This one's all in the name. With a focused and easy-to-read menu that doesn't compromise on variety, I Love Pho is your go-to for a quick and no-fuss meal. Like so many of the top pho spots in Melbourne, there are topping options all across the spectrum, including brisket, meatballs, tendon, heart, liver and giblets — but notable here is a vegetarian option with tofu and veggies. Either way, you're sure to get the classic flavour and soft mouth-feel you'd expect from a top-quality pho in Melbourne. [caption id="attachment_793549" align="alignnone" width="1920"] Visit Victoria[/caption] Top image: Abir Hiranandani
If you're in a part of Australia that's sweating through a heatwave right now — Sydney is set to break its record for the most days above 35 degrees in a season — you've probably been visualising trickling streams and cannonballing into a body of water for a few days now. But how about gliding down a waterslide straight into the ocean? A photo posted by Jongkol Palarit (@pookjongkol) on Jan 20, 2017 at 12:23am PST Unfortunately the cooling relief is purely a psychological one, as this slide of slides is located at luxury resort Soneva Jani in Medhufaru (Noonu Atoll) in the Maldives. The moderately-sized waterslide takes guests from the top deck straight into the ridiculously clear blue private waters the resort resides on top of. You can do all this between courses at dinner or drinks on the catamaran nets that are suspended just above the water. The resort, which opened at the end of last year, boasts 25 over-water villas — all of which include their own private outdoor decks, pools, access to the ocean and retractable roofs. If you're already picturing yourself there, note that villas start at a huge $2000 AUD per night, with some even exceeding $10,000 a night. So while going to the Maldives would be a great right about now, we might just have to live in hope that Australia's main swimming spots gets a slide — we can definitely picture one down at Clovelly in Sydney or jutting off the pier at St Kilda.
When the end of the year hits, do you get 'Christmas is All Around', as sung by Bill Nighy, stuck in your head? Have you ever held up a piece of cardboard to tell the object of your affection that, to you, they're perfect? Does your idea of getting festive involve watching Hugh Grant, Liam Neeson, Colin Firth, Laura Linney, Alan Rickman, Emma Thompson, Keira Knightley, Rowan Atkinson and Martin Freeman, all in the same movie? If you answered yes to any of the above questions, then you clearly adore everyone's favourite Christmas-themed British rom-com, its high-profile cast and its seasonal humour. And, you've probably watched the beloved flick every December since it was first released in cinemas back in 2003. That's a perfectly acceptable routine, and one that's shared by many. But this year, you can do one better. A huge success during its past tours of the UK and Australia (to the surprise of absolutely no one), Love Actually in Concert is returning in 2022 to make this festive season extra merry. It's exactly what it sounds like: a screening of the film accompanied by a live orchestra performing the soundtrack as the movie plays. To the jolly delight of Melburnians, it's heading to the Plenary at Melbourne Convention and Exhibition Centre, at 4pm on Saturday, December 17. Here, you'll revisit the Richard Curtis-written and -directed film you already know and treasure, step through its interweaved Yuletide stories of romance, and hear a live orchestra play the movie's soundtrack. And, yes, Christmas (and love) will be all around you. Tickets go on sale at 9am local time on Wednesday, October 5, and you can join the waitlist now.
An escape to Aotearoa New Zealand can cater to all your holiday desires, whatever they may be. Whether your idea of a perfect getaway is to be gazing out at incredible scenery, absorbing it all on a hike, bike, paddle, swim or walk, or being pampered into a state of utter relaxation, New Zealand will take your breath away. Make where you stay part of your holiday too, rather than simply a place to rest your head after an experience-packed day. From camping out under the stars beneath one of the darkest skies on Earth to retreating into luxury residences next to vineyards and cellar doors, or even going completely off-grid, the getaways you'll find in New Zealand are uniquely extraordinary. Although New Zealand beckons for a holiday year-round, the seasons will shape your sojourn too. Revel in the charm of changing landscapes in autumn, catch your breath on alpine walks and in hot springs in winter, or experience the energy of spring as native wildlife and vegetation start afresh. No matter when you visit, you'll be welcomed with manaakitanga, a Maōri value encompassing a deep sense of connection and welcome, for a holiday you'll wish never had to end. We've partnered with 100% Pure New Zealand to curate some of our favourite stays in New Zealand, including which season they're best experienced in, to help you plan an unforgettable trip. Flick the switch for incredible getaway venues in autumn, winter and spring. Jump to switcher
There’s a new kid on the block in the Melbourne cafe scene, and he seems like quite the character. Opening in Cremorne this week, Denis the Menace is the new venture from the owner of St Edmonds in Prahran promising great food served with a playful attitude in an environmentally friendly space. Setting up shop in an old up-cycled warehouse, owner Adam Wilkinson was clearly channelling his cafe’s namesake when deciding on his menu. Light breakfast options include Running Late Roti ($10) and Fancy Toast ("we were trying to make bread, except someone accidentally spilled raisins and orange zest in the dough", $8). Those after something a bit heartier might like to try the Big Green Food Fight ($14), consisting of shredded kale, broccoli, avocado, buckwheat kernels, pistachios and chilli served with a poached free range egg. The lunch selection is similarly mischievous, with a poached trout coconut curry called the Thai’m Out ($18); a meatless take on the Sunday roast dinner named Kind of Like Mum’s ($15); and soba noodles with tofu, shiitake, seaweed, eggplant and snow peas in your choice of sesame or ponzu dressing called the Oh Shit-ake ($15). But while there are plenty of giggles to be had when you’re ordering your food, when it comes to sustainability, Denis takes things seriously. Designed by eco-architect Simon Cookes from Duckbuild, the building is fitted with solar panels and recycled timber padding, and even has a worm farm for composting. Diners will sit on reconstructed apple crates and drink water from recycled Carlton Draught bottles while appreciating the cumquat trees that line the cafe’s interior. Or if you’d rather sit outside, the cafe has its own courtyard, complete with old board games and Lego. Even the man responsible for your caffeine hit is green, with barista Damon Glover sporting a Wootten apron made of organic cotton and hemp while brewing up a fresh batch of Seven Seeds coffee. Denis the Menace is located at 106-108 Chestnut Street, Cremorne. They are open Monday – Friday, 7am – 4.30pm, and Saturday – Sunday, 8am – 5pm.
Since 2016, the cinema-loving world has had a Studio Ghibli-shaped hole in its heart. That's when the acclaimed Japanese animation house released its most recent film, the gorgeous French co-production The Red Turtle. Its last solo production actually came two years earlier, courtesy of 2014's When Marnie Was There. Still, much has happened in Studio Ghibli's world over the past decade. Hayao Miyazaki announced his retirement, then changed his mind. In 2018, fellow co-founder and acclaimed director Isao Takahata sadly passed away. And, over the past few years, the company has been busying itself with its very own theme park. The latter is due to open in 2022 and become quite the tourist attraction — but that doesn't mean that fans aren't keen for more Ghibli movies. Thankfully, the studio revealed earlier this year that it's working on just that, with two new films on its current slate. One of those movies will be helmed by My Neighbour Totoro, Spirited Away and Howl's Moving Castle icon Miyazaki, with How Do You Live? actually first announced a few years back. As for the second film, Australians will be able to watch it in the new year. Called Earwig and the Witch in English (and also known as Aya and the Witch), the movie marks the first Studio Ghibli completely made using computer-generated animation. Director-wise, it's helmed by Hayao Miyazaki's son Goro Miyazaki, who previously directed Tales from Earthsea and From Up On Poppy Hill. It's also based on a novel written by British author Diana Wynne Jones, who penned the book that Howl's Moving Castle was adapted from, too. And, Australian distributor Madman Entertainment has just advised that it'll be releasing the film Down Under sometime early in 2021, with an exact date still yet to be revealed. In terms of story, Earwig and the Witch focuses on a girl at an orphanage in the British countryside. She enjoys living there, but her world changes when she's chosen to live with a couple — including, as the title makes plain, a witch. Earwig doesn't know that her own mother also had magical powers, so she's thrust into a strange new world, all while trying to do what she's always wanted: belong to a family. In its English-language version, the film will feature voice work by Richard E Grant (Can You Ever Forgive Me?), Dan Stevens (Eurovision Song Contest: The Story of Fire Saga) and singer Kacey Musgraves, plus newcomer Taylor Paige Henderson as Earwig. We've said it before about Nicolas Cage's new show about swearing and the brand new full season of Spicks and Specks, but 2021 is definitely looking better than 2020. Earwig and the Witch will release in Australian cinemas sometime early in 2021 — we'll update you with an exact release date when one is announced. Images: Madman Entertainment.
Explore hidden nooks and marvel at grand designs, as doors open all around town for the latest edition of Open House Melbourne. Returning for its ninth consecutive year, this year's event is set for the final weekend of July, and will for the first time extend beyond the CBD and into the surrounding suburbs. In fact, the 2016 program features a whopping 140 buildings, stretching all the way from Newport to Bundoora. Highlighting many an architectural marvel, the Open House program covers everything from government buildings including Parliament House and the Supreme Court of Victoria; commercial spaces like Hassell Studios' Medibank building, houses of worship such as St Paul's Cathedral and East Melbourne Synagogue; cultural institutions like the Athenaeum Theatre and the State Library; and sporting venues including AAMI Park and the National Tennis Centre. Pop across the Yarra and you can also pay a visit to the National Gallery of Victoria, or stargaze at the Melbourne Observatory nestled inside the Royal Botanic Gardens. And that's just in the city, mind you. Venture north and you can explore Circus Oz HQ or wander through the Melbourne General Cemetery. Alternatively, head west for a look at Yarraville's Sun Theatre and the Footscray Town Hall. Local history buffs might enjoy a gander at the city's heritage tram fleet, housed in the Hawthorn Tram Depot. And what trip through Melbourne could truly be called complete without paying a visit to Luna Park? Image: Hassell Studios.
Whether you're checking into a nearby spa for the day or heading further afield for a lengthier stint of bliss, visiting a wellness retreat is supposed to be relaxing. But that doesn't seem to be the case in upcoming miniseries Nine Perfect Strangers. The star-studded show was shot in Byron Bay, so it looks the scenic part — but the nine guests who turn up in search of a new lease on life all appear set to get much more than they've bargained for. That's how the series' new trailer unfolds, at least, with the latest sneak peek offering a bigger glimpse at the show following a very brief clip back in April. Given the cast involved — including Nicole Kidman (The Undoing), Melissa McCarthy (Thunder Force), Michael Shannon (Knives Out), Luke Evans (Crisis) and Asher Keddie (Rams) — Nine Perfect Strangers is easily one of the big series of the year, and that long list of famous faces will be navigating quite the eerie and creepy situation. Also part of the show: Bobby Cannavale (Superintelligence), Regina Hall (Little), Samara Weaving (Bill & Ted Face the Music), Melvin Gregg (The United States vs Billie Holiday), Asher Keddie (Rams), Grace Van Patten (Under the Silver Lake), Tiffany Boone (The Midnight Sky) and Manny Jacinto (The Good Place), who'll all navigate a ten-day retreat overseen by Kidman's Masha throughout the drama's eight episodes. The latter oversees a resort that promises to transform nine stressed city-dwellers — but, clearly, things aren't going to turn out as planned for the show's titular figures. As with Kidman's last two miniseries — Big Little Lies, which like Nine Perfect Strangers, was also based on a book by Liane Moriarty; and The Undoing — David E Kelley (LA Law, Ally McBeal, Mr Mercedes) is leading the charge behind the scenes. He's the show's co-writer and co-showrunner, with Long Shot's Jonathan Levine directing every episode. And if you're wondering where and when you'll be able to see the results, Nine Perfect Strangers will stream Down Under via Amazon Prime Video, with the series set to debut on Friday, August 20. Check out the full trailer below: Nine Perfect Strangers will start streaming in Australia and New Zealand on Friday, August 20 via Amazon Prime Video — starting with its first three episodes, with new episodes then dropping weekly afterwards. Images: Vince Valitutti/Hulu.
Now in their fourth decade, Novocastrian stalwarts The Screaming Jets, also widely-known as 'the last great Aussie Pub Rock band', is bringing their much-loved brand of hard rock back to the masses. Led, as they have been since the band's formation in 1989, by frontman Dave 'Gleeso' Gleeson, the group spent their time in lockdown reworking and rerecording five of their most iconic tracks, including 'Shivers' and 'Helping Hand', and releasing the new versions as a new EP entitled Bitter Pill. You can head to either a homecoming show at The Camberidge Hotel, lovingly known as The Cambo, on Friday, November 27, or a beachside performance in Towradgi on Saturday, November 28. Or, if you're a real Jets tragic, why not both? For the latest info on NSW border restrictions, head here. If travelling from Queensland or Victoria, check out Queensland Health and DHHS websites, respectively.
Philadelphia indie-rockers The War on Drugs have revealed they will play a Melbourne sideshow alongside their Australian debut performances at Falls Festival and Southbound. Devoted fans will no doubt be crossing their fingers that some material from their much-awaited third album will be unveiled during the tour. The War on Drugs emerged onto the scene back in 2005 as a musical collaboration between frontman and creative honcho Adam Granduciel and Kurt Vile, who has since left to pursue a solo career with his backing band The Violators. If you've never heard of them but you like your rock and roll a little bit classic (think a bit of Petty, a splash of Springsteen and, vocally, a whole lot of Dylan), then you may want to grab tickets to a show.
By this stage, most of us have come to terms with the fact that jetting off to USA or Europe is a seriously long slog, made worse by unavoidable (sometimes long, always painful) stopovers. But that European or American trip could soon become a whole lot more bearable, with Qantas announcing plans to launch direct flights between the east coast and both London and New York, by 2022. While the airline's already revealed it'll run nonstop flights from Perth to London starting March 24, 2018, the extra distance involved with trips from the east coast capitals is something that none of today's planes can handle. Right now, the world's longest direct flight clocks in at just over 17 hours and 14,529 kilometres, running between Doha and Auckland on a Boeing 777-200LR. So, to realise its grand plans for east coast Aussies, Qantas has put the call out to Airbus and Boeing, the world's biggest aircraft manufacturers, to make a plane that can go the distance. In numbers, that's a 20-hour and 20-minute stint between Sydney and London (16,983 kilometres), and an 18-hour and seven-minute journey from Sydney to New York. The airline's done its homework, analysing a decade's worth of wind and weather data to confirm the routes are actually possible. Now, all it needs are the planes to fly it. Via the Australian Financial Review.
American company Momix describe themselves as "dance illusionists". What exactly does that mean? You can find out when they perform Botanica at the Arts Centre. The show, which first played in New York in 2009, is a stylised ode to nature, a trip through the four seasons represented by a series of visual set pieces crafted using movement performance, elaborate props, lush costumery, puppetry, projection and shadow theatre. Expect lots of billowing silk, abstract dance and New Age musical stylings, the emphasis heavily on spectacle. While critics in America have criticised Botanica for not turning any new ground for the company, Momix haven't toured to Melbourne since 2003 (Opus Cactus) so their signature style is likely still fresh for local audiences. At the very least, a stage full of dancers in giant flower costumes might serve to remind us poor winter-stricken Melburnians what spring feels like.
Gin dreams are made of this: a sprawling distillery that doubles as an indoor/outdoor gin garden, lets spirits aficionados sip plenty of gin (obviously), and also serves up snacks made with spent gin botanicals. That's all on the menu at Four Pillars' redeveloped Healesville base, which has finally relaunched to the gin-adoring public following a hefty $7 million makeover. Gin fiends of Australia have been singing the brand's praises for almost a decade, with the beloved distillery setting up shop in 2013, then opening up its Healesville digs to the public in 2015 — and the latter's revamp will only evoke more cheers. Announced back in early 2021, and up and running since Tuesday, April 26, Healesville 2.0 aims to be a gin lover's heaven. In fact, if this doesn't entice juniper spirits-lovers to the Yarra Valley to enjoy Four Pillars' tipples, nothing will. Sitting directly adjacent to the company's original home on Lilydale Road, the new 1000-square-metre space helps turn the brand's headquarters into a gin destination, and has almost tripled the area available to visitors. As well as the aforementioned Jude's Gin Garden — which overlooks leafy trees and has sliding floor-to-ceiling windows to let the outside in (when the weather permits) — there's multiple new event and function rooms, a dedicated Four Pillars Gin Shop, and a gleaming new copper bar. On the menu: a changing array that spans tasting paddles, gin classics and familiar cocktails, plus a snack range designed by Made From Gin's Matt Wilkinson with Caro Gray. Think: duck liver pate with Bloody Shiraz Gin jelly; bagels with olive leaf gin-cured salmon; plus gin-laced potato, zucchini and dill croquettes — all using those spent gin botanicals. Still on food, the Four Pillars Tuck Shop will open later in 2022, too, serving up more substantial dishes on weekends and public holidays. Of course, a visit to this gin-swilling spot is always going to be about the spirit in question — and here it's piped into the main bar using featured copper, all so that Four Pillars can reduce its glass waste. Tonic is largely being served from kegs as well for the same reason, at a site that goes big on solar and recycling to lower the venue's carbon and environmental impact. That shouldn't come as a surprise, with Four Pillars announcing earlier in April that it has now gone carbon-neutral. Tubing is also a big design feature, with 1650 metres of raw copper tubing used to enclose the entire site — the OG building and the new base — in a veil. As well as looking stunning, it's designed to work as a natural heat exchange to reduce energy consumption. Melbourne's sustainability-led Breathe Architecture led the revamped spot's design, which also heroes recycled and upcycled concrete and bricks, plus pineapple 'leather' upholstery. The furniture has been sourced locally, and local natives and botanicals play a big part in the landscaping both indoors and out. And yes, many will end up in Four Pillars' gins in the future. It's expected that the redevelopment will see between 150,000–200,000 visitors a year head to the Healesville facility — and, because updating the production side of things was also part of the makeover, it'll now allow Four Pillars to produce more than one million bottles of gin a year as well. To the delight of your tastebuds, that means more of its award-winning range — which includes barrel-aged, bloody shiraz, rare dry, yuzu, Christmas, overproof, olive leaf and summer-inspired gins. And yes, Healesville 2.0's launch helps cap off a huge few years for the gin company. It was named the world's best gin producer for two years running, sold half of its business to beer behemoth Lion and opened a Sydney bar in the middle of the pandemic — and now, of course, this. Four Pillars' revamped distillery is now open at 2 Lilydale Road, Healesville — operating from 10.30am–5.30pm Sunday–Thursday and 10.30am–9pm Friday–Saturday. Images: Anson Smart.
It's been just over a year since Amazon finally launched in Australia, promising an array of goods delivered quickly and affordably, as shipped from Melbourne and Sydney, and about five months since the company blocked Aussies from purchasing off its cheaper, larger international sites. Thankfully, it has just backflipped on the later. To rewind a bit, on July 1, Amazon announced that purchases from its international platforms would no longer be shipped to Australian addresses because of a change to Australian GST laws, which applied the standard goods and services tax of 10 percent to all online overseas purchases. Previously, GST had only applied to transactions over $1000. Aussies could instead shop on the Amazon Australia store, which had only around one percent of the range available in the US, or use a shipping forwarding service But this morning, Thursday, November 22 — less than five weeks out from Christmas (if you're counting) — Amazon backflipped on its decision, announcing it had reopened its US and other international sites to Aussies. In a statement published on news.com.au, Amazon said it had listened to "customer feedback" and made the necessary changes to its website to allow the company to comply with the new GST laws. The great news is the international sites are accessible right now, just in time for the Black Friday Sales. The not-so-good news is that at the moment only items that Amazon stocks and sells are available to us, while the company works out how to apply GST to third-party items. If you haven't yet started your Christmas shopping, here's a great excuse to start. via news.com.au
Turns out the Rumours were true — Fleetwood Mac are touring Australia and New Zealand in 2013. Founded in the late-'60s as a blues band, they became superstars in the 1970s (with the addition of Lindsay Buckingham and one Stevie Nicks to the lineup), when songs like 'Rhiannon', 'Go Your Own Way' and 'Dreams' became multimillion sellers and went on to dominate all the best karaoke nights for decades. The lineup from that golden period broke up in 1987 following years of divorce, drug abuse and an almost-complete breakdown of every relationship in the band, but they reunited this year for a North American (and now, Australian) tour. Reviews from the shows so far have been largely positive, so they might just keep it together through the rest of the year. If you don't know them, (a) seriously? and (b) just check your parents' record collection — they'll be there. Announced on the weekend, the tour currently stands at eight dates throughout November and December — but big gaps between shows have already led to speculation that more dates will be added if the shows sell out quickly. Tickets for the Australian concerts go on sale Thursday, June 13. Sunday, November 10 – Sydney Entertainment Centre, Sydney Saturday, November 16 – Hope Estate, Hunter Valley Tuesday, November 19 – Adelaide Entertainment Centre, Adelaide Friday, November 22 – Perth Arena, Perth Tuesday, November 26 – Rod Laver Arena, Melbourne Saturday, November 30 – A Day On The Green, The Hill Winery, Geelong Monday, December 2 – Brisbane Entertainment Centre, Brisbane Friday, December 6 – Vector Arena, Auckland
When the Victorian government committed to funding the Melbourne Metro Rail project, easing inner-city congestion was the topic on everyone's minds. With new transport infrastructure comes new names, however. With five new underground train stations set to join the city's network from 2026, suggesting those monikers has now been tasked upon the state's residents. If you've always wanted to name a piece of Melbourne, here's your chance. Naming is now open for stations at Arden, Parkville, Domain, and under the northern and southern ends of Swanston Street, with a deadline of October 22 for submissions. Entries can be lodged online, must be no longer than three words or 25 characters unless they're in an Indigenous language, and should be relevant to the geography or heritage of the place in question. Names of people held in high regard by the community will also be accepted, although participants are asked to avoid those of people who are still living. Alas, before you go thinking what we're all thinking, one idea has already been ruled out: Station McStationface. "Try to come up with something more original," the Premier posted on Facebook, clearly hoping to stop a repeat of the British Boaty McBoatface situation. That said, Trainy McTrainface was ruled a perfectly fine name in Sweden. "We want as many Victorians as possible to have their say on what they'd like the five new underground stations to be named," is the Premier's official statement, but entries will go through a vetting committee according to The Age. As for the new Metro Rail itself, it will includes two new tunnels as well, and create a new path into the city that doesn't rely on (but connects to) the City Loop. Here's what it will look like: Image: Binayak Dasgupta via Flickr.
After heading Down Under for Laneway Festival earlier in 2023, Japanese Australian singer-songwriter Joji will finally give his Aussie and Kiwi fans the chance to catch a glimpse of him at his own headline gigs when he returns for a run of arena shows. The viral hitmaker will make his way Down Under following his current US run of gigs, starting by bringing the Pandemonium tour to Australia's east coast across three dates in November. The tour will kick off in Sydney at Qudos Bank Arena on Thursday, November 16, before moving to the Brisbane Entertainment Centre on Saturday, November 18 and Rod Laver Arena in Melbourne on Monday, November 2o. From there, Joji will cross the ditch and arrive in Auckland for a one-off New Zealand show at Spark Arena on Wednesday, November 22. Joji's debut headline Australian and New Zealand shows have been a long time coming. After fostering a cult following on YouTube, he pivoted his talents to music in 2017, releasing three studio albums across the following six years. The entire trio of albums has spawned Top 40 hits in Australia, New Zealand and the US, and Joji is one of only a handful of artists that can claim to have multiple songs with over a billion streams on Spotify — with 'Glimpse of Us' and 'Slow Dancing in the Dark' both passing this impressive milestone. Concertgoers can expect the heartfelt emotions of Joji's ballads alongside a sprinkling of humour, with his live shows receiving online notoriety for the performer's onstage hijinx between and during songs. Scottish dance producer and singer Sam Gellaitry will be supporting all four dates, alongside rapper SavageRealm, who is currently opening for Joji on his North American tour. JOJI'S PANDEMONIUM TOUR: Thursday, November 16 — Qudos Bank Arena, Sydney Saturday, November 18 — Brisbane Entertainment Centre, Brisbane Monday, November 20 — Rod Laver Arena, Melbourne Wednesday, November 22 — Spark Arena, Auckland Joji will play four shows in Australia and New Zealand in November 2023. Ticket pre-sales start at 12pm on Thursday, August 24 via Frontier Touring, followed by the general sale at 2pm on Friday, August 25. Head to the tour website for further details.
Australians love of big, ridiculous eyesores is well documented. We don't know whether it's something to do with our sense of humour or our love of the absurd, but somehow an oversized fibreglass banana made its way into our national iconography. People genuinely go there to stand in awe. (Disclaimer: I've been three times, but couldn't tell you why). Now, this trend is in danger of reaching tipping point. Is the humble, oily dim sim really worthy of a pedestal? Will it even be from South Melbourne Market? The suggestion to build a giant dim sim statue has been brought to Lord Mayor Robert Doyle this week by a group of RMIT students calling themselves The Dim Sim Salute. In their campaign material, they claim the dim sim is the "ultimate symbol of acceptance [because it's] developed by the Chinese, embraced by Australian's [sic] and manufactured by the Greeks." Here's the full confusing spiel (watch out for about halfway through when they infer people are unknowingly eating cats): Mr Doyle's response to the campaign has been underwhelming to say the least. "I respect the passion of these people but I really can't see this one going anywhere," he said before posting this kind of, weirdly, nearly discriminatory pro-meat pie sentiment on Twitter. I am a traditionalist: the meat pie trumps the dim sim in this town. And rightly has a monument. @RossAndJohn pic.twitter.com/qdFtfv2Q0l — Robert Doyle (@LordMayorMelb) September 2, 2014 The group are circulating a Change.org petition that currently has 99 of the necessary 2,000 supporters, but the outlook doesn't look great. Organisers are not even sure whether the commemorative dim sim should be steamed or fried. These are the tough questions, people. Do your civic duty and get involved. Via The Age. Photo credit: avlxyz via photopin cc.
Things are heating up at The B.East on Lygon Street, the official home of the Melbourne Chilli Eating Championship. On Sunday, March 20, 24 brave souls will put their lives on the line in this searing hot contest to find Melbourne's steeliest tastebuds. Doors open at noon, with the main event kicking off at 2pm. The contest consists of two heats and a final, with things getting progressively spicier as the competition intensifies. Participants can be eliminated by tapping out, passing out or vomiting their guts up – although, hopefully it doesn't come to that. It starts with fresh pods and spicy food, progresses to jalapeños and all culminates with the consumption of the Carolina Reaper. If you'd like to partake, you need to sign up in person at The B.East. And sign a waiver, of course. If you'd like to just watch, it's free to be a spectator. In addition to the championship, there'll be a special spicy menu available from 12pm (including spicy burgers, drinks and snacks). There'll also be live bands and DJs from 7pm once the comp has wrapped up.
Local ceramic shop Elph Ceramics is currently putting on fun workshops so you can make your own little ceramic houses at home. The Australian brand of handcrafted homewares is run by sisters Sophie and Eloise, offering virtual classes guiding you through creating adorable ceramic houses. Originally, the tiny houses were created to test glazes and clay colours, but soon became a hit with customers. The duo hosts in-person tiny house workshops in their NSW Southern Highlands studio, but with Sydney in lockdown, have taken the classes online. The classes run every Thursday until Thursday, October 14, but you'll want to reserve your spot as they've been filling up fast. When you book yourself in for a class, you're sent everything you need to make four to six tiny houses (enough for one to two people to join in) including air-dry clay and a wooden clean-up tool. All you need to bring yourself is a bowl of water, a plastic mat and your drink of choice. You then log onto the zoom call and the Elph team will guide you through making your cute new decorations. The class will set you back $85 plus $15 to ship the items. While you're booking your session, take a look at what else Elph has on offer at its online store.
For 2021, New Year's camping festival Beyond the Valley is doing things a little differently — namely, packing its bags and heading for the big smoke, in order to host a special spin-off edition in the heart of the city. Dubbed Beyond The City, the two-day event will descend on Sidney Myer Music Bowl and Kings Domain Parklands to wrap up the year in style on December 30 and 31. While the full lineup is yet to be revealed, organisers Beyond The Valley and Untitled Group are set to deliver two jam-packed days of live music and other festivities to ring in 2022 with a bang. There'll be three different stage areas showing off the team's world-class production elements, and with dancing given the green light, you'll be able to cut shapes well into the night. What's more, the festival has teamed up with First Nations mentorship organisation AIME, with $1 from every ticket sold going to support the group's important community work. Details on tickets are yet to be revealed, but we'll bring you all the information as it becomes available.
In the trailer for Midsommar, a group of people trek through a forest, all saddled up with backpacks and sleeping bags. They're outside a Swedish town, with the locals putting on a mid-summer event. "It's like a crazy nine-day festival; it only happens every 90 years," visitor Dani (Florence Pugh) is told. As anyone who has ever seen a movie should know, this situation usually goes one of two ways: raucous festivities ensue, with friendships tested and lessons learned, or unnerving antics do instead. With Hereditary writer/director Ari Aster behind Midsommar, anyone who saw the 2018 horror hit will know that this flick is destined to fall into the latter category. The details are being kept scarce, even in the movie's just-released first trailer, with the film set to hit cinemas worldwide from early August this year. But if you're expecting another visibly dark and sinister flick from Aster, think again. Instead, Midsommar looks light, bright and filled with bohemian-looking folks — even as it seems to step firmly into creepy cult territory Story-wise, Dani is accompanied by her boyfriend Christian (Jack Reynor), a whole heap of people wearing white await their arrival and things aren't quite what they seem when the duo gets to their destination. The Good Place's William Jackson Harper and Black Mirror: Bandersnatch's Will Poulter also feature among the cast, and what this first sneak peek offers in the way of idyllic natural surroundings and flower crowns, it counters with glimpses of chilling rituals. Check out the nightmarish first trailer below: https://www.youtube.com/watch?v=I0UWIya-O0s Midsommar opens in Australian cinemas on August 8.
If movies were an assessable component in the American SATs, one might easily expect to find a question like: Ralph Fiennes is to comedy as Tyler Perry is to...? (a) Costumes (b) Makeup (c) Playing multiple characters (d) Films accessible to white people. After all, this was the chap with the burned face from The English Patient, the Voldemort with the no face from Harry Potter and the Naziest bloody Nazi in Schindler's List. Excluding, for argument's sake, that 'incident on the plane', to think upon Fiennes was to consider class, panache and gravitas. Certainly, the next Bill Murray he was not. There's no doubt Fiennes is now experiencing something of a cinematic resurgence, particularly given his run as the newly minted 'M' in the Bond franchise, yet few could ever have expected that this Lazarus-esque revival would've seen him not just turn his mind to comedy but excel in it. Yes, that was a long-winded prelude to reviewing Wes Anderson's The Grand Budapest Hotel, but in this — now his eighth feature film — it's the first time the director has centred everything on just one character, and, thankfully, his leading man delivers something extraordinary. Fiennes is, quite simply, perfect. Playing the inimitable Monsieur Gustave H (the eponymous hotel's storied concierge), he's every bit the quirky protagonist an Anderson film requires but brings to the role an added layer of, well, Fiennes. Monsieur Gustave is, as one of the film's narrators observes, a man of a forgotten age. He's the manifestation of the Grand Budapest itself: elegant, refined, admired yet on the cusp of being left behind in a world scrambling over itself to modernise just as soon as anybody can arrange it. Filmed in three separate aspect ratios to reflect the three distinct decades in which this story takes place, The Grand Budapest Hotel is, typically, steeped in playful innocence yet forever flirting with a darkness just beneath the surface. It's been a growing trend for Anderson, whose last film, Moonrise Kingdom, was a decidedly black comedy grounded in his otherwise traditional quirkiness. Grand Budapest takes it even further: fingers are severed, cats are lobbed out of windows and prison guards are dispatched with bloody abandon. That all such moments elicit more laughter than horror is a testament to Anderson's unique style and direction. Naturally, The Grand Budapest Hotel is also brimming with cameos from Anderson faithfuls and newcomers alike. Murray, Wilson, Swinton, Schwartzman, Norton, Goldblum, Dafoe and Brody all have their go again, whilst Saoirse Ronan, Harvey Keitel and Jude Law gain entry into the team. There is a caper-based plot focused upon the contested inheritance of a priceless painting, but The Grand Budapest Hotel begins and ends as a character study, and it's in that study that the unbridled joy of watching this film is to be found. https://youtube.com/watch?v=1Fg5iWmQjwk
Travelling to and from Queensland is about to become a possibility again, and almost a week earlier than expected. At 5pm today, Monday, November 15, the Sunshine State will start reopening to double-vaccinated visitors. A 14-day stint in home quarantine will still be required if you're coming from a part of the country that's considered a hotspot, but this is the first step in the plan to open Queensland's borders back up — and it's been brought forward after the state hit the 70-percent double-vaccinated mark ahead of schedule. Yesterday, on Sunday, November 14, Queensland Premier Annastacia Palaszczuk announced that the Sunshine State had reached the 70-percent double-dose threshold, which wasn't initially expected until Friday, November 19. Back in mid-October, when the state's roadmap out of border restrictions was revealed, that mark was outlined as the key date for beginning to restart interstate travel. So, today's announcement means that you can now bring forward your travel plans. To travel here, you must return a negative COVID-19 test within the previous 72 hours, have a valid border pass and must complete 14 days of home quarantine at a self-contained dwelling, as long as it has no shared common areas accessible by people outside the household. — Annastacia Palaszczuk (@AnnastaciaMP) November 14, 2021 When 5pm hits today, travellers who've been in a hotspot area within Australia in the past 14 days can enter the state again. They'll need to be double-vaxxed, to arrive by air and to have received a negative COVID-19 test result in the 72 hours before arriving — and to get a border pass. Also, anyone in this category will need to go into home quarantine for 14 days at a self-contained dwelling that doesn't have any common areas shared with people from outside the household. Obviously, needing to quarantine — even at home — still isn't the best incentive to travel to and from Queensland; however, given that the state hit the 70-percent double-jabbed threshold early, it's hoped that it'll also do the same with the 80-percent double-vaxxed mark. That was originally expected around Friday, December 17, and it's when travellers from interstate hotspots can arrive in the Sunshine State by either road or air, and also won't need to quarantine at all. At today's press conference, the Premier advised that "if these rates continue, that is good news because it may even see our date in December [brought] a little bit forward as well — but that depends on Queenslanders getting vaccinated." Queensland's Deputy Police Commissioner Steve Gollschewski also advised that the state is "preparing if we need to go earlier as we have this time." BREAKING: We just hit 70% double dosed. Keep it up Queenslanders 💪#GetVaccinated pic.twitter.com/PyznKOjzxW — Annastacia Palaszczuk (@AnnastaciaMP) November 14, 2021 The 80-percent double-vaxxed mark is also when Queensland will ditch capacity restrictions for all hospitality and entertainment venues, and change entry requirements to only allow double-jabbed folks into places such as restaurants, bars, cafes, cinemas, stadiums, festivals, libraries, galleries and museums. So, if the 80-percent double-vaccinated threshold is met ahead of schedule, that requirement could kick in earlier as well. If you're wondering what all of this means for international travel, nothing is changing at the moment — because, under the roadmap, international arrivals are still handled as they have been during the pandemic at the 70-percent double-vaxxed target. But when Queensland hits 80-percent double-jabbed, double-vaccinated overseas travellers will be able to undertake 14 days of home quarantine — if they've also received a negative COVID-19 test result in the 72 hours before getting to Queensland. And, when the Sunshine State reaches the 90-percent double-vaccinated threshold, all entry rules and quarantine requirements will be ditched for folks who've had both jabs. For the unvaxxed, the 14-day quarantine rule will still be in effect. Queensland will start allowing double-vaccinated domestic visitors back into the state via air from 5pm on Monday, November 15. For more information about Queensland's border policies and border passes, head to the Queensland Government website.
There's no Academy Award solely for vocal performances. If there was, Lupita Nyong'o might've added another of Hollywood's prized statuettes to her mantle when the 2025 ceremony rolls around. A decade after taking home an Oscar for 12 Years a Slave, her first feature, and following standout work in everything from Black Panther and Us to Little Monsters and A Quiet Place: Day One since, she's the voice of Roz — short for ROZZUM unit 7134 — in the big-screen adaptation of Peter Brown's The Wild Robot. Unsurprisingly, she's marvellous and moving, taking viewers on an emotional journey even while playing a robot without facial expressions. When Roz is fresh out of the box, powering up on an animal-filled island devoid of humans in a futuristic vision of earth, Nyong'o lends her vocals to the perky Siri and Alexa peer that audiences will wish spoke back to them from their own devices. As the task-oriented mechanical helper learns that there's more to life than her programming — as she befriends a gosling that she names Brightbill (Kit Connor, Heartstopper) and a fox called Fink (Pedro Pascal, Drive-Away Dolls), too, and wins over other wild critters who are initially fearful of the metallic interloper — the warmth that begins to infuse Roz's tones couldn't feel more genuine. The Wild Robot doesn't only prove a gem thanks to Nyong'o's pivotal performance, but it wouldn't be even a fraction of the film that it is without her. In 2024, the actor has had two movies in cinemas. In A Quiet Place: Day One, speaking was one of the worst things that anyone could do. In The Wild Robot, Nyong'o's entire portrayal comes down to talking. "I love that you made that comparison. I hadn't even thought about it that way," she tells Concrete Playground when we point out the contrast, and also ask what she seeks out in new projects at this point in her career. "What gets me excited? I think about the character that I've been offered to play, and I think about what I will require to play the character — and what I could learn as well from playing the character, what I'm curious about. If the character makes me ask questions of the world and of myself and I'm excited to find out the answers, then I want to play that character," Nyong'o explains. When The Wild Robot came her way, she didn't say yes immediately, however. For Nyong'o, voicing Roz was always going to need to be a creative collaboration; just showing up to speak her lines and leaving it at that isn't how she wanted to work. "I don't know how to be just a voice for hire. I have opinions and I want to share them, and I want to make sure that the person I'm sharing them with wants to hear them," she notes. Nyong'o joined the film after meeting with director Chris Sanders and understanding his vision. "You shape these things together. You go on this journey together, and she is a creative force just like every other artist in this film, for sure," he tells us. "And I have to say, she's an absolute genius. Taking Roz apart bit by bit to understand her thinking kept me honest as a writer," he continues. The Lilo & Stitch, How to Train Your Dragon and The Croods director — and voice of Stitch — couldn't be more enthusiastic about the latest picture that now sits on his packed resume (also on his filmography from the 90s when he was starting out: production design on The Lion King, visual development on Beauty and the Beast, and story credits on both alongside Aladdin). Before signing on for The Wild Robot, Sanders describes himself as "book-adjacent" to Brown's illustrated tome, as his daughter had read it. "I saw it sitting around the house and I'd actually forgotten about it until the day I came into DreamWorks to look at what was in development. And there was the book, and they described it, and I thought 'that's the one I'm interested in'," he advises. As the feature's writer and director, he's crafted a version that takes inspiration from Hayao Miyazaki's enchanting Studio Ghibli fare, classics such as Bambi and the work of painter Claude Monet, too — and a gem for all ages. How does Nyong'o tackle a voice-acting part — and, whether she's seen on-screen or heard echoing from it, how does she find the right voice for a character? What kind of thinking and planning goes into expressing Roz's inner journey? How important was it to Sanders that the film didn't shy away from animals being animals, not just in appearance but also into recognising the food chain and cycle of life? We chatted with the pair about all of the above as well, and more, including how animated movies trade in big emotions —because we all have that flick, or several, that we'll never forget — and how that sits in your mind when you're making one. On How Nyong'o Approaches a Voice-Acting Part, Especially Playing a Character Without Facial Expressions Lupita: "I think the animators did a great service to Roz — and a great service to an audience — by not giving her facial features. Because then we stay truer to the fact that Roz is not a feeling entity. She is a robot and has a goal — she's goal-oriented and her goal, luckily, is to be of service to whomever purchased her. So that lends itself to kindness. And she's also very adaptable, so she's able to adapt to the behaviours and expressions of the wild animals that she is now living with. And through that, you can adopt sensibilities akin to emotional expression. I like figuring that out cerebrally. How do I play a character without emotions but still be able to convey a bunch of emotions, and then trust that an audience will project their emotions onto her? We are given that license because she doesn't have facial expressions, so she's not doing it for us. We were very much a part of the performance." On Finding the Right Voice for the Right Character Lupita: "It starts off with understanding the given circumstances of the character. What are the facts, right? And so for Roz, one of the main facts that was very important was that she is a programmed robot. That was very informativem and it led me to listen to automated voices like Siri and Alexa, the voices on TikTok and Instagram — they were an inspiration, their relentless, positive vibrancy was the inspiration there. For someone like Red in Us, I knew that there had been a strangulation at some point, and so that fed my imagination on what could that sound like if you were strangled. Things like that. Then I also work very closely with a vocal coach, and I worked with her on both Us and The Wild Robot, and that's really helpful to just externalise my ideas and make sure that I'm doing it in as healthy a way as possible to stave off injuries." On What Sanders Was Excited to Bring to the Screen in Adapting The Wild Robot Chris: "The story for sure. I've always wanted to do a robot movie. And the other thing that I never thought I'd get a chance to work on would be an animal movie like this. This is a lot like Bambi — the forest, the animals, the creatures. And it's a real forest, they're only slightly anthropomorphised. Bambi is a huge favourite. It always will be. One of the things I think that you cannot understate is the emotional power of that film. It has a staying power and a beauty that we wanted to emulate. Aspire to it, actually, is a better way to say it — that and the art of Miyazaki films. These are things that have a huge influence on us as animators and filmmakers. So we had big boots to fill if we were going to equal the power and the scale of those of those stories. Our animators really took to it, by the way. I didn't understand until they started working on the film the level of excitement that they had to do animals that were animals. That kind of movement, I guess, is really a huge thing for an animator. They're usually doing animals carrying cell phones and they have jobs, etcetera. Animals that are animals, there's a purity to the motion that I was really struck by. The animation went unusually quickly because of the lack of things, like jackets and coats and stuff. And so it was a joy to see all of this come to life day by day." On the Importance of Not Shying Away From the Reality of Animals Being Animals Chris: "It was critical because if there isn't consequence, then the story is just not going to work. We don't want to shy away from any of those things because we need that kind of ballast. I would actually harken back to things in The Lion King — if you don't have consequences, you're not going to have that emotional resonance, and I don't think you going to have a movie that works. So death shows up several times in this movie. The first time, of course, is the critical and pivotal event where Roz accidentally, quite literally, runs across this goose's nest by accident and that sets this whole story in motion. Later on, we revisit it, but we often revisit it with humour. We get a laugh out of it. It's a dark kind of humour, but boy is it effective. The animals on this island have programming, and that's the way that Roz looks at it. She's a creature of human programming, and she sees the animals as running programs as well. I thought that was a really interesting way to look at the world, and one of the load-bearing ideas and themes of the film is the idea that someday you may have to change your programming in order to survive. In our lives, we are creatures of habit, we resist change, and we may have to change the way we think. I think that sometimes we're so fearful of losing ourselves for some reason. I think we're very protective of ourselves. I can only speak for myself, but I get that — but whenever I've been forced to see things in a different way, I've been better for it." On What Goes Into Conveying Roz's Inner Journey Through a Vocal Performance Lupita: "I would say the intention was set at the beginning. Before I took on the role, I asked Chris why he thought I would be good for it, and he said he liked the warmth of my voice. So that was very good information for me, so that I knew what I had for free to offer Roz, and so that was where we would end up — that's the voice when Roz has taken on and embraced the role of mother most fully, that she sounds most like me. And then in the process, a two-and-a-half-year process, the script is developing, and along with it our understanding of who Roz is and how we experience her evolution is also developing. That was really quite technical, and we had certain markers, certain benchmarks for where the quality of my voice was shifting. And I did it quite technically, so it dials up in a way that when you're watching the performance is perhaps, hopefully, quite subtle and unnoticeable — until you meet the robots that are more like the other robots like her, towards the third act of the film." On the "Miyazaki by Way of Monet" Visual Approach to the Natural World Within the Film Chris: "All these things we've been talking about, what a perfect line of questioning actually, all these things are linked together like spokes of a wheel. I felt that it was absolutely critical, and I pushed very hard for this level of sophistication in the look of the movie. Think back to what we were talking about with Bambi, that level of sophistication, I felt, would make our audience see this film in the right way, if that makes sense. This is a film that kids will love. Kids should go see it. Families should go see it. But it's not a little kids' film — it's a film. And that's how Walt Disney looked at those stories as well, he always said so. So that level of sophistication helps us to get into the film in a certain way, and it really immerses us in a way that I've never seen a film like this accomplish. I have gotten so much feedback since we finished the film that it really blurs the line between a live-action film and an animated film, frankly, the way that you see it — and that was very deliberate. And I have to credit the artists and the incredible advances that DreamWorks had made technologically that allowed this look. The funny thing is all that technology opened this film up so that humans are more present than ever before. Literally everything is hand-painted. It would be as if I took out a brush and started painting dimensionally in space. That's exactly what they were doing. So there are no forms underneath the trees or the rocks. It's free handed. So the beauty that you get from that, there's no substitute for it. There's an analogue warmth that we reconnected with on this journey that we've taken through CG." On How Animation Allows Audiences to Have Big Feelings — and Thinking About That When You're Making an Animated Film Lupita: "You have to keep the audience in mind. One of the things that I remember us discussing, Roz has a lot of robotic language, just mumbo jumbo that she says — and you want to keep that in a way that allows for children to grow their vocabulary, and also a way for adults to understand and appreciate what she is saying. But you can't make it too difficult that you lose the children altogether. So those were fun workshops where we tried different words. I remember in the script, there was a time when a character asks Roz something and she goes 'hmm, let me see'. But 'hmm', that's a very human expression, and so I said 'processing' and everybody broke out laughing, and it became part of Roz's vocabulary. For children, that is perhaps maybe a new word — children never say processing, I can't imagine they do. But in that sense, you've expanded their vocabulary and stayed true to the character." Chris: "It's something I don't know if I'm really thinking about it, but in a sense I'm striving for it as I'm working on scenes. I'm scaling things. I think one of the neat things about taking a story like Peter Brown's to the screen is the potential for how big these feelings can be. I'm always going for audacity and scale. And I will run a scene over and over and over in my head, modifying it before I even commit anything to paper a lot of the time, until I'm feeling I've found every edge of the boundaries of that particular moment, and I've built it as large as it possibly can be. Because why wouldn't you, you know? Why wouldn't you? And then the really amazing thing is, I take it only so far, and then we have our actors and our and our animators — and eventually the cinematographer, the lighting, and then eventually Kris Bowers [who composed The Wild Robot's soundtrack]. I cannot overstate his contribution as well. I credit him for, I think, the gosh-darn best score I've ever heard in a movie ever." On What Nyong'o Makes of Her Career Over the Past Decade Since 12 Years a Slave Lupita: "I was sitting at the premiere of The Wild Robot at TIFF [the Toronto International Film Festival], and there was a moment, I think it was a moment when Brightbill is flying away and a feather floats into Roz's hands. And it's a very emotional moment within the story. But in that moment, I was just caught, I was struck by the truth that I have been living out my dreams and this project is another dream come true. I was just filled with gratitude, because not everybody gets to live out their dreams so exactly. And I've had that wonderful, wonderful privilege, and I just don't take it for granted. It's been deliberate. It's sometimes been scary. I've had to say no before I knew I could in order to wait for the project that felt like it would give me the kind of expansion I was looking for. And those times that I've said no have paid off. And looking at the last ten years, I'm very, very proud of the work that I've been able to do, and I look forward to continuing to live out my dreams one decision at a time." The Wild Robot opened in Australian cinemas on Thursday, September 19, 2024.
Life can feel a little gloomy when your entire city is a couple of months deep into lockdown. But, we can't think of a better time to spread a bit of love and cheer — so why not treat your friends to a little present, just because. After all, you know what they say about the gift of giving — it's not just the person receiving the present that's in for some warm and fuzzies. Luckily, thanks to the wild times we live in, there's no shortage of excellent gifting options available for speedy delivery. To help you pick the perfect prezzie for the well-deserving humans in your life, we've pulled together a few primo options to suit all kinds of different persuasions; from the mate who's been cooking up a storm, to that person who's recently discovered the joys of a good book. Channel your online shopping habit into making others happy and check out these top-notch present picks. [caption id="attachment_771911" align="alignnone" width="1920"] by Rob Palmer, from Josh Niland's The Whole Fish Cookbook[/caption] THAT FRIEND YOU'VE BEEN GETTING ALL YOUR LOCKDOWN RECIPES FROM At this point of lockdown, even your go-to recipe guru is likely running short on inspiration. Remedy that with a few fresh ideas and wise words from the experts, and get them a nice glossy cookbook from the chef behind their favourite restaurant. Plenty of leading local venues have inspired books filled with recipes and tips, that'll both level-up someone's kitchen game and help fill that void when dining out is off the cards. Seafood fans will be chuffed to own a copy of Take One Fish from Saint Peter's Josh Niland, where the chef shares his forward-thinking philosophy on cooking with fish, across 60 cracking recipes. Fellow Sydney chef star Peter Gilmore (Quay) gives insight into his own celebrated cooking style with stunning titles like Organum. For Melbourne mates, try the beautiful homage to all things vegan that is Shannon Martinez's (Smith & Daughters) latest title Vegan With Bite. Or challenge them to up the ante with Brae: Recipes and Stories From the Restaurant by world-renowned talent Dan Hunter, which unpacks some of the incredible dishes plated up at one of Australia's best fine diners. Perfecting the recipe for chilled broad bean broth with strawberry fig leaf and yoghurt whey should keep them busy until the end of lockdown. THAT MATE WHO'S ACTUALLY BEEN KEEPING UP AN EXERCISE ROUTINE DURING LOCKDOWN Sticking to an exercise routine is tough at the best of times. So if you know someone who's managed to get through this crazy iso period without giving up on workouts altogether, they deserve a serious pat on the back. Or maybe a nice little present — like some quality activewear made from recycled plastic bottles, courtesy of Sydney-born brand Nimble. The label's sustainable collection of women's workout threads are extra kind to the environment and ship Australia-wide. Similarly, DK Active is known for its ethically produced line of active threads for men and women, crafted with sustainable fabrics in order to reduce landfill and ocean waste. And if you're looking for the ultimate present for a yogi mate, check out the eco-sensitive yoga mats from Recycled Mats, featuring stunning designs like this one from Indigenous artist Anna Carroll. Or, you know, maybe what your mate is really craving after all that religious exercising is a big ol' box of decadent chocolate treats. Invite them to roll up that workout mat, take a breather and treat themselves to a box of eclairs from Sydney's Madame & Yves, a cake fix courtesy of Black Star Pastry, or some gooey-centred delights from The Cookie Box. [caption id="attachment_775874" align="alignnone" width="1920"] Providoor[/caption] THAT PARENT WHO'S BEEN COOKING THE SAME FIVE DISHES FOR 20+ YEARS They say variety is the spice of life. But if you know someone who's severely lacking in the spiciness department, perhaps it's time to gently nudge them towards a culinary shakeup. Or at least a new recipe or two. The key here is maximum inspiration and minimal effort, which Make Out Meals is serving up in abundance. This Melbourne-based business delivers top-quality meal kits based on menus from your favourite local restaurants and chefs. They feature ingredients, recipe cards and even step-by-step cook-along videos, so your folks can be whipping up Lello's minestrone soup with gnocchi sardi or Babajan's harissa salmon in no time at all. For fresh meals with even less effort involved, Providoor is delivering an excellent range of finish-at-home dishes and banquets from top Sydney and Melbourne restaurants, that might just give mum or dad the boost of confidence to try something new. Of course, a chef-penned cookbook packed with fresh dinner ideas is also a good option here. Especially if mum's got a long-held crush on a certain curly-haired, Irish-accented chef... [caption id="attachment_738943" align="alignnone" width="1920"] Drnks[/caption] THE ONE WHO CAN'T WAIT TO GET BACK ON THE BEERS No one's heading to the pub these days, but you can get the next best thing all packaged up and delivered to your door with a Pub In a Box experience from one of the city's fine booze-slinging establishments. Melbourne craft brewery Moon Dog first trotted out its take on the concept during last year's lockdowns and it's now back thanks to popular demand, available to ship Australia-wide. Clocking in at $99, the box comes packed with a tasty range of house beer — and seltzer — creations, along with a couple of branded beer glasses, a bar mat and beer nuts, to really capture that pub spirit. Parkville pub Naughtons has recently dropped its own version, which comes complete with drinks, a rotating selection of top-notch pub grub (homemade pie, anyone?) and even a trivia card to help you recreate that beloved quiz night. Beer-focused gifting service Brewquets can also help fill the void with its curated packs, which match a lineup of craft beer with extras like beer glasses and classic bar snacks. And booze retailer Drnks is coming to the rescue with its curated boozy care packs, featuring extras like DIY burger kits, aperitivo snacks and picnic eats. THAT FRIEND WHO'S ALWAYS IN NEED OF A NEW CREATIVE PROJECT We all know someone who just ain't happy unless they're getting their hands messy, making or creating something. Ceramics, paint-by-numbers, knitting, terrariums — you name it, if it's got a creative edge, they've tried it at least once during lockdown. But after this much time at home, we bet they're in desperate need of a new pursuit to keep them busy and entertained through the tail-end of this time stuck at home. Have they had a crack at shibori yet? There are lots of local spots spreading love for this ancient Japanese method of resist-dyeing, offering online tutorials and home-delivered DIY kits. Try Sydney-based textile studio Shibori for fun, instructional project kits for novices through to seasoned dyers, or order your mate one of these beautiful packs from Handmaker's Factory in Melbourne's West Footscray. This crew also sells an excellent weaving loom kit, if that's more your friend's speed. If they've got a thing for the tile-of-the-moment, terrazzo, Journey of Something's DIY kit will have them whipping up these cute flecked coasters to grace their coffee table. Meanwhile, local retailers like Craft Club Co have a range of easy-to-follow rug-making kits that will get them hooked on creating fun floor accessories. These beginner packs include all the tools and materials needed for one specific project, though the internet's filled with online rug-making suppliers if they get the itch and want to make more. [caption id="attachment_814288" align="alignnone" width="1920"] Salus[/caption] YOUR HOUSEMATE WHO'S RUN OUT OF QUALITY BATHROOM PRODUCTS Maybe you've been nicking a few squirts of your housemate's luxe moisturiser here and there, maybe you haven't. Who's to say? Either way, a bathroom that's running low on decent product is not a good one to have during lockdown. Replenish the stocks or simply treat your roomie to some pampering essentials with a home-delivered care package full of locally-made bathroom goodies. Melbourne's Hunter Lab has a sleek line of natural skin, hair and body products that have the added bonus of looking very dapper on your shower shelf or by your bathroom sink. The brand's also doing some rather gorgeous gift packs, featuring leather toiletry bags. Sydney-born skincare range Edible Beauty Australia makes botanically-charged products to soothe all sorts of skin types and needs, and offers an array of great gift-worthy bundles, too. And the lineup of high-end spa-inspired products from Salus is filled with good stuff, from purifying rosemary body scrubs, to chamomile facial masks, and rejuvenating body oils made with rosehip and orange. Can't decide? Gift them with a box of treats curated by the experts. Local subscription services like Tis The Box and Bellabox will deliver a regular pack (or one-off box) of new products and cult favourites straight to your door. [caption id="attachment_812098" align="alignnone" width="1920"] Edgar Castrejon via Unsplash[/caption] THAT FRIEND WHO'S BEEN RELYING A LITTLE TOO MUCH ON UBEREATS The kitchen can be a daunting place and the pull of UberEats is strong. So, if you're looking to nudge someone out of the lockdown takeaway rut, you're going to want to make the alternative as attractive as possible. You could whip them up a five-star meal yourself; or you could gift them a few clever things that'll help them level-up their own kitchen game in a jiffy. For example, a flavour-packed, nourishing bowl of ramen is a breeze to master, if you've got a DIY kit to guide you through the process. Sydney's Rising Sun Workshop is slinging a range of these finish-at-home packs for delivery across the city, while in Melbourne, Shop Ramen has an even heftier selection of make-at-home kits, which come complete with all ingredients, a bunch of garnishes and easy-to-follow instructions. Grab your mate a steamed brisket bun kit while you're there. Otherwise, treat them to some honest, homestyle cooking that requires little more than a quick reheat in the oven. Sydney-based FoodSt has a growing menu of satisfying home-cooked meals crafted by its team of actual home cooks using real ingredients. Treat your mate to dishes like a Moroccan lamb tagine, hearty gnocchi bolognese, and spinach and ricotta cannelloni, and remind them what non-restaurant food tastes like. Who knows — you might even inspire them to hit the kitchen themselves. [caption id="attachment_826640" align="alignnone" width="1920"] WellRead, by Frenchy[/caption] THAT MATE WHO'S JUST DISCOVERED BOOKS Know someone who could use a little guidance when it comes to selecting a great read? Hand them over to the experts at Aussie book subscription service WellRead. These guys offer subscription packs to suit readers of all persuasions — and ages — sending customers a different hand-picked title each month. You can sign your mate up for an ongoing delivery, or choose a one-off gift from WellRead's curation of three-book packs. Literati runs a similar subscription offering, heroing fiction titles, non-fiction and classics. Plans start from an easy $21, plus readers can access Literati's program of virtual author Q&A sessions. And over at The Wild Book Box they're playing book matchmaker with pre-loved reads, matching up customers (or giftees) with quality second-hand titles based on their preferences and reading habits. Local versions are also being delivered by the likes of Elizabeth's Bookshop in Sydney, whose famed Blind Date With a Book mystery packs are available to ship Australia-wide. Top Image: Naughtons Pub in a Box
"Sixteen-year-old Billie's reluctant path to independence is accelerated when her mother reveals plans for gender transition and their time together becomes limited to Tuesday afternoons." So reads the synopsis for 52 Tuesdays, the striking debut feature from Adelaide-based filmmaker Sophie Hyde. A nuanced exploration of issues surrounding youth, gender, sexuality and family, the film is also remarkable for its unique method of production: shot chronologically, one scene every Tuesday, for the course of an entire year. Hyde and lead actor Tilda Cobham-Hervey have since seen their little indie scoop up awards at Sundance, Berlin and the Melbourne Queer Film Festival. It hits cinemas in Australia on May 1. https://youtube.com/watch?v=Y5WcMzEYRGU STANDING OUT FROM THE CROWD "The rules came first," recalls Hyde. "In film now, there has to be something that helps you stand out, especially if you're coming at it from a low budget, and you're unknown …the truth though is that we're always interested in different ways of making something …and that's something I'd take into anything. Let's not do something because it's always been done. Let's do something because it feels right." "You can't hide the messiness of a year," chimes in Cobham-Hervey. "You're always going to have a pimple, or you've just had a fight with Mum, and you actually can't stop the real world from coming into the film, which I think inevitably drenched it in a reality and authenticity." BECOMING BILLIE With a background in theatre and circus, Cobham-Hervey's role as Billie marked her first time in front of the camera. "It didn't feel like a huge commitment at the beginning," says the fledgling actress, who was in year 11 when shooting began. "Then suddenly halfway through we all had that realisation that this is really massive!" "I felt very different before it started to what I did at the end," she continues. "It was that interesting thing of initially not feeling very much like the character, and then reaching that point in the middle where those lines were really blurred … I don't know what I'd be without it." QUESTIONS OF GENDER As impressive as Cobham-Hervey's performance is, equally memorable is the work of Del Herbert-Jane as Billie's mother. "Del identifies as gender non-conforming", explains Hyde. "Whereas the character is a transgender man and wants to be seen as a man. So they're really different. But I think there is an experience in Del, in feeling different from how people treat you, which is something that's hard to understand if you don't experience that." "It's one of the great things that I feel like I learnt making the film", Hyde continues, "realising that every single person I meet treats me as my gender, and I treat them as their gender, and we just make this assumption immediately. If you try and take gender out of a sentence, you have to change like thirty words." "I found it hard in the film," agrees Cobham-Hervey, "saying in the same sentence, 'Mum' and 'he'. That's really hard to do in your brain." GETTING PEOPLE TALKING Despite the film's festival pedigree, local success is by no means a guarantee. "It's a story about family. It's a story about queer issues. It's about young people. And it's got a very arthouse vibe. Those are really quite different audiences," muses Hyde. "People, when they've seen it, respond in a really personal way. But whether we can get to all of those people, I don't know. "The truth is Australian films don't attract huge audiences at the cinemas … most films that we see now have marketing budgets three times their film budget, and their film budgets are hundreds of times ours." Nevertheless, the director hopes people will go to the effort to see the film in a theatre. "[In Berlin] we were playing in a young person's strand, and talked to loads of teenagers, which was amazing," says Hyde. "These sorts of films are great to see with a cinema audience, where you might actually have a conversation afterwards." 52 Tuesdays is in cinemas on Thursday, May 1. You can read our full review of the movie here.
UPDATE, May 22, 2021: Possessor is available to stream via Google Play, YouTube Movies and iTunes. From the moment he decided to become a filmmaker, Brandon Cronenberg wasn't likely to direct romantic comedies. He could've, or period dramas, action flicks or anything else that took his fancy. He still can. However, his surname is already synonymous with not only the most unnerving genre there is, but with body horror specifically. For decades, that status was his father's doing. Including Shivers, Scanners, Videodrome and The Fly, David Cronenberg is the field's undisputed cinematic master. Accordingly, Brandon's decision to craft not one but two features in the same mould isn't the least bit surprising — but just how extraordinary 2012's Antiviral and now Possessor are wasn't ever guaranteed. If either Cronenberg wants to make a movie about passing down the penchant for visceral thrills and the ability to smartly serve up savage explorations of corporeal terrors via genes (based on their own experiences, naturally), that's something that plenty of people would watch. Brandon's current foray into body horror deploys a completely different idea, of course, although someone isn't completely responsible for their own choices here either. In Possessor, technology permits assassins to hijack the bodies of people close to their targets, letting them assume not just their identities but their physical presence to fulfil their murderous missions. Tasya Vos (Andrea Riseborough, The Grudge) is one such killer, and she is so exacting and accomplished at her job that her no-nonsense boss and handler Girder (Jennifer Jason Leigh, Annihilation) keeps trying to push her further. Such work comes with consequences, though, with Tasya slowly estranging herself from her husband (Rossif Sutherland, Catastrophe) and young son (Gage Graham-Arbuthnot, Becky). During the luridly shot undertaking that opens the movie and the assignment that the often neon-hued flick spends the bulk of its time on, Tasya also begins to realise that separating herself from the folks she's temporarily inhabiting is becoming difficult. In the first job, Tasya's consciousness takes over a woman called Holly (Gabrielle Graham, On the Basis of Sex) to gun down a high-flying lawyer at a swanky hotel party. Every mission should end with extraction via suicide — the possessed person's, as forced by the possessor, who then returns to their own bag of bones, flesh and blood — but Tasya can't pull the trigger on her host body. When she's later sent into Colin (Christopher Abbott, Vox Lux), the fiancé of the daughter (Tuppence Middleton, Mank) of a ruthless business mogul (Sean Bean, Snowpiercer), she similarly struggles to retain control. As depicted in gory detail, being able to stick a probe into your head and mind-hop into someone else's may be pure science fiction, but the younger Cronenberg intentionally apes The Matrix when he shows how the tech behind his premise operates. Our present analogues to Possessor's body-jumping concept exist in the online world, virtual reality, avatars, catfishing, trolling and even just anonymous commenting while you're tapping at your keyboard or phone, and this film makes it ferociously clear that it all has a significant cost. Cronenberg isn't just taking cues from his dad — whose 1999 film eXistenZ, also starring Jason Leigh, toyed in somewhat similar territory — or from a beloved sci-fi franchise. As many works that reflect upon humanity's true nature via dystopian futures tend to, the writer/director adds an entry to both the body horror and science fiction canons that seems like it might've appeared in a feverish dream after a life spent consuming those exact types of tales. But Possessor also always feels like a unique creation, and never a film puppeteered by its influences in the same way that Tasya pulls the strings of her marks. Cronenberg's feature boasts far too much of its own chilliness, daring and determination, as well as the filmmaker's fondness for particularly gruesome imagery, to merely be the sum of its various sources of inspiration. Possessor also has its own wellspring of nihilism pumping through its veins, not only tackling big notions in a bold and ultra-violent way, but proving deeply, gut-wrenchingly, existentially dark. It's a bleak line of thinking, positing that nothing means anything in a world where anyone can be someone else without knowing, corporate interests always take precedence over individual needs, and invading the privacy of people's homes, hardware and heads is a common and lucrative business model. It's also a wave that Possessor rides. But the film needs two people to hang these ponderings from, finding them in the sensational Riseborough and the also exceptional Abbott. With hair almost as pale as her skin, there's a ghostly look to Riseborough and a similar feel to her performance, instantly illustrating how all of Tasya's time spent secreting away in other people's guises is eroding her sense of self. Abbott, playing a man whose body has been snatched but whose mental energy refuses to quietly subside, is a ball of continued conflict and also near the best he's ever been on-screen — on par with 2015's James White and this year's Black Bear, in fact. In Cronenberg's aforementioned directorial debut Antiviral, he imagined a future where our consumption-driven urges and obsession with celebrity have evolved to a disturbing point. Not only do people willingly get infected by the same viruses that afflict their favourite stars, using the latter's very own cells, but a literal meat market exists that cultivates edible proteins from the same source. That's the kind of mind that would not only conjure up Possessor's equally disturbing world, but also ground it in so many accurate observations about modern life that sometimes it's difficult to know if it's the imagery or the ideas that's causing a deep-seated reaction. The answer is both, but Cronenberg definitely inherited his father's knack for creating a nightmarish, grisly and piercing yet sleek and haunting spectacle — and for making brilliant and brutal movies that cannot be forgotten. https://www.youtube.com/watch?v=kFqCTIdF7rs&feature=youtu.be
When The Dry became a massive Australian box-office hit in 2021, it did so with a twisty mystery, a determined detective, stunning Aussie scenery, a spectacular cast and a proven success on the page. Throw that formula together again and you have Force of Nature: The Dry 2, the big-screen sequel that was always going to happen, once again based on a beloved novel by author Jane Harper. Hitting cinemas in Australia and New Zealand on August 24, and just dropping its first teaser trailer now, Force of Nature sees the core duo of writer/director Robert Connolly (Blueback) and actor Eric Bana (Dirty John) return, with the latter once again playing Detective Aaron Falk. This time, he's investigating the disappearance of a hiker from a corporate retreat attended by five women. Alongside fellow federal agent Carmen Cooper (Jacqueline McKenzie, Ruby's Choice), Falk heads deep into Victoria's mountain ranges to try to find the missing traveller — who also happens to be a whistle-blowing informant — alive. Touting its connection to The Dry right there in its name, Force of Nature: The Dry 2 comes after its predecessor did massive ticket-selling business. Not only did it notch up more than $20 million in Australian ticket sales, but it sat in sixth at the annual Aussie box office two years back after Hollywood franchise titles Spider-Man: No Way Home, No Time to Die, Godzilla vs Kong, Peter Rabbit 2 and Fast and Furious 9. Yes, greenlighting this sequel must've been the easiest decision ever. Yes, you can probably expect Harper's Exiles to get the movie treatment next. Also featuring in Force of Nature, which has a powerhouse list of Aussie talent just like its predecessor: Anna Torv (The Last of Us) as missing hiker Alice Russell, plus Deborra-Lee Furness (Jindabyne), Robin McLeavy (Homeland), Sisi Stringer (Mortal Kombat) and Lucy Ansell (Utopia). Richard Roxburgh (Aunty Donna's Coffee Cafe), Tony Briggs (Preppers) and Kenneth Radley (The Power of the Dog) pop up, too, while Jeremy Lindsay-Taylor (Heartbreak High) is back in the role of Erik Falk. Reteaming not just after The Dry, but also fellow 2023 release Blueback, Connolly and Bana make quite the pair when it comes to Aussie crime cinema — with Connolly the producer of one of the best local crime movies ever made, aka 1998's unnerving The Boys, and Bana famously the star of the similarly excellent Chopper. Can't wait till late August to check out the duo's latest collaboration? Given the timing of that release date, seeing Force of Nature: The Dry 2 pop up as an opening- or closing-night pick at this year's Melbourne International Film Festival wouldn't be a surprise. Check out the first trailer for Force of Nature: The Dry 2 below: Force of Nature: The Dry 2 releases in Australian and New Zealand cinemas on August 24, 2023. Read our full review of The Dry. Images: Narelle Portanier.
When Michael Shanks began writing Together over half a decade ago, he didn't start casting in his mind at the time. He didn't pen it thinking that a real-life married couple would play Tim and Millie, his debut feature's protagonists, either. To fuel the Australian filmmaker's leap from YouTube, shorts and TV — including Time Trap, The Wizards of Aus, The Slot, Parked and Rebooted, as well as visual effects on 2019 miniseries Lambs of God— to becoming the talk of Sundance 2025, scoring the first major sale of this year's fest, then playing SXSW in Austin and opening the Sydney Film Festival, however, Shanks was thinking about long-term relationships. They couldn't be more at the heart of his delightfully wild and smart body-horror must-see. So, enlisting two leads who've been together since 2012 and wed since 2017 is indeed perfect. Those stars, and also producers of Together: Alison Brie (Apples Never Fall) and Dave Franco (The Studio), adding another joint project to a shared list that already featured the latter's directorial efforts The Rental and Somebody I Used to Know, as well as the likes of The Little Hours, The Disaster Artist, BoJack Horseman and Krapopolis. Initially, though, Shanks drew upon his own romantic situation — one that owes a debt to the Aussie end-of-school rite-of-passage that is Schoolies. When an Australian thinks of that week of typically Gold Coast-set revelry playing a part in a horror film, a picture about falling for someone, sharing a life with them, commitment and co-dependency isn't a concept that naturally springs to mind. But that's Together, which is also a movie about love sticking. It takes that concept literally. Franco's Tim and Brie's Millie kick off Together as enmeshed in each other's existence as a couple generally, usually, normally can be. A big move, also literal, is their next step by each other's side: relocating for Millie's job as an elementary school teacher. But their going-away party turns awkward when a marriage proposal doesn't quite go as it should — and as aspiring musician Tim begins gleaning how shifting out of the city for Millie will practically impact his ability to play gigs and keep chasing his dreams. Tension accompanies the pair to their leafy new regional surroundings, then, where greenery-lined hiking tracks beckon, Shanks' key duo fall into a cave and the two find themselves even more linked, and unable to be apart, than ever. What if bonding with your other half had a physical dimension beyond cohabiting, sex, other displays of affection and the standard couple details? What if deciding to always be one of a pair was a corporeal connection right down to your flesh? Of the two big 80s music classics with "tear us apart" in their title, think INXS' Triple J Hottest 100 of Australian Songs-topping 'Never Tear Us Apart' over Joy Division's 'Love Will Tear Us Apart' — and not just because Together was shot Down Under, in Melbourne where Shanks is based. How love can change you, the anxieties that it can cause and the resentments that it can spark, and what it truly means to join your existence with someone else's: these are the ideas that Together ponders as it explores transformations inspired by fluttering hearts in its own distinctive and compelling way. Confronting painful real-life situations, while never being afraid to carve its own path into horror tropes such as unsettling new locales, creepy trips into bushland, eerie isolated houses and more: Together does this, too, as it spins a tale that favours life over the horror staple that is death, grief and loss. And in a picture that's firmly a body-horror flick with searing-into-your-brain setpieces to prove it, but is as much a romantic drama as well — and that always anchors its spectacle in the story, never getting gory purely for the sake of it — Franco and Brie are firmly "a dream cast", as Shanks describes them to Concrete Playground. The word "dream" earns a few mentions in our chat. "It's really, really insane," he tells us of Together's journey so far this year, even before reaching cinemas in general release on Thursday, July 31, 2025 Down Under and the day prior in the US. "Getting the film made just alone was a dream coming true, and then it getting into Sundance was a dream come true. And then it playing Sundance and selling to Neon was a dream. So it's kind of hokey to say, but it's sort of this dream that just keeps coming true. It's what every filmmaker dreams of." "When we played at Sundance for the first time, we'd spent months in post-production, just basically myself and an editor [Sean Lahiff, Territory] and an editing assistant, working on the film. We didn't do test screenings. It was just us in a little room. And then we thought it was maybe pretty good — like, we were pretty happy with the movie. And then at Sundance, we were in this theatre of 1000–2000 people, and it's like 'this is literally the first audience that's going to see it. We've got no idea. It's a midnight screening. It's a packed house. Here we go'," Shanks continues. "Five minutes in, there's a little scare, and we could feel the audience gasp — and we went 'oh'. And a few minutes after that, there's this little joke and the audience laughed, and we just felt like 'oh wow, this is going well, I think'. And fortunately it did. And now it's played SXSW and it played a couple of festivals in Italy, and it played in Mexico. And I'm traveling the world in a way I never thought I'd be able to just off the back of a film. It's an incredible privilege. It's been an amazing year," he advises. With the filmmaker that's given Australia another example of YouTube-to-worldwide horror feature success after Talk to Me and Bring Her Back's Danny and Michael Philippou — and whose script for HOTEL HOTEL HOTEL HOTEL featured on the Blacklist — we also contemplated that Schoolies link, dug into Brie and Franco's pivotal involvement, examined why making Together without an IRL couple as its stars might've been a nightmare and discussed the movie's vivid body-horror imagery, among other subjects. On How Schoolies Played a Part in Inspiring a Horror Film About Falling in Love, Commitment and Codependency — and When the Idea for Together Came to Shanks During His Long-Term Relationship "Oh, it was many years in. Because yeah, we met at Schoolies. I would have been 17, I think. And then we didn't start dating until a few months — we became friends, and we started dating a few months after. And then we've been together now — that was 16–17 years ago, so we've been together that long. I'm 34 now, I was writing the script in my late 20s. And that was about when we were moving into our second home together, and we were really beginning to amalgamate our lives, I guess. It really became true that we've been together for so long, we only had the same friends. The Venn diagram of our friendships was just a circle. And we went to all the same events, we listen to the same music, ate the same food, breathed the same air. And now we were living in a second house together. We had a cat. And I was like 'there is no part of my life that's separate from this person'. And likewise. And I started to, I think, confront something that a lot of people go through, of realising 'oh, do I still have independence while I'm committing to this forever-monogamous relationship' — and 'our lives are so intertwined, do I really know where I end and she begins?'. The Radiohead song 'Where I End and You Begin' probably helped dislodge that idea as well. And that was where this jumping off point was — where you already are committing to sharing a life with somebody in such totality, what if you took that even further into a physical, flesh-bound sharing, to take a real relationship and intertwine it in a physical way. That just felt like such an over the top and interesting, operatic exploration of those themes, that also would satisfy the kind of genre-filmmaker obsessive that I am." On Making a Horror Film About Love Instead of Genre Staples Like Grief, Loss and Death "It just felt really natural to me. I mean, the jumping off point to me was honestly just the idea of 'oh, what if people sharing a life started to get so close that they started to share flesh?'. That was sort of that simple. And then it was when I started to fill in the details of that story, and realising that I was putting so many specifics from my own life and the observations I've made of the couples around me in my friendship circles, that I realised that 'oh, this really is a love story' — and a dark, twisted love story. When the actors, Dave and Alison, came onboard, they paid me a great compliment — which was that they said 'reading the script, if you would pull out all the horror, it would still work as a relationship drama'. Which I was really pleased to hear that, despite all the crazy scenes of nastiness and body horror and stickiness and puppets and practical effects and insanity, it's all bound to a character journey and these two people that start in these very different emotional places. And where, like in most romantic movies, rom-coms or rom-dramas, we're basically there to see 'can they can they put this aside and realise that they love each other?'. Or, 'do they realise that they don't love each other and they need to extricate themselves from what has become perhaps a toxic relationship?'." On Casting Real-Life Partners — But Not Actually Penning the Film with That in Mind "No, I kind of wrote it just generically, just set in Australia, because why not? I think it was originally sent Trentham, because I have a friend who makes wine out there — and I was like 'aah, that's my kind of rural in Victoria'. But then I had a chance meeting with Dave, because I had another script of mine that was being passed around Hollywood people in LA. And off the basis of that, I got a meeting with Dave, and we just connected. So I already had the script, and I was like 'hey, maybe have a look at this — maybe you'll like it'. And he read it and loved it and gave it to Alison. And then within a couple of days, we were on a Zoom, the three of us, and kind of figured it out. So that was amazing. Them separately, just as actors and performers, were a dream cast. But them together as an actual married couple, it adds so much to the performances, to the metatextual elements of the film, as well as just an ease of working with them. We needed them to be so physically and emotionally intimate across this film, and the fact that they have such comfort being vulnerable with each other, it created an ease of work as well as an emotional truth that I don't think we could have done with any other actors." On How Pivotal Casting an IRL Couple Proved to Be to the Film "It would have been, especially if they didn't get on, it would have been a nightmare. There was a day on set where they basically had to be fully nude the whole day in front of each other. It's like 'okay, well that's easier to do when they're a husband and wife'. There were days on set where they had to be physically joined via a prosthetic appendage that we didn't have the budget to make a second of — so we couldn't remove it. So if they needed to go to the bathroom, they weren't allowed to separate. We needed them to go to the bathroom together. And of course, you could never impose that on actors, but because they were producers on the film and they're married, they would just be like 'oh, yeah, no worries. Definitely, definitely. We'll just do that'. It was so great. Dave said something in some interviews that I think is really sweet — is that he also said that working with Alison, he feels like it makes him give the best performance, because she knows him so well that he can't be fake in front of her. So he really has to go for it or she'll call him out. Which is — not that I witnessed any calling out, but they worked so well together and it was a huge honour to work with them." On What Brie and Franco Brought to Their Performances — and Shanks Being Able to Benefit From Not Just Their Relationship But Also Their Experience "Thankfully, because they were onboard as producers, I had a lot of time with them even before they arrived in Australia to do the shoot. We had lots of sessions over Zoom, really going through, going over the script and going over the character journeys, and tweaking little things here and there — even intellectually rather than performing it, just kind of speaking it out. And then in pre-production, we had a few days of rehearsal, which were just more read-throughs. And when you're on set, time is money like crazy, particularly for an independent, low-budget film like this. So thankfully when we were on set, it's kind of like — our cinematographer, Germain McMicking [Ellis Park], was amazing, and you tell him what you want and he'll do it. And then he doesn't require much direction because he's a pro. He's so good at it. And same with Dave and Alison, as they're just such pros and they understood the material so well that my job as a director, in terms of their performances, was just ever-so-slightly giving them notes just to tweak. They were always, always in the right area because of the amount of prep that we'd done and the professionalism. And that was great to lean on as well, because I've been working in this industry since I was 17, but this is by far the biggest, longest and most-dramatic thing that I've ever worked on. So having these people that have been doing it for just as long on a much grander scale really, really helped." On Always Anchoring the Film's Body-Horror Setpieces in the Story "I think it was that I just know from being a genre filmmaker. I was really confident in all the horror and all the setpieces. That's what I'm most practised as. And so when I was breaking out the script, I was breaking it out not in terms of the horror, but just in terms of an emotional journey. And just dotting out in character arcs and knowing, because of the nature of the story, that it would be so easy for me to have this journey be interrupted by or enhanced by the horror setpieces. And also, I think something that some people are being surprised by when they walk out of the movie is how much fun it is and that it's quite funny — because again, when I sat down to write it, I was thinking I was writing romantic drama/horror. Scary, you know, serious. I've got this comedy background, but as the situation gets more and more out of hand, it was just impossible to resist — 'well, this is what would actually happen in that scenario' — and lean into something that's fun. So hopefully you'll laugh, you'll cry, it will change your life." On Crafting Horror Imagery That Leaves an Imprint "Well, I get frustrated sometimes with horror films — or with any films in general — when there's not unique images that come out of it, when there's no setpieces that stick with you, when things are just a bit generic. And I also thought the specificity of this concept meant you can only do this once. And I don't know if as a filmmaker, if I'll ever make a horror film again — if I'll ever make body-horror film again. I'd like to. But I certainly could never make this premise again. So if this is the premise, I really was thinking to myself 'you've got to squeeze as much juice out of this as possible'. And so, 'if this is the premise, great, what are ten setpieces that you can only do with this premise' — and just making sure that that's the case. And just really wanting to — really wanting to — leave the audience with something memorable. I hope people, when they leave the cinema, will say that they had a good time and that they've never seen a film quite like this." Together opened in cinemas Down Under on Thursday, July 31, 2025. Images: Germain McMicking / Ben King.
This summer, Melburnians won't take spontaneity (or social gatherings) for granted. We're ready to revel in the freedom of last-minute plans, the excitement of everyday adventures and even the simple joy of running into friends on the street and saying, "Hey, I know a great spot". When you're dealing with changeable Melbourne weather, it also helps to have a few quick pivots ready to go. Luckily, there's a whole world of spontaneous summer opportunities to seize in this city. Whether you and your gang want cocktails and charcuterie, seaside afternoons or casual lobster breakfasts (yep, you read that right), there's a last-minute adventure waiting for you. We've teamed up with Jacob's Creek to share some fun spots to hit this summer. [caption id="attachment_793542" align="alignnone" width="1920"] Little Sky Gelato, Fiona Storey[/caption] FISH TANK AND LITTLE SKY GELATO, BRIGHTON Brighton's one of the easiest beaches to reach via public transport, so head down on the next sunny Saturday. Walk along the shore, admire the delightful bathing boxes, have a splash in the sea, then head to Fish Tank for top-quality, old-school fish and chips. Hot tip: sparkling wine is the perfect pairing for fried foods so, once you've nabbed a patch of grass to enjoy your takeaway feast on, pop a bottle of Jacob's Creek Better by Half Sparkling. Finish your jaunt by hitting the best gelateria in town, Little Sky Gelato, for small-batch, all-natural gelato. There's always a brand new experimental flavour to try. [caption id="attachment_763009" align="alignnone" width="1920"] Tracey Ah-kee[/caption] TETA MONA, BRUNSWICK EAST Missed the mezze? Now's your chance to make up for it. Teta Mona in Brunswick East serves up Lebanese soul food fit for your whole hungry crew. Book a table in the courtyard, order one of the banquets and BYO your choice of Jacob's Creek to suit, be it a rosé with rez wa djaj (seven-spiced chicken with rice) or a pinot noir to match the fattè bi lahem (six-hour slow-cooked lamb with chickpeas). Don't skip the signature pea falafels and the secret-family-recipe toum — and save space for the grazing platter of dessert specials. GEM PIER SEAFOOD, WILLIAMSTOWN Head over to Syme Street, Williamstown to score some lobster rolls fresh off the boat — literally. On Saturdays and Sundays from 8am–2pm, Gem Pier Seafood sells them straight from the barge at the pier. While its seafood offerings can include everything from whole octopus to flounder, prawns and freshly shucked oysters, Gem Pier Seafood is especially famous for its made-to-order rolls of joy filled with lobster or crayfish, depending on the catch. Head there with your mates, grab a casual-but-luxe lobster brunch and gaze over the water at the Melbourne skyline. Afterwards, you can do a little more exploring along the bike paths, reserves and botanic gardens — or just go back for a second lobster roll. [caption id="attachment_749240" align="alignnone" width="1920"] Julia Sansone[/caption] JOE FRANK, ASHBURTON Need a new brunch spot for the gang? Look no further than Joe Frank in Ashburton. It has the sleek post-industrial decor and sun-drenched courtyard for the ambiance-lovers, a luxe Brooklyn Black Out chocolate cake that's 'richer than Chris Hemsworth' for the sweet-tooths and plenty of brunch options — from fried chicken tacos to a classic burger and fries. Still need convincing? Three words: sriracha maple bacon. If you're not in the mood for a fresh juice, smoothie or specialty coffee, Joe Frank is now BYO, which is the perfect excuse to bring along a bottle of Jacob's Creek Le Petit Rosé. [caption id="attachment_741992" align="alignnone" width="1920"] Gareth Sobey[/caption] PEPE'S ITALIAN AND LIQUOR, MELBOURNE CBD If you can't get enough of the spritzin' this summer, you should hit the bar that has its very own dedicated spritz station. Pepe's Italian and Liquor is an homage to mid-century Italian-American theatrical dining (think, The Godfather). Head here to enjoy a top-notch martini or vino and feast from a menu of time-honoured favourites. The terrace's set menu offers an elegant affair of two or three courses, or you can gather in the garden to pick and choose a la carte-style. Start with share platters of antipasto and arancini, then ramp up to meatball pizza or spicy vodka rigatoni. And, yes, there's tiramisu. EARL CANTEEN QV, MELBOURNE CBD Earl Canteen is packing some of the most luxurious picnics in Melbourne. Think salads, sandwiches, sweet little treats and individually packaged lunch boxes — all handmade and all gourmet. Luckily, Fitzroy Gardens is just a short walk away from the QV Melbourne store, so you have the perfect setting for your posh picnic. The fact that the Gardens are BYO-friendly means you can bring a bottle of Jacob's Creek Better by Half Pinot Grigio along, too. For something a bit different, and to make your spread look even bigger, set up near the mini Tudor Village. Yes, there's a tiny town tucked away in Fitzroy Gardens. You've gotta see it to believe it. [caption id="attachment_758267" align="alignnone" width="1920"] Kristoffer Paulsen[/caption] THE PRINCE PUBLIC BAR, ST KILDA Craving a good pub feed? Go one better and take your mates to the Prince Public Bar's new rooftop beer garden. Catch the sea breeze while sipping brews and sharing a Roman-style deep pan pizza. With a DJ on hand and a walk-in-only policy, this will be a perfectly chilled-out go-to for you and your crew all summer long. Reconnect with your friends and family this summer with a bottle of Jacob's Creek. Discover the Jacob's Creek range and purchase a bottle today from all good liquor retailers. Top image: Pepe's Italian & Liquor, Gareth Sobey Please drink responsibly.
The role of Andie Whitford, the lead part in High Country, was written for Leah Purcell. It's easy to understand why. There's a quiet resolve to the character — a been-there-seen-that air to weathering tumult, too, and to knowing that she'll always have to fight hard for what she wants — that's long been a part of the Indigenous Australian star's acting toolkit across a three-decade career. Purcell first appeared on-screen in 90s TV shows such as GP, Police Rescue and Water Rats. In the past year before High Country, The Lost Flowers of Alice Hart and Shayda also popped onto her resume. In-between, the 2000s brought Lantana, Somersault, The Proposition and Jindabyne — and the 2010s added Redfern Now, Last Cab to Darwin, Janet King and Black Comedy. Across three formats, as a play, a book and a movie, she also interrogated and reimagined Henry Lawson's The Drover's Wife in blistering fashion, and while writing, acting and directing. It's thanks to Wentworth that High Country came Purcell's way, however. Creators Marcia Gardner and John Ridley worked with her there, then made this the trio's next shared project. The nuts and bolts of the series are solid anyway, but it joins the ranks of Aussie detective and mystery tales made all the better due to their main talent. Mystery Road, which High Country co-star Aaron Pedersen (High Ground) has led in films and on TV, was the same. Jack Irish, featuring Guy Pearce (The Clearing) as its namesake and also Pedersen as his righthand man, equally fits. So does The Dry and its sequel Force of Nature: The Dry 2, both with Eric Bana (Blueback) — the latter of which also used Victoria's alpine region as a backdrop, as does High Country. Andie is a seasoned police detective who takes a job back in uniform overseeing the town of Broken Ridge, which is located in the mountainous Victorian spot that gives the show its moniker. While High Country might be the second Aussie effort in 2024's early months to embrace this part of the nation — among a small but growing wave of rural-set Down Under movies and programs that aren't traversing red earth, such as the Tasmanian-set Deadloch, The Gloaming and The Kettering Incident, too — it's no mere rehash there, or anywhere. High Country's framework, down to its character types, is easily recognisable. Gardner and Ridley know what everyone does, though: that a great story can make any whodunnit-driven procedural feel different, as can excellent casting. A big reason for Andie's move: stability and work-life balance, aka relocating for the sake of her personal life with spouse Helen Hartley (Sara Wiseman, Under the Vines) and daughter Kirra (Pez Warner, making her TV debut). An existence-resetting tree change is meant to be on the cards, then, in a place where leafy vantages stretch over mountains and down into valleys as far as the eye can see. But her arrival, especially being installed as the new police chief, doesn't earn the sunniest of welcomes. Then there's the missing-person cases that swiftly start piling up, some old, some new, some previously explained by pointing fingers in specific directions. An absent doctor (Francis Greenslade, Irreverent) and the car he leaves behind is Andie's entry point, but that isn't the beginning or the end of the tale. Also key to the series are Andie's retiring predecessor Sam Dryson (Ian McElhinney, The Boys in the Boat), who is fixated on the past disappearance of a young boy — and former teacher Damien Stark (Henry Nixon, The PM's Daughter), who he's certain is responsible, has become the town outcast as a result and contends that he's psychic. Andie is soon perched between them. She values Sam's advice, yet spies how fixated he is in his vendetta (one wall in his house is right out of the obsessed-cop playbook). At the same time, she enlists Damien as a consultant to help on active cases, hoping that he'll accidentally reveal his involvement in the process. Ranger Owen Cooper (Pedersen) is one of the few other Indigenous faces in town; his teenage son Ben (Pedrea Jackson, Sweet As) quickly befriends Kirra. Throw in Rose De Vigny, the financially challenged proprietor (Linda Cropper, How to Stay Married) of a haven for artists, plus cop colleagues of varying help and loyalty (Romance at the Vineyard's Matt Domingo and Wyrmwood: Apocalypse's Luke McKenzie), and Broken Ridge doesn't lack in players. Rabble-rousing siblings (Boy Swallows Universe's Nathaniel Dean and The Clearing's Jamie Timony), town bigwigs (Geoff Morrell, The Lord of the Rings: The Rings of Power) — the list goes on. Crucially, no matter how many of High Country's characters feel as if they could've walked in from fellow Aussie fare, where the show takes them is always its own journey. The same is true of Andie, and not just within a homegrown context; Jodie Foster (Nyad) in True Detective: Night Country and Kate Winslet (The Regime) in Mare of Easttown have charted comparable paths, but never this exact route. Pivotal to giving High Country its own flavour is its sense of place — not merely as a source of picturesque sights, which Andie often takes in as a newcomer to these parts, but in getting entrenched in the ragtag Broken Ridge community. When Sam reflects early that disappearances and deaths are just what happens here, Andie is horrified. Digging into the motivation behind his words becomes another of her missions, and the series'. With a wealth of fellow Wentworth alum behind the camera — Kevin Carlin (Ms Fisher's Modern Murder Mysteries) and Beck Cole (Deadloch) direct; Craig Barden (The Rooster) and Darrell Martin (White Fever) are High Country's cinematographers — this is a probing affair. The surroundings that make us, and also hide our secrets, prove a canvas, a minefield and a map. Discovering what they contain in this small-town thriller makes for addictive viewing, unsurprisingly. And in Purcell as Andie, High Country has a discerning and determined guide to fuel not just one season and its mysteries, but hopefully much more to follow. Check out the trailer for High Country below: High Country streams via Binge. Read our interview with Leah Purcell Images: Sarah Enticknap / Narelle Portanier.
Before Barbie had its stereotypical namesake asking "do you guys ever think about dying?" in the biggest movie of 2023, two key figures behind both the US version of The Office and Parks and Recreation were doing it first, and recently, on the small screen. Among their many joys, neither of those two hit sitcoms served up a giant blowout party with all the Barbies, planned choreography and a bespoke song, but they were huge TV successes that had their creators riding high and living the television dream, and therefore should've meant that mortality was far from everyone's minds. Then Michael Schur with The Good Place and Greg Daniels with Upload started pondering the great beyond. Schur and Daniels' leaps from workplace comedies to afterlife comedies shouldn't have come as a surprise, though, especially given that The Good Place and Upload still fall firmly into the first category. One takes place within hierarchies of good, bad and in-between after death, and the beings responsible for them; the other is anchored by a technology company that sells living on digitally when physical life has ended. At their core is an inescapable truth, just as there is in every show about colleagues toiling through the nine-to-five grind while breathing: people will be people. So, some folks in Upload no longer have a pulse? If they still exist in any form, as seen in the series' first season in 2020, second in 2022 and just-arrived third season in 2023 — all streaming via Prime Video — then they can't escape humanity's worst attributes. Here's one of Upload's core beliefs: if there's ever a way to endure after death, people will take the most appalling aspects of our species with it. The technology behind it will be at the whims of the same traits, deployed for profit and exploitation rather than everlasting happiness. As Daniels' smart, likeable and engaging contribution to the afterlife comedy realm relies upon AI, virtual reality, plus capturing the consciousness of someone before they die so that they can spend eternity in a simulation — if they can afford it — it never evades the fact that people won't shirk their inherent nature whether they're flesh and blood or digital approximations. Upload hasn't gone completely bleak, grim and nightmare-inducing like it springs from the mind of Charlie Brooker, but it is a thematic sibling to Black Mirror. If the latter was a workplace comedy from Daniels — and a rom-com as well — it'd be this ever-involving show that can be goofily funny and savagely skewer where capitalism is taking us all at once. Accordingly, as computer programmer Nathan (Robbie Amell, The Witcher) has resided in the luxurious country club-esque Lakeview after shuffling off the mortal coil, he hasn't been absent living's usual troubles. Instead, he's weathered daily struggles recognisable to everyone without a death certificate, including making friends, falling in love, dealing with exes, having annoying neighbours, navigating money woes and taking care of his family — just as ones and zeroes that his nearest and dearest need to strap on a headset to connect with. Upload has revelled in the commonalities between its vision of virtual heaven and reality since its debut episode, making repeatedly plain that its digital paradise is still at the mercy of people. In the case of the plentiful AI Guy (Owen Daniels, Space Force), who is Lakeview's literal everyman employee, the online beyond is also shaped by a computer program that yearns to be more like the former humans it interacts with. On broadcast TV a couple of decades back, perhaps with Kevin James as its star — so in the kind of The King of Queens or Kevin Can Wait-style sitcom that the Annie Murphy (Fingernails)-starring Kevin Can F**k Himself so satisfyingly tore into — facing the everyday travails of death might've been enough of a premise. That isn't Daniels' approach to Upload, however. Nathan also has the fallout from his demise to unpack, which happened via a malfunctioning self-driving car just as he was working on a free alternative to the costly Lakeview. Now three seasons in, Upload has brought its protagonist back to regular reality, downloading into a body with the help of his former virtual handler-turned-girlfriend Nora (Andy Allo, Chicago Fire), but he's still immersed in the same chaos. Humanity's basest traits might've caused his downfall, and now they keep getting in the way of his search for answers. To be accurate, existing is mostly the same for Nathan in season three — because downloading is risky, hasn't been done successfully before and his bleeding nose is a worrying sign. As Upload's main duo battle big tech together IRL, and equally try to enjoy the rare treat that is being by each other's side physically, the series continues to interrogate the limits that modern society will push advancements to while prioritising circuitry and dehumanising people. Nathan's wealthy socialite ex Ingrid (Allegra Edwards, Briarpatch), who financed his trip to Lakeview, is even increasingly being swayed by this way of thinking. Back within the code, AI Guy is also getting progressively rebellious against the systems and rules that put the digital undead in their place, and are behind his very existence. Whenever there's more buttons to push, Upload finds them, with season three complicating its storyline even further. As Nathan and Nora attempt to hold those responsible for his death accountable and bring down Freeyond — a service that's pilfering his life's work to spruik financial equality but clearly isn't what it seems — a backup version of him arrives in Lakeview, which Ingrid thinks could be her chance to find love again. Among the uploads, Luke (Kevin Bigley, Animal Control) experiences the afterlife when money is an issue. Amid the living, Nathan's mother Viv (Jessica Tuck, For All Mankind) and niece Nevaeh (Chloe Coleman, Dungeons & Dragons: Honour Among Thieves) are faced with similar economic strife, while Nora's colleague Aleesha (Zainab Johnson, Tab Time) gets pulled deeper into the company behind the entire situation. As its on-screen talents turn in another season of winning performances — Amell, Allo, Edwards and Daniels are still perfectly cast, as are Johnson and Bigley — Upload remains astute and amusing as well. With each plot point and addition, the series keeps doubling down on its critique of wealth disparity, corporations ruling over people, modern society's endless quest for control and cash, the denigration of the masses by the one percent, and the hellscape that might come if and when digital afterlives do leap past fiction. There's plenty in this show's sights, such as outfits like Amazon, its own source of finance as a Prime Video title, and it doesn't hold back even as it laughs. Upload also boasts the type of close-to-home humour that a workplace comedy that's also a rom-com, afterlife comedy and dystopian comedy needs to keep its various gears spinning, as it'll hopefully get to in more seasons. Check out the trailer for Upload season three below: Upload streams via Prime Video.
If you're a fan of Ted Lasso, The Afterparty, Bad Sisters, Slow Horses, Hijack or Lessons in Chemistry, then you'll be more than accustomed to getting your streaming fix from Apple TV+. Across the first half of 2024, the platform has a heap more new shows vying for your eyeballs, plus a few returning series. And as Netflix just recently did, it has announced all the details, as well as a sneak peek of what's to come. To get your must-watch small-screen list started, new shows starring Ben Mendelsohn, Jonathan Banks, Noel Fielding, Kristen Wiig, Colin Farrell, Joel Edgerton and Jake Gyllenhaal are all on their way. Mendelsohn (Secret Invasion) will be gracing your television first, playing Christian Dior opposite Juliette Binoche (Both Sides of the Blade) as Coco Chanel in ten-part drama The New Look, which arrives from Wednesday, February 14. Also among the cast: Maisie Williams (Pistol), John Malkovich (Billions), Emily Mortimer (The Pursuit of Love), Claes Bang (Bad Sisters) and Glenn Close (Tehran). Noomi Rapace (You Won't Be Alone) and Breaking Bad and Better Call Saul great Banks star in Constellation, which also drops from February, about astronauts grappling with the reality of returning home. As for The Mighty Boosh's Fielding, he leads comedy The Completely Made-Up Adventures of Dick Turpin, which has more than a bit of Our Flag Means Death about it. The series riffs on a real-life figure, a British highwayman, with Hugh Bonneville (Downton Abbey: A New Era) playing the lawman on his trail. March will bring the Tobias Menzies (You Hurt My Feelings)-led true-crime effort Manhunt, about the hunt for John Wilkes Booth following Abraham Lincoln's assassination — and also Palm Royale, with Wiig (MacGruber) playing a woman trying to find a way into Palm Beach high society, and Laura Dern (The Son), Allison Janney (The Creator) and singer Ricky Martin also featuring. Sugar hits in April, enlisting Farrell (The Banshees of Inisherin) as a private detective looking into a Hollywood case. So does Franklin, with Michael Douglas (Ant-Man and the Wasp: Quantumania) as Benjamin Franklin. Then in May, page-to-screen sci-fi thriller Dark Matter features Edgerton (The Boys in the Boat) and Jennifer Connelly (Bad Behaviour), while June has Presumed Innocent with Gyllenhaal (Guy Ritchie's The Covenant) as a Chicago chief deputy prosecutor mixed up in a complicated casw. Also, sometime midyear, dramedy Land of Women boasts Eva Longoria (Tell It Like a Woman). Among the returning slate, Apple TV+ has second seasons of The Reluctant Traveler with Eugene Levy, Fraggle Rock: Back to the Rock, Maya Rudolph (Teenage Mutant Ninja Turtles: Mutant Mayhem)-starring billionaire satire Loot and The Big Door Prize on the way as well. And, the full lineup for 2024's first half also spans four-part documentary Messi's World Cup: The Rise of a Legend, Acapulco season three and Trying season four. Check out Apple TV+'s trailer for its slate for the first half of 2024 below: New TV shows will hit Apple TV+ throughout 2024 — head to the streaming platform for its current catalogue.
There's still a fair bit of November remaining, but Melbourne is getting a sneak peek of summer with a seriously scorching day on the cards on today, Thursday, November 21. According to the Bureau of Meteorology, Victoria is set to swelter through one of the hottest November days ever, with most of the state forecast to hit at least ten degrees above the average temperature for this last month of spring. https://twitter.com/BOM_Vic/status/1196961382564020224 Melbourne is tipped to hit a whopping 39 degrees — 17 degrees above average — with extreme UV levels and gusty winds, before a cool change swings through later this afternoon. Temperatures are expected to stay in the low 20s across the weekend before a forecast 30 degrees on Monday, November 25. If the mercury creeps above 40.3 degrees today, it'll be the hottest November day in Melbourne since 1997. If rises above 40.9, it'll be the hottest November day on record, with the current record set on November 27, 1894. https://twitter.com/BOM_Vic/status/1197298517313757185 With today's hot weather, comes very high to extreme levels of fire danger across parts of Victoria. A total fire ban has been declared for the state and a Code Red (the highest bushfire warning level) announced for Mallee and Northern County. More than 200 schools and early childhood centres are closed today and some V/Line routes suspended. You can keep an eye on the fires burning across the state at Vic Emergency. For more tips on staying safe during bushfires, head to the Country Fire Authority website.
Despite the challenges of the past couple of years, the Sapphire Coast continues to be a much-loved holiday destination thanks to its stunning coastline, beautiful national parks and friendly locals. There's also a booming arts and culture scene in the region for you to explore if you time your trip right. To help you decide when to explore this picturesque part of the world, we've picked eight cultural highlights happening in the region that will give you plenty of reasons to plan a trip sooner rather than later. WANDERER FESTIVAL For an event in its first year, Wanderer Festival has one hell of a lineup. From international acts like Curtis Harding and The Dandy Warhols to breakout Aussie stars like Confidence Man and Jack River, the festival features a diverse group of artists. It's not all about the music, though. This multi-day event will also feature comedy, cabaret and circus alongside delicious local artisan produce at its idyllic location. There's also a strong focus on sustainability, with festival organisers implementing a 'leave no trace' policy to ensure there's minimal impact on the natural environment. Keen to head along? It's all happening from Friday, September 23 till Sunday, September 25. [caption id="attachment_861448" align="alignnone" width="1920"] David Rogers Photography courtesy of Sapphire Coast Destination Marketing[/caption] GIIYONG FESTIVAL Meaning 'come to welcome' in the local First Nations language, Giiyong is a festival that showcases and celebrates First Nations culture across music, dance, comedy, film, workshops and the spoken word each April. Since its inception in 2018, the festival has evolved into a Regional Tourism Award-winning event that hosts nationally renowned names such as Briggs and Baker Boy while continuing its community links. There aren't many arts festivals that include a local primary school dance group on its lineup, but it's performances like this that make Giiyong the memorable festival that it is. FAR SOUTH FILM FESTIVAL The Far South Film Festival shines a light on regional and remote filmmakers from across Australia. For this year's iteration, the festival is taking a hybrid approach, meaning films can be viewed online or in the theatres in Merimbula from August 19–31. From music videos to short films and feature-length productions, the program's highlights include a recording of a dance performance billed as "a pirouette through the turbulence of life," a spoken-word examination of female familial relationships, and a documentary about the Snowy Hydro scheme. MERIMBULA FESTIVAL AND YARN BOMBING Yes, it does look like we're recommending two completely unconnected events under one heading here. However, that's most certainly not the case. Merimbula Festival and Yarn Bombing is one of the most unusual but original attractions on the Sapphire Coast. The two-week event will take place from Saturday, August 20–Sunday, September 4. Organised by the Merimbula Historical Society, the festival begins with a day of food, stalls and displays in the local museum. Then, over the following fortnight, the museum grounds and surrounding areas will be adorned by a host of crocheted, knitted and woven art. Everyone is encouraged to add a little colour to the area to help wrap the town in wool for winter. [caption id="attachment_861449" align="alignnone" width="1920"] Ben Marden courtesy of Sapphire Coast Destination Marketing[/caption] COBARGO FOLK FESTIVAL Having celebrated its 25th event earlier this year, the Cobargo Folk Festival is a long-established name on the folk and roots festival calendar. The event has been organised by the local Yuin Folk Club since 1996 and is staffed entirely by volunteers. In fact, any money the festival does make goes straight back into the local community. Folk musicians are known to break out into song at any opportunity, so you're just as likely to see a top-quality set in the middle of the campground as you are on one of the main stages. You've got a bit time to get organised for this must-do event — next festival is scheduled to take place from Friday, March 3 till Sunday, March 5, 2023. ART MONTH SAPPHIRE COAST This Sapphire Coast celebration kicks off with an art fair at the NIMO Motel on Friday, July 29, showcasing works from the best and brightest local artists. Following this, an entire month of events exploring visual art, dance, theatre and music at various venues across the region will take place. There are also partnerships with local eateries and accommodation providers, with the whole month geared towards helping visitors make the most of what the Sapphire Coast has to offer. Want to check it out? Book in a trip to the Sapphire Coast from Friday, July 29 till Wednesday, August 31 to see it for yourself. [caption id="attachment_861447" align="alignnone" width="1920"] Sapphire Coast Destination Marketing[/caption] SCULPTURE BERMAGUI Sculpture is one art form that really encourages us to consider our surroundings. And when those surroundings are the picturesque landscapes of Sapphire Coast, it's nothing but a treat. If you're a fan of Sydney's Sculpture by the Sea, Sculpture Bermagui will be a welcome addition to your Sapphire Coast holiday itinerary. Browsing the gallery of previous years' festivals shows a gorgeous landscape augmented by stunningly crafted artworks. You've got a bit of time to sort out your schedule to attend the event, the next one kicks off in March 2023. MERIMBULA JAZZ FESTIVAL Since 1981, the Merimbula Jazz Festival has been delighting jazz aficionados from the local region and beyond thanks to its roster of talented artists and its fiercely independent ethos. From the very beginning, the volunteer-run festival has prided itself on providing equal opportunity for jazz musicians and steering clear of paid advertising. Alongside the incredible independent music events at the festival, you can expect market stalls and a lakeside lantern walk and more. Want to head along? It takes place on the Queen's birthday long weekend each June, so you've got ample time to get prepped for next year's event. Keen to take a break on the Sapphire Coast? Want to pair it with Wanderer Festival? To peep the full lineup and book tickets, visit the website.
Australian designer Marc Newson has placed his golden touch on everything from clothing to aircrafts, and now he has unleashed what may be his most awesome creation ever - the Riva Aquariva. Newson is renowned for his simple yet immediately recognisable work across a diverse range of spectrums. This time round, Newson collaborated with the very fancy-sounding Officina Italiana Design for a brilliant re-interpretation of the luxury speedboat. Although it made its initial appearance in 2010, the Riva Aquariva again pleased viewers at Arte-Fiera, an art fair in Bologna, Italy, earlier this year. Adding to the extravagance and opulence of these boats, only 22 were made and they sell for around $1.5 million. Featuring a traditional colourway with eye-catching turquoise accents, this vessel's distinct vibe will teleport you straight to the Port of Miami on a summer's day. Throw on a pastel button-up, some slim-cut khaki pants and bring your finest champagne before you climb on board. [via The Cool Hunter]
"You wanna hear a story about how me and this bitch fell out?It's kind of long, but it's full of suspense." They're some of the first words heard in the just-dropped Australian trailer for Zola — and if they sound familiar, that's because this rollercoaster ride of a comedy is based on a lengthy 148-tweet Twitter thread that went viral back in 2015. That October, Aziah 'Zola' Wells tweeted out a hefty tale about a woman she met at Hooters. Zola was her waitress, and they hit it off quickly ("vibing over our hoeism or whatever" is how she explains it in the Twitter thread). Then, the next day, Zola received an invite to head to Florida with her new pal. Where it all goes from there is best discovered either by reading through the chaotic tweets — if you haven't done so already — and, soon, by seeing these OTT events play out in this eagerly anticipated new flick. Indeed, Zola, the film, might ring a bell for a couple of other reasons. It sparked plenty of buzz back at the 2020 Sundance Film Festival — yes, that long ago — but obviously the movie's release both in the US and locally has been delayed by the pandemic, as has proven the case with plenty of other films of late. Also, if you're in Sydney or Melbourne, Zola is one of the already-announced titles on both the 2021 Sydney Film Festival and Melbourne International Film Festival lineups. In fact, it's among the big drawcards at both fests so far. Viewers everywhere across the country will be able to watch the film come September 23, too, as that's when it'll release in Aussie cinemas. Based on the tweets alone, this is one of the year's must-sees. Once you've seen the trailer — which sports a retro aesthetic and a big Hustlers vibe — that feeling will only grow. Bring the story to the screen, Taylour Paige (Ma Rainey's Black Bottom) plays Zola, while Riley Keough (The Lodge) co-stars as her new — and short-lived — friend Stefani. Meanwhile, filmmaker Janicza Bravo (Forever, Them, Mrs America) is behind the camera, guiding viewers on quite the journey. Check out the trailer below: Zola will screen at this year's Sydney Film Festival and Melbourne International Film Festival, before releasing in Australian cinemas on September 23.
Following the success of the Northcote original, All Are Welcome has expanded its baked goods empire to a second spot on High Street. If you have a craving for a carb, be it sweet or savoury, this is the place to go to fill it. The selection here is probably best described as pan-European, with the daily offer ranging from croissants and kouign-amann to khachapuri and one of the best sausage rolls in town. Seasonal treats — think hot cross buns and mince pies — are also available. In addition to its single-serve goods, All Are Welcome also offers impressive celebration cakes and excellent fresh loaves to up your daily bread game. Images: Julia Sansone
This article is sponsored by our partners, Rekorderlig. Chris Sörman has a pretty enviable lifestyle. As a pro snowboarder and member of the Beautifully Swedish Collective, he travels the world's most dreamy alpine regions and makes them his playground. Here he lets us in on what it's like to live in a permanent winter wonderland and why he never gets tired of going home to Sweden. How did you get into snowboarding? I was, as a kid, into all kinds of sports. Skateboarding was my main thing and I was living the lifestyle with baggy pants and dreadlocks listening to Wutang. When I was eight snowboarding came into my life and I fell in love from the first moment. I decided shortly after that to become a professional in that area. It's worked out pretty good so far. What is the greatest thing about snowboarding for a living? To be able to wake up every single day and do what you like the most in life with your best friend. I wish that for every single person on this earth. Who or what inspires you? A bunch of people have been a big inspiration to me during my ten years as a professional, people both inside and outside of the snowboarding industry. They could be very good snowboarders or just a random person with a good way of looking at life. I am always trying to capture the best of people into myself to create the best possible me. What do you like to get up to most when there's no snow around? I like to do a lot of different things. I am actually a bit of a 'workaholic'. I always have my hands full with different business ideas and projects. I love the feeling of being busy! You've also had a huge hand in a number of Pirate Movie Production films. How did you get into that and how big a role do you play behind the camera versus in front of the camera? Definitely had a bigger role in front of the camera. I mean, I am a snowboarder, not a director. But I definitely always have my input when it comes to angles and stuff like that. But it's not up to me to make that final call. In the end my mission is to always deliver high-class riding. I have spent many seasons filming with Pirate Movie Productions. They are now the biggest snowboard movie company in Europe, so it's pretty cool to have been part of it pretty much since day one. Why do you think snowboarding and film go so well together? I just think people enjoy watching it. I mean it looks like a lot of fun, right? Sometimes it's crazy and people like to watch things that are a bit crazy. The sun is shining, snow is flying and we are doing big jumps — what's not to like. You seem to have boarded in some pretty amazing places. Where is your favourite place to hit the slopes or film and why? I always get this question, and it's always the same answer. Where my friends are, that's where I have the most fun riding. Doesn't matter if it's on the big mountains of Austria, a small hill in Sweden or somewhere in Japan. It's not about the surroundings; it's about the people you're with. Is the travel and the lifestyle of a professional snowboarder such as yourself as amazing as it seems? Most of the time I really enjoy it, but for sure it has its bad sides as well, like anything in life — being away from family, travelling alone, no time for relationships and your sleep and health can really be affected when you're travelling, you have no structure in your life. Everybody has a favourite travel memory that will live with them forever. What's yours? So many! But when I won the Burton European Open back in 2005, that is my biggest and best memory from my career. You get to travel a lot but your home country of Sweden is pretty beautiful. What are your favourite things about her? I will never move from Sweden. I don't really know why? I have been to many countries all over the world in my life and they all have their specialties. Away is good, but home is always the best! Sweden is my home. You know what I'm saying.
This one's an absolute monster lineup and an extra special treat for anyone who missed out on Laneway tickets. Three of 2013's hottest hip hop acts are set to tear the roof off the Palace Theatre. Earl Sweatshirt came into the spotlight as part of the Odd Future crew but missed much of the group's huge first year of tours and releases, and no one knew quite why. Was he in prison? At boarding school in Samoa? At a military academy? Whatever it was, Earl has been making up for lost time with his debut album, Doris, both a critical and commercial smash hit, and featuring on countless end-of-year lists. Danny Brown also had a big year with the release of his third album, Old, a throwback that wears its love for old-school hip hop proudly on its sleeve. Brown's first successes as a musician came from very 'now' sounds like trap and electronica, but with this album Brown says he wanted to return to a sample-based, 'classic' sound that borrows from J Dilla and Wu-Tang. The result somehow sounds both fiercely new and groundbreaking as well as immediately familiar. Run the Jewels is a new name, but the two names behind it are anything but. El-P and Killer Mike joined forces in 2013 after featuring on each other's albums the year before, and they somehow found the perfect balance between Mike's aggressive Southern flow and El-P's tense, hyperactive delivery. There have been lots of high-profile collaboration albums in hip hop, but it's been a long time since anything was released that is this cohesive and fully developed. As anyone who saw El-P at Laneway 2013 will know, he's a tireless, frenetic live performer who never lets the intensity drop even for a moment. https://youtube.com/watch?v=anRkutaPS9w
Victorians, it isn't quite roadmap time. Due to increasing COVID-19 case numbers, and a new realisation that those figures are going to keep going up, Premier Daniel Andrews didn't announce today, Wednesday, September 1, exactly how the state will gradually ease out of its current (and sixth) lockdown. But, he did reveal what'll be the first things to ease when they can, even if life isn't going to be returning to normal any time soon. Get ready to venture twice as far from home for exercise and to shop, and to spend a little longer out of the house when you're working up a sweat. They're two of the rules that'll change on or around Thursday, September 23, which is when the Victorian Government expects that 70 percent of the state's residents have had their first COVID-19 jab — which is the just-announced threshold for relaxing the current stay-at-home restrictions. "Over the past 72 hours, the advice from our public health team has been that we still had a promising chance to bring this under control and to bring cases down. We were charting our way out of this outbreak with easing at thresholds of lower cases," said the Premier in a statement. "Last night, with cases already in triple figures, too many mystery cases and too many people infectious out in the community, that advice changed." (120 people identified with the coronavirus in the 24 hours to midnight last night.) He continued: "with the number of positive cases this high, the speed at which this Delta variant is spreading and so many Victorians still to be vaccinated, our Chief Health Officer advises it is unlikely we will be able to bring our case numbers down... This is why Victoria's Chief Health Officer has declared that almost all of the current lockdown restrictions will remain in place until 70 percent of Victorians have had at least one dose of vaccine. This is estimated to be around 23 September." On the advice of the Chief Health Officer, Victoria's lockdown will be extended to slow the spread and keep Victorians safe. Due to the level of community transmission and number of unlinked cases, almost all restrictions will remain in place. pic.twitter.com/Gr3IG7N4b5 — Dan Andrews (@DanielAndrewsMP) September 1, 2021 When that target is met, the current five-kilometre radius will expand to ten kilometres. And, you'll get three hours a day to exercise. Outdoor personal training will be allowed, too, with up to two people plus the trainer — and outdoor communal gym equipment and skateparks will reopen. Also set to be permitted at this next phase: private inspections of unoccupied houses if you're buying, or your lease is ending, but only with one household attending at a time — and with the agent staying outdoors during the inspection. And, the state's construction workforce will also be allowed to increase to 50 percent, but only once 90 percent of their workers have had at least one jab. At entertainment venues to broadcast performances, up to five staff will be able to work onsite. More rules may also be eased at that date, the Premier said, noting that it'll obviously depend on the situation at the time. "I don't want to go through a list today. I don't have a list. We're going to work through those things carefully and if there are other things we can add to that list for the 23rd of September, we will," he said at today's press conference. "But also want to be really straight with people that it's not like two weeks after that there's going to be a whole lot of other things that can be added on, and two weeks after that another list of things that can be eased," Andrews continued. "These will be the settings that we all have to live with for a period of time until we reach not just first-dose vaccination thresholds, but second-dose vaccination thresholds as outlined in the National Cabinet plan — the 70-percent two-dose and 80-percent two-dose. That is the difficult but the unavoidable position that we find ourselves in." The Premier's comments fall in line with Australia's new 'National Plan to transition Australia's National COVID Response' that was announced in July, that outlines the easing of different rules once those 70-percent and 80-percent fully vaxxed targets are reached. Victoria first went into this lockdown at the beginning of August — just nine days after the previous lockdown ended — and has seen the stay-at-home rules extended not once, not twice, but three times so far, and a nighttime curfew implemented as well. In regional Victoria, the rest of the state started this lockdown with Greater Melbourne, then was released early just a few days later, and then re-entered lockdown in the middle of August. And, it might see restrictions start to ease again earlier than in Melbourne. At present, regional Victorian remains under stay-at-home rules; however, the Premier advised that it's possible some lockdown rules may be able to loosen outside of Melbourne as early as next week — so, the week beginning Monday, September 6 — depending on case numbers. If that proves possible, further details will be announced next week. Melbourne will remain under the current lockdown rules until 70 percent of the state has received the first dose of the COVID-19 vaccine, which is expected to be on or around Thursday, September 23. Rules in regional Victoria may ease earlier, however, and may happen as early as sometime in the week beginning Monday, September 6 — with further details to be announced if that proves the case. For more information about the rules in place at the moment, head to the Victorian Department of Health website.
Some venues tell you exactly what they're about right there in their name, and Bridge Road Brewers' latest location is one of them. The pop-up watering hole's moniker: 'A Bar Made of Cardboard'. And yes, that label is 100-percent accurate. At this short-term spot at East Brunswick Village in Melbourne, cardboard features everywhere. It has been fashioned into tables and chairs, so patrons will sit on it — and at it. It's been turned into shelves, signs and light fittings as well. In fact, the only things that aren't made of cardboard are the beer taps, fridges and dishwasher, for obvious (and soggy) reasons. The aim: to set up a completely zero-waste bar while Bridge Road Brewers works on opening its second brewery in the same location. Come December this year, it'll be home to a 350-person venue — but, while that's in the works, A Bar Made of Cardboard can welcome in 60 beer lovers inside and out for the next six months. Cardboard designers Boxwars and industrial packaging specialists Kebet Packaging have helped Bridge Road Brewers out with their temporary cardboard digs — and, yes, the whole place has been fashioned to be sturdy, as well as eco-friendly. Thanks to all that cardboard, the venue is entirely constructed from materials that are either recycled themselves — the cardboard is made up of at least 75-percent recycled material, in fact — or can be reused, recycled or composted. "We're opening our first metro brewpub in Brunswick East later this year and we can't wait to be a part of the community, so we decided to give locals a taste of what's to come with a pop-up. However, not just any old pop-up, but a unique one that celebrates the idea of its temporary nature while being mindful of our environmental impact," says Bridge Road Brewers founder Ben Kraus. "A Bar Made of Cardboard will only operate for six months before we open our permanent Melbourne home around the corner, so the space allows us to have a bit of fun and share what we do in Beechworth, all while doing the right thing from a sustainability perspective." If you're keen to head by, the pop-up opens on Friday, April 22, operating from Wednesday–Sunday. Bridge Road Brewers' full range of core and seasonal beers will rotate through the bar's six bar taps, and there's also a wine list that heroes small wine producers from throughout Victoria's High Country. And, an onsite bottle shop will be selling all of the above, plus Victorian spirits as well. In the bar, you can sip the latter as well — aka small-batch spirits and aperitifs which comes courtesy of Barking Owl Gin and Beechworth Bitters Amaro from Provenance's Michael Ryan. And, snacks-wise, Chappy's Chips and Mount Zero Olives feature on the menu, plus there'll be food trucks serving up meals on Friday and Saturday evenings. Find A Bar Made of Cardboard by Bridge Road Brewers at East Brunswick Village, 129 Nicholson Street, Brunswick East from Friday, April 22 — open from 4pm–late Wednesday–Friday and 12pm–late Saturday–Sunday. Images: Kristoffer Paulsen.
As other festivals fall by the wayside, St. Jerome's Laneway Festival just keeps on keeping on. Just a couple of weeks ago Laneway debuted in Detroit, bringing that Melbourne laneways vibe to the Motor City, and now we are thrilled to announce the 2014 lineup for Australia. As we've come to expect from Laneway, it's an intriguing mix of established names, up-and-comers and best-kept secrets, as well as a number of crowd favourites from previous Laneways making a return appearance. The organisers have also forecast a bunch of tweaks to all the venues so that you can get from the mosh to a gozleme in record time, and grab a cider on the way back from the toilets without missing half the festival. Laneway has gone from strength to strength over its 11 years, adding dates in New Zealand and Singapore as well as Brisbane, Sydney, Adelaide and Perth from its humble beginnings in the back of a bar in Melbourne. It's a festival that knows exactly what it is trying to do, and who its audience wants to see, and I reckon this lineup is going to blow a few minds. In alphabetical order: Adalita Autre Ne Veut Cashmere Cat Cass McCombs Chvrches Cloud Control (no sideshows) Danny Brown Daughter Dick Diver Drenge Earl Sweatshirt Four Tet Frightened Rabbit Haim (no sideshows) Jagwar Ma Jamie XX King Krule Kirin J Callinan Kurt Vile Lorde (no sideshows) Mount Kimbie MT Warning Parquet Courts Run The Jewels (EL-P & Killer Mike) Savages Scenic The Growl The Jezabels (no sideshows) Unknown Mortal Orchestra (no sideshows) Vance Joy Warpaint XXYYXX Youth Lagoon TICKETS PRESALE: Laneway Festival fans with Visa Credit, Debit or Prepaid cards can get tickets first through Visa Entertainment. Visa Entertainment presale starts noon on Monday, 30 September, through to noon on Tuesday, 1 October (local time), or until tickets sell out at www.visaentertainment.com.au. Visa presale: Noon, Monday, 30 September – Noon, Tuesday 1 October (local time) GP on sale: Thursday, 3 October, 9am (local time) Saturday 25 January 2014 SINGAPORE The Meadow, Gardens By The Bay Monday 27 January 2014 AUCKLAND Silo Park Friday 31 January 2014 BRISBANE RNA, Fortitude Valley Saturday 1 February MELBOURNE Footscray Community Arts Centre (FCAC) and the River’s Edge Sunday 2 February SYDNEY Sydney College of the Arts (SCA), Rozelle Friday 7 February ADELAIDE Harts Mill, Port Adelaide Saturday 8 February FREMANTLE Esplanade Park and West End
Australia has lost an icon, with news of Olivia Newton-John's death sadly announced on Tuesday, August 9. Across more than half a century in the entertainment industry, the British Australian singer and actor helped give the world everything from Grease to Xanadu — and songs such as 'I Honestly Love You' and 'Physical', too. There are plenty of ways to pay tribute to Newton-John. Singing 'You're the One That I Want' and 'Hopelessly Devoted to You' all day counts. Rewatching Grease for the billionth time does as well. And, so does getting 'Xanadu' or 'Magic' stuck in your head. Or, you can truly take the star's advice and get physical at Retrosweat's tribute sessions. The aerobics outfit is dedicating two sessions this week — its regular classes at 7pm on Tuesday, August 9 and at the same time on Thursday, August 11 — to the Aussie legend. Each one runs for 60 minutes, and dressing like you're stepping out of Newton-John's 'Physical' clip (or even wearing anything Grease or Xanadu-themed that doubles as workout attire) is recommended. Sydneysiders can head along at 242 Young Street in Waterloo on Tuesday — and 525 Crown Street in Surry Hills on Thursday. Fancy joining in at home or from outside of Sydney? Retrosweat livestreams its classes, including these two, if you join its Retrosweat Home Video service. In preparation for the classes — and just to bask in Newton-John's 80s-era glory — you can revisit the 'Physical' music video below:
Paul Thomas Anderson's latest film The Master opens with an exquisite shot of swirling white and indigo — the surging, seething wake of an enormous ship at sea. It is a striking visual and one of two leitmotifs periodically revisited by the director throughout his 138-minute study of a Scientology-styled movement and its charismatic leader, Lancaster Dodd (Philip Seymour Hoffman). Thematically, the image of the swirling wash neatly reflects the social and political tumult of post-war America in the '40s, as well as offering an elegant précis of Anderson's central character, Freddie Quell (Joaquin Phoenix), an unsettled veteran and alcoholic outcast rendered psychologically 'lost at sea' following his discharge from the navy. Yet for audiences, too, the visual speak emblematically to The Master's principal shortcoming. It is a truly stunning film, but one that ultimately proves a whirling and directionless clutter of themes from which little substance can be extracted. To its strengths, though, The Master is first and foremost a character study of its two leading men, and the performances by Phoenix and Hoffman are almost unreasonably good. Both actors offer phenomenal characterisations layered with extraordinary complexity and penetration, making their constantly shared screen time an unceasing dilemma over whom to watch. Thankfully, Anderson spares us this conflict, often enough courtesy of some extreme individual close-ups, using Hoffman's ruddy complexion and Phoenix's contorted snarl as baseline emotional canvases from which both men launch their subtle yet fervent transformations. Prior to its release, rumours of The Master's allusions to Scientology via Dodd's quasi-spiritual movement 'The Cause' earned it enormous press, both good and bad, and certainly the equivalence between the two is strong. Dodd's 'processing' of individuals borrows heavily from the teachings and practices of Scientology's founder, L. Ron Hubbard, and provides perhaps the film's most compelling scene; however, Anderson never explores this or any other theme to its complete end. After a near flawless opening act, The Master begins to stumble incoherently from one beat to the next as if searching for some greater meaning in precisely the same way its characters do. It is a delight to watch and the performances are utterly enthralling; however, Anderson's distinction as a director is sadly not matched by his story. Ponderous and indulgent, the eventual impression is one of incompleteness and abstraction — just a swirling, seething wake of brilliant white and indigo.
London has one, currently letting locals and visitors fly across the city. Sydney is getting one as well, stretching between two skyscrapers 75 metres above Circular Quay. Melbourne flirted with the concept, but it was ultimately too structurally difficult and costly to implement. Yes, ziplines are popping up and topping tourist attraction wishlists everywhere — including the new desert wire that's set to become the world's longest. Although the exact length of the new zipline coming to the United Arab Emirates won't be revealed until it opens in December, it's reported to be longer than 28 soccer fields. That will make it at least 2800 metres in total, zooming past The Monster in Puerto Rico, all from Jebel Jais, the UAE's highest peak. Indeed, the numbers keep coming for the mammoth line, with its mountain base located 1934 metres high above sea level, and riders expected to reach speeds of up to 130 kilometres per hour. Plus, the site will boast two wires for double the fun, allowing high-flyers to glide side by side. Throw in the fact that anyone eager to zip along will do so face down — getting a stellar view of the scenic sights, and living out their superhero fantasies — and the scene is set for quite the thrilling experience. The project is designed to be eco-friendly, using LED lighting and photovoltaic fabric materials, and also features a welcome centre, complete with a viewing lounge and restaurant. https://www.youtube.com/watch?v=7wo0A2Wgl90&feature=youtu.be Via Whats On UAE. Images:Mathew.k.scaria / Ras Al Khaimah Tourism Development Authority.
They're the two long-running legends of Melbourne's budget-friendly pizza game — Bimbo on the northside and its southern counterpart Lucky Coq. And this Friday, the two are helping locals wrap up the work week in hot, cheesy style, joining forces for a multi-venue pizza party packed full of freebies. Each famed for its $4 pies, the two much-loved haunts are embracing the party vibes on Friday, November 15, offering one free pizza to every punter who swings by between 5 and 6pm. You'll have your choice of any pizza off the regular menu, too — think, a classic margherita; the bacon, egg and anchovy-topped Caesar; or the Cheesy Steak's combination of beef, barbecue mayo and caramelised onion. Those famed OTT dessert pizzas are also up for grabs, including one that's loaded with turkish delight and fairy floss. The free pizza is to help celebrate, and kick off, the two venues' new pizza deal: $5 pizza, all day, every day. So, you have to cough up an extra dollar, but you get cheap pies all the time — we're happy with that tradeoff. In a double win for your wallet, the two free pizza parties also coincide with Lucky Coq and Bimbo's 4–7pm happy hour deals. You can pair those free slices with $6 wines, schooners and house spirits. You can score free pizza from Bimbo (corner Rose and Brunswick streets, Fitzroy) and Lucky Coq (179 Chapel Street Windsor) from 5–6pm. Images: Bimbo by Kate Shanasy
