turn in Christopher Guest's Best in Show, Parker Posey has inhabited some of the most memorable film and television characters of the past few decades. Running for two weeks starting Sunday March 13, In Praise of Parker Posey looks back at her fascinating career. In addition to the aforementioned, titles on the program include Zoe Cassavetes' Broken English, Rebecca Miller's Personal Velocity and Woody Allen's Irrational Man, as well as all three films in Hal Hartley's Henry Fool trilogy. The retrospective season also includes a panel discussion on Posey's work in television, featuring journalists Penny Modra, Sinead Stubbins, Bhakthi Puvanenthiran and Luke Buckmaster. For the full program, go here.
Mark your calendars with a big red X, because the Ballarat Beer Festival is back. Taking over Lake Wendouree on Saturday, January 20, this annual event is one of the highlights of the drinking year, with some 34 independent brewers serving more than 150 brews. Combine that with live music, food stalls and a range of drinking-friendly activities like beer trivia and musical bingo, and it's an event that beer lovers won't want to miss. Stomping Ground, Temple Brewing, Pirate Life, Hop Nation and Kaiju! are just a few of the brewers who'll be pouring their wares, some of which will be running beer-ed classes on the day. There'll also be cocktails on offer if beer isn't your thing — although if that's the case, you might want to ask yourself what you're doing at the festival in the first place.
Once upon a time, on suburban neighbourhood street corners across the nation, the most important decision of the day was made at the local milk bar — bubble o’ bill, hot jam donut or a packet of fads? In today’s increasingly “organically grown, locally sourced” food culture, quinoa salad and a tub of biodynamic yoghurt may be more the order of the day than a pie and a handful of sherbet bombs for your average lunch order, but we’ll always have those lazy sun drenched afternoons spent unwittingly spending our pocket money on dental fillings, right? As more and more of these nostalgic, decaying relics are edged out of business by slurpie day at the local 7-11, local artist, archivist and historian Eamon Donnelly has stepped in to memorialise the milk bar. His photographic exhibition, Shop Here for Value and Friendly Service, celebrates an Australian icon that might otherwise be doomed to join its friends the yo-yo, tamagotchi and Baby-G in the realm of forgotten childhood joys. Image by Eamon Donnelly.
One of the year's most confronting documentaries will be shown in select Australian universities starting early next week. Directed by Oscar-nominated filmmaker Kirby Dick, The Hunting Ground chronicles the endemic problem of rape on American college campuses. Combining harrowing personal accounts with staggering statistics – including a claim that as many as one in five American women will be sexually assaulted during their time in university – the film lays bare a horrifying culture of abuse, victim-blaming and institutional negligence. An hour long version of the film will be screened at the University of Canberra on February 22, the Australian National University on February 24 and La Trobe University in Melbourne on February 29, March 4 and March 8. The complete 103 minute feature version will also be shown at the Australian Centre for the Moving Image in Melbourne on March 2. Nothing has been scheduled for Sydney or Brisbane as of yet, however universities and other interested parties can sign up to host a screening via the film's website. The Hunting Ground Australia Project is also engaged with the Australian Human Rights Commission and the Australian Human Rights Centre at UNSW on an independent survey "on the prevalence, reporting experiences and responses to sexual assault and sexual harassment in university settings." Unlike the United States, there is currently no comprehensive data on the rates of sexual assaults at universities in Australia, although a 2011 survey by the National Union of Students reported that one in ten female students had suffered sexual violence while at university. The Hunting Ground has faced criticism from some journalists and college administrators, who have claimed it pushes an agenda and misrepresents statistics. The filmmakers have denied these claims on their website. For more on The Hunting Ground, including information about screenings and how you can host your own, visit www.thehuntinggroundaustralia.com.au.
Glamping has been embraced by wineries, yogis and landscaped gardens all over Australia, and now making its way into national parks. In early October, two Victorian parks will host bell tent pop-ups as part of Parks Victoria's first glamping trial. You'll find the first at Lake Catani, in Mount Buffalo National Park, around four hours' drive northeast of Melbourne. Here, Under Sky – which takes glamping to festivals and various events – will be erecting ten bell tents filled with premium linen and comfy furnishings. When you're not marvelling at Lake Catani's tranquil waters and snow gum woodlands, you'll be able to get out and about exploring Mount Buffalo's 90 kilometres of walking tracks, waterfalls, wildflowers and native creatures. Meanwhile, at Devil Cove in Lake Eildon National Park, the operators of much-loved country retreat Yea Peppercorn Hotel will be delivering, not just luxury bell tents, but Glamping With Nature — a full glamping experience. When you're not kicking back in your private canvas kingdom, you'll be able to try out cooking workshops, group fitness classes, kayaking adventures and health-and-wellness sessions. At both Lake Catani and Devil Cove, food and drinks packages, filled with local goodies and concoctions, will be available, too. Parks Victoria's glamping experiment are due to start in October and run until December. Prices begin at $130 per night per couple. Online bookings are available for Lake Catani over here and at Devil Cove here.
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.
You made the decision to down that 3am cheapass cleanskin. You ordered the new-friend-securing tequila round. You woke up in your own drool with a stamp on your forehead and a headache bigger than the margarita jug you chugged to yourself. Nothing will make this seventh circle of Hades better on a Sunday morning, no amount of cold bathroom tiles or Too Late water-sculling. The only thing that can help you... is something made for the US Special Forces. You're in luck. Cue DripDrop, an allegedly 'elite hydration solution' that uses sweet, sweet science to obliterate your poor life choices and completely revitalise you after a big night. A cure for dehydration made for use by hospitals (particularly in developing countries), paediatricians and you know, US Special Forces, DripDrop is one of the most extreme dehydration cures out there. Cranking out three times the amount of electrolytes, sugar, sodium and potassium you'll find in your measly Powerade-fries-cheese-on-everything combo and apparently clinically shown to hydrate 34% better than water, DripDrop supposedly makes you feel better quicker than you slammed that Centurion the night before. "Built on decades of proven science, DripDrop is the first hydration solution to combine medical standards with great taste," claims the website. "DripDrop provides a simple, cost-effective solution that empowers everyone to treat mild to moderate dehydration with a safe, medical grade solution." Just dissolve two packets into a glass of H2O with your trembling, trembling hands and throw that sucker back. Apparently it works. For you know, task forces. Why not your sorry ass? DripDrop don't just cure hangovers for one-too-many noobs like us though. They've made some kickass progress in water-lacking developing countries, made a huge number of athletes and soldiers feel better on the run, as well as helping people suffering from inflammatory bowel disease, Crohn's disease and ulcerative colitis. So you're not the only one feeling better thanks to these legends. DripDrop is yet to make its way to Australian pharmacy shelves but you can buy it online here. Or you know, put down the JD. Via SuperCompressor. Image: DripDrop.
In repentance for all the times you've ordered take away and slumped on the couch feeling like the worst, you can now do the exact same thing while feeling like the best. On Friday, July 15 Uber is teaming up with OzHarvest and a horde of celebrity chefs to design and deliver a range of gourmet ice creams for a good cause (sorry Gelato Messina, you're out of the gang). The guys at OzHarvest hope to deliver 100,000 meals for vulnerable Aussies to help them get through the harsh winter season. The profits from a $15 half-litre tub of ice cream will provide five square meals to struggling Aussies — and one indulgent meal to yourself. George Calombaris, Matt Moran and Neil Perry have all signed up, and each has designed a custom ice cream flavour. There are no prizes for guessing that George's has an amazing Greek twist — it's called Caramel and Walnut Baklava Smash. Matt Moran has wisely gone with the deliciousness of banana with his Banoffee Crunch and Neil Perry will be scooping Spiced Cookie and Caramel Swirl. They all sound bonkers, which is a good thing because distribution is randomised. All you have to do is jump on the app between 11am and 5pm on Friday and press the ice cream button for ice cream delivered straight to your door. If only all things in life were that simple. Check out their service areas on their website. Like all of Uber's extracurricular pursuits, demand will be high. But if you miss out, just buy an ice cream and donate to OzHarvest directly over here.
A resident who lives near Melbourne's iconic Cherry Bar has recently been labelled "fuckwit of the year" for complaining about the venue's noise levels. Opening themselves up to unrelenting criticism from music lovers citywide, this neighbour wrote a small letter to the live music venue which has now been mocked and shared everywhere over the weekend. In the age of social media, it's almost always a bad idea, but in principle — do neighbours likes this really have a right to complain? In Melbourne in particular, this has been a huge problem. Earlier this year, many of the city's major venues were in dire financial straits as a result of noise complaints made by surrounding residents. Just one complaint could have seen the council stepping in and enforcing major renovations to soundproof the venue. For many smaller sites, this would put them at risk of bankruptcy. There were even concerns about this affecting the music scene at large — if this kept happening, surely the best venues would just move away? As a loud and proud bastion of hard rock in Melbourne's CBD, Cherry Bar is very familiar with this kind of trouble. As plans were going ahead to erect a 12-storey apartment building next door, the small venue was under pressure from the council to comply with noise regulations. Turning to crowdfunding from their loyal clientele, they raised over $50,000 in under 24 hours to go towards soundproofing the venue. This has now changed. And, as most venues aren't as blessed as Cherry, it's a very good thing. After years of arduous legal battles, Victorian parliament passed new Agent of Change laws last month which put the onus of soundproofing on the developers of residential complexes rather than inner-city venues. It was a momentous win for live music that guaranteed the future of many bandrooms on the brink. The City of Yarra then jumped on the back of this and offered $25,000 worth of funding to these venues in the name of good will. Go Melbourne! With all this in mind, it's a wonder this person bothered to get in touch. Shit's already getting done, right? "The noise made by your bar is affecting my sleep and work, especially since it lasts beyond midnight," the complaint read. "May i suggest u guys to reduce the noise made by at least a half ? [sic] There are many working adults and students living in this apartment, so the noise produced by your bar made it very difficult for us to rest at home after a long day of work." Then they get serious. "I have read about the noise restrictions in the CBD, and will consider reporting to the City of Melbourne or the Victoria Police if this matter is not solved within the next week." And that's where it all began: Fuckwit moves next door to Cherry Bar and complains about noise: http://t.co/2bYQZ3TBCq — Wil Anderson (@Wil_Anderson) October 18, 2014 Cherry Bar owners have since got back to the neighbour expressing their side of the story. "Cherry has been successfully operating for 14 years as a late night live music venue. We have never had a noise complaint," their letter read. "The good news for you is that we are proactively investing in $100,000 worth of soundproofing presently. We are approximately 3 weeks into the 4 week process." The moral of this story: you probably shouldn't move onto a street named after AC/DC if you don't like loud music. But in general, even if you live and breathe live music, it's easy to see the points these kind of neighbours are making. How many drunk trespassers and sleepless nights would it make to turn you into a fuckwit too? Via Tone Deaf and Music Feeds. Photo credit: Scootie via photopin cc.
Gambling sites are so often accused of being scummy. Confined to the cracked iPhone screens of sweaty middle-aged men watching the races, or nestled up against a footy fanatic's much-pounded Tinder app, these sites don't often conjure up images of class. But for this year's FIFA World Cup, Sportsbet have pulled out the big guns. They've called upon the classiest dude bro they could think of. They've let Jesus loose upon our skies. In a marketing stunt that seeks to mimic Rio de Janeiro's Christ the Redeemer, Sportsbet have created a hot air balloon in an arguably sacrilegious image of Jesus Christ. They've encapsulated his transcendent essence in 46 metres of gassy latex, slapped a hashtagged Socceroos jersey on him and launched him off into the atmosphere because culture or sports or betting or something. It's a move that's understandably enraged Melbourne's religious community. Director of the Australian Christian Lobby Dan Flynn has spoken out against the stunt on 3AW saying Jesus has been co-opted into endorsing gambling. "Jesus was very much for the poor and we know the effect of gambling on the poor, they take the biggest brunt of that," he said. The balloon has also been condemned by Deputy Premier Peter Ryan, the Australian Churches Gambling Taskforce, and the Anglican Archbishop of Melbourne. However, Sportsbet's representatives claim the balloon is nothing more than a morale booster to get people behind the Socceroos this week. "Let’s be honest — the Socceroos need divine intervention to progress past their three group games, so the message we’re aiming to get across is that for all Aussies to keep the faith in [them]," PR manager Shaun Anderson told the Herald Sun. Sportsbet also claim they haven't received any complaints from religious groups directly. Spokesperson Matthew Campbell even went so far as to reassure readers at the Sydney Morning Herald: "We certainly don’t believe we’re being insensitive to anyone’s religious beliefs." This isn't the first time Sportsbet have been accused of insensitivity. In fact, their last controversy came only one year ago with this charming piece of good ol' Aussie animal porn. Any of the @QantasWallabies see this little guy upon landing in Melbourne today? #rootingforoz pic.twitter.com/NOei58MFNv — Sportsbet.com.au (@sportsbetcomau) June 23, 2013 Though today marks just the second day of flight for the holy balloon, it's already received a huge amount of attention. Not only has it faced scrutiny from those religious groups mentioned above, it's featured on the front page of mX, and made an appearance on both the Daily Mail and Wall Street Journal. How embarrassment. Despite all this, Sportsbet claim the only thing that could bring down our ever-present lord is the weather. The betting site intend to keep him airborne over Melbourne for the next couple of days before a national tour starting next week. If you weren't already having moral dilemmas with this year's World Cup, you sure as hell will now. Via Herald Sun and The Sydney Morning Herald. Photos via Sportsbet.
Check out the full photo gallery It’s one-seventh the travel time to Woodford, one-fifth the number of Southern Cross tats at Field Day, as picturesque as Falls, and the local line up is without parallel. Yep, if you were among those who chose to bring in the New Year at Peats Ridge, I don’t have to tell you that you made a wise decision. For those of you who didn’t, here’s why you shouldn’t make the same mistake twice. Day One With open-air yoga classes, healing sessions and kids running amok, Peats Ridge feels more like a gypsy community than a music festival. The sheer number of workshops and craft stalls means you could spend a whole day without your children (win) and without seeing any music. Having said that, come mid-afternoon you would have been hard-pressed to go past Canadian rockers Yukon Blonde, who played like they were aiming to blow a speaker. For other reasons, it was difficult to overlook the Dum Dum Girls, whose indie-pop tunes came second fiddle to their strategic dress sense and homogenous hairdos. In the Chai temple, barefooted folk sprawled over colourful carpet and couches were treated to an electrifying Steve Smyth, who mesmerised his audience with a spine-tingling rendition of Harry Belafonte’s ‘Sylvie.’ If you missed him, you missed one of the best acts of the festival. Later back at main stage, golden boy Xavier Rudd and his hypnotic five-piece, one-man band sung songs about Mother Earth and the evils of mankind to an adoring crowd. A fitting reception for a man who plays the didge like nobody’s business. Day Two The morning after saw more than a few dusty revellers slumped over chai lattés and gözleme. However Friday’s bill didn’t pander to anyone’s hangover. Compounding a throbbing headache were Melbourne’s Graveyard Train, who proved that all you need is a few swashbuckling dudes, a guitar, and some basic hardware tools to rock out. San Fransisco’s Hanni El Khatib took a less humble approach, describing his music as being ‘for anyone who’s ever been shot or hit by a train.’ Right. Well that may have explained the small turn out. Nevertheless, Khatib’s punchy guitar riffs soon had the space packed. A solid blues rock act like that is hard to follow, particularly when you’re armed with a bunch of classical string instruments, but the Crooked Fiddle Band dished out their special brand of high-energy ‘chainsaw folk’ to a wildly appreciative crowd. As the night drew on, dorky-cool Japanese instrumental jazz group Mountain Mocha Kilimanjaro had frenzied revellers chanting ‘baggy pants’ as if they were hip-hop heavy weights at an Up in Smoke Tour. Local boys Hermitude did a better job than the much-hyped Canyons at carrying the party vibe with their electronic hip-hop set and slow hip-swinging cover of MJ’s ‘Don’t Stop Till You Get Enough.’ Day Three Dress up day. Luckily the music line-up today was a real slow-burner, which allowed campers ample time to adorn themselves in body paint or to join the queue at Fancy Schmancy costume hire. The Paper Scissors got into the masquerade theme early (on ‘em) and delivered a strong live performance largely thanks to Ivan Lisyak’s incredible drumming. At main stage, the Gold Coast’s Tijuana Cartel mixed breakbeat with some mean Afro-Cuban percussion and flamenco guitar solos. By the time they dropped ‘Letting it go’ the crowd was putty in their hands. In fact Tijuana would have been a far better way to end 2011 than the much-anticipated Gotye. The festival’s main event was a total fizzler. In the absence of any crowd banter and special guests, it boiled down to a lacklustre performer churning out his better-known hits. At the very least he could have done the whole thing painted in the nuddy. Thankfully the en masse midnight merry-making and after-party that carried on at the psychedelic Pirates’ Lair were more than enough to make up for it. At a time when Aussie music festivals are increasingly overshadowed by drug and alcohol-fuelled idiots, it’s great to see that Peats Ridge has managed to maintain a feel good eco- and family-friendly vibe. With a dome dedicated to artistic performances, a plethora of stalls selling local organic produce and crafts, art installations and a staggering variety of fresh food and high-quality drinks (fresh lime and ice with your vodka? Shut. Up.), it’s clear that a lot of love and attention has been put into the running of this event. And the results speak for themselves.
The Makers and Shakers Market will visit Melbourne again this April, bringing with it the whole kit and caboodle of bespoke ceramics, homewares and jewellery (as well as tasty food to rejuvenate you when you get the oh-no-I-just-spent-all-my-money sweats). Kick things off at 10am on Sunday, April 7 with a coffee, spend a few hours browsing, and then chow down on a toastie or perhaps a gluten-free vegan doughnut from Nutie. The market gives space to local makers to sell their handmade wares, with everything from ceramic keep cups to floral tote bags to be found. Stallholders this time round include bright art by Laura Blythman, flowers from Mittoo Blooms, designer soaps by Fazeek, whimsical lamps from Upswitch and jars of sticky caramel from Misty's Salted Caramel. And that's just the crust of the pie — there are many more to choose from when you take a full bite. Images: Alana Dimou.
Christmas brings with it many traditions, from party season as soon as Halloween is over through to turkey and prawns on the big occasion itself (and, obviously, carols, stockings, lights and decorations aplenty, too). The next day has its own routine as well — swapping feasts, drinks, presents and backyard cricket for hitting up your favourite picture palace, ready to gorge your way through the year's biggest movie-going moment. And yes, getting an air-conditioned escape from Australia's summer heat is quite the nice bonus. We're talking about Boxing Day, clearly — and, specifically, Boxing Day's annual haul of new films. 2022's lineup is a little smaller than past years because the hefty blue behemoth that is Avatar: The Way of Water opened in mid-December, but there's still plenty to watch. Wondering what's newly showing? Eager to learn what's truly worth your time, more importantly? We've viewed and reviewed the day's full slate of new titles, including an Oscar frontrunner, a savage satire of privilege, a Whitney Houston biopic and Antonio Banderas voicing a mischievous cat. Here's our rundown — happy viewing! THE BANSHEES OF INISHERIN In The Banshees of Inisherin, the rolling hills and clifftop fields look like they could stretch on forever, even on a fictional small island perched off the Irish mainland. For years, conversation between Padraic Súilleabháin (Colin Farrell, After Yang) and Colm Doherty (Brendan Gleeson, The Tragedy of Macbeth) has been similarly sprawling — and leisurely, too — especially during the pair's daily sojourn to the village pub for chats over pints. But when the latter calls time on their camaraderie suddenly, his demeanour turns brusque and his explanation, only given after much pestering, is curt. Uttered beneath a stern, no-nonsense stare by Gleeson to his In Bruges co-star Farrell, both reuniting with that darkly comic gem's writer/director Martin McDonagh for another black, contemplative and cracking comedy, Colm is as blunt as can be: "I just don't like you no more." In the elder character's defence, he wanted to ghost his pal without hurtful words. Making an Irish exit from a lifelong friendship is a wee bit difficult on a tiny isle, though, as Colm quickly realises. It's even trickier when the mate he's trying to put behind him is understandably upset and confused, there's been no signs of feud or fray beforehand, and anything beyond the norm echoes through the town faster than a folk ballad. So springs McDonagh's smallest-scale and tightest feature since initially leaping from the stage to the screen, and a wonderful companion piece to that first effort. Following the hitman-focused In Bruges, he's gone broader with Seven Psychopaths, then guided Frances McDormand and Sam Rockwell to Oscars with Three Billboards Outside Ebbing, Missouri, but he's at his best when his lens is trained at Farrell and Gleeson as they bicker in close confines. Read our full review. TRIANGLE OF SADNESS Ruben Östlund isn't interested in keeping his viewers comfortable, no matter how cushy their cinema chair. To watch the Swedish filmmaker's features is to feel yourself reacting — emotionally, always, and sometimes physically as well. It was true of 2014's phenomenal Force Majeure, aka as clever and cringe-inducing a portrait of marriage and masculinity as the 21st century has provided. With dropped jaws over a divisive piece of art within a divisive piece of art, it was true of 2018's The Square, the writer/director's first Cannes Film Festival Palme d'Or-winner, too. And, earning him that same prestigious prize again in 2022, it's also wholly accurate of Triangle of Sadness. Make a movie with a shape in its title, score one of the biggest filmmaking awards there is: that's been a nifty formula for Östlund of late. But even if he directs a flick called something like Hexagonal Dreaming soon, or anything else with a geometrical bent, and it too nabs that Cannes gong, beating Triangle of Sadness' vomit sequence is highly unlikely. To remind audiences that responding to films and life alike is an involuntary reflex, Östlund shows plenty of his characters doing just that — to existence, and to a choppy luxury cruise. It makes for simply unforgettable cinema, but it's also just one part of Triangle of Sadness and its sublimely shot unpacking of wealth, privilege and social hierarchies. Appearing to be coasting through perfection is an ongoing quest for Carl (Harris Dickinson, See How They Run) and Yaya (Charlbi Dean, Black Lightning), well-known models-slash-influencers, and the movie's focal point. When they take to the sea among the uber rich, they're still working the requisite angles (and snapping everything for Instagram from every angle). But then, under the captain's (Woody Harrelson, Venom: Let There Be Carnage) watch, being stranded on an island becomes their fate — and the way that Östlund satirically carves into the resulting chaos is equally hilarious and and astute, even when his film is both obvious and hardly subtle. Read our full review. WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY In the decade since her death in 2012, Whitney Houston has proven one of filmmaking's greatest loves of all. No fewer than five movies have told her tale, including documentaries Whitney: Can I Be Me and Whitney — and that's without including a feature about her daughter Bobbi Kristina, a miniseries focused on her ex-husband Bobby Brown and dramas clearly based on her story. All of that attention echoes for obvious reasons. Houston's mezzo-soprano voice, which earned her the nickname "The Voice", soared to stratospheric and literally breathtaking levels. Still holding the record for the most consecutive number-one singles on the Billboard Hot 100, which she took from The Beatles and the Bee Gees, her career zoomed skyward as well. That swift rise from New Jersey church choir member to one of the biggest bestselling music artists ever was matched by tabloid-fodder lows, however, and that tragic, gone-too-soon passing — and Whitney Houston: I Wanna Dance with Somebody charts it all. Taking its name from one of Houston's most exuberant singles isn't just music biopic 101 (see also: Bohemian Rhapsody, also penned by this film's screenwriter Anthony McCarten). Kasi Lemmons' (Harriet) feature follows the standard Wikipedia entry-like genre template, but the filmmaker wants those titular words to reflect how Whitney (Naomi Ackie, Master of None) just wanted to be herself, to be loved as such, and openly be with Robyn Crawford (Nafessa Williams, Black Lightning), the girlfriend-turned-creative director that her gospel singer mother Cissy Houston (Tamara Tunie, Cowboy Bebop) and stern father John (Clarke Peters, The Man Who Fell to Earth) disapprove of. Instead, after being signed to Arista Records at 19 by producer and executive Clive Davis (Stanley Tucci, The King's Man), Whitney becomes America's princess next door. Ackie turns in a commanding, multi-layered performance as the conflicted singer — even while lip-synching, with the movie smartly using Houston's own vocals — in a film that's impassioned, wisely filled with electrifying performance recreations, yet is happy to just hit every expected note. Read our full review. THE LOST KING When King Richard III was killed in battle in the 15th century, did anyone wonder about a public holiday? Given the era and its working conditions, likely not. There's also the hardly minor fact that the monarch was slain by the forces of Henry Tudor, who promptly became England's ruler, so downing tools for a day of mourning probably wasn't a priority. The world has a frame of reference for grieving a British sovereign, though, and recently. When Queen Elizabeth II died in September 2022, pomp and ceremony reigned supreme. Dramatising the discovery of Richard III's remains, The Lost King wasn't made with the queen's passing in mind. Actually, it world-premiered a day afterwards. But the Stephen Frears (Victoria & Abdul)-directed, Steve Coogan- and Jeff Pope (Philomena)-scripted drama benefits from audiences knowing what's done now when whoever wears the crown is farewelled. The Lost King isn't about chasing a parade, pageantry, and a day off work for the masses in Britain and further afield. Charting the true tale of Richard III's location and exhumation 527 years after he breathed his last breath, it follows a quest for recognition and respect. When the film opens, Philippa Langley (Sally Hawkins, The Phantom of the Open) wants it for herself, as a woman over 40 overlooked for a promotion at work in favour of a younger, less-experienced colleague — and as someone with a medical condition, myalgic encephalomyelitis/chronic fatigue syndrome, who's too easily dismissed due to her health. She's also newly separated from her husband John (Coogan, This Time with Alan Partridge), adding to her unappreciated feelings. It's no wonder that Richard III's plight catches her interest thanks to a production of Shakespeare's Richard III, aka one of the reasons that the king was long seen as a hunchbacked villain. More surprising: that the film about all of this, while engaging enough and featuring stellar work by Hawkins, doesn't seem to trust that its real-life story can hold its own. Read our full review. LYLE, LYLE CROCODILE The Paddington movies did it better. That's a general catch-all statement that can apply to almost anything, zero context required, and it's also the prevailing feeling while watching Lyle, Lyle, Crocodile. Instead of a marmalade-coveting bear, a singing crocodile is trying to win hearts — and the similarities don't stop there. The page-to-screen leap from a children's favourite? Tick. An adorable animal winding up in a family of humans who need its unique presence to make their lives complete, bring them together and show them what truly matters? Tick again. The strait-laced dad, creative mum, nasty neighbour and kindly kid? Keep ticking. Also present in both: the titular critter donning human clothing and craving fruity foods, warm colours aplenty, a vintage look and feel to interior spaces, a tense and traumatic capture, and an accomplished star having a whole lot of fun going big, broad and cartoonish (Javier Bardem here, and worlds away from The Good Boss, Dune or Everybody Knows). Bardem's playful turn as magician Hector P Valenti is the best thing about Lyle, Lyle, Crocodile, which is breezily watchable but so indebted to Paddington and its sequel — so desperate to be an American version of the charming English franchise — that orange conserve might as well be smeared across the lens. As directed by Office Christmas Party's Josh Gordon and Will Speck, and scripted by Johnny English Strikes Again's Will Davies (adapting from Bernard Waber's books), the film is also a musical, with the eponymous croc (voiced by Shawn Mendes) able to sing but not speak. Those forgettable songs pad out a slight story, after Valenti discovers Lyle, hopes to get famous as a double act and loses his New York City brownstone when his gambit fails. Then the new residents, the Primm family, find the reptile in the attic, son Josh (Winslow Fegley, Come Play) finds a friend and his parents (Hustlers' Constance Wu and Blonde's Scoot McNairy) find their own reasons to get snapped up in the critter's singing-and-dancing vibe — although Mr Grumps (Brett Gelman, Stranger Things) downstairs obviously lives up to his moniker. PUSS IN BOOTS: THE LAST WISH Since arriving in cinemas in 2001, Shrek has inspired three more ogre-centric flicks, a heap of shorts and TV specials, and a stage musical for the whole family. It's also the reason that green-hued burlesque shows exist, plus all manner of parties and raves — none of the last three of which are appropriate for kids, obviously. But beyond the Mike Myers (The Pentaverate)-voiced titular figure himself, only Puss in Boots has become solo big-screen fodder from among the franchise's array of characters. Like much in this series, the shoe-wearing feline hails from fairy tales, but the reason for its ongoing on-screen popularity is as simple as casting. Who doesn't want to see a kitty swashbuckler voiced by Antonio Banderas (Official Competition), basically making this a moggie Zorro? Based on the 2011 Puss in Boots' $555 million at the box office, that concept is irresistible to plenty of folks — hence, albeit 11 years later, sequel Puss in Boots: The Last Wish. Pairing the right talent to the right animated character doesn't instantly make movie magic, of course; however, The Last Wish, which literally has Puss seeking magic, is among the best films that the broader Shrek saga has conjured up so far. The eponymous cat begins the picture being his usual swaggering self and caring little for the consequences, including his own dwindling lives. One raucous incident sees him realise that he's died eight times already, though, and knowing this ninth go-around is his last according to feline lore suddenly fills him with existential woe. That's a thoughtful premise for an all-ages-friendly flick, and one that's never dampened by the film's plethora of fairy tale nods, high-energy vibe and usually amusing gags. So, Puss, Kitty Softpaws (Salma Hayek, House of Gucci) and their new canine companion Perro (Harvey Guillén, What We Do in the Shadows) attempt to find a famed wishing star that can make avoiding death a reality — but Goldilocks (Florence Pugh, The Wonder) and the three bears (Black Widow's Ray Winstone, Mothering Sunday's Olivia Colman and Our Flag Means Death's Samson Kayo) are also after it, as is a no longer 'little' Jack Horner (John Mulaney, Big Mouth).
In the space that an average-sized Australian home sprawls across, how many smaller houses could fit instead? This question won't just be a topic of conversation outside the National Gallery of Victoria from November 2024. Each year at the venue's Melbourne grounds on St Kilda Road, the institution unveils its annual Architecture Commission, a site-specific pop-up construction that experiments with design concepts while pondering subjects of public importance. This year's pick is a tiny house — which might sound standard, except that it's a pint-sized abode within the frame of the standard Aussie home, and the contrast between the two is obvious. Created by Melbourne-based architecture and design studio Breathe, Home Truth continues the firm's focus on sustainable architecture that'll endure and has a purpose — and, from Wednesday, November 13, it'll get NGV visitors wandering through a house-within-a-house labyrinth. First, you'll step inside the larger abode, which represents the average 236-square-metre Australian residence. Then, drawing attention to alternative modes of housing, you'll enter the smaller-scale nestled within it. [caption id="attachment_706568" align="alignnone" width="1920"] NGV International[/caption] To get from one to the other, you'll enter via the larger house's garage door, then mosey through rooms and hallways. When you reach the tinier home, you'll feel like you've hit the centre of a maze. Attendees will notice two different materials distinguishing each abode, too, with the bigger spot constructed from framing pine and the smaller house from the waste-made saveboard — offering up a comment on how homes are currently built in Australia as well. "Through its clever play on scale and materials, this thought-provoking work of architecture sparks a fascinating conversation about housing and sustainability in this country," explained NGV Director Tony Ellwood, announcing the 2024 Architecture Commission. "Home Truth speculates that overconsumption of space and materials translates into ecological and social consequences — for both us and the planet. But importantly, it offers a provocative vision of a new way of thinking about building — seeing the value of living in spaces that are of smaller scale — a vision that prioritises people and planet," added Ewan McEoin, NGV's Senior Curator, Contemporary Art, Design and Architecture. [caption id="attachment_927585" align="alignnone" width="1920"] Installation view of the 2023 NGV Architecture Commission: (This Is) Air designed by architect Nic Brunsdon in collaboration with ENESS. (This Is) Air is on display from 23 November 2023 until June 2024 at NGV International, Melbourne. Photo: Ben Hosking.[/caption] Home Truth follows 2023's stunning pick (This is) Air, a giant inflatable sphere that breathed, as created by Australian architect Nic Brunsdon with Sky Castle, Airship Orchestra, Cupid's Koi Garden and Lost Dogs' Disco' ENESS. The 14-metre-high piece did indeed expand with air, then release it — so, yes, it inhaled and exhaled all day — to get everyone thinking about humanity's need for and relationship to air, how essential it is, how dependent we all are upon the element, how finite it is and how its quality is being impacted. In the past, NGV's Architecture Commission has also seen a colourful mini Parthenon, a bright pink pool to wade through, a bamboo garden with its own deck and an unforgettable pink carwash pop up, all as part of an initiative that started in 2015. [caption id="attachment_890113" align="alignnone" width="1920"] Temple of Boom, NGV, Michael Pham[/caption] [caption id="attachment_840624" align="alignnone" width="1920"] Pond[er], NGV, Derek Swalwell[/caption] [caption id="attachment_602904" align="alignnone" width="1280"] Haven't You Always Wanted..?, Sean Fennessey[/caption] 'Home Truth' by Breathe will be on display at NGV International, St Kilda Road, Melbourne from Wednesday, November 13–April 2024 — head to the NGV website for further details. Image: Render of NGV Architecture Commission 2024 'Home Truth' by Breathe. Image courtesy of Breathe.
Winter's fallen and another truffle season is upon us, which can only mean one thing — it's time to celebrate one of the world's most coveted ingredients at Melbourne's legendary annual truffle festival. Thought to be the largest celebration of its kind outside of Europe, Truffle Melbourne is back for its 2022 edition. And as always, one of the program highlights is a truffle-filled festival weekend, which hits the Queen Victoria Market from Saturday, June 18–Sunday, June 19. In between watching some seasoned truffle hounds Trixie and Arrow doing live mock truffle hunts, you'll be able to sample a huge variety of sweet and savoury truffle-infused dishes across the weekend — think, truffle mac and cheese, truffle-topped pizza, truffled prawn rolls, truffle-infused cannoli and more. There's a decadent truffle gnocchi and truffled raclette, for those looking to sate their cheese cravings, and a new pop-up dining space where you can kick back and have truffled delights served right to your table. Even the drinks list is a celebration of this glorious fungi, with specialty espresso martinis and other truffle-charged cocktails to star alongside wine from Tasmania's Dalrymple Vineyards. Much-loved chefs including Guy Grossi (Grossi Florentino), Jesse Gerner (Bomba), Johnny di Francesco (400 Gradi), Matt Wilkinson (The Pie Shop, Montalto) and Justine Schofield will be throwing some kitchen inspiration your way as they host a hefty program of cooking demonstrations. If you're in the market for some take-home truffle, there'll be plenty of stock from the country's leading growers, along with truffle-infused pantry goodies like honey and cheese. Want more? Truffle Melbourne's pop-up shop will be slinging a vast array of fresh truffles and other products, every market day through the season. You'll find it in I Shed.
How are you planning to spend gravy day in 2023? If you'll be listening to Paul Kelly sing about making gravy when it's the 21st of December, that's understandable. How are you planning to spend gravy day in 2024? Here's our suggestion: watching the movie How to Make Gravy, which is indeed adapted from Kelly's Christmas classic tune 'How to Make Gravy'. News that the flick was coming first dropped in 2022, with musician Meg Washington and writer/director Nick Waterman announcing that they'd locked in the rights to make the song into a film. Now, Australian streaming platform Binge has revealed that it's behind the movie, which will mark its first-ever original feature. Production has also started head of a planned 2024 release. Set to star: The Royal Hotel co-stars Daniel Henshall and Hugo Weaving, as well as Brenton Thwaites (Titans), Damon Herriman (now that he's no longer playing Charles Manson in both Mindhunter and Once Upon a Time in Hollywood) and Kate Mulvany (The Clearing) among the homegrown talents. Joining them is French actor Agathe Rousselle from Titane, who'll be making her first English-language film. Will Kelly feature? More cast members are still to be revealed, but cameos by Adam Briggs and Dallas Woods have been announced so far. Filming is currently underway on the Gold Coast. The exact story that the movie will tell hasn't been unveiled as yet; however, as anyone who knows the words to 'How to Make Gravy' by heart and is currently singing them right now while they're reading this is well aware, Kelly's tune tells a tale itself, starting with a prisoner called Joe who writes to his brother Dan. Presumably, Stella, Frank and Dolly will all also feature, and Rita, Roger, Mary and her new boyfriend. Junior Murvin will have to pop up on the soundtrack, of course. Also, the words "and give my love to Angus" better get uttered — or would it really be a How to Make Gravy movie? Although Binge hasn't advised exactly when in 2024 the film will release, either, you could probably put money on it hitting screens on or around December 21 to start a new gravy day tradition. (And, given the character of Joe also pops up in other Kelly songs such as 'To Her Door' and 'Love Never Runs On Time', cross your fingers that we're about to get a PKCU — Paul Kelly cinematic universe — too.) "It's a dream to be working with such an incredible cast and crew on our debut feature film. It's testament to Paul's songwriting that the world and characters within the song are so vivid, and we are proud to have the honour of bringing it to life," said Waterman and Washington. "It's a uniquely Australian story, made for film lovers and music fans alike. We can't wait to share our adaptation of 'How to Make Gravy' with the world." There's no trailer for the movie yet, of course, but here's the music video for the song. How to Make Gravy, the movie, doesn't yet have a release date — we'll update you when further details are announced. Via Variety.
From this week, the waves won't be the only things making a splash at Melbourne's new surf park Urbnsurf. Finally debuting at the Tullamarine site on Monday, November 30 is its much-anticipated culinary addition — the first Melbourne outpost of Three Blue Ducks. While the park's surfing lagoon has managed to get in a few months of operation since opening in January, the restaurant wasn't quite so lucky, forced to skip its planned March launch due to COVID-19. But the doors have now swung open, in time for a busy summer of surf, sun and sustainable fare. Known for its farm-to-table food ethos and with five permanent outposts across Sydney, Brisbane, Byron Bay and the Snowy Mountains, Three Blue Ducks is now set to deliver its sustainably-focused offering to Australia's first surf park. In a 350-seat indoor-outdoor space overlooking Urbnsurf's sparkling lagoon, the team's plating up an all-day menu built around simple food, and top-quality local ingredients. Whether you've just put in a morning's worth of waves, or you're there solely for the food, the breakfast menu is set to impress. On it, you'll find inventive creations like the spanner crab scramble matched with bean shoot salad and house-made Sriracha; a bacon and chilli jam brekky roll finished with slaw and mayo; and harissa-glazed pumpkin with sauerkraut and turmeric cashew cream. [caption id="attachment_792592" align="alignnone" width="1920"] Kitti Gould[/caption] Deeper into the day, you can settle in with share-friendly starters — think, kingfish ceviche and crumbed pork terrine served with pickled onion purée — in addition to vibrant pizzas, a daily-changing vegetarian pasta and mains like the Portuguese-style rotisserie chicken and a bone-in porterhouse with bagna cauda (an Italian garlic and anchovy sauce). Sides might include the likes of carrots done with burnt honey and ricotta salata, and dessert will see you feasting on treats like a flourless chocolate cake matched with rich whiskey cream. And no matter what time of day you visit, vegetarian and gluten free diners can count on being spoilt for choice. The sustainable focus extends to the drinks list, too, with Single O coffee showcased alongside local beers and ciders from the likes of Moon Dog, Stomping Ground, Bodriggy and Fixation. The wine selection celebrates organic and biodynamic practices, while a produce-forward cocktail lineup stars sips like the Balmy Nights Spritz, made with tequila, lime, chilli and strawberry. Right across the offering, there's a commitment to minimising both food miles and wastage, so expect to find on-site composting systems, a kitchen garden growing herbs and edible native plants, and plenty of drinks served on tap, rather than from the bottle. Find Three Blue Ducks Melbourne at Urbnsurf Melbourne, 309 Melrose Drive, Tullamarine. It's open from 8am–8pm Monday–Friday and from 7am–8pm Saturday–Sunday. Venue images by Ed Sloane; food and drink images by Kitti Gould.
Feeling tired? Wound up? Are your shoulders tight? Relax, we've got good news. From Thursday, October 19–Monday, October 23, Ovolo South Yarra is hosting a rejuvenating spa pop-up. And it's not just any spa. James Vivian, the 'face whisperer' and 2023's ABIA Australian Clinic of the Year winner, is teaming up with massage guru Joey Beecher from STILL Beauty to leave you feeling refreshed and pampered. The duo is taking over Ovolo's GoGo rooms to offer a mix of body scrubs, facials, rejuvenating treatments and melt-into-the-floor massages. The face treatment menu offers gems like the Pollution Solution facial, if you're looking to fight off the wear and tear that comes with city living. Or maybe you're after the (Don't) Be Home by Midnight facial, so you can look your best for whatever (or whoever) the evening holds. And if you've had one too many drinks the night before, they've got you covered with the aptly named Rough Night? treatment. It's not all about the face, though. Body treatments like Limber Me Up or Scrub the Night Away are also available. Expectant mums aren't left out either with the For the Mamas to Be massage. Slots are open from 10am–6pm, so you can start your morning right or pamper yourself before hitting the town. Intrigued? Book your spot because they're going fast. Go on, treat yourself.
When it makes its debut this June, Sydney's huge new arts and food festival will help kickstart winter in a big way. Live music paired with stargazing, country tunes in Newtown and moonlit kayaking from Darling Harbour are just some of the highlights among the just-revealed Sydney Solstice program, with the previously announced event slotting into Vivid's usual early-winter berth between Tuesday, June 8–Sunday, June 20. Aiming to reinvigorate the city's hospitality, music, arts and culture sectors after a tough 12 months, the new event will take place across four city precincts. Spaces across the CBD, Darling Harbour, Newtown and Oxford Street will host more than 200 events — in restaurants, bars, galleries, museums, music venues and outdoor areas. In the CBD, highlights include music, dance and theatre events in the YCK Laneways precinct; dancing and late-night dim sum at Mr Wong; International Pride Month events at Metro Theatre; and art installations and dance pop-ups in Chinatown. There'll also be after-dark parties at Sea Life Aquarium, where more than just the aquatic creatures will glow; a world-premiere work by celebrated composer and producer William Barton, which will soundtrack an evening of stargazing at Sydney Observatory; and Queen's Feast, Heaps Gay's multi-sensory dining and art experience at Sydney Town Hall. The latter will feature an all-female chef lineup, including Masterchef alum Sarah Tiong, pastry maven Anna Polyviou, Southside Charmers' Georgia Woodyard and Claire Van Vuuren of Newtown fave Bloodwood. The Sydney Opera House forecourt will become a hub of live music, talks and poetry readings for each night of Sydney Solstice. Head along at sunset, and you'll see this year's Badu Gili, too — a six-minute projection on the structure's eastern Bennelong sails. Or, for two food-filled days, make a date with Opera Kitchen and its Italian- and Japanese-focused festival. Nearby, Darling Harbour will be transformed into a winter wonderland, complete with an ice-skating rink and German-themed chalets. If you'd prefer to hop onto the water, you'll be able to kayak by moonlight as well. Also making great use of the waterfront location: Harbour Garden, an installation of inflatables that's designed for attendees of all ages. Just outside of the CBD, Newtown will host the inaugural (and adorably named) Country and Inner Western Festival, which'll pop up in small bars, pubs and other venues to showcase emerging and established country, alternative country, bluegrass, folk, Americana and blues musicians. And, over at South Eveleigh, a big (and free) street festival will celebrate the growing food precinct — just as Kylie Kwong launches her new restaurant onsite. Meanwhile, fermentation will be in the spotlight on Oxford Street, with Bitter Phew celebrating brewers, winemakers, bakers and cheesemakers for the duration of Sydney Solstice. Plus, Hotel Harry's Altar Danceteria will throw a series of genre-hopping parties — so fingers crossed that dancing is back again by June. And, no, you won't be bored across the festival's 13-day run. Sydney Solstice will take place from Tuesday, June 8–Sunday, June 20. We'll update you with further details when they're announced — and you can keep an eye on the festival's website, too. Images: Destination NSW
With a name like All for One, you'd expect Yarraville's latest health and wellness studio to take a holistic approach to its field; however the Campbell Street newcomer isn't just focusing on the usual classes. Here, patrons can expect to bend, stretch and cycle, of course, and even enjoy a relaxing massage. More than that, they can give their minds a workout as well as their bodies. Aiming to provide a one-stop shop dedicated to different methods of self-improvement, All for One combines fitness instructors and clinical practitioners all in the one space. As well as yoga, pilates and spin classes, their roster of services also includes nutritionist sessions, mindfulness teachings, and psychologists to help with both chronic pain injury and just general life stuff. In addition to regular classes and appointments, All for One also boasts an airy space for customers to relax over a cup of tea, and plans to hold inspirational and motivational workshops and events — with a session with ultra marathon runner and Australian Survivor contestant Samantha Gash, to be held on May 12, marking their first. Decor-wise, the centre offers a calming space filled with brightness, a light colour palette and greenery aplenty, including plants suspended from the ceiling over its yoga studio. Find All for One at 13 Campbell Street, Yarraville, or visit its website for further information.
In previous years yelling and gesticulating at your television meant that you probably just had a really short attention span rather than a really awesome television. That's about to change with the revolutionary Smart TV from Samsung. Don't mention the term 'idiot box' around these sleek machines, which let you command your entertainment from the comfort of your couch with Smart Interaction including Voice and Motion control. Not only does this save you from having to dig around for the right remote control before even switching the thing on, but it also enriches your viewing experience through Smart Content. Apps cater to every taste, from movies-on-demand and sports channels to Skype, social networking and fitness workouts, putting all your favourite entertainment content at your fingertips — figuratively, of course, since you can do it all without actually touching anything. If you own an iPad or other other compatible device, the Smart TV can also stream content between that and your television by taking advantage of your home broadband network. Experience your iPhone snaps and home movies on a full HD 1080p screen without the hassle of connecting cables, and see the magic in reverse when you're outside of the home. Speaking of HD, it's also a pretty cool way to experience social media — as is logging in smoothly (and safely, if you've ever been a victim of Frape) using the facial recognition feature. Check out the Smart TV's advert below. https://youtube.com/watch?v=Dt3SWp9IjkA
Ironically enough, this year's been another gnarly ride for Urbnsurf Melbourne. Australia's first surf park made its grand debut in January, 2020, but has endured a ping pong match of closures and reopenings ever since, thanks to the pandemic. Now, Urbnsurf is gearing up for what's hopefully its final return, announcing it'll fire up the waves once more starting from 7am this Saturday, October 23. While the park won't be open in all its glory just yet, it's kicking things off by taking up to 25 surfers per hour, across its two-hectare surfing lagoon. For now, a total of 50 guests are allowed onsite at any one time. Private sessions, surf lessons and spectator passes are on hold until restrictions ease further in early November, as is the anticipated reopening of the Three Blue Ducks restaurant. Facilities including the day beds, cabanas and skate pad will also come later, expected once Victoria hits its 80 percent double-dose vaccination target. Of course, there'll be a few new rules to follow from here on, in keeping with the Victorian Government's COVID-safe guidelines. Expect caps on numbers for lessons and surf sessions, mask rules as per current requirements, and proof of vaccination required for all guests over the age of 16. [caption id="attachment_756496" align="alignnone" width="1920"] Courtesy Urbnsurf and Ed Sloane[/caption] When you do hit the surf, you'll find a handful of brand-new wave settings to put you through your paces and test that post-lockdown fitness, including a point break-style set-up dubbed Cruiser Turns. There'll be lots more events and surfing options to follow, as metropolitan Melbourne's restrictions continue to ease. Find Urbnsurf from Saturday, October 23, near Melbourne Airport. It's usually open from 6am–10pm daily in spring and summer, with slightly varied hours during the first few weeks back. You can book in for surf sessions and surf lessons via the park's website. Images: Courtesy Urbnsurf, Ed Sloane and Adam Gibson.
It seems a pretty hard task to follow Hannah Gadsby's international smash-hit show, Nanette. After all, the one-woman stand-up performance copped serious praise on its 18-month travels across Australia and the UK, even scooping the top honours at both the Melbourne International Comedy Festival and Edinburgh Festival Fringe. It also spawned its very own Netflix special. And when Gadsby used the show to announce she was quitting comedy for good, we thought that was it. But the beloved Aussie comedian gave following up that hit a red hot crack when she returned to the stand-up stage with her latest work, Douglas, which is named after her own pet pooch. While Nanette pulled apart the concept of comedy itself, dishing up an insight into Gadsby's past, Douglas takes you on a "tour from the dog park to the renaissance and back". Gadsby took Douglas to stages across Australia and New Zealand in late 2019 and early 2020, and now, to the delight of comedy fans people across the world, is bringing it to Netflix this month. Available to stream globally from Tuesday, May 26, the show will bring us all some much-needed comic relief. As Gadsby says: "mark it in your socially-distant calendars...then wash your hands". https://twitter.com/Hannahgadsby/status/1249668347693654019 As the just-dropped trailer for the comedy special demonstrates, Gadsby's humour hasn't lost its charms. This time around, expect reflections on her Nanette success and observations about language — and that's just the beginning of the rib-tickling hilarity, of course. Check out the Douglas trailer below: https://www.youtube.com/watch?v=ziIwxPCeByU Hannah Gadsby's 'Douglas' will be available to stream globally on Netflix from Tuesday, May 26.
Open House Melbourne Weekend feeds the same nosiness that sees us snooping around our neighbours' homes before they go to auction or peering over fences into the gardens of luxury properties. Our curiosity gets the best of us in these moments. But there's no need to be ashamed of these very human urges during Open House Melbourne Weekend 2024. In fact, on Saturday, July 27 and Sunday, July 28, you're strongly encouraged to feed the beast by hitting up some of the 170-plus experiences that have been organised for curious folks just like you. The team behind the weekend of events is calling for Melburnians to "re/discover their city" by exploring new and old buildings in a range of unique ways. You can walk across the rooftop of Collingwood Yards, join tours of ten architecturally significant private homes, run around AAMI Park's pitch like the Matildas, step inside heritage buildings that aren't usually open to the public and even explore ArtBank's collection of over 14,000 artworks. [caption id="attachment_963212" align="alignnone" width="1920"] AAMI Park[/caption] But there's a lot more to Open House Melbourne Weekend 2024 than simply exploring properties that are usually closed off to the public — for starters, 27 exhibitions are also running throughout the weekend, while 14 self-guided tours are also on the program. You can also expand your understanding of the city by joining some of the 28 talks by designers, architects and artists. There's even an opportunity to go on a scooter tour of the CBD with caseworkers from Launch Housing. They'll give firsthand perspectives from people working with those experiencing homelessness. "Open House Melbourne Weekend is a chance for the curious at heart and lovers of architecture to discover new places and spaces in their city, to re-examine what they have perhaps overlooked and reconnect with beloved favourites," shared Executive Director and Chief Curator Dr Tania Davidge. [caption id="attachment_963217" align="alignnone" width="1920"] Eyes Open Ride[/caption]
Since it opened in June this year, the Mori Building Digital Art Museum: teamLab Borderless has become one of the hottest tickets in Tokyo. Given that the 10,000-square-metre site is filled with immersive, kaleidoscopic digital art — think walls filled with floating flowers, rooms dedicated to dazzling light and music shows, and sitting in a space pummelled with digital waves — it's easy to see why. It's a permanent addition to the city's Odaiba district, but the folks behind it are spreading their love to another part of the country. They're also taking up temporary residence in a castle. From November 22, 2018 to January 6, 2019, teamLab will unleash teamLab: Digitised Kōchi Castle at the historic site that gives the exhibition its name. Located in the city of Kōchi on the nation's Shikoku island, Kōchi Castle dates back to 1601, when it was originally built after a huge battle. While parts burned down in 1727, it was rebuilt and restored between 1729–1753, and remains a significant place. In fact, it's the only castle in Japan where the castle tower and almost all of its central structure are still intact. For Digitised Kōchi Castle, teamLab will do what it does best, transforming the space using interactive digital art projected onto its surfaces. That'll allow the artistic outfit to completely alter the castle without actually physically altering it — and for the artworks to react to human presence, meaning that you'll likely never see the same thing twice. Specifically, visitors can expect everything from a field of glowing oval balls under lit-up trees, with the balloon shapes changing colour when they're pushed; to animals made of flowers roaming the walls of the structure, dissipating when people get near; to simulated waves ebbing and flowing across the castle's fusuma sliding doors. A 500-metre expanse of stone wall will also be lit, shining and fading slowly as if the castle is breathing, while there'll be plenty more illumination brightening up the 417-year-old building. If you'll be finding yourself in Japan during the pop-up exhibition's nearly two-month window, tickets cost a highly affordable 1500 yen, or around $18.25 Australian. Early bird tickets, which are on sale now until November 21, are JPY1300 / AUD$15.80. Like teamLab's other creations, Digitised Kōchi Castle isn't just about light, but also about sound too — however to give the exhibition an extra glow, it'll only run in the evenings, from 5.30–9.30pm. teamLab: Digitised Kōchi Castle runs from November 22, 2018 to January 6, 2019 at Kōchi Castle, Kochi Park, Marunouchi 1-2-1, Kochi City, Kochi. For more information, visit the exhibition website. Images: teamLab.
It may be hot outside, but it's not quite 'our city in summer' until the Sydney Festival starts up on January 9, bringing with it a tidal wave of performance, music, art and other festivities. Tonight the Sydney Festival has launched its 2014 program, a massive conglomeration of 104 events, featuring 722 artists from 80 companies across 17 countries. Look out for a much bigger festival garden (so big, in fact, it's now the Festival Village) in Hyde Park, the return of music venue Paradiso at Town Hall and everyone's favourite duck, and a version of Stonehenge that you can bounce on. Yes, bounce on. But let's get the bad news out of the way first: crowd favourite Festival First Night has been shrunk down even further than last year's 'Day One', to the point where it's completely disappeared. This has been blamed on NSW state funding cuts, as the escalating event requires a large amount of dedicated resources. While the loss of Festival First Night is a little hard to swallow — especially when Parramatta gets one (the POP Parra Opening Party features public concerts and 'Boxwars', a street parade/brawl in cardboard costumes on January 10) — but you can understand the festival's insistence on there needing to be proper funding for such an undertaking. We say it's a unrivalled street party that for one day makes Sydney feel like a great, open, international city, and we hope it returns in the future. In the meantime, there are many free, public events to occupy ourselves with. Now, on with the show. Performance Sydney Festival is, above all, a means to get the most appealing, innovative and agenda-setting international performing arts works to visit our town. This year there's nothing topping the already-announced spectacle of Dido & Aeneas. This 'underwater opera' starts with a dance in a 7500L water tank and moves on to sumptuous feats of dance, costume, singing, music and stagecraft. But the one-woman La Voix Humaine promises to floor with conversely little. This Dutch production based on the monologue by poet and film director Jean Cocteau features actor Halina Reijn as a woman pleading with her lover down the phone line after a break-up. There are plenty of other acclaimed international theatre works with experimental, thrilling or just plain WTF twists. Bullet Catch (from the UK's The Arches and Rob Drummond), for instance, is about the notoriously dangerous magician's trick that took the life of William Wonder. We hear if you stay till the end, you may have a very direct part to play in the climax. Less unnerving is Othello: The Remix, a charming "ad-rap-tation" by Chicago hip hop outfit the Q Brothers that uses the words of Shakespeare and obliterates the memory of so many terrible modernisations. Also in the mix is Cadavre Exquis, a game of theatrical Exquisite Corpse played by some truly cool international artists; Tim Crouch's underdog tale I, Malvolio (we recommend going on the adults-only late show on January 18); and Pan Pan Theatre's All That Falls, a radio play you take in communally, while on rocking chairs. Of course, it's not festival time without a Spiegeltent somewhere, and this year's is grounded in some solid and frequently sexy circus. Strut & Fret are back with a follow-up to last year's Cantina, Limbo, which takes as its premise an otherworldly party between heaven and hell. There's also a second travelling tent, which belongs to Belgium's Circus Ronaldo, a genuine line of circus performers six generations long. Their La Cucina Dell'Arte is a more family-friendly brand of buffoonery set in a pizza parlour. They're sharing their tent with rowdier late-night act Scotch and Soda, which includes the stylings of the Crusty Suitcase Band. In the non-funny vein of circus arts, look out for Ockham's Razor, a unique blending of philosophy and acrobatics over three acts taking place at Carriageworks. There are also a few really exciting local productions that shouldn't be eclipsed: Black Diggers is a major new work by Tom Wright built on extensive research into the largely untold history of Aboriginal Diggers in WWI. Directed by Wesley Enoch, it's making its world premiere at the festival. Belvoir and post's Oedipus Schmoedipus will be an epic lark, Am I sees choreographer Shaun Parker and composer Nick Wales venture into a new civilisation, My Darling Patricia's The Piper is one to capture the imagination (and abduct some children), and Forklift required several dancers to get heavy machinery licences. Music This year’s Sydney Festival music lineup doesn’t quite have the ‘wow’ factor of former years, but dig a little deeper and you’ll find a tonne of events that underline why the festival makes Sydney such an exciting place to be in January. The headline event is undoubtedly Amanda Palmer, who will be playing 10 solo shows in the intimate surrounds of The Spiegeltent. Palmer has become an object of much debate after her incredible success at crowdfunding her latest album, but whatever you think of that whole deal you cannot deny she is a fascinating performer. Dating right back to The Dresden Dolls, her shows have always been fascinating amalgamations of pop, cabaret, punk, performance and songwriting, and even the Festival organisers can’t tell you exactly what to expect when Palmer plays solo. Big Star’s Third is an absolute cult classic, with bands as diverse as Belle & Sebastian, The Replacements, The Flaming Lips and R.E.M. citing it as an inspiration. Despite (or perhaps because of) the deteriorating mental health of frontman Alex Chilton, and the fact that the band had totally fallen apart between its recording and its release, it is regarded as one of the great records of all time. And you can hear the whole thing in all its broken, twisted beauty when an all-star band including original drummer and sole surviving member of the band, drummer Jody Stephens, Mike Mills (R.E.M.) and Ken Stringfellow (The Posies) take to The Enmore stage for one night only. Kurt Vile has quietly become a cult guitar hero in recent years, bringing together influences from psych to folk to garage to create beautiful, enchanting music. It might not seem like it sometimes – Vile is so laidback he’s almost horizontal – but the man is a virtuoso guitarist and a compelling performer. And he’s playing in two formats at this year’s festival: a solo “special midnight performance” in the Circus Ronaldo Tent, and again with his band, The Violators, at Paradiso and Town Hall. Not to be missed. And that’s not even mentioning Amadou & Mariam’s Eclipse (a “live, multi-sensory experience in pitch darkness telling the amazing story of the blind couple from Mali that includes scents inspired by Mali and their second home Paris pumped into the building”), performances from ex-Battles frontmant Tyondai Braxton, a collaborative performance with Lee Ranaldo (Sonic Youth) and Mike Patton (Faith No More, Mr. Bungle, etc), or dozens of other exciting acts. Even the classical music program is phenomenal. It might not seem like it at first glance, but Sydney Festival is once again putting on the best party of the year. Art Art-wise, the Sydney Festival offerings are incredibly choice. The focus is on large-scale, multimedia and installation-type pieces that pack an impressive visual punch. Christian Boltanski’s mega installation, Chance, on show at Carriageworks (10 January – 23 March), will prove to be a highlight of the program. It will be the first major work ever presented in Australia by the French artist, who is one of the more important figures of the international artworld. The piece will make full use of the architecture and size of Carriageworks and will chart births and deaths across the globe. The award for coolest festival event goes to 100 Million Nights, the collaboration between artist Daniel Boyd and electronic duet Canyons. The musicians have created an original score based on their interpretation of Boyd’s pieces. On 21 January, in the concert hall of the Sydney Opera House, the performance will be staged in front of three large projections of Boyd’s artwork. The show will also include a sight and sound work by former Battles frontman Tyondai Braxton. Hive will blend modular synthesisers, sound design and percussion with custom built “architecturally designed” illuminated platforms. Billed as an “inter-faith minibus tour (with a sonic and visual dreamscape)”, The Calling will take you on a tour of religious architecture and sacred music in Western Sydney. Beginning at the crack of dawn with the Adhan (the Islamic call to prayer), you will explore selected mosques, temples and churches throughout Auburn, Granville and Parramatta. Also thrown into the mix is a delish traditional Lebanese breakfast. Slovakian artist Roman Ondák is teaming up with Kaldor Public Art Projects (the group that brought us 13 Rooms) to present a trio of performative works. The artworld superstar will present Project 28 at Parramatta Town Hall. Swap, explores process of exchange and barter with humour and audience participation. The second work, Measuring the Universe, at first glance looks like hundreds of thousands of black strokes on a white wall. Look closer and you’ll see it’s tiny records of various visitors’ heights and the dates the measurements were taken. The final work, Terrace, will be a brand new work created specially for the Parramatta event. And that bouncy Stonehenge? That's Sacrilege by Jeremy Deller, direct from the 2012 London Olympics cultural program. Frighten off the tiny children and get jumping. Multipacks are available from October 24 at 9am. General tickets are available on October 28 at 9am. For full details see the Sydney Festival website. This year, the festival is offering an interactive, walk-through version of their program before tickets go on sale. A careers-counsellor-like service will help you find the events you most want to see. Take a gander from October 24-27 at Lower Town Hall. By Rima Sabina Aouf, Hugh Robertson and Rebecca Speer.
A favourite in Federation Square boasting views over the Yarra and the ideal people-watching spot, Taxi Kitchen remains a staple in Melbourne's hospitality scene. Offering an Asian-influenced, modern Australian menu executed by Executive Chef Tony Twitchett, the space sitting above Fed Square is worth the elevator ride, all these years on. Small plates run to the likes of tempura bug tails with sesame yuzu aioli ($28), candy pork belly with pickled papaya ($24), and Szechuan wagyu dumpling with apple soy dressing ($27). The big guns come out in the form of Szechuan duck with watercress and chilli dressing ($52), and the slow-cooked lamb shoulder with kohlrabi puree and XinJiang spices ($55). The claypot sticky rice with lup chong, shiitake and a son-in-law egg is a must-try ($22). Try the favourites of the menu with Taxi Kitchen's recently launched $45 lunch, where patrons can choose three small plates and a large plate to share. For those with a sweet tooth and a love of nostalgia, Taxi's frozen lemon meringue pie with raspberries is a solid choice ($20), while the yuzu souffle with caremelised white chocolate, burnt orange ice cream ($22) is a stronger nod to the restaurant's Asian influence. Images: Michael Pham. Updated April, 2023
Beware the luxurious worlds of Ruben Östlund's films. Beware any feelings of ease, opulence or awe that spring at ski resorts, in art museums, within the fashion industry or on high-end holidays, too. The Swedish filmmaker isn't interested in keeping his characters comfortable regardless of their lavish surroundings, and he isn't keen on ensuring his viewers remain relaxed, either, no matter how cushy their cinema chairs. To watch the writer/director's movies is to observe his on-screen figures responding to chaos flung their way, which is true of all features. That said, to watch here is to actively feel a reaction. It's virtually impossible not to experience a cascade of emotions as an Östlund-penned and -helmed picture flickers, and sometimes it's just as difficult to avoid a physical response. With his latest, Triangle of Sadness, the titular space between your eyebrows definitely gets a workout. Other than that last part, all of the above proved true of 2014's phenomenal Force Majeure, which wasn't Östlund's first or even second or third feature, but served up as clever and cringe-inducing a portrait of marriage and masculinity as the 21st century has provided (just forget Downhill, the American remake he had nothing to do with). Then, with dropped jaws over a divisive piece of art within a divisive piece of art, it was accurate of 2018's The Square, the writer/director's first Cannes Film Festival Palme d'Or-recipient, too. And, earning him that same prestigious prize again in 2022 — putting him in rarefied company alongside just eight other twice-winning directors/co-directors, in fact — it's also wholly applicable to Triangle of Sadness. This time, he has modelling, influencers and the super-rich in his sights, all in a movie that keeps doing what Östlund loves: unpacking societal structures and the divides they rely on (and cause). Make a feature with a shape in its title, score one of the biggest filmmaking awards there is: yes, that's been a nifty formula for Östlund of late. But even if he directs a flick called something like Hexagonal Dreaming in the future — or anything else with a geometrical bent, for that matter — and that too nabs Cannes' famed top gong, managing to beat Triangle of Sadness' vomit sequence is highly unlikely. For a director who enjoys cutting the privileged and supposedly prestigious down to size without opting for simplistic judgements, getting the uber-wealthy spewing their guts up on a yacht getaway is one helluva leveller. Money can't buy you a solution to basic bodily functions when food poisoning and seasickness strike, and doesn't this scathingly entertaining flick revel in that notion at its most gleefully gross. To remind audiences that responding to films and life alike is an involuntary reflex, Östlund shows a swag of his characters doing just that — to existence, and to a choppy cruise also populated by arms dealers and literal shit salesmen. It makes for unforgettable cinema, but it's also just one part of Triangle of Sadness and its sublimely shot unpacking of affluence, entitlement, social hierarchies and beauty as currency. Appearing to be coasting through perfection is an ongoing quest for Carl (Harris Dickinson, See How They Run) and Yaya (Charlbi Dean, Black Lightning), models-slash-influencers and the movie's focal point. From the outset, however, including across an opening third set on dry land and a final act that gets stranded and sandy, nothing is straightforward. Eating the rich is easy and delicious, not to mention a major on-screen trend of late (see: Parasite, Succession, The White Lotus, Knives Out and Glass Onion, just to name a few), but Östlund has much to chew. When Carl is first introduced, he's one among a sea of jobbing male models, all attempting to ply their handsomeness for a paycheque. In a Zoolander-esque moment, Triangle of Sadness points out the fashion world's inbuilt sense of class as the casting call's attendees are asked to grin like they're posing for an affordable brand, then grimace like they're in ads for an expensive line — and no, this isn't a subtle picture. Cash is an ongoing point of contention for Carl anyway, given he earns less than Yaya as male models tend to yet still largely picks up the bill for their dinners. When the duo take to the ocean to sip champagne, loll about by the pool and ignore the hardworking crew surrounded by the one-percent, he's still working the requisite angles. Meanwhile, Yaya is snapping them, recording everything for Instagram from every vantage possible. Going on vacation in an Östlund film isn't a great idea. On this holiday, under the drunken captain's (Woody Harrelson, Venom: Let There Be Carnage) watch, sunbaking on the deck gives way to those projectile technicolour yawns — and other evacuations — then to an unexpected destination. Onboard the yacht, the chasms between the haves and have nots are as glaring as the sunny weather, but that setup isn't sustainable when gale-force winds and pirates get in the way. Only Filipino toilet cleaner Abigail (Dolly De Leon, Folklore) knows how to catch fish, clean and cook them, and build a fire, after all, but Carl and Yaya's post-cruise life isn't an egalitarian wonderland. A big bank balance means nothing but beauty still means plenty — and the way that Östlund satirically carves into the resulting mayhem is equally hilarious and and astute, even when his film is both obvious and overt. There's nothing restrained about excess as its zenith — "everyone's equal," the boat's staff are ignorantly told when a guest flat-out forces them to go swimming on a shift — and there needn't be about scorching interrogations of all that overindulgence. Östlund is both blunt and oh-so-sharp, and broad yet targeted; Triangle of Sadness does love its contradictions, after all, including an American Marxist and Russian capitalist trading quotes and worldviews, the contrast between all things shiny and bodily fluid-fuelled sequences, and the perception-versus-reality of Carl and Yaya's existence across each of the picture's three sections. The game cast are up to the seesawing challenge, especially the formidable De Leon as someone even the film itself overlooks to begin with, Dickinson as the idealistic but practical Carl, and the late Dean as the enterprising yet oblivious Yaya. Having his regular cinematographer Fredrik Wenzel point a static camera their way and wait for statement-making awkwardness to gush seems like a natural decision, and it is, but Östlund remains masterful at putting the right pieces in place.
Whether you're a particularly nervous flyer or usually keep it calm and cruisy, no one like turbulence when they're high in the sky. Tell-tale beeps telling you to buckle up your seatbelt and a few bumps and jumps are one thing; feeling like you're on a particularly adventurous rollercoaster is another. Thankfully, Boeing is hoping to solve the latter. The aircraft company can't control the weather, but they can create and implement a laser system that detects oncoming rough patches at a greater range. Called Light Detection and Ranging or LIDAR, the system is expected to "to spot clear-air turbulence more than 60 seconds ahead of the aircraft, or about 17.5 kilometres," Boeing's Stefan Bieniawski, the program's lead investigator, told WIRED. Specifically, it focuses on clear-air turbulence, which is the type that doesn't usually come with any warning signs — that is, it happens in clear not cloudy skies, as its name indicates. For those eager to know just how it works, LIDAR emits pulses of laser light from the nose of the plane, not that anyone watching will be able to see it. The beams then scatter off of small dust and other particulates, reflecting into segments and measuring wind speed along the entire direction of the laser. Software collates the results, with pilots given more time to steer around hazards. Boeing has been working on the system with the Japan Aerospace Exploration Agency since 2010, and plan to test the remote-sensing technology in 2018. If it works, knocked elbows and spilled in-flight drinks could become a thing of the past — and, if you're one of the lucky folks who can fall sleep during flights, rude awakenings to your slumber as well. Via Boeing / WIRED.
Hop on your bike and make your way down to Melbourne's new Ride-In Cinema. Lighting up the screen at the Coburg Velodrome every Saturday in February, this pedal-in pop-up picture house is combining a mix of new release blockbusters and beloved cult classics, with food and beverages to match. The season begins on February 4 with Star Wars spinoff Rogue One. Then on February 11 it's back to the '80s with E.T., followed by sci-fi staple Blade Runner on February 18. Finally, on February 25, kick back with The Dude for a screening of The Big Lebowski. But it's not just moviegoers spinning their wheels at the velodrome. Ride-In Cinema will also welcome a number of Melbourne's favourite food trucks to ensure that punters are well fed throughout the film. Even better, they've got their own custom-built cocktail bar. Anyone feel like a White Russian? Doors open at the Ride-In Cinema at 7pm for an approximate 9pm start.
Melbourne's hospitality businesses have done it tough during the pandemic, with three separate lockdowns severely impacting the industry. They've also weathered some significant changes, including embracing outdoor dining in a big way. Eating outside isn't an unfamiliar concept, of course, but it has been a key part of COVID-safe operating plans for restaurants, cafes and bars (when the city isn't under stay-at-home orders, that is). And, to the surprise of no one, it isn't going anywhere soon. The City of Melbourne's current outdoor dining program was due to expire on March 31, but the local government body has just announced that the scheme is being extended for three months, running through until the end of June. So, if you've been spending time in all of those parklets that've popped up around town, you'll be able to keep doing so for a little bit longer. Since the program was set up in line with Melbourne's reopening after the city's second lockdown, nearly 1500 permits have been issued. More than 200 outdoor dining parklets have made their home on Melbourne's streets, laneways, footpaths and on-street car parking spaces, too. Permits are free, with the plan forming part of the City of Melbourne and Victorian Government's $100 million Melbourne City Recovery Fund. [caption id="attachment_667169" align="aligncenter" width="1920"] Congress by Kate Shanasy[/caption] While the onset of Melbourne's chilly winter might seem like a sensible time to roll back the program, it's possible that it'll be extended again, with the city's councillors set to evaluate the scheme and consider the benefits of keeping it going beyond June. "Businesses can have confidence that outdoor dining will continue in the City of Melbourne until winter," said Lord Mayor Sally Capp in a statement. "We're looking into additional features to support outdoor dining during the cooler months such as weather protection," she continued. For more information about the City of Melbourne's extended outdoor dining permits, visit the local government body's website. Additional details about the City of Melbourne's COVID-19 response are also available on its the website. Top image: Good Times by Kate Shanasy
If it's brunch with a view you're after, it's time to round up your faves and book in a weekend jaunt down the Mornington Peninsula. On Sunday, April 11, Red Hill's iconic Montalto Estate is kicking off a short but sweet series of Sunday brunches, helmed by chef Matt Wilkinson (founder of Pope Joan). Against that idyllic backdrop of vine-lined fields and olive groves, he's whipping up a menu of sophisticated brunch plates such as eggs florentine featuring greens from Montalto's own garden, and a dish of blistered heirloom tomatoes and grilled sardines with a caper and raisin dressing. There are buttermilk waffles, too, teamed with rhubarb and burnt butter ice cream. For $45, you'll get your choice of main course, along with a freshly squeezed orange juice and shared starters — such as Wilkinson's fancy blinis with crème fraiche and bloody shiraz caviar. And, to match, you'll find a new cocktail list with sips ranging from an estate-grown stone fruit bellini to a gin and blackberry bramble spritz. Montalto's full range of estate wines will also be on offer, as well classic boozy brunch accompaniments like the bloody mary. Brunch sittings are available from 9am each Sunday and bookings are a must, with the series wrapping up on Mother's Day, Sunday, May 9. [caption id="attachment_806892" align="alignnone" width="1920"] Karon Photography[/caption] Images: Karon Photography
While the Carlton segment of Lygon might be a mini Italy, the East Brunswick end of the street is a trip around the world. Superb culinary options from India (Kake Di Hatti), Lebanon (Rumi), Italy (Bar Idda), Thailand (Thaila Thai), Greece (Hellenic Republic) and beyond are on offer here; Kumo completes the world tour, taking us to Japan via its expansive izakaya-style restaurant. In Japan izakayas are known for their homeliness: a neighbourhood place to drink and dine where everyone knows your name. While Kumo's mess hall-style space (built in 1956 as a large bank) is not necessarily conducive to an intimate, homely feel, the friendly staff and long communal table down the centre — lined on one side by cosy booths — really makes a go of the idea. The menu is an education in the contemporary izakaya dining experience. Go for the omakase option ($59) and let the chef feed you his best selection of dishes — think sher wagyu tataki with ponzu, crushed prawn katsu with tonkatsu sauce and plum tartare, seared scallops with butter, soy and bonito flakes, and a spicy black vinegar karaage chicken. If you want full control over your menu, the confit duck leg with plum wine chutney and watercress salad ($17.80), pork belly butakushi skewers with chilli mayo ($11.80) and seared scallops sashimi with ume salsa and crispy wonton pastry ($12.80) are great options. The food is sophisticated, delicate and beautifully presented — just as you'd expect from experienced Japanese chefs who have previously frequented the kitchens of Yu-U, Bar Lourinha, Kobe Jones and the Royal George Hotel. The menu can also be presented specific to almost any dietary requirement, with vegan, gluten free, egg free, fish free, dairy free, nut free and many more (even allium/onion/garlic free) menus available. About drinking as much as it is about eating, Kumo offers its own rare brand of premium sake, bottled exclusively for the restaurant by owner and renowned sake master Andre Bishop. If you don't like the drink enough to drop $120 on it — don't worry — there is an extensive list of alternatives. Of course there's also house cocktails, wine, beer and plum wines to finish.
In any other year, the songs of the summer are those that have been heard blaring from car windows, festival stages and nightclub speakers. While we've had a few songs take on this energy despite the circumstances ('Blinding Lights', 'Heat Waves' and 'WAP' to name a few) for most of the year, it's just been us and our Spotify accounts. Now, as we head into what we are all hoping to be an action-packed, smoke-free and dance floor-heavy summer, it's the perfect time to refresh your summer playlist. Here are ten tracks you may have missed this year that are bound to give you those summer warm and fuzzies, primed and ready to soundtrack your road trips, bushwalks and pool parties. https://www.youtube.com/watch?v=WmsvhQNuO-E GOLDEN VESSEL: MIDWEST Dive headfirst into the feeling of a summer road trip with this track of the latest Golden Vessel album colt. Each song on the album is primed for stares out of a car window, which the creative force behind the project Maxwell Byrne seemed to know, releasing it alongside a road trip-themed visual album titled eyes on the road. 'Midwest' encapsulates this the best. As soon as the first note hits and Byrne's deep baritone vocals kick in, you can see the trees passing by your window, stereo up, snacks on hand. The gentle instrumental plays off the persistent bass to create a sense of forward momentum. It's an anthemic ode to hitting the road with your crush and, while we may not be able to drive across the midwest right now, it's the perfect time to take to the road and explore regional Australia. https://www.youtube.com/watch?v=oc50wHexbwg KHRUANGBIN: TIME (YOU AND I) Like their music, the cover of Khruangbin's fourth studio album Mordechai explodes with colour. They're a group built on bringing forward the brightest and bounciest sounds of past generations into today. The highlight of the album is 'Time (You and I)', an easygoing soundtrack fit for any summer occasion. Sunshine exudes from every second of its five and a half minute run time. Over a smooth disco-heavy instrumental Khruangbin come to the conclusion that nothing is perfect and everything comes to an end, but that's ok. They're along for the ride, one full of baselines and dance floors. Towards the end of the track, the band recite the phrase 'that's life' translated into various languages. Turkish, Korean, Hebrew — it's universal. We're all here living our lives, just trying our best to have fun. https://www.youtube.com/watch?v=JPgPHTZsGbU LIL SPACELY: STILL TRAPPIN' (FEAT. ELIJAH YO) 2020 was a landmark year for Australian hip hop. Artists like The Kid Laroi, Onefour, Sampa the Great and Tkay Maidza saw overseas success previously unseen in the local scene. The area undoubtedly leading the pack has been Western Sydney, catching the attention of US rap superstars and international record labels. Among it all, Lil Spacely, one of the area's rising stars, released 'Still Trappin', a sonic victory lap for Western Sydney. Bursting at the seams with sunshine, the track's beat glistens as Spacely tells us of his come up, ambitions and his love for his hometown of Blacktown. The track's biggest pitfall is that it was released during a winter lockdown. There couldn't a song more suited to a summer party — and luckily we have all summer to enjoy it. https://www.youtube.com/watch?v=Yr_1pDBL0uc BIG DOG: FIGHT IT NOW 'Fight It Now' is the debut single from Sydney band Big Dog. Written during the devastation of the 2019/20 bushfire season, the song conceals a thread of climate anxiety under rich guitars and gentle melodies. Wrapped in warm Australiana reminiscent of Paul Kelly or The Go-Betweens, the track is filled with nostalgic energy. This warmth softens the blow of its cautionary lyrics, warning of future smoke-filled summers without immediate climate action. Musically, 'Fight It Now' conjures feelings of sitting on your porch on a balmy afternoon, but, lyrically, it's a sombre reminder of the country's climate crisis, and as a new summer begins with more extreme weather events, the song remains as relevant as ever. https://www.youtube.com/watch?v=TUVcZfQe-Kw DUA LIPA: LEVITATING Dua Lipa's Future Nostalgia was created for late nights and bustling dance floors, two things that seemed like distant memories throughout the majority of 2020. Despite this, the album managed to blaze a global trail of feel-good pop energy. Any of the singles from the 80s-tinged dance-pop album could fit snuggly into your summer playlist (especially as dance floors and nights out return across the country) but 'Levitating' is the most joyous of the bunch. The anthemic chorus, punchy bassline and Dua Lipa's electric vocals radiate fun. It's overflowing with the energy we've been missing in 2020 and everything we're hoping 2021 will be. https://www.youtube.com/watch?v=1ej2BiNFFgM STEVAN: WARM True to its name, 'Warm' is a sunny slice of bedroom pop. Wollongong artist Stevan lays his heart on the line over twinkling synths and a subtle bass groove. Sporadic drums run through the song providing momentum. Completing the wholesome summertime energy of the track is the video, starring Stevan and his new best friend Tilly, a blue heeler cross border collie, and their adventures checking off classic summer bucket list activities: exploring the beach, hanging out at the park and eating rainbow Paddle Pops. Whether your partner in crime is human or dog, 'Warm' will help fill you with adventurous and heartfelt energy you're in need of this summer. https://www.youtube.com/watch?v=Tw0zYd0eIlk PHOEBE BRIDGERS: KYOTO Phoebe Bridgers' take on the world struck a chord with many this year, with the singer going from underground singer-songwriter to Grammy-nominated Tik Tok sensation. Her music is effortlessly relatable and realistically bleak without ever slipping into overbearingly sad. She approaches topics like loneliness and anxiety with a sense of humour and wit. In a difficult year full of isolation, this perspective was comforting. 'Kyoto' served as Bridgers' breakout hit and an endearing ballad that refuses to get tired. Its bright guitars and horn section are contrasted by the track's dark lyrics of travelling through Japan while dealing with persistent calls from your ex. In Bridgers' world, just like in real life, everything can get pretty overwhelming, but we'll get through it all if we just don't take ourselves too seriously. https://www.youtube.com/watch?v=VhS5MB9cLY8 BANOFFEE: TENNIS FAN (FEAT. EMPRESS OF) A typical element of the Australian summer is the Australian Open. The sight of an international tennis star out on a sweltering Melbourne day is as engrained in the fabric of this time of year as much as an icy pole or overcrowded swimming pool. Banoffee's 'Tennis Fan' builds itself around a series of tennis samples from umpire calls to balls being struck. Somehow, she weaves the samples into a metaphor for social anxiety and loneliness, lamenting on not being invited to a tennis match or the movies. It's layered songwriting, but, most of all, the song's a fun summer bop filled with dance grooves and high school nostalgia. With 'Tennis Fan' and its subsequent album Look At Us Now Dad, Banoffee marked herself as one of Melbourne's most exciting young artists and the queen of the tennis court, no matter what her crush says. https://www.youtube.com/watch?v=bdvxzc7FLow THE AVALANCHES: MUSIC MAKES ME HIGH Throwing back to their classic 2000 album Since I Left You, 'Music Makes You high' throws together an eclectic collection of samples in the process of building a kaleidoscopic collage of sound. Through the magic of The Avalanches, it bottles the energy of being in a buzzing crowd hanging on every note of the music. It's the sound of a packed 1am DJ set at Freda's or an overflowing side stage, late afternoon at a music festival. The song's distant crowd noises, energised dance groove and 1980s disco sample transport you to possibly the closest thing to a dance floor many of us experienced this year. Like so many great Avalanches tracks, 'Music Makes You High' takes pieces of music history and compresses them into three minutes of joy. https://www.youtube.com/watch?v=osz9DyfbjyQ FLEET FOXES: SUNBLIND Fleet Foxes returned in 2020 with their sweetest, most assured album yet. In many ways, it felt detached from the year's doom and gloom, preoccupied with its own journey of growth, as lead singer Robin Pecknold reckons with life and growing older. Of all the songs on the record, 'Sunblind' feels the most in touch with the year we've had. Partnered with triumphant instrumental, Pecknold sings of finding comfort in the works of late musicians (Bill Withers, John Prine, Jeff Buckley) and in nature, specifically water. While it may not have been intentional at the time of writing, when he sings "but I'm loud and alive, singing you all night", it's a perfect soundtrack to riding off into 2020's sunset. Everything may not be perfect but we're moving forward into brighter days. Listen on Spotify below. https://open.spotify.com/playlist/23TLh9PrnatiOBetr1PuNL?si=P0ohy4QnToGrceEJmvNR2g
When Reservation Dogs first breezed into streaming queues in 2021 — including via Binge in Australia and Disney+ in New Zealand — it did so with heart, style and purpose, delivering a rarity in the current TV landscape. Authentic depictions of life for Indigenous North Americans are scarce on the small screen, or any screen. Such shows that riff on a Quentin Tarantino movie with their moniker, start with a brazen and entertaining heist, unfurl their stories through creative cinematography, serve up a stunningly thoughtful coming-of-age tale and survey an entire community obviously are, too. And a series that does the above with Taika Waititi's (Thor: Love and Thunder) brand of deadpan humour, befitting his role as co-creator and executive producer, as well as co-writing the very first episode — doing so alongside showrunner and Seminole Nation filmmaker Sterlin Harjo (Mekko) — is genuinely unclaimed territory. In Reservation Dogs' first season, the end result was one of the best new TV shows of 2021. This year, its second season is one of the best and most moving returning shows of 2022. This gloriously heartfelt and perceptive series is dedicated to diving deep into the Indigenous North American experience today — as a teenager, primarily, but constantly broadening its focus to the parents, elders and spirits so instrumental and influential in its central foursome's life in Oklahoma's Muscogee Nation. It's no wonder that season one earned a Peabody Award, which celebrates US media's most powerful, enlightening and invigorating stories. It's no wonder, either, that the show has been picked up for a third run as well. Bear (D'Pharaoh Woon-A-Tai, Beans), Elora (Devery Jacobs, Rutherford Falls), Willie Jack (Paulina Alexis, Ghostbusters: Afterlife) and Cheese (debutant Lane Factor) are those restless adolescents at the heart of Reservation Dogs, and they've shared a California dream since the series' very first episode. But when the debut season wrapped up with a tornado, plus a figurative storm of hard truths and buried feelings, the gang's relocation fantasy didn't play out as expected. The lure of family and culture remained strong, as did holding onto a past that's brought happiness as well as hurt. While losing one of their best friends, Daniel (first-timer Dalton Cramer), to suicide was big motivation for wanting to head away — it was also his plan, too — actually following through proved a far trickier prospect when it became tangible. In season two, the more things change, the more they stay the same — until they don't. Elora still attempted to go west anyway to close out season one, but being on the road with enemy-turned-travelling companion Jackie (Elva Guerra, Dark Winds) gets tumultuous. For Bear, Willie Jack and Cheese, staying on the reservation requires facing life on the reservation and all that it entails, including the pain that no one wants to shoulder and plotting out a future that no one ever thought would exist without Daniel. Bear tries by getting a job in roofing, which ends up being beside Daniel's dad (Michael Spears, 1883). Willie Jack and Cheese feel like the group is cursed, and turn to town elder Uncle Brownie (Gary Farmer, First Cow) for assistance. Elora is called back, confronting loss, tradition and the friends she left behind. Reservation Dogs can be a series of side-splitting comedy. The lines that the writers find for Spirit aka William Knifeman (Dallas Goldtooth, Rutherford Falls), the warrior who died at (but not in) the Battle of Little Big Horn and is quick to dispense advice Bear's way, are comic gold every time he's on-screen. (Wanting him to get his own spinoff comes easily.) It's also a show filled with goofy capers, from the opening Flaming Flamers chip-truck heist through to a hilarious late season-two episode where lighthorseman Officer Big (Zahn McClarnon, Westworld) unwittingly takes acid, then stumbles upon a racist land-grabbing conspiracy that's fuelled a local myth, all with salvage yard owner Kenny Boy (Kirk Fox, Parks and Recreation) by his side. This is and always has been a sitcom about home, though, a term that's oh-so-loaded in a First Nations context. What does it mean to want to flee land that's been taken from Indigenous communities from centuries? That was one of the first season's key questions. What does it mean to rediscover that homeland, even knowing how much heartache lingers? That's a pivotal consideration in the second season. California — the oasis it represents, including fresh scenery, leaving everyday troubles behind and seeing the ocean for the first time — still can't be shaken, however. Sometimes, the only way to weather life's ups and downs is to realise how much you'd miss what you already have if it was gone, too. Made with such an evident commitment to minutiae, and to feeling lived-in at every moment, Reservation Dogs spins both its episodic stories and its long-running arcs, themes and emotions into something wonderful and insightful again and again. One season-two episode departs to the yearly Indian Health Summit with the Aunties, including Bear's mother Rita (Sarah Podemski, Resident Alien), who get their own time away. Another follows Cheese to a group home run by the misguided Gene (Marc Maron, Respect), where he's sent through no fault of his own — while yet another goes to prison, where Willie Jack visits Hokti (Lily Gladstone, Certain Women), her aunt and Daniel's mother. From the engaging cast and complex narrative to the incisive examination of everything it means to be an Indigenous North American right now, plus the crucial commitment to telling Indigenous stories with Indigenous on- and off-screen talent (every writer, director and series regular is Indigenous), Harjo deserves all the kudos that can be showered his way for this gem of a show. Seeing where each episode heads, what surprises are in store, and how it keeps giving the USA's First Nations people on-screen representation and a voice, is a continual and rewarding delight. Seeing how Reservation Dogs values both personal tales and fleshing out a community portrait, and excels equally in realistic and magical storytelling, is as much of a highlight. As for Waititi, his way with sitcoms shouldn't be astonishing. The Eagle vs Shark, Boy and Hunt for the Wilderpeople helmer is three for three in America — including not only this, but also Our Flag Means Death, which will return for a second season after 2022's debut run; and the What We Do in the Shadows TV spinoff, which just aired its fourth season and has a fifth and sixth on the way. Indeed, while there are many reasons to be thankful for the New Zealand filmmaker as his resume keeps attesting, using his fame to help bring the gift that is Reservation Dogs into the world is firmly one of them. Check out the trailer for Reservation Dogs season two below: Reservation Dogs streams via Binge in Australia and Disney+ in New Zealand. Images: Shane Brown / FX.
Even if you enter Bridge of Spies unaware of its director, it soon becomes obvious that Steven Spielberg is at the helm. Tom Hanks popping up on screen, as he did in Saving Private Ryan, Catch Me If You Can and The Terminal before this, offers one such indication of the man behind the camera, although the clues certainly don’t stop there. The way the story is handled, the heavy-handed score that tells audiences what to feel rather than trusting the storytelling to do so, as well as the almost overbearing sense of righteousness that infuses every scene, all do plenty to give away the Spielberg touch. Under his guidance, the actor many likely wish was their dad lives up to that fantasy as an ordinary, upstanding guy driven by a desire to do what's right. Hanks’ character, the real-life James B. Donovan, is a tax lawyer taken out of his comfort zone, yet always guided by his strong moral compass. He's asked by the government to undertake the unpopular role of representing Rudolf Abel (Mark Rylance), a Soviet agent found on U.S. soil, at his controversial and highly publicised espionage trial. Next, Donovan is tasked with negotiating Abel's return to his homeland in a trade for captured American operatives. And yes, for anyone wondering about the movie's name, at one point the spies really do stand on a bridge – although the film's moniker speaks more to the network that springs up between warring sides. As he journeys to the unsafe streets of post-WW2 Berlin to broker a deal, Donovan's involvement must remain secret and officially unsanctioned — at least as far as the public and the record of the time are concerned. Accordingly, Bridge of Spies never misses the opportunity to bluntly idolise its protagonist, nor stress the strength of his character as he rallies for a person, an approach and good old-fashioned due process when no one around him will share his views. That's not to say that any of these points are unreasonable, or that the praise isn't earned. It's just that Spielberg, initial screenwriter Matt Charman, and script tinkerers Ethan and Joel Coen (yes, the brilliant minds behind Fargo, The Big Lebowski and Inside Llewyn Davis) rarely let the story breathe beyond their laudatory viewpoint. Given that they certainly take their time unraveling all the necessary information and intricacies, it's an approach that proves both distracting and disappointing. Of course, Spielberg crafts a polished film regardless, and one remarkably visually textured from its almost silent opening. Hanks, too, remains a likeable, reliable lead. The real star of the show though, other than the actual events that the movie didn't need to depict in such an emotional fashion, is Tony and Olivier award-winning theatre actor Rylance. If the rest of the feature seems to strive to simplify something complex for the sake of sentiment, he's proves the humanised and genuinely heartfelt opposite. Audiences could be forgiven for wishing that the rest of the film followed his lead, and was more like Spielberg's blistering Munich and less like his sappy War Horse. https://www.youtube.com/watch?v=2-2x3r1m2I4
True-crime stories have saturated all forms of media of late. If you're not listening to podcasts on the topic, you're watching Zac Efron play Ted Bundy, exploring the intersection of fact and fiction in Mindhunter or poring over a TV series about Serial's Adnan Syed. But despite the seemingly never-ending list of new additions to the genre, we're betting you haven't yet witnessed anything quite like Joe Exotic's story, which is the subject of Netflix's new Tiger King: Murder, Mayhem and Madness docuseries — and, now, an upcoming drama series as well. Clearly, Joe Exotic isn't the name that the show's mullet-wearing focal point was born with. But given Joe's love of big cats, line of work and over-sized personality, he obviously decided that the moniker fit. Between 1999–2016, he created and ran The Greater Wynnewood Exotic Animal Park in Oklahoma, which was home to hundreds of tigers, lions and other large felines. Joe also took his tiger show on the road and, because he just adored tigers so much, he literally sang about them as well. His first country music album was called I Saw a Tiger, because of course it was. He found time to run for Governor of the state and, in 2016, President of the US. He's fond of guns and just as fond of marrying more than one person at once. Oh, and the zookeeper tried to hire a hitman to get one of his rivals — Big Cat Rescue animal sanctuary's CEO Carole Baskin — killed. https://www.youtube.com/watch?v=acTdxsoa428 Lions, tigers, eccentricity, polygamy and murder-for-hire, oh my! That's the jaw-dropping tale that Tiger King: Murder, Mayhem and Madness — and yes, it's so strange that it can only be true. It's no wonder that Netflix has turned it into a series, which is now available to stream. And, as Deadline reports, it's no wonder that a new TV drama is set to recreate these events as well. Based on the podcast Joe Exotic — the latest season of ongoing series Over My Dead Body, which is created by the podcast studio behind Dirty John, Homecoming and Dr Death — the new drama will chart Exotic's long and complicated battle with Baskin. If you've already binged your way through Tiger King, you'll know there's much more to both sides of the story, and to both of their backgrounds, including suspicions about the death of Carole's second husband. While few details have been released about the Joe Exotic limited drama series as yet, which'll only run for one batch of episodes, it will boast a big star. Saturday Night Live, Ghostbusters and Yesterday's Kate McKinnon will be playing Baskin — and yes, that means she'll be saying "hey all you cool cats and kittens" more than once, as well as dressing head to toe in tiger print. The TV drama version of Joe Exotic doesn't yet have a release date — we'll update you when one is announced. Tiger King: Murder, Mayhem and Madness is available to stream now on Netflix. Via Deadline. Top image: Netflix.
After Christmas 2020 saw Australians explore their own backyards, 2021's festive season will welcome the return of a familiar end-of-year tradition. If your summer break usually involves venturing overseas, that'll be back on the cards again as the nation reopens to international travel from November. And if you're still eager to enjoy the sunny, beachy weather, you'll be able to head to Fiji. On Monday, October 11, Fiji Prime Minister Frank Bainimarama announced that the Pacific nation will reopen its borders to Australian tourists, with quarantine-free visits restarting from Thursday, November 11. Australia is on a list of travel partner countries — which also includes New Zealand, the US, the UK, the United Arab Emirates, Canada, Qatar, Germany, Spain, France, the Republic of Korea, Singapore, Switzerland, Japan, and most Pacific Island countries and territories — that are being prioritised by Fiji due to their widespread vaccination status. There will still be protocols in place, however, so that's something you'll need to factor into your plans if you can now see a tropical holiday in your future. Firstly, there'll be a no jab, no fly policy, so you'll have to be double vaccinated with the Pfizer, Moderna, AstraZeneca or Johnson and Johnson vaccines. You'll also need to test negative to COVID-19 within three days of departure — and, you'll have to download the country's Care Fiji app to your phone when you arrive. After that, tourists will also need to spend their first two days in Fiji in their hotels. You'll be free to use the facilities and amenities, but you won't be able to mosey any further until you take another COVID-19 test 48 hours after arrival. Once that comes back negative, you'll then be able to visit spots deemed 'safe-travel areas'. While exactly where these regions will cover is still being worked out, the Fiji Prime Minister advised that "they will be large enough for tourists to enjoy the best of Fiji, but restrictive enough to protect areas with low vaccination coverage." The two-day hotel period is expected to relax as more Fijians become double vaccinated. In response to Fiji's announcement, Virgin Australia was quick to reveal that it'll restart its flights to Nadi from Thursday, December 16. It'll fly return from Sydney up to twice daily, return from Melbourne once a day and return from Brisbane three times a week — and, it's doing a sale on fares from $289 one-way. Virgin's Fiji flights will mark its first relaunched international routes, ahead of restarting its services from Australia to New Zealand and Bali sometime in 2022. For more information about Fiji's reopening plan, head to the Fiji Government's website. For further details about Virgin Australia's Fiji flight sale, head to the airline's website.
Bec Dean is co-director of Performance Space, one of Australia's leading development and presentation organisations for interdisciplinary arts. If you've ever marvelled at one of Carriageworks' stranger corners, you've seen their work. More than most, Bec spends her days seeking out the inventions, interjections and experiences that give colour to our lives. These are the five emerging artists she encourages us to keep a particular eye on. Michaela Gleave Jeff Khan (my co-director) and I just worked with Michaela Gleave on Our Frozen Moment, which was an installation of rain and light inside the gallery space here at Carriageworks. Michaela makes exquisitely beautiful, experiential work, but she undertakes her own fabrication of the complex system of pumps, pipes and reticulation required to make it rain on the inside. She also has an explosives license. She is true DIY. Eric Bridgeman Eric Bridgeman is a young artist from Brisbane, now working in Liverpool in the UK. We hope he may be back for our program SEXES in October. Eric head-on tackles issues that tend to simmer in our culture, from racism, to sexism, to homophobia…especially in sporting culture. He makes photos, performances and paintings that make everyone uncomfortable, and so they should be! James Brown James Brown is a composer and musician who has worked on many projects for Performance Space and PACT artists over the years. He is an artist that often gets credited as a part of new works but I think more and more that he should be the headline act. He is a brilliant and somewhat humble collaborator. Cigdem Aydemir Cigdem Aydemir is a photographer, performer and installation artist making difficult work that examines gendered and religious identity in Australia, and engages with certain right-wing attitudes about Muslim women and the burqa as a potential terrorist threat. We are hoping to commission a large-scale work by her later this year. Applespiel Applespiel is a collaborative team of eight young performers who premiered a new work with us at SHOW ON. It was a live rockumentary/rock concert called Applespiel Make a Band and Take on the Recording Industry. It’s pretty much what it says on the label, and they can write and play music too. I’ve never seen such a large group work together so harmoniously before. I expect way more shouting and discontent. It’s like they’ve all taken ego-supressing drugs…to make a performance that is all about an industry that thrives on fame, stardom and ego-mania.
In these tumultuous modern times — these times of Pottermore, Fantastic Beasts spinoffs and The Cursed Child — it's comforting to be able to take it back to basics. Basics, here, meaning the score of the first two Harry Potter films played live by the Melbourne Symphony Orchestra. That's right — just like their counterparts in Sydney and Brisbane, the MSO are taking us back to 2001 and 2002 when the first two of the eight Harry Potter films came out. It made us cringe (the acting — so bad but so good), marvel at how not hot Neville Longbottom was (boy, would we learn) and — most importantly — float away on a magical adventure thanks to the incredible score by John Williams. In four sessions taking place in November 2017 (yes, practically a whole year from now), you'll be able relive the magic of Harry Potter and the Philosopher's Stone and Harry Potter and the Chamber of Secrets all over again when the Melbourne Convention and Exhibition Centre screens the films scored by a real, live orchestra. Maybe they'll release live owls! Maybe not because that would be chaos. Maybe they'll release live rats? Actually, absolutely not — we all know rats are secretly fat old criminals hiding from magical law enforcement and waiting for the Dark Lord to rise again (lookin' at you, Pettigrew). As you might imagine, tickets are set to sell like pumpkin pasties; in Sydney the first concert was more popular than butterbeer, they even added extra sessions. So, you'd best get in quick or spend eternity griping about it like some Moaning Myrtle-type character. The Harry Potter performances are part of the MSO at the Movies series, and will screen at the Melbourne Convention and Exhibition Centre at from November 16-18, 2017. Grab tickets here.
All truth, no fiction: if that's how you like your movies, then you'll want to hit up the Australian International Documentary Conference when it returns to Melbourne for 2025 from Sunday, March 2–Wednesday, March 5. Each year, this celebration of factual filmmaking hits up the Australian Centre for the Moving Image in Federation Square to talk about the format and screen flicks — and its latest lineup is mighty impressive. The event's timing means that each year's Oscar-nominees for Best Documentary Feature are often a big highlight in a variety of ways, including via screenings and getting their filmmakers chatting. Black Box Diaries director and subject Shiori Ito, plus Sugarcane co-directors Julian Brave NoiseCat and Emily Kassie, are both on the speaker list — and you can watch their powerful docos on the public program. Some sessions throughout AIDC are only for conference delegates, with pass details varying. Thankfully, the public screenings let you snap up individual tickets to catch documentary must-sees on the silver screen. With Black Box Diaries, Ito chronicles her investigation of her own sexual assault after the police declined to prosecute the culprit. In Sugarcane, NoiseCat also tells a personal tale — one of intergenerational trauma linked to one of the Catholic Church-run Indian residential schools in Canada, after unmarked graves were discovered. Or, also connected to AIDC's 2025 theme 'future telling', you can check out the innovative About a Hero, Oscar-shortlisted Hollywoodgate and hybrid documentary The Wolves Always Come at Night.
With the huge burst of rich American eateries on the scene this year, it should come as no surprise that we're getting excited about Independence Day. It's the perfect time of year to celebrate ribs, burgers, and Texan barbecue! Or something like that, right? Either way, the celebrations are being headed up this week by Le Bon Ton. Known for their smoky meats, stiff drinks and saloon style, these proven purveyors of American eats are hosting a big party on Sunday, July 6 from 2-9pm. And, though it may not be the official date of Independence Day itself, everything else about the event screams tradition. For $75, patriots can treat themselves to a fully-fledged Texan barbecue of pulled pork, smoked chicken and brisket with all the trimmings. There will be brass bands, hot rods out the front, and a portion of the street closed to accommodate all the rollicking New Orleans jazz. Time to forget your winter woes, and grab an ice-cold Budweiser. Book your tickets by emailing bookings@lebonton.com.au or calling (03) 9416 4341.
Trust a mockumentary about the undead to keep coming back in new guises. Taika Waititi and Jemaine Clement's What We Do in the Shadows first came to light as a short film in 2005, then made its way to cinemas in rib-tickling feature-length form in 2014, and already has a werewolf-focused sequel in the works. Now, it's getting a TV spinoff. Slated to air on New Zealand television in 2017, Paranormal Event Response Unit won't spend more time with everyone's favourite Wellington-dwelling bloodsuckers, even though Waititi and Clement conceived the six-part series. Instead, it'll follow police officers Karen and Mike, who WWDITS fans might remember came knocking at the vampire share house's door. The cop duo will keep trying to keep the city safe from supernatural happenings — and we're sure viewers will keep watching. On Twitter, Waititi described the show as "Mulder & Scully but in a country where nothing happens", should you need any more reason to get excited. And we know he likes buddy flicks with mismatched characters, so expect that kind of vibe to come through too. As for the ingeniously titled We're Wolves, aka the Rhys Darby-starring, wolfpack-oriented big-screen continuation we mentioned above, it's still in development; however Waititi has been more than a bit busy of late. His last movie, Hunt for the Wilderpeople, proved a runaway hit when it opened in cinemas earlier this year. And over the last few months, the filmmaker has been hanging out on Gold Coast and in Brisbane directing a little flick called Thor: Ragnarok. Via Radio NZ.
It might just be Australia's brightest festival, and it's returning to light up Alice Springs once again. That'd be Parrtjima - A Festival In Light, which will deliver its sixth annual program between Friday, April 9–Sunday, April 18 — returning to the autumn time slot it established in 2019. After a chaotic 2020, which saw the event postponed to September due to COVID-19 lockdowns and restrictions — and offer a virtual tour, too — the fest has big plans for 2021. Once more, it'll continue its free ten-day public celebration of Indigenous arts, culture, music and storytelling, and its focus on dazzling light installations. This time around, the event is corralling its program around the theme 'future kultcha'. That means there'll be a particular focus on "intergenerational wisdom told through light, interactive workshops, art, music, films, performance and the spoken word". [caption id="attachment_799417" align="aligncenter" width="1920"] Artist's impression of 'Landing Kutcha'[/caption] When it returns to the Alice Springs CBD's Alice Springs Todd Mall, as well as tourism and conservation facility Alice Springs Desert Park Precinct just out of town, Parrtjima will unveil a new set of signature installations — and yes, they're set to dazzle. While the festival's full program hasn't yet been released, the event has revealed a few key details about its luminous displays for this year. The striking 'Landing Kultcha' will use light tubes of different lengths, span 20 metres in length and provide quite the entranceway. 'Revolving Kutcha' will feature shields, coolamons and skateboards, including one large central piece that'll range between six to eight metres high, plus eight other two-metre-tall sculptures. And, 'Grounded Kultcha' will project an animated sequence of curated artworks onto the sands of Alice Springs Desert Park. There's also 'Merging Kultcha', which features a train of five illuminated camels; 'Tailoring Kultcha', with light and textiles used to transform Todd Mall; and 'Harvesting Kultcha', an interactive game for all ages that's inspired by the constant movement in a honey-ant nest. And, as it always does, the festival's main attraction will glow far and wide. Once again, a huge artwork will transform a 2.5-kilometre stretch of the majestic, 300-million-year-old MacDonnell Ranges, showering it with light each night of the festival. The installation is being called 'Spirit Kultcha' this year, and it'll include a soundscape by Electric Fields. [caption id="attachment_799418" align="aligncenter" width="1920"] Artist's impression of 'Merging Kutcha'[/caption] The full Parrtjima program is set to be announced in March, with more than 55 artists involved. You'll be able to dine under the stars at the Alice Springs Desert Park Precinct — thanks to a dinner that's a first for the fest — and also see a music lineup led by Casey Donovan. Of course, Parrtjima is just one of Northern Territory's two glowing attractions in 2021, with Australia's Red Centre lighting up in multiple ways. The festival is a nice supplement to Bruce Munro's Field of Light installation, which — after multiple extensions — is now on display indefinitely. If you're keen to start making Parrtjima plans, remember to check out the Northern Territory's COVID-19 border restrictions first. Parrtjima – A Festival in Light runs from April 9–18, 2021 around Alice Springs in the Northern Territory. For more information, visit the festival website. Top images: James Horan.
