When it comes to a good night out, dinner and cocktails are a pretty good start. To make a perfect pairing even better, Trinket has whipped up a series of monthly dinners that pit the bar team against the kitchen. Step through the secret entrance and experience a Bartender vs Chef Dinner, where the two different domains go head-to-head to turn a single boozy ingredient into three courses of top-notch eats and cocktails. For this month's dinner, on Wednesday, October 23, you can expect bourbon-inspired eats and drinks, kicking off with some seafood — think crawfish po' boy and a crispy crab salad. Paired with the entree is the Spaghetti Western cocktail, featuring Amaro Nonino, lemon and bourbon. Then, sip on the Northern Neighbour, a mix of bacon-infused bourbon, maple syrup and bitters, while you tuck into some smoked wagyu beef ribs and grits. Finally, finish off with pecan pie and a Boston Tea Party, which is a blend of chocolate bitters, dry curacao, bourbon, peppermint syrup and lime. If you can't make it this month, keep Wednesday, November 13 free to try a menu that's even more indulgent. With champagne as the key ingredient, you'll start with oysters and caviar; crumpets topped with spring crab salad; barramundi with malt vinegar chips, champagne butter and smoked caviar; and an Eton mess with strawberries, champagne jelly and sorrel. On the drinks menu, expect the bittersweet Champagne Trinket — a light and fruity spring racing-inspired punch — and the Wimbledon Float made with rosé, champers and ice cream. Each dinner costs $80 a head. To book your spot, head here.
Alcohol and vehicles don't typically make for a good mix. But when the transport in question is a tricycle — and when the driver dispenses rather than imbibes the drinks — it's a practice we can get behind. The project, cutely dubbed Tipsy Tricycles, is a joint venture between The West Winds gin and Maidenii vermouth, both part of a new wave of locally produced, top-class spirits. Good food and good wine have been a part of Australian DNA for years, but of late there are also Australian-made spirits worth writing home about. The West Winds Gin, made in Margaret River Western Australia, has found its way onto many a drinks list nationally. Brought to us by the passionate duo Jeremy Spencer and Jason Chan, it is setting itself apart by using great native botanicals like wattle seed and bush tomato. If you've tasted it, you don't really need to hear anymore. "I love local booze. For two hundred and twenty plus years we have made good food, wine, and beer in this country, so why not fine liquor?" says Spencer. "It's an exciting time for the industry." Customers seem to be embracing new and locally sourced products. "Spirits are more expensive, and especially with cocktails people are very wary to trying something new so they so stick to the big brands, stuff they know," says Nick Reed, manager of 1806 cocktail bar. "But I think people are really starting to come around." Maidenii vermouth is a new player to the game, made by Shaun Byrne, resident bartender at Gin Palace, and French winemaker Gilles Lapalus. Just like The West Winds, it is a drink that is getting people excited about the prospects of Australian liquors. Tipsy Tricycles will see the two drinks coming together with a touch of Campari, a lot of ice, some of Melbourne's most loved venues, a few tricycles, and no doubt some mischief. They are bringing negroni granitas to the streets. Each week the guys will ride their tricycles — tipsy or not — to a new venue and serve up the refreshing concoction from the street straight to the people. "Sean Byrne and I grew up as kids in Cairns and used to ride trikes so this sort of morphed into a collaboration of our two current-day projects, being WWG and Maidenii Vermouth," Spencer says. "It's an icy-cool break from the summer's heat using Australian ingredients to showcase one of the world's great drinks." Will Jeremy be on the trikes himself? "Damn right. As my father said, never tell a man to ride something you wouldn't ride yourself," he says. While the schedule is only made available on their social media sites on the days that it is happening, we can expect some of Melbourne's iconic venues to get a visit, including 1806, Virginia Plain, Royal Saxon, Pei Modern, Toff in Town, Madame Brussels, Joe's Bar St Kilda, Meatball and Wine Bar, and Gin Palace. "I'm really looking forward to being able to showcase these two great Aussie products. It's beautiful stuff. Being able to put these two things together is great. And they just taste bloody awesome," says Reed. What can we expect next from these guys? "That would be telling," says Jeremy, "but it involves guns. And booze." Find Tipsy Tricycles all over Melbourne, on random days and times until March 11. Track them through Twitter and Facebook.
Visiting Europe sadly isn't on Australians' agendas in the near future. Heading to New York to wander through The Metropolitan Museum of Art isn't at the moment either. But, for four months in 2021, a heap of European art masterpieces from The Met will be making the journey to our shores — so you'll be able to feast your eyes on some of the greatest paintings ever committed to canvas at Brisbane's Gallery of Modern Art. From June 12–October 17, 2021, 65 works that almost never leave The Met's galleries will grace GOMA's walls, in what'll be the Brissie venue's biggest ever survey of the history of European art. And if you're wondering why these paintings are so treasured, well, that's because they're by everyone from Monet, van Gogh and Vermeer to Renoir, Rembrandt and Degas. The list of artists featuring in the exhibition, which covers a whopping 500 years of European art and is fittingly called European Masterpieces from The Metropolitan Museum of Art, New York, just keeps going — with Rubens, Poussin, Gauguin, Raphael, Boucher and Velazquez all included as well. Also impressive: the different types of artworks that'll be on display, spanning everything from portraits and still-life pieces to landscape paintings and figure studies. From the full lineup, the earliest work will date back to 1445, courtesy of an altarpiece panel depicting the Crucifixion of Christ by the Florentine artist Fra Angelico. Also among the centuries-old highlights are Titian's Venus and Adonis from the 1550s, Caravaggio's The Musicians from 1597, Rembrandt's Flora from around 1654, and Vermeer's Allegory of the Catholic Faith. And, for works from the 19th-century impressionist and post-impressionist period, the likes of Monet, Renoir and van Gogh have things wrapped up — complete with Monet's 1919 piece Water Lilies. [caption id="attachment_781830" align="alignnone" width="1920"] 'The Flowering Orchard' (1888) by Vincent van Gogh. The Mr and Mrs Henry Ittleson jr Purchase Fund 1956/56.13. Collection: The Metropolitan Museum of Art.[/caption] GOMA's program will also feature hands-on digital and analogue activities to accompany the masterworks, plus — as is always the case with its major exhibitions — a lineup of yet-to-be-announced Up Late events that'll let you check out these art wonders after dark and over a few drinks. European Masterpieces from The Metropolitan Museum of Art, New York is a Brisbane exclusive, too. So, if you're an art lover in New South Wales or Victoria, cross your fingers that Queensland's borders have well and truly reopened to your states by June 2021. European Masterpieces from The Metropolitan Museum of Art, New York will display at Brisbane's Gallery of Modern Art from June 12–October 17, 2021. For more information — or to buy tickets — visit the GOMA website. Top images: Water Lilies (1916-19) by Claude Monet. Gift of Louise Reinhardt Smith 1983/1983.532.; Still Life with Apples and Pears (1891-92) Bequest of Stephen C Clark 1960/61.101.3. Both collection of The Metropolitan Museum of Art.
At some point or another, it's likely you've found yourself sitting in front of a screen as it resolutely remains frozen — perhaps there was even a spinning wheel of death thrown in there for good measure. Life can feel a little same, same sometimes; everything gets a bit beige and starts to feel like your, well, frozen, stuck in your same old same routine. You might be — just like your computer — in need of a refresh. That's where we come in. To help you out, we've teamed up with our friends at Coopers to bring you a list of 'easy wins' — small things that'll make your day better and leave you feeling revitalised. MONDAY: DANCE IT OUT While it's tempting to become a bit of a vegetable after you drag yourself home on a Monday night, getting out and being active can be just what you need to take the edge off your 9-to-5 routine. Don an old leotard, do a couple of stretches and head along to a dance class that'll have you energised, sweaty and raring for your dinner. Try The Space in Melbourne, Dance Central in Sydney or Groove Therapy in Brisbane. TUESDAY: COOK DINNER FOR YOUR LOVED ONES It might have been a while since your mum fed you on the reg — care packages sent home with you after a visit don't count — but don't underestimate how difficult cooking for a family every single night can be. Props to all the mums, dads and others, who manage it week by week — it's certainly not easy, so it might be time to thank yours. Make your loved one sit down, pop on their favourite Joni Mitchell/Pink Floyd album and cook up a storm. Aim for the stars and go for a three-course feast, but even a one-course fish fingers effort might go a little way to saying "thanks for feeding me even when you were tired, sick and/or sick and tired of my teenage angst". It's a good way of getting you back in touch with what's really important in life, parents (and also fish fingers). WEDNESDAY: BUY YOURSELF A BUNCH OF FLOWERS There's a reason that your mood lifts as soon as spring rears its fragrant head — yes, the vitamin D and warmer temperatures have something to do with it, but it's the beautiful blooms that really get you smiling. And, being gifted flowers is one of the greatest things ever — it makes you feel like a spoiled, whimsical nymph — but why wait around for someone to do it for you? Buy yourself a bunch to brighten up your home or freshen up your stale office environment, the air and the feng shui will thank you for it. Plus, your co-workers will assume you've got a super romantic partner and will be extremely jealous. THURSDAY: CREATE A HOME CINEMA Going to the movies can be an expensive outing — once you factor in parking, tickets and, of course, the popcorn and Malteasers combo. Also, you have to contend with crowds, queues and people who ask stupid questions all the way through Iron Man 3. An alternative? Invest in purchasing a home projector (or hire one) and invite a couple of friends around for a private Marvel marathon where you can ogle Mr Hemsworth in the privacy of your own home. If that's a bit too pricey, get the sick set up going, cook some popcorn in the microwave and charge your mates a $5 cover fee — it's still cheaper than what they'd pay at the cinema. Plus, you can all don your favourite comfy trackies and BYO blankets, winning. [caption id="attachment_628248" align="alignnone" width="1800"] Kimberley Low.[/caption] FRIDAY: BUY A COFFEE FOR A STRANGER It's likely nobody has ever done this for you, but how good would it be if the legend standing in front of you comped you your first soy flatty of the day? Pretty good. And for it to happen on a Friday? What a way to kick off the weekend. Start a circle of caffeine giving by sparing $4 to buy whoever is behind you in line their drink of choice. It's more than likely that it'll make their day. Caffeine is the lifeblood of a productive person (them) and being generous for no reason is the lifeblood of someone feeling good about themselves and their lives (you). SATURDAY: BETTER STILL, SHOUT A STRANGER A BEER Yes, this one requires more than a $5 note, but stretch yourself and buy someone a pint. It might end up being closer to the $10 mark, but chances are if you're out buying yourself beers at a pub you can afford to shout one beer. Reclaim the old "buy ya a drink?" trope — prove it's not just the terrain of flush men trying to pick up women at the bar — and make someone's night. SUNDAY: SOAK IN A BUBBLE BATH Baths are your greatest weapon when it comes to making aches and pains disappear. They're also a pretty good way of making your body and brain feel calm and nourished. You can even add to the experience more by picking up one of those bath bombs from Lush, too. The company produces handmade vegetarian products, doesn't test on animals and stays away from plastic packaging, so you can rest assured that you're doing a bit of good while you soak. Hot tip: get one with sparkles to really indulge your over the top inklings and feel like a shiny mermaid or -man. You'll feel on top of the world and ready to conquer the week ahead. Kick off your 'easy wins' by enjoying a Coopers Dry, or two, with your mates. Top image: Katje Ford.
If you’ve been to the Himalayas lately, you’ll know just how big a problem plastic water bottles are. Rubbish left by trekkers ends up in villages, where waste treatment systems are often non-existent. What’s more, about 50 billion plastic bottles are produced globally each year and, in Australia alone, 373 million or so become landfill. So, a bunch of Spain-based design students have invented a water vessel that leaves no waste behind whatsoever — because you can eat it when you’ve finished drinking. Named ‘Ooho’, it’s actually more a sphere than a bottle, and it’s made of brown algae and calcium chloride. While that might not exactly sound like a MasterChef creation, it is digestible. And there’s every chance it’s good for your teeth. The ingredients are cooked to form a double gelatinous membrane that protects the water inside, keeping it hygienic and well-sealed. "Liquid forms drops because the liquid exhibits surface tension," designers Guillaume Couche, Pierre Paslier and Rodrigo Garcia Gonzalez explain. “Bounded completely, or almost completely, by free surfaces. Ooho replicates this behaviour, encircling the water in an edible membrane of algae.” Spheres cost just 2 cents a pop and can be made in various sizes. None of the serious infrastructure involved in PET plastic manufacturing is necessary. In fact, the designers are pretty certain that it won’t be long before everyone will able to cook their own Oohos in their kitchen. The Ooho was one of 12 winners in the 2014 Lexus Design Award. ‘Curiosity’ was the theme, and other awarded inventions included an innovative time-telling device from India, an e-wheel from Vietnam and a den-building kit from the UK. Via Inhabitat.
Transcendence feels like a movie out of time. For one, it seeks to pack far too much into its 119-minute run-time, but — more to point — it feels like a movie that's 14 years too late, and not just because it specifically references Y2K without any irony or reminiscence. Set in the 'could be today, could be tomorrow, but in no way distant' future, it concerns itself with married couple and MIT-supergraduates Will and Evelyn Caster (Johnny Depp and Rebecca Hall). They, along with friends and colleagues Max (Paul Bettany) and Joseph (Morgan Freeman), are amongst the world's leading engineers in the pursuit of a fully functioning, self-aware artificial intelligence. Opposing them is a group of militant luddites operating under the banner of 'Unplug', which again — in the age of wireless — seems markedly dated for such a forward-thinking movie. When these 'Unpluggists' (as they're definitely not called) launch a series of coordinated attacks against AI-focused research centres, Will winds up mortally wounded, albeit in a manner so unnecessary and bewildering that it's a genuine mystery how and why it was ever included in the plot. As his final days draw near, Evelyn decides to upload his consciousness to a mainframe in the hope that he can live on inside the machine. It's at this point that things turn bad for both the characters and the film. The compelling ethical questions raised in the first act largely fall away, dismissed with the apathetic resignation of 'oh well, we went and did it so what does it all matter now?' As Will's intelligence rapidly surpasses that of humanity's — a theoretical moment known in conventional science as 'the singularity' and in the film as 'transendence' — his aspirations and ideas become, just like the movie, too broad, too incorporeal and too numerous. Moments of extraordinary innovation and emotion, such as the bestowing of sight upon a man who'd only ever known blindess, are shown and then dispensed with absent almost any sentimentality or drama. It's not that any of the ideas are necessarily bad, it's just that any one or two of them would have made for an excellent film, whereas all of them combined prove little more than a confusing and threadbare mess. The glue that binds it all together is the delightful Rebecca Hall, whose performance as the dutiful, then grieving, then wilfully blind accomplice to Will's increasing 'transcendent interventionism' instills some much-needed humanity to the film. Her stubborn refusal to acknowledge the possibility of confirmation bias in believing the AI she's interacting with is anything but her dead husband is both moving and unsettling, demonstrating how important objectivity is in any scientific pursuit, let alone one with global implications. The recent, exceptional Her raised many of the same questions relating to artificial sentience, and — to put it plainly — did it much better. Given the rate of technological advancement, there's an undeniable sense of inevitability when it comes to the singularity, and doubtless we'll soon see many more films exploring the possibilities (and dangers) of blurring the lines between man and machine. The issues are genuinely fascinating, though future films would do well to learn lessons from Transcendence and explore just one of them instead of all of them. https://youtube.com/watch?v=QheoYw1BKJ4
You might want to tone down some of the long and critical rants contained on your blog, as a case in Oregon has just see a woman fined $2.5 million for defamatory comments. Crystal Cox runs several blogs, and posted comments in one such blog which criticised the Obsidian Finance Group. The Group responded by commencing litigation against Cox for defamation. Cox represented herself in these proceedings. Cox said she had information from an inside source, whom she refused to name. As a result, it was impossible for her to prove that her comments were true. As she was a blogger and not affliated with any official media outlet, she was not provided the same protection as journalists in Oregon. Therefore, Judge Marco A. Hernandez slapped Cox with a $2.5 million fine. Heavy. Aside from the obvious legal questions in such a case, is this really an appropriate punishment for not being part of a media establishment? Blogs are now becoming pivotal points for topical discussion. News programs are using images and videos captured by ordinary citizens on iPhones as exclusive content to be broadcast on television. Television shows are increasingly conversing with audiences through social media websites. It seems nowadays that these lines between contemporary and traditional media are undergoing a rapid integration. Furthermore, you get the feeling that Cox probably should have hired a lawyer. [via Mashable]
Advanced Style is a fashion documentary with a twist. Based on a blog by the same name, it is a movement away from thin models on catwalks and glossy magazine trends. The documentary focuses on the lives of older New York women who dress with flair and refuse to succumb to expectations of how older women should present themselves. The camera follows these women as they go about their daily lives, explaining how individual style and dressing up makes them feel. These characters were captured by street photographer Ari Seth Cohen, who wanted to gain an insight into the lives of women who he perceived as the caretakers of style. All the women spiritedly challenge established ideas about beauty and ageing in Western culture — one says dressing up is an "an exercise in creativity". Advanced Style is in cinemas on October 2. Thanks to Madman Entertainment we have ten double in-season passes to give away. One major prize winner will also get copies of The September Issue on DVD and the CR Fashion Book Issue 1. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au https://youtube.com/watch?v=ccai-E36BfI
Today's workplace isn't what it used to be. While there are plenty of reasons for this, technology is a big factor as is a shift in what most people consider important in regard to job satisfaction. In order to keep pace with such societal changes, workplaces are constantly adapting the type of skills they look for in new hires. Don't be too concerned though. Open Universities Australia (OUA) and its university partners are well aware of what it takes to succeed. That's why we've teamed up with OUA to outline five of the core skills you need to thrive in every work situation. The best part? There's a fantastic range of relevant courses through university partners across Australia. Regardless of your previous education, you can enrol instantly in a number of uni subjects that will help you upskill quickly and excel in the workforce. LEARN TO NAVIGATE THE CHANGING DIGITAL LANDSCAPE We live in a time of rapid change, particularly when it comes to technology. In the modern workplace, you don't necessarily need to be the one pumping out code or building expertly designed websites, but it is important to have an understanding of how technology intersects with your work. Studying subjects like Digital Culture and Everyday Life with Curtin University through OUA allows you to get acquainted with the basics. You'll learn how the internet became a part of everyday life and its general impact on society and culture. If you're keen to get more in-depth, you can also take a look at more focused subjects such as Writing for Digital Media or Cyber Crime, which both offer very specific skillsets. LEARN TO SET BOUNDARIES AND MANAGE YOUR TIME Knowing how to set boundaries is a crucial skill in every aspect of your life. However, striking the right balance between work and play isn't always a simple task. When the lines blur (as they often can), it's common for anxiety and stress to arise, so knowing how to separate the two is a valuable skill to have. And when your student life is full-time online, meaning your university exists wherever your computer does, you'll quickly learn that those essential clear and concise limits are the only way to properly manage your time. While it may not be fun at the time, it'll definitely stand you in good stead later down the line. LEARN HOW TO LEAD AND MANAGE PEOPLE Leadership skills. We all know we're supposed to have them but how do you actually hone them? The answer is simpler than you think. Just by taking online university courses you'll learn how to keep up with deadlines and work autonomously — skills which many places look for in leaders. Or, if you want to take it a step further, you can study the 14-week Project Leadership and Teams course with the University of South Australia via OUA. You'll learn all about managing teams effectively, critical problem solving and understanding and harnessing different people's strengths and weaknesses. Plus, you'll gain some great interpersonal skills. LEARN TO MAKE AND KEEP A SAFE WORKPLACE ENVIRONMENT It should come as no surprise that workplace safety is critical. After all, everyone wants and deserves to work in a secure and protected environment. But what may come as a shock is that plenty of people don't even know their own workplace rights, let alone what to do if they suspect those rights are being violated. Enrolling in Griffith University's Work Health and Safety through OUA will have you up to speed with the 2011 Work Health and Safety Act in no time. Plus, you'll get a clear understanding of the main types of hazards at work — be it in the office or out in the field. LEARN HOW TO BE APPROPRIATELY CULTURALLY AWARE People from all sorts of cultural backgrounds are represented in the workplace. Aside from the fact that cultural respect and an understanding of one's own privilege should be an inherent part of life anyway, having that sort of awareness and the ability to lead by example can be extremely beneficial in a work setting. From working in teams and avoiding miscommunication to scheduling mishaps during religious holidays, studying something like Curtin University's Human Rights History Across Cultures and Religions via OUA is a great first step to building your knowledge of a diverse range of cultures beyond the western viewpoint. Because everyone deserves to be treated equally both in and outside of the workplace. Start looking at all the subjects on offer online from leading Australian unis through Open Universities Australia and you could have a new skill by the end of the year. Hop to it.
A year goes slowly when you're waiting for one weekend but, at last, Harvest Rock season is almost upon us. We're all in full prep mode for the 2023 iteration of the huge South Australia music festival, and it's looking like it might be one of the biggest yet. The good news doesn't stop coming, after the absolute banger lineup dropped our attendance was all but guaranteed. Luckily, we have an exclusive deal over on Concrete Playground Trips that wraps up a brilliant VIP package under one ribbon of convenience. That package includes nearby accommodation, VIP entry to the festival and loads of goodies (from exclusive dining options to an Archie Rose gift pack) to complete your experience. In case you're not across the deets of this year's festival, it's taking place on the weekend of October 28–29 in Adelaide and offers a real superstar lineup that includes exclusive Australian performances from Jamiroquai and Beck. This is a show curated by Secret Sounds, after all, the maestros behind Splendour in the Grass and Falls Festival. It's not all music though, the festival splits the spotlight onto food too. Everything from fine dining curated by leading APAC chefs to food trucks and live mixology sessions with culinary geniuses from around Australia, like wine expert and personality Nick Stock and Sydney distillery Archie Rose, will be on offer. This year the festival also features The Grape Escape, a dedicated wellness centre designed to help you unwind from the hectic activities outside. Expect hot drinks, tarot readings, massages and more to help you enjoy some well-deserved time to yourself. Harvest Rock will take over Rymill Park/Murlawirrapurka and King Rodney Park/Ityamai-itpina, Adelaide, on Saturday, October 28 and Sunday, October 29. Tickets are on sale now. To secure yours and find more info, visit the website, or visit Concrete Playground Trips to book our exclusive VIP package.
Take a seat. Please, I insist, just so that you can jump out of it and celebrate in true headbanging style at the news that Nine Inch Nails and Queens of the Stone Age are heading Down Under in 2014 for a co-headline tour. Okay, now take a seat again and continue to read on. Two of the biggest acts in alternative rock are set to arrive on our shores in March next year. This is glorious news to Oceania fans who haven't seen Nine Inch Nails since 2009 and Queens of the Stone Age since 2011. Both bands have teased since May about heading this way, when Queens of the Stone Age frontman Josh Homme told triple j's Tom and Alex, "Everybody who knows me knows that Australia is my home away from home. I also think it's time that we come and tell our own stories, so we're gonna skip the round of festivals and see you in your fall." Nine Inch Nails lead Trent Reznor then revealed his band's intentions to head down under when they turned down Soundwave in favour of a "better scenario" for fans. Well, there is no better scenario than seeing them combine with QOTSA for a tour that is sure to go down in legend. Australia: we love you and we're coming. Didn't feel Soundwave was the right vibe for us or our fans - working on a better scenario.— Trent Reznor (@trent_reznor) August 23, 2013 The tour comes on the back of Nine Inch Nails' and QOTSA's recent respective releases, the much-heralded Hesitation Marks and ...Like Clockwork, and they will be joined on stage by Australian-born Brody Dalle, Mrs Josh Homme, of The Distillers and Spinnerette fame. Which one of the two bands will play first each night? That will be left to a flip of the coin. Seriously. The full list of tour dates and venues are below. Tickets start from $105 and will be available through a Frontier Members pre-sale from noon on Tuesday, October 22, and available to the general public from 9am on Thursday, November 24. Nine Inch Nails Queens Of The Stone Age Co-Headline Tour Dates Thursday March 6, 2014 Sydney Entertainment Centre, Sydney – All Ages Saturday March 8, 2014 Newcastle Entertainment Centre, Newcastle – All Ages Tuesday March 11, 2014 Perth Arena, Perth – All Ages Thursday March 13, 2014 Adelaide Entertainment Centre Arena, Adelaide – All Ages Friday March 14, 2014 Rod Laver Arena, Melbourne – All Ages Monday March 17, 2014 Brisbane Entertainment Centre, Brisbane – All Ages Wednesday March 19, 2014 Vector Arena, Auckland - All Ages Saturday March 22, 2014 CBS Canterbury Arena, Christchurch - All Ages
For most of the year, Pelican Lawn is not a culinary destination. Generally the offering consists of a few stale crusts and maybe some chips in the bottom a crumpled packet. That is, except for the one weekend when it transforms into Melbourne's foodie Mecca. For four days — November 14-17 — the city's best restaurants will converge on Albert Park for Taste of Melbourne. Back for its sixth year, the food festival brings all the best produce, food and wine together in one place, as well as the most coveted signature dishes from the Melbourne's best restaurants. Amongst others, returning to the lawn for 2013 will be stalwarts Movida, Albert St Food & Wine and Burch & Purchese, along with some of this years most successful newcomers: Saint Crispin, Tonka, B'Stilla and Bomba. And, as well as whetting your appetite, you can also wet your tongue with the wine tasting, beer chasing or cocktail making events on offer. With so much on the collective menu, we've put together five foolproof tips to ensure you get every bite, sip and delight out of Taste of Melbourne. The epitome of Melbourne's dining scene awaits. Be prepared to mix cuisines It's called Taste of Melbourne for a reason, so don't fill up on your first stop. Quite uniquely, it's the only time Melbourne's best culinary creations will be within walking distance from each other, so make the most of those pins and sample the best dishes from each restaurant. Halve a Huxtaburger, down a Mamasita taco and then head over to Bomba for a selection of Spanish tapas. Plus, you can head to Saint Crispin without the two-month advance booking. Save room for dessert In all the excitement you could be excused for being full to the brim by the time main course if over, but the truth is that a real dessert person always has room for dessert. Make a stop at Albert St Food & Wine for one of Philippa Sibley's lemon tarts and — we're warning you — it will be near impossible to walk past the Burch & Purchese Sweet Studio. And there will also be lots of sweet things to take home, with goodies from Cocofrio, Peninsula Fudge and Mörk Chocolate for sale. Come ready to learn While Taste of Melbourne offers you much to keep you gastronomically satiated, it also gives you the chance to work on your hospitality skills. Learn how to create and mix classic cocktails at Sensology's 'The Art of Cocktail Making' class or get a few tips on sustainable cooking from Rebecca Sullivan of Dirty Girl Kitchen. You'll also get a chance to see demonstrations from Melbourne's best chefs in the Taste Kitchen, where you can learn how a Huxtaburger is spawned and see Movida's Frank Camorra in tapas mode. Stock up on groceries Along with the immediate sensory delights available at every turn, the festival will also have over 100 exhibitors on the ground — meaning you can do your grocery shopping for the week as well. Without a Coles home brand in sight, the best of local and regional produce will be calling your name, with everything from olive oil to specialty coffee and ice popsicles available for purchase. A festival highlight will be the Tasmanian Pavilion, which will showcase all the best produce from our friends in the south, such as Flinders Island Meat, Tasmanian Bakeries gourmet pies and Bruny Island Cheese. Drink up Last but not least (and definitely not to be taken as an afterthought), drink up. Despite the warnings your mum gave you, you are hereby given permission to mix your drinks as you flit between tasting local and imported beers in the Beer Hall, sampling the flavours at the Rekorderlig Cider Bar and upping your wine 'knowledge' at the Plumm Wine Theatre. As well as the bar, a number of wineries will be exhibiting their goods — be sure to take home a few bottles from Yering Station or Oyster Bay for later. Taste of Melbourne will run from Thursday, November 14, to Sunday, November 17, 2013. Tickets start from $25 and are on sale now from Ticketek. Take advantage of the special ticket offer and book two general entry tickets for $40. Just enter the word FLAVOUR into the promotional code box when booking. This offer is valid on advance purchase tickets only and applies to general entry tickets. Crowns (the official Taste currency) can be pre-purchased in denominations of 30 or 50 Crowns through Ticketek.
Sweet or savoury? For Lune Croissanterie customers, that's a regular question. In August, when the world-famous pastry haven serves up its last round of monthly specials, it remains a pressing query. Do you want to tuck into a lolly bag-inspired cruffin or a béchamel-filled lasagne pastry, for instance? Yes, you can go for both — and also coconut pandan croissants, hazelnut puddings and 'turtle' twice-baked pains au chocolat. That's how Lune is seeing out winter 2024, and you've got 31 days to tuck in. If the croissant-muffin hybrids are tempting your tastebuds, they're party pop cruffins, featuring fruit gel, whipped white chocolate custard and apple raspberry pâte de fruits inside — and a raspberry glaze and feuilletine on top, then popping candy. As for the lasagne escargots, this returning Frankenstein's monster of a bakery creation comes stuffed with bolognese and béchamel. There's also shredded mozzarella cheese, because of course there is. And, that pastry is then topped with parmesan before it goes in the oven. The twice-baked coconut pandan croissants feature coconut frangipane and pandan ganache inside, then more coconut frangipane on top with icing sugar and toasted coconut. Grab a hazelnut pudding and you'll taste frangelico caramel, crushed hazelnuts and hazelnut financier, then caramel, praline cream and hazelnuts to garnish. And the pains au chocolat also go nutty, courtesy of roasted pecans within and candied pecans on top — to pair with the pastry's chocolate frangipane, salted caramel, chocolate powder, fudge sauce and salted caramel sauce. Different options are available at different stores — with the lasagne escargot and the pains au chocolat on offer at all Lune spots in Melbourne (Fitzroy, the CBD and Armadale) and Brisbane (South Brisbane and Burnett Lane). You can't get the party pop cruffins, coconut pandan croissants or hazelnut puddings at the Melbourne CBD store, however, and you can't preorder online from there, either. Lune's August specials are available from Thursday, August 1–Saturday, August 31, 2024. Different items available from different stores, with Lune operating at Fitzroy, the CBD and Armadale in Melbourne, and South Brisbane and Burnett Lane in Brisbane — and from everywhere except the Melbourne CBD, you can also order them online. Images: Peter Dillon.
A fixture in the historic mining town for over a century, the Broken Hill Musicians Club will play host to Adelaide's finest tribute act for one night only. The Flaming Sambucas have been playing around Australia — and the world — since 1991 and have a range of setlists up their sleeves, from Elton John to Lady Gaga. For this show, they'll be busting out the hits you know and love from everybody's favourite Swedish supergroup. There'll be 'Dancing Queen', there'll be wigs, there'll be costumes and — consider yourself forewarned — there will certainly be audience participation. Expect this slice of NSW outback to transform into a riot of sing-alongs and glittering disco balls. Best of all, the gig's free — you've just go to get there. For the latest info on NSW border restrictions, head here. If travelling from Queensland or Victoria, check out Queensland Health and DHHS websites, respectively.
There's something oh-so-relaxing about staring at the sea, even if you're feasting your eyes on the water via the big screen. That's the concept behind the Ocean Film Festival Australia. You can't always spend all your time at the beach, by the river or in a pool — but you can spend an evening peering at the next best thing in a cinema. On select dates in March, the festival will unleash a cinematic feast of water-focused wonders onto the silver screen at various venues around Melbourne. Head to the Astor Theatre at 7.15pm on Wednesday, March 10 and Thursday, March 11, and to Crown Melbourne at 6.30pm and 6.45pm on Wednesday, March 17. Film-wise, viewers will spend time both above and below the ocean's surface thanks to a compilation of shorts from around the world. Expect to chase big waves, explore a range of sea life and get a hefty ocean rush, plus a heap of other sea adventures. The program is united by a love of the ocean, an appreciation of the creatures who dwell in its waters and a curiosity to explore the substance that comprises more than two-thirds of the earth. It's the next best thing to diving in, all without getting wet. https://www.youtube.com/watch?v=Wo-qXf5sXAw&feature=emb_logo Image: Travis Burke.
Shortstop is celebrating its birthday in the best possible way: by giving away a boatload of free doughnuts. Saturday, September 8 marks four tasty years since the coffee and doughnut specialists started slinging rings of dough and cups of joe from its Sutherland Street store. And to mark the anniversary, the bakers will whip up a special limited-edition birthday cake doughnut (topped with sprinkles, naturally), which they'll be giving away free with every transaction. There will only be 1000 available, though, so best get there in the morning — because once they're gone, you won't see them again until birthday number five.
The gin-making superstars at Four Pillars are at it again, unveiling their latest range of tipples — including the return of a couple of old favourites, and the fresh arrival of a newcomer. While the brand has been barrel-aging gins for some time, the release of its yearly batch is always eagerly anticipated. 2021's lineup is its first in two years, too, with the much-lauded Yarra Valley distillery's barrel-aged tipples taking a year off in 2020. Making a return is Four Pillars' Sherry Cask Gin, which — as the name suggests — is made in former sherry barrels to lend a rich, intense character to the final drop. It's rounded out with notes of pine needles, dried fruits and nuts, and infused with a small amount of Amontillado sherry to give some length and sweetness. According to the experts who made it, this one works well neat with just a single ice cube. And, price-wise, it'll set you back $80 for a bottle. Also launching is the 2021 edition of Four Pillars' Chardonnay Barrel Gin, which is now up to its ninth release. This time around, the spirit's enjoyed a full 12 months in chardonnay barrels, giving characters of ginger, lemon, vanilla and cinnamon. You'll also taste an oak-driven sweetness, and this one also costs $80 a bottle. And, the latest addition to the barrel-aged program is the Single Barrel Release, which marks the first tipple in Four Pillars' new Single Barrel series. It's particularly limited, so much so that the $150-per-bottle drop has already sold out online. If you were lucky enough to nab some, the gin in question has been aged for three and a half years in a 30-year-old sherry and apera cask, and boasts a concentrated juniper flavour, plus notes of dried fruits, cashew, chocolate and spice. The Sherry Cask Gin and Chardonnay Barrel Gin are still available online, and at Four Pillars' gin shops in Surry Hills and Healesville. For more information about Four Pillars' 2021 barrel-aged range, head to the distillery's website.
By now, we thought we'd seen it all by way of food pop-ups. In the last year alone, Melbourne has hosted a pop-up whisky bar in a jail, a floating pop-up bar on the Yarra and a pop-up entirely dedicated to lobster rolls. But nope, there’s still something we haven’t seen before, and that's an immersive, post-apocalyptic themed food and drink pop-up. The Richmond Yard will see a humble Cremorne carpark transformed each Saturday into a creative installation that explores a post-apocalyptic world — presumably one that ensues after Melbourne implodes from one too many food pop-ups. The zany idea comes from creative production team The Seven, who were behind epic Melbourne Music Week venues Where?House and Kubik. The post-apocalyptic theme will be played out with multiple installations in The Garden, and a mock-trailer park in the Residential zone. Here they'll have eight trailers stationed for public use — you'll be able to book them out for two hours so you can sit back with some food, booze and your mates and avoid the hustle for seating space. The outdoor dining area, The Commons, is where everyone else will be hanging out though. Each week, five food vendors will join the party; Easey's, Mamasita and Burn City Smokers have already been locked in, with more to be announced. The bar, which will operate out of a vintage Airstream-style trailer, will stock the likes of Handpicked Wines, Flying Brick cider, Quiet Deeds beer, and a selection of summer cocktails. Things kick off at 4pm and will kick on until midnight, with DJs playing throughout the night. The Richmond Yard is also super sustainable (hurrah!), making use of renewable energy, food composting, an onsite vineyard display and no disposable food service wares. The pop-up is the first in a series of activations from the creative team, so expect to see more things like this in the future. A post-post-apocalyptic food installation, anyone? The Richmond Yard launches this weekend, and will pop up every Saturday from 4pm - midnight until February 20, 2016. It is located in the carpark at 55-67 Cremorne Street, Cremorne. To be the first to check it out on opening night, you can book a free preview ticket here. Image: Steve Walser, Flickr CC.
A weekend getaway is always sweeter when it's a prize. This one should particularly appeal to lovers of both bourbon and honeybees. We've teamed up with the champions over at Maker's Mark and Beechworth Honey to create an exclusive Beechworth getaway. It's all in celebration of Maker's Mark's new Gold Rush cocktail: a symphony of Australian honey, fresh citrus and the bold flavours of bourbon. At first glance, one might think that there's not much in common between an American bourbon brand and an Australian beekeeping family. Scratch under the surface and you'll find they aren't so different. Two multi-generational family-run businesses with links to gold on both sides of the planet, both work with a natural product, champion craftsmanship and have a shared commitment to sustainable practices. Lucky winners of the competition will receive a two-night stay at the historic Hive Apartment located in the heart of Beechworth — the ideal hub for discovering the town's unique dining, retail and historical streetscape. The building that houses the apartment was originally built in 1865, making it one of the oldest bank buildings in Victoria. It once operated as the 'Gold Office' and stored bars of gold for the bank. Now it is a homage to a liquid gold: honey. Not only will winners stay at the Hive, but they will also take part in a unique one-on-one honey-tasting experience at the Beechworth Honey Shop where they will learn all about honey and the importance of honeybees from the staff. Plus, they will be greeted with a bespoke Gold Rush gift basket with all the ingredients they need to make the cocktail yourself: a bottle of Maker's Mark bourbon, a jar of Beechworth Honey, and a cocktail shaker. You don't even need to worry about travel costs — the prize includes travel (either flights or car hire) up to the value of $1000). [competition]898062[/competition]
There's a certain NSW coastal town that's caught the attention of travel-deprived Aussies this spring. Maybe it's the primo surf beaches and plethora of restaurants and bars. Maybe it's the fact that both NSW and Queensland residents can currently visit without quarantining. Or maybe it's the Zac Efron sightings. Whatever the reason, Byron Bay is, more than even, the place to be. You can join the fun and visit the celebrated beachside spot for zero dollars. Yep, fashion retailer Surf Stitch and Aussie seltzer brand Delvi are giving away a luxury holiday to Byron Bay. And to enter, you just need to sling 'em your deets over here. No 25-words-or-less-answers, just your name and contact info. Pretty darn easy. If you're chosen, you'll get two return flights from anywhere in Australia, two nights of luxury accommodation, a fridge full of Delvi seltzer — because, it's set to be the summer of seltzers, after all — two $1000 Surf Stitch vouchers and an ultimate beach pack for two. A runner up prize of a 'summer worth of seltzers' will also be given out. Nothing to sniff at. Don't win and still want to visit? We've rounded up 20 of our favourite Byron Bay getaways for couples and groups. Enter the Surf Stitch x Delvi competition to win a free trip to Byron Bay here. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Czech designer Kristyna Pojerova's latest creation ticks all the boxes - it's convenient, portable, aesthetically appealing, and it's green, too. Harmoniously combining simplicity with beauty, practicality with ethicality, her portable glasshouse is the dream of any inner-city or spatially-challenged dweller with a green thumb, finely tuned tastebuds and no backyard. It is a glass structure with four small holes for air as well as a large hole in the middle for easy access that is mounted onto a lightbulb and uses the excess heat to create a fertile and natural microclimate within it for growing herbs. Not only is it practical and eco-friendly, but it lends a homely atmosphere to your kitchen - a modern version of flowers-in-a-jam-jar-on-the-window-sill, if you will. Going to a dinner party and panicking about what to take? Why not take your portable herb garden. It's a culinary novelty and a segue into discussions regarding Eastern European design and innovation all in one. Do you often worry that your kitchen does not exude an ethos? These hanging herbs will add an element of environmental consciousness in a creative and thoughtful manner. Enraged about the recent passing of the Carbon Tax? Ensure that your electricity bills at least contribute towards your garden as well as your cravings for coriander. Utility aside, the glasshouse reminds me of designs such as these Icelandic moss rings and similar micro gardening products, which are quite beautiful, albeit ironic, in the way they try to bring us back to nature by bringing an instrumentalised microcosm of nature to us. This glasshouse has the same aroma of sweetness and nostalgia as does making your own strawberry jam from scratch, or knitting a scarf for winter. And while Pojerova states "all this is basically about making use of the otherwise useless waste heat of the (light) bulb", for all its practically and ecological benefits, this grandma element seems to me to be its true allure.
January 2014 will see Sarah Blasko embark on a short but surely sweet Heavenly Sounds tour, with the singer-songwriter choosing a restrained program of just four shows in four churches across Sydney, Brisbane, Melbourne and Adelaide. The tour will be the final round of performances celebrating her ARIA-nominated fourth studio album, I Awake. Loyal fans might have already witnessed the ideal pairing of the singer's ethereal tones and cathedral acoustics back in 2011, when her collaborative side project Seeker Lover Keeper (with Sally Seltmann and Holly Throsby) launched Heavenly Sounds. Now’s your chance to settle back amongst the stained glass and enjoy a night of pure Blasko. "These will be my last shows for I Awake, and really, what better place is there to sing (apart from the shower of course) than a beautiful church?" says Blasko. "I'll be playing songs from all four albums and it's likely to be the most intimate show of mine you'll see for some time." Tour dates: SYDNEY: Wednesday 15 January, St Stephen’s Uniting Church, 197 Macquarie Street BRISBANE: Thursday 16 January, St John’s Cathedral, 373 Ann Street MELBOURNE: Wednesday 22 January, St Michael’s Uniting Church, 120 Collins Street ADELAIDE: Friday 24 January, Flinders St Baptist Church, 65 Flinders Street Tickets are $62.50 plus transaction fees and go on sale at www.ticketek.com.au at noon on Monday, 25 November. Or you can sign up for the Wednesday, 20 November, pre-sale by joining the mailing list at www.heavenlysounds.com
Once again, Smith Street's Po' Boy Quarter champions the finger lickin' fare of Louisiana. This time, however, they'll be shining a light on absinthe, delving into the role this notorious spirit has played in the southern state over the last 200 years. You can expect a degustation dinner that's every bit as enlightening as it is delish, featuring Cajun and Creole cuisine, Louisiana craft beers and absinthe in all number of incarnations. The $62 ticket includes drinks, so snap one up now by phoning (03) 9419 2130.
When you're a fan of a particular band, there are plenty of ways to show your love. Listening to their tunes, seeing them live, buying and wearing their merchandise: they're all old favourites. If you're keen on Dune Rats, you can also add drinking Dunies Lager to your list. The Brisbane musos are fond of a collaboration — already this year, they teamed up with Volley on their own line of kicks — and now they're bringing back their boozy team-up with Young Henrys. It all started back in 2017, when the brewery and the band initially joined forces on a range of cold ones. The beer in question actually arose from a pub bet about whether the group's second album, The Kids Will Know It's Bullshit, could top the ARIA charts. "We hung out with our mates Young Henrys one arvo, and it came up that we were gunning for number one when our new album dropped," the band said at the time. "The fellas said 'if you get the top spot, we'll brew you your own beer'." Now, Dune Rats are about to release their fourth album, Real Rare Whale, on Friday, July 29 — and make the rounds of the country's stages, taking their new tracks on tour. That's clearly as good a time as any to bring back Dunies Lager, with Young Henrys now selling the brew via its website, and also pouring it at the band's upcoming gigs. That means that you'll be able to knock back a few in Melbourne, Sydney, Brisbane and Adelaide between Friday, July 29–Thursday, August 4 — or whenever you like if you nab a case online. For the brew's return outing, it's still a limited-edition tipple. It's around for a good time, not a long time, basically. Dunies Lager still sports a Dune Rats-yellow design by artist Lee McConnell, of course. And as for the brew itself, it's described as a "slightly hazy, year-round smasher" that "gives a feisty first impression" but mellows "into an easy going friend that drinks for days". "After the first batch of Dunies Lager finished, there was a gaping hole left in our stomachs. We weren't sure what happened but something was missing... until now. We are so fucking stoked to announce the return of Dunies Lager," the band said. DUNE RATS 2022 AUSTRALIAN TOUR: Friday, July 29 — Soundmerch, Melbourne Saturday, July 30 — White Horse Hotel, Sydney Sunday, July 31 — Coorparoo Bowls, Brisbane Thursday, August 4 — Lions Art Factory, Adelaide Dunies Lager is available to buy at Dune Rats' 2022 gigs, and via the Young Henrys website.
Instead of shooting tequila and fighting back the tears while biting on a lemon, you might be better off using it as an alternative fuel. Originally seen as a potential saviour, crop-based biofuels are now criticised for competing for arable land, driving up grain prices and being grown in conditions that damage the environment. Agave, the plant used to make tequila, might just provide a solution. Since it grows in arid conditions, it doesn't compete for arable land and water supplies, and can adapt to future changes in the climate. Research into the energy and greenhouse cost of producing agave-derived bioethanol shows that it would be preferable to current biofuel crops, and one Australian company Ausagave is already giving it a try. So, the next time someone tries to force a tequila shot on you, you can refuse on the grounds that you'll need it for the drive home. Just don't put the salt or lemon in the tank... [via PSFK]
Think of live music and you invariably think of one of our rich and diverse capital cities — but there's plenty going on beyond the big metropolises. From renowned multi-day festivals to the regional town that turns itself over to celebrate an enduring cultural icon once a year, there's something to tempt every music lover away from the city this autumn. Ready to reconnect with your love of music, dance under the stars in the outback and experience those heart-swelling, foot-stomping, feel-good moments that live tunes provide so well? We've teamed up with Destination NSW to pick a half-dozen events that'll satisfy your cravings for a live gig and a road trip in one go.
This Is Not Art is Newcastle's premier independent arts and media festival, where the emphasis is on collaboration and experimentation. It is a testing ground for new ideas, an opportunity to mingle with industry professionals and fellow artists in order to re-invigorate your artistic passion and develop new skills. An umbrella sheltering a number of festivals, this year TINA is home to the Crack Theatre Festival, National Young Writers' Festival, Critical Animals and Electrofringe. Between, the festivals boast workshops, performances, round table discussions, interactive events and a sleepover. A forum for showcasing, networking and inventing, TINA is a festival targeted at launching a generation of aspiring artists and fostering the creativity of local communities. Capping off a weekend of bold and dynamic events, don't miss the epic closing party hosted by Electrofringe and featuring a swag of emerging electro artists from Melbourne, Sydney and Newcastle spinning danceable tunes and experimental beats.
Where some of director Alkinos Tsilimidos’s previous works for the Melbourne Theatre Company have been highlights of the company’s seasons — shows like Red and The Mountaintop — Glengarry Glen Ross is flat and unaffecting. By the time the cast leaves the stage before their second curtain call, any world they’ve created is long gone from our minds and hearts. It’s difficult to point to what precisely makes this production such a depressing experience; the feeling is pervasive, running through the listless ensemble, the fact that it was programmed in the first place, and even David Mamet’s acclaimed 1984 script itself. Much is made of Mamet’s burst-fire dialogue and invective — but what is it actually doing? The play’s Chicago real-estate salesmen, backed up against a wall by their company’s relentless demand for sales, descend into conniving manipulation and vicious diatribe. But what this production highlights is that for all Mamet’s facility with language, it is also, at its most basic level, just one man swearing at another. It’s testament to Greg Stone’s abilities as one of the country’s most consistently fine stage actors that he at least can wring many satisfying moments out of the text as Moss. That said, Stone’s prowess is only made starker by contrast with the rest of the ensemble, with the exception of Alex Dimitriades, who makes the role of Roma his own, unencumbered by Pacino’s definitive performance in the film. The language of playwrights with far more draconian notation allows their work to endure today (think of Beckett, with his commands for every shake, breath and turn of the head in Happy Days). Here, indulging Mamet’s fastidious attention to punctuation and rhythm has the effect of locking this production firmly in its mid-'80s context, but perversely without allowing a 2014 Melbourne audience a way into this world. It’s been 30 years since the MTC presented their first production of the play. There’s nothing intrinsically bad about choosing to program what is essentially a period piece, but there is in a production that offers nothing more. There is so much that only live performance can do. Theatre interacts simultaneously with both the minds and hearts of an audience; it makes our world bigger, more full, because it lets us strain our lives past what we know. But watching this show was an hour and a half of the world just getting smaller.
As soon as last year's Indonesian action thriller The Raid: Redemption hit cinemas, you knew Hollywood would be scrambling to develop a remake. By contrast, when 1995's Judge Dredd hit cinemas, you simply couldn't imagine a time when anyone would ever deem it worthy of a second chance. Tinsel Town's hard to read that way. Some might call the phenomenon 'predictable unpredictability', but an easier term would just be 'Dredd 3D' — where novel idea meets stale disaster in a surprisingly successful union. The film's central character, Dredd (Karl Urban), hails from John Wagner's dark and dystopic graphic novel in which the police have become judge, jury, and executioner all in one. Dredd and his fellow ‘judges’ are the sole symbols of authority in a gritty metropolis beset by gangs and drug syndicates, coldly enforcing the law and upholding ‘justice’ with near-fascist ruthlessness. When he and his rookie partner (Olivia Thirlby) find themselves trapped in a high-rise apartment block controlled by drug czar 'Ma-Ma' (Lena Headey), their only option is to wage war on the gang, one floor at a time, until help can break through. Helloooooooooo Raid: Redemption. Plot, however, is not their only similarity; the bloodshed in Dredd 3D is both frequent and highly graphic, often delivered with such rich slow motion it plays like the most violent Schweppes commercial ever made. Coupled with the 3D, Dredd serves up a relentless visual feast of shiny gold bullets that tear through enemies' flesh and send specks of blood and bone gently tumbling towards your eyes like James Cameron butterflies from Avatar. It’s also probably the highest body count for a movie not featuring an atomic bomb, at least since Commando, yet it’s precisely that stylised and completely-over-the-top violence that elevates Dredd 3D above the run-of-the-mill. Action movies are rarely about plot or dialogue, so it’s in the manner and aesthetic of the carnage where they can best define themselves, and in that respect, Dredd 3D delivers. It's certainly not for the squeamish, but the stunning visuals, inventive action, and warped sense of humour make this one of the better heart-pumpers of 2012.
Ghostface Killah constantly features as an 'honourable mention' in countless publications' lists of the greatest rappers of all time — perhaps perceived as almost too smart a lyricist for his own good to attain too many top billings in his own right. Just as RZA’s overall production vision for the legendary Wu-Tang Clan has been the sonic foundation to the diverse crew’s raw power, Ghostface has been credited with holding the at-times fractious group together over twenty years at the cutting edge of the game. The 44-year-old New Yorker is the kind of rapper who's more at home sampling You Roam When You Don’t Get It At Home (from his acclaimed solo record Supreme Clientele) than repeating the mantra "Everyday I'm hustlin'". More recently he's embraced rap's intertwined foundations in classic soul even more fully, collaborating with Black Dynamite composer Adrian Younge and the Delfonics on Twelve Reasons to Die (soon to get a sequel) for a time capsule-like recreation of live 1970s instrumentation that spawned a series of unlikely singles, capped by 'Murder Spree'. Fresh off the back of a headlining slot at Meredith — where he invited Australian paralympian Dylan Alcott onstage for 'Protect Ya Neck' — Ghostface is playing an unmissable sideshow at St Kilda's Esplanade Hotel.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue in April. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW DEAD RINGERS Twin gynaecologists at the top of their game. Blood-red costuming and bodily fluids. The kind of perturbing mood that seeing flesh as a source of horror does and must bring. A stunning eye for stylish yet unsettling imagery. Utterly impeccable lead casting. When 1988's Dead Ringers hit cinemas, it was with this exact combination, all in the hands of David Cronenberg following Shivers, The Brood, Scanners, Videodrome and The Fly. He took inspiration from real-life siblings Stewart and Cyril Marcus, whose existence was fictionalised in 1977 novel Twins by Bari Wood and Jack Geasland, and turned it into something spectacularly haunting. Attempting to stitch together those parts again, this time without the Crimes of the Future filmmaker at the helm — and as a miniseries, too — on paper seems as wild a feat as some of modern medicine's biggest advancements. This time starring a phenomenal Rachel Weisz as both Beverly and Elliot Mantle, and birthed by Lady Macbeth and The Wonder screenwriter Alice Birch, Dead Ringers 2.0 is indeed an achievement. It's also another masterpiece. Playing the gender-swapped roles that Jeremy Irons (House of Gucci) inhabited so commandingly 35 years back, Weisz (Black Widow) is quiet, calm, dutiful, sensible and yearning as Beverly, then volatile, outspoken, blunt, reckless and rebellious as Elliot. Her performance as each is that distinct — that fleshed-out as well — that it leaves viewers thinking they're seeing double. Of course, technical trickery is also behind the duplicate portrayals, with directors Sean Durkin (The Nest), Karena Evans (Snowfall), Lauren Wolkstein (The Strange Ones) and Karyn Kusama's (Destroyer) behind the show's lens; however, Weisz is devastatingly convincing. Beverly is also the patient-facing doctor of the two, helping usher women into motherhood, while Elliot prefers tinkering in a state-of-the-art lab trying to push the boundaries of fertility. Still, the pair are forever together or, with unwitting patients and dates alike, swapping places and pretending to be each other. Most folks in their company don't know what hit them, which includes actor Genevieve (Britne Oldford, The Umbrella Academy), who segues from a patient to Beverly's girlfriend — and big-pharma billionaire Rebecca (Jennifer Ehle, She Said), who Dead Ringers' weird sisters court to fund their dream birthing centre. Dead Ringers streams via Prime Video. Read our full review. AUNTY DONNA'S COFFEE CAFE If comedy is all about timing, then Aunty Donna have it — not just onstage. In 2020, Aunty Donna's Big Ol' House of Fun was the hysterical sketch-comedy series that the world needed, with the six-episode show satirising sharehouse living dropping at the ideal moment. While the Australian jokesters' Netflix hit wasn't just hilarious because it arrived when everyone had been spending more time than anyone dreamed at home thanks to the early days of the pandemic, the ridiculousness it found in domesticity was as inspired as it was sidesplittingly absurd. Three years later, heading out is well and truly back, as are Aunty Donna on-screen. Their target in Aunty Donna's Coffee Cafe: cafe culture, with Mark Samual Bonanno, Broden Kelly and Zachary Ruane returning to make fun of one of the simplest reasons to go out that there is. Grabbing a cuppa is such an ordinary and everyday task, so much so that it was taken for granted until it was no longer an easy part of our routines. Unsurprisingly, now that caffeine fixes are back and brewing, Aunty Donna finds much to parody. With fellow group members Sam Lingham (a co-writer here), Max Miller (the show's director) and Tom Zahariou (its composer), Aunty Donna's well-known trio of faces set their new six-parter in the most obvious place they can: a Melbourne cafe called 'Morning Brown'. The track itself doesn't get a spin, however, with the show's central piece of naming is its most expected move. As demonstrated in episodes that turn the cafe into a courtroom, ponder whether Broden might still be a child and riff on Australian Prime Minister Harold Holt's 1967 disappearance, nothing else about Aunty Donna's Coffee Cafe earns that description. Pinballing in any and every direction possible has always been one of the Aussie comedy troupe's biggest talents, with their latest series deeply steeped — riotously, eclectically and entertainingly, too — in that approach. Think: Richard Roxburgh (Elvis) playing Rake, even though that's not his Rake character's name; Looking for Alibrandi's Pia Miranda making tomato day jokes;. stanning Gardening Australia and skewering unreliable streaming services, complete with jokes at ABC iView's expense; and relentlessly giggling at the hospitality industry again and again. Aunty Donna's Coffee Cafe streams via ABC iView. Read our full review. RYE LANE When Dom (David Jonsson, Industry) and Yas (Vivian Oparah, Then You Run) are asked how they met, they tell a tale about a karaoke performance getting an entire bar cheering. Gia (Karene Peter, Emmerdale Farm), Dom's ex, is both shocked and envious, even though she cheated on him with his primary-school best friend Eric (Benjamin Sarpong-Broni, The Secret). It's the kind of story a movie couple would love to spin — the type that tends to only happen in the movies, too. But even for Rye Lane's fictional characters, it's a piece of pure imagination. Instead, the pair meet in South London, in the toilet at an art show. He's crying in a stall, they chat awkwardly through the gender-neutral space's wall, then get introduced properly outside. It's clumsy, but they keep the conversation going even when they leave the exhibition, then find themselves doing the good ol' fashioned rom-com walk and talk, then slide in for that dinner rendezvous with the flabbergasted Gia. It's easy to think of on-screen romances gone by during British filmmaker Raine Allen-Miller's feature debut — working with a script from Bloods duo Nathan Bryon and Tom Melia — which this charming Sundance-premiering flick overtly wants viewers to. There's a helluva sight gag about Love Actually, as well as a cameo to match, and the whole meandering-and-nattering setup helped make Before Sunrise, Before Sunset and Before Midnight an iconic trilogy. That said, as Rye Lane spends time with shy accountant Dom, who has barely left his parents' house since the breakup, and the outgoing costume designer Yas, who has her own recent relationship troubles casting a shadow, it isn't propelled by nods and winks. Rather, it's smart and savvy in a Starstruck way about paying tribute to what's come before while wandering down its own path. The lead casting is dynamic, with Jonsson and Oparah making a duo that audiences could spend hours with, and Allen-Miller's eye as a director is playful, lively, loving and probing. Rom-coms are always about watching people fall for each other, but this one plunges viewers into its swooning couple's mindset with every visual and sensory touch it can. Rye Lane streams via Disney+. BEEF As plenty does (see also: Rye Lane above), Beef starts with two strangers meeting, but there's absolutely nothing cute about it. Sparks don't fly and hearts don't flutter; instead, this pair grinds each other's gears. In a case of deep and passionate hate at first sight, Danny Cho (Steven Yeun, Nope) and Amy Lau (Ali Wong, Paper Girls) give their respective vehicles' gearboxes a workout, in fact, after he begins to pull out of a hardware store carpark, she honks behind him, and lewd hand signals and terse words are exchanged. Food is thrown, streets are angrily raced down, gardens are ruined, accidents are barely avoided, and the name of Vin Diesel's famous car franchise springs to mind, aptly describing how bitterly these two strangers feel about each other — and how quickly. Created by Lee Sung Jin, who has It's Always Sunny in Philadelphia, Dave and Silicon Valley on his resume before this ten-part Netflix and A24 collaboration, Beef also commences with a simple, indisputable and deeply relatable fact. Whether you're a struggling contractor hardly making ends meet, as he is, or a store-owning entrepreneur trying to secure a big deal, as she is — or, if you're both, neither or anywhere in-between — pettiness reigning supreme is basic human nature. Danny could've just let Amy beep as much as she liked, then waved, apologised and driven away. Amy could've been more courteous about sounding her horn, and afterwards. But each feels immediately slighted by the other, isn't willing to stand for such an indignity and becomes consumed by their trivial spat. Neither takes the high road, not once — and if you've ever gotten irrationally irate about a minor incident, this new standout understands. Episode by episode, it sees that annoyance fester and exasperation grow, too. Beef spends its run with two people who can't let go of their instant rage, keep trying to get the other back, get even more incensed in response, and just add more fuel to the fire again and again until their whole existence is a blaze of revenge. If you've ever taken a small thing and blown it wildly out of proportion, Beef is also on the same wavelength. And if any of the above has ever made you question your entire life — or just the daily grind of endeavouring to get by, having everything go wrong, feeling unappreciated and constantly working — Beef might just feel like it was made for you. Beef streams via Netflix. Read our full review. TOTALLY COMPLETELY FINE In Thomasin McKenzie's breakout role in 2018's deeply thoughtful and moving Leave No Trace, she played a teen being the responsible one while living off the grid with her PTSD-afflicted father. She turned in a magnificent performance in a film that also earns the same description — one of that year's best — and a portrayal that rightly ensured that more work came her way. In Totally Completely Fine, the New Zealand actor is again excellent, as she's been in Jojo Rabbit, The Justice of Bunny King, Old and Last Night in Soho in-between; however, this six-part Australian series, which makes ample use of its Sydney setting, casts McKenzie as the least responsible among her siblings. Vivian Cunningham's elder brothers John (Rowan Witt, Spreadsheet) and Hendrix (Brandon McClelland, Significant Others) are conscientious and family-focused, respectively, while she has internalised her bad decisions to the point of thinking that she ruins everything. But then her grandfather passes away when she's at a particularly low moment, wills only her his cliffside house and also leaves a note saying that she'll learn what to do with it. When Totally Completely Fine begins, Vivian is close to saying goodbye. Soon, she discovers that her inherited home is a destination for others feeling the same way. Creator Gretel Vella (a staff writer on The Great, and also a scribe on Christmas Ransom and Class of '07) doesn't shy away from a a tricky topic, as her definitely-not-totally-completely-fine protagonist becomes an unofficial counsellor to strangers — like runaway bride Amy (Contessa Treffone, Wellmania) — who step into her yard planning to commit suicide. This character-driven series doesn't ever reductively posit that only struggling people can help struggling people. Instead, it sees life's difficulties everywhere, the many ways that folks attempt to cope and don't, and the parts that others can have in that journey. McKenzie's performance is pivotal, selling the deep-seated grief that has defined Vivian's life, the chaos she's embraced as an escape, and how telling others that they have something to live for is both complicated and crucial. Totally Completely Fine streams via Stan. HUNGER Let's call it the reality TV effect: after years of culinary contests carving up prime-time television, the savage on-screen steps into the food world just keep bubbling. The Bear turned the hospitality industry into not just a tension-dripping dramedy, but one of 2022's best new shows. In cinemas, British pressure-cooker Boiling Point and the sleek and sublimely cast The Menu have tasted from the same intense plate. Now Hunger sits down at the table, giving viewers another thriller of a meal — this time focusing on a Thai noodle cook who wants to be special. When Aoy's (Chutimon Chuengcharoensukying, One for the Road) street-food dishes based on her Nanna's recipes get the attention of fellow chef Tone (Gunn Svasti Na Ayudhya, Tootsies & the Fake), he tells her that she needs to be plying her talents elsewhere. In fact, he works for Chef Paul (Nopachai Jayanama, Hurts Like Hell), who specialises in the type of fine-dining dishes that only the wealthiest of the wealthy can afford, and is as exacting and demanding as the most monstrous kitchen genius that fiction has ever dreamed up. There's more to making it in the restaurant trade than money, acclaim and status, just like there's more to life as well. As told with slickness and pace, even while clocking in at almost two-and-a-half hours, that's the lesson that director Sitisiri Mongkolsiri (Folklore) and screenwriter Kongdej Jaturanrasamee (Faces of Anne) serve Aoy. She's tempted by the glitz and recognition, and being steeped in a world far different from her own; however, all that gleams isn't always palatable. Plot-wise, Hunger uses familiar ingredients, but always ensures that they taste like their own dish — in no small part thanks to the excellent casting of Chuengcharoensukying as the film's conflicted but determined lead. A model also known as Aokbab, she proved a revelation in 2017's cheating heist thriller Bad Genius, and she's just as compelling here. The two movies would make a high-stakes pair for more than just their shared star, both sinking their teeth into class commentary as well. Yes, like The Menu before it, Hunger is also an eat-the-rich flick, and loves biting into social inequity as hard as it can. Hunger streams via Netflix. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK BARRY Since HBO first introduced the world to Barry Berkman, the contract killer played and co-created by Saturday Night Live great Bill Hader has wanted to be something other than a gun for hire. An ex-military sniper, he's always been skilled at his highly illicit post-service line of work; however, moving on from that past was a bubbling dream even before he found his way to a Los Angeles acting class while on a job. Barry laid bare its namesake's biggest wish in its 2018 premiere episode. Then, it kept unpacking his pursuit of a life less lethal across the show's Emmy-winning first and second seasons, plus its even-more-astounding third season in 2022. Season four, the series' final outing, is no anomaly, but it also realises that wanting to be someone different and genuinely overcoming your worst impulses aren't the same. Barry has been grappling with this fact since the beginning, of course, with the grim truth beating at the show's heart whether it's at its most darkly comedic, action-packed or dramatic — and, given that its namesake is surrounded by people who similarly yearn for an alternative to their current lot in life, yet also can't shake their most damaging behaviour, it's been doing so beyond its antihero protagonist. Are Barry, his girlfriend Sally Reid (Sarah Goldberg, The Night House), acting teacher Gene Cousineau (Henry Winkler, Black Adam), handler Monroe Fuches (Stephen Root, Succession) and Chechen gangster NoHo Hank (Anthony Carrigan, Bill & Ted Face the Music) all that different from who they were when Barry started? Have they processed their troubles? Have they stopped taking out their struggles not just on themselves, but on those around them? Hader and his fellow Barry co-creator Alec Berg (Silicon Valley, Curb Your Enthusiasm) keep asking those questions in season four to marvellous results. Barry being Barry, posing such queries and seeing its central figures for who they are is an ambitious, thrilling and risk-taking ride. When season three ended, it was with Barry behind bars, which is where he is when the show's new go-around kicks off. He isn't coping, unsurprisingly, hallucinating Sally running lines in the prison yard and rejecting a guard's attempt to tell him that he's not a bad person. With the latter, there's a moment of clarity about what he's done and who he is, but Barry's key players have rarely been that honest with themselves for long. Barry streams via Binge. Read our full review. LOVE & DEATH In the late 70s, when Texas housewife, mother of two and popular church choir singer Candy Montgomery had an affair with fellow congregation member Allan Gore, commenting about her being a scarlet woman only had one meaning. If anyone other than Elizabeth Olsen was stepping into her shoes in true-crime miniseries Love & Death, it would've remained that way, too; indeed, Jessica Biel just gave the IRL figure an on-screen portrayal in 2022 series Candy. Of course, Olsen is widely known for playing the Wanda Maximoff aka the Scarlet Witch in the Marvel Cinematic Universe, as seen in WandaVision and Doctor Strange in the Multiverse of Madness most recently. So, mention 'scarlet' in a line of dialogue around her, and it calls attention to how far she is away from casting spells and breaking out superhero skills. And she is, given that Montgomery keeps fascinating Hollywood (see also: 1990 TV movie A Killing in a Small Town) due to the fact that she was accused, arrested and put on trial for being an axe murderer. The victim: Betty Gore, Allan's wife, who was struck with the blade 41 times. It's with pluck and perkiness that Olsen brings Candy to the screen again, initially painting the picture of a perfect suburban wife and mum. She keeps exuding those traits when Candy decides that she'd quite fancy an extra-marital liaison with Allan (Jesse Plemons, The Power of the Dog) — slowly winning him over, but setting ground rules in the hope that her husband Pat (Patrick Fugit, Babylon) won't get hurt, nor Betty (Lily Rabe, Shrinking) as well. For viewers that don't know the outcome when first sitting down to the seven-episode series, that bloody end is referenced in the first instalment. With restraint, sensitivity and a suitably complicated lead performance, Love & Death then leads up to it amid local scandals over a beloved pastor (Elizabeth Marvel, Mrs Davis) leaving and being replaced (by Keir Gilchrist, Atypical). It also explores the legal proceedings that follow (with She Said's Tom Pelphrey as Candy's lawyer). Olsen is terrific whether she's in bubbly, dutiful, calculating or unsettling mode, and the show itself slides in convincingly alongside writer/producer David E Kelley's recent slate of twisty tales with Big Little Lies, The Undoing and Nine Perfect Strangers (Nicole Kidman is also an executive producer). Love & Death streams via Binge. Read our full review. THE BIG DOOR PRIZE Sometimes Apple TV+ dives into real-life crimes, as miniseries Black Bird did. Sometimes it mines the whodunnit setup for laughs, which The Afterparty winningly achieved. The family feuds of Bad Sisters, Servant's domestic horrors, Hello Tomorrow!'s retrofuturistic dream, the titular take on work-life balance in Severance — they've all presented streaming audiences with puzzles, too, because this platform's original programming loves a mystery. So, of course The Big Door Prize, the service's new dramedy, is all about asking questions from the outset. Here, no one is wondering who killed who, why a baby has been resurrected or if a situation that sounds too good to be true unsurprisingly is. Rather, in a premise isn't merely a metaphor for existential musings, they're pondering a magical machine and what it tells them about themselves. Everyone in The Big Door Prize does go down the "what does it all mean?" rabbit hole, naturally, but trying to work out why the Morpho has popped up in the small town of Deerfield, where it came from, whether it can be trusted, and if it's just a bit of fun or a modern-day clairvoyant game are pressing concerns. When the machine arrives, it literally informs residents of their true potential. Crowds flock, but not everyone is initially fascinated with the mysterious gadget. Turning 40, and marking the occasion with that many gifts from his wife Cass (Gabrielle Dennis, A Black Lady Sketch Show) and teenage daughter Trina (Djouliet Amara, Devil in Ohio), high-school history teacher Dusty Hubbard (Chris O'Dowd, Slumberland) is nonplussed. Amid riding his new scooter and wondering why he's been given a theremin, he's baffled by all the talk about the Morpho, the new reason to head to Mr Johnson's (Patrick Kerr, Search Party) store. As school principal Pat (Cocoa Brown, Never Have I Ever) embraces her inner biker because the machine said so, and charisma-dripping restaurateur Giorgio (Josh Segarra, Scream VI) revels in being told he's a superstar, Dusty claims he's happy not joining in — until he does. The Big Door Prize streams via Apple TV+. Read our full review. MRS DAVIS It was back in March 2022 that the world first learned of Mrs Davis, who would star in it and which creatives were behind it. Apart from its central faith-versus-technology battle, the show's concept was kept under wraps, but the series itself was announced to the world. The key involvement of three-time GLOW Emmy-nominee Betty Gilpin, Lost and The Leftovers creator Damon Lindelof, and The Big Bang Theory and Young Sheldon writer and executive producer Tara Hernandez was championed, plus the fact that Black Mirror: San Junipero director Owen Harris would helm multiple episodes. Accordingly, although no one knew exactly what it was about, Mrs Davis existed months before ChatGPT was released — but this puzzle-box drama, which is equally a sci-fi thriller, zany comedy and action-adventure odyssey, now follows the artificial intelligence-driven chatbot in reaching audiences. Indeed, don't even bother trying not to think about the similarities as you're viewing this delightfully wild and gleefully ridiculous series. There's also no point dismissing any musings that slip into your head about social media, ever-present tech, digital surveillance and the many ways that algorithms dictate our lives, either. Mrs Davis accepts that such innovations are a mere fact of life in 2023, then imagines what might happen if AI promised to solve the worlds ills and make everyone's existence better and happier. It explores how users could go a-flocking, eager to obey every instruction and even sacrifice themselves to the cause. In other words, it's about ChatGPT-like technology starting a religion in everything but name. To tell that tale, it's also about nun Simone (Gilpin, Gaslit), who was raised by magicians (Love & Death's Elizabeth Marvel and Scream's David Arquette), and enjoys sabbaticals from her convent to do whatever is necessary to bring down folks who practise her parents' vocation and the show's titular technology. She also enjoys quite the literal nuptials to Jesus Christ, is divinely bestowed names to chase in her quest and has an ex-boyfriend, Wiley (Jake McDorman, Dopesick), who's a former bullrider-turned-Fight Club-style resistance leader. And, she's tasked with a mission by the algorithm itself: hunting down the Holy Grail. Mrs Davis screens in Australia via Binge. Read our full review. RECENT MOVIES FROM THE PAST FEW YEARS THAT YOU NEED TO CATCH UP WITH EMA Every project by Chilean director Pablo Larraín is always cause for excitement, and Ema, his drama about a reggaeton dancer's crumbling marriage, personal and professional curiosities, and determined quest to be a mother, rewards that enthusiasm spectacularly. It's a stunning piece of cinema, and one that stands out even among his impressive resume. He's the filmmaker behind stirring political drama No, exacting religious interrogation The Club, poetic biopic Neruda, and the astonishing Jackie and Spencer — with Natalie Portman earning an Oscar nomination for the former, and Kristen Stewart for the latter — so that's no minor feat. For the first time in his career, Larraín peers at life in his homeland today, rather than in the past. And, with his six-time cinematographer Sergio Armstrong (Tony Manero, Post Mortem), he gazes intently. Faces and bodies fill Ema's frames, a comment that's true of most movies; however, in both the probing patience it directs its protagonist's way and the fluidity of its dance sequences, this feature equally stares and surveys. Here, Larraín hones in on the dancer (Mariana Di Girólamo, La Verónica) who gives the feature its name. After adopting a child with her choreographer partner Gastón (Gael García Bernal, Werewolf by Night), something other than domestic bliss has followed. Following a traumatic incident, and the just as stressful decision to relinquish their boy back to the state's custody, Ema is not only trying but struggling to cope in the aftermath. This isn't a situation she's simply willing to accept, though. Ema, the movie, is many things — and, most potently, it's a portrait of a woman who is willing to make whatever move she needs to, both on the dance floor and in life, to rally against an unforgiving world, grasp her idea of freedom and seize exactly what she wants. Di Girólamo is magnetic, whether she's dancing against a vivid backdrop, staring pensively at the camera or being soaked in neon light, while Larraín's skill as both a visual- and emotion-driven filmmaker is never in doubt. Ema streams via SBS On Demand. Read our full review. SHE DIES TOMORROW When She Dies Tomorrow splashes Kate Lyn Sheil's face across the screen, then bathes it in neon flashes of pink, blue, red and purple, it isn't easily forgotten. It's a vivid, visceral, even psychedelic sight, which filmmaker Amy Seimetz lingers on, forcing her audience to do the same as well. Viewers aren't just soaking in trippy lights and colours, though. They're staring at the expression beneath the multi-hued glow, which seethes with harrowing levels of shock, fright, distress and anxiety. That's understandable; this is the look of someone who has just had the most unnerving realisation there is: that she is going to die tomorrow. In her second stint directing a feature after 2012's Sun Don't Shine, Pet Sematary, Lean on Pete and Alien: Covenant actor Seimetz serves up a straightforward concept that's all there in the title. Her protagonist — who is also called Amy (Swarm's Sheil) — believes that her life will end the next day, plain and simple. But it's how the on-screen Amy copes with the apocalyptic news, and how it also spreads virally from person to person, that fuels the movie. Initially, she responds by searching for urns, researching how leather jackets are made and roaming aimlessly around the new home she has recently purchased, and by brushing off her worried but sceptical friend Jane (Hacks' Jane Adams). If Amy is merely being paranoid, that persecution-driven delusion soon proves contagious, with the feature's cast also including Katie Aselton (Bombshell), Chris Messina (Air), Josh Lucas (Yellowstone), Tunde Adebimpe (Marriage Story) and Jennifer Kim (Dr Death). Among of the joys of She Dies Tomorrow is that it's never one for obvious or easy answers, or for explaining any more than it needs to. Indeed, how it morphs from exploring one woman's fears to cataloguing a shared nightmare that spreads like a pandemic is best discovered by watching; however, Seimetz crafts a gloriously smart and unsettling thriller that toys with surreal Lynchian moments yet always feels disarmingly astute. The film was made prior to COVID-19, so it pre-dates our coronavirus-afflicted world — but, as it ponders humanity's reaction to life-shattering news both on an individual and collective basis, the way that panic and doubt spreads oh-so-quickly, and how one idea can soon overtake entire communities, it's hard not to think of the real-life parallels. She Dies Tomorrow streams via Stan from Saturday, April 29. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October, November and December 2022 — plus January, February and March 2023. You can also check out our list of standout must-stream 2022 shows as well — and our best 15 new shows of last year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
South Melbourne Market has long been an integral part of the fabric of Melbourne's food culture, having been churning out fresh produce, top-notch seafood and much-needed flat whites for nigh on 150 years now. So the time is ripe for a big ol' party to say well done, you old thing. To celebrate the market's milestone, Saturday, May 6 will see a barbecue-heavy street party take over Cecil Street. From 10am until 10pm, pop-up stalls, live music and games will ensue — if you've got kids with you, you'll be able to drop them at the jumping castle while you head off in search of serious adult entertainment like the giant Connect Four and Jenga games on offer. Celebrate and eat yourself silly with barbecued Spanish chicken, Polish deli foodstuffs, spanakopita, haloumi souvlakis and barbecued pork belly tacos. But just leave room for some cake — there'll be a huge one on display made by the market's traders (150 years is a lot of candles, so it's bound to be big). The street party is just one of the events being put on by the South Melbourne Market to celebrate their 150th anniversary, others of which include an exhibition, tours and three new mural commissions. You can view the whole calendar of birthday events here.
It's about to get a whole lot harder for any New South Wales driver to get away with using their mobile phone while driving — and it's thanks to a world-first move by the NSW Government, which is adopting speed camera-style technology to detect the illegal behaviour. After trialling the high-definition cameras during October — and spying more than 11,000 drivers using their phones, according to the ABC — the government has announced that a further test will take place from January. If proven foolproof, the technology will be implemented on a permanent basis. As first reported earlier this year, the legislation giving the tech the go-ahead was passed in NSW parliament back in May. And while the technology didn't actually exist at the time, the government put the call-out to companies who were interested in providing the technology. Three outfits took part in the first trial, with Australian company Acusensus selected for the January test run. Acusensus' cameras, which use artificial intelligence, will be placed on the M4 and Anzac Parade. They can operate in all conditions — day and night, and regardless of the weather — to detect folks using their phones while they're behind the wheel. It's hoped that using the cameras will have a huge positive impact on the number of road fatalities, much like when breath testing was introduced back in 1982 and slashed fatal accidents by almost 50 percent. While most drivers will probably see this as a cash grab, fines won't be issued during the January trial. If the cameras come into effect permanently afterwards, fully licensed drivers will be looking at a $330 fine and four demerit points if caught; however NSW Minister for Roads Melinda Pavey told The Sydney Morning Herald that money raised from the camera fines will go back into a Community Road Safety Fund. Via the ABC.
Carmen 'Carmy' Berzatto (Jeremy Allen White, Fingernails) has more meals to cook, and streaming audiences are getting more kitchen chaos to consume. In delectable if hardly surprising news — and a development worth exclaiming "yes chef!" about, obviously — TV obsession The Bear has been renewed for season three. The hit series will dish up a third serving after season one proved best new shows of 2022 and season two ranks among the best returning series of 2023. So, expect more ins and outs at the titular restaurant, formerly sandwich shop The Original Beef of Chicagoland, as Carmy and his team navigate the hospitality industry's ups and downs. Exactly when The Bear will return hasn't been revealed, and neither has the number of episodes that'll be on the plate. The show's first season spanned eight instalments, while its second featured ten. Here's hoping that whenever it drops, it arrives in Australia and New Zealand at the same time as in America — it streams via FX in the US and Disney+ Down Under — which hasn't been the case for either season one or season two. If you missed The Bear's first season, it jumped into the mayhem when Carmy took over the diner after his brother's (Jon Bernthal, We Own This City) death. Before returning home, the chef's resume featured Noma and The French Laundry, as well as awards and acclaim. In season two, Carmy worked towards turning the space into an upscale addition to his hometown's dining scene, with help from the restaurant's trusty team — including Ayo Edebiri (Teenage Mutant Ninja Turtles: Mutant Mayhem) as fellow chef Sydney, plus Ebon Moss-Bachrach (No Hard Feelings) as Richie, aka Cousin, aka Carmy's brother's best friend. Also key to The Bear: truly conveying what it's like to work in the hospitality industry and weather a restaurant kitchen's non-stop pressures. In both of its seasons so far, The Bear's creator Christopher Storer (who also has Ramy, Dickinson and Bo Burnham: Make Happy on his resume) has expertly balanced drama and comedy — and, in season two, he also delivered spectacular self-contained episodes that featured everyone from Olivia Colman (Heartstopper) and Will Poulter (Guardians of the Galaxy Vol. 3) to Bob Odenkirk (Lucky Hank) and Jamie Lee Curtis (Haunted Mansion). Guest stars aside, The Bear's regular roster of talent also spans Abby Elliott (Indebted) as Carmy's sister Natalie, aka Sugar — plus Lionel Boyce (Hap and Leonard), Liza Colón-Zayas (In Treatment) and Edwin Lee Gibson (Fargo) among the other Original Beef staff. "The Bear, which wowed audiences in its first season only to achieve even greater heights in season two, has become a cultural phenomenon," said Nick Grad, President, FX Entertainment, announcing the renewal. "We're so proud to partner with Christopher Storer, Joanna Calo, Josh Senior and the rest of the creative team, as well as the brilliant cast led by Jeremy Allen White, Ayo Edebiri and Ebon Moss-Bachrach. What they and the crew have done is truly remarkable, and we and our partners at Hulu and Disney+ join fans in looking forward to the next chapter in the story of The Bear." There's no trailer for season three yet, of course, but you can check out the trailer for The Bear season two below: The Bear streams Down Under via Disney+. Season three doesn't yet have a release date — we'll update you when one is announced. Read our review of season one and review of season two. Images: Chuck Hodes/FX.
Christmas isn't the only source of cheer in Sydney this month, especially if you like heartwarmingly endearing baby animals. After introducing the world to its new koala joey and lion cubs earlier this year, Taronga Zoo has just unveiled footage of its pygmy hippo calf, which was born at the zoo on Monday, November 22. The calf doesn't yet have a name; however, Taronga visitors will get to see her in the flesh in the coming weeks — with the adorable critter set to make her public debut just in time for the upcoming school holidays. She was born to parents Kambiri and Fergus, and marks the first calf born at the zoo in more than four years. At the moment, the calf's day involves spending time in an off-exhibit nursery den with Kambiri — suckling, getting energetic in short bursts and napping. And, learning how to navigate the water, because pygmy hippo calves aren't born knowing how to either swim or hold their breath. So, that's something that Kambiri is teaching her offspring. Once the calf masters splashing around, she'll be able to enter the public hippo exhibit, which has had its pond floor raised so it's easier for the calf to access. The new calf will call Sydney home but, in the wild, pygmy hippos are native to West Africa's forests and swamps. Only around 2000–3000 are estimated to remain outside of zoos, which makes the species endangered. And, in the wild, they only tend to come together for breeding. That's enough words about this new cutie, because we all know that you're here to get a glimpse. Check out Taronga Zoo's footage below: [video width="1080" height="1920" mp4="https://cdn.concreteplayground.com/content/uploads/2021/12/HippoAnnouncement.mp4"][/video] [video width="1080" height="1920" mp4="https://cdn.concreteplayground.com/content/uploads/2021/12/Pygmy-hippo-antics.mp4"][/video] Taronga Zoo's new pygmy hippo calf will make its public debut sometime in the coming weeks. For further information, keep an eye on the zoo's website.
For cheese fiends, there's only one suitable way to tuck into the beloved dairy product: all the time, or at least as much as possible. That's an idea that Australian cheese festival Mould not only understands but encourages, and has since 2017. In 2023, from May through to August, those cheese dreams will be continuing as well. Because you can never have too many occasions to eat cheddar, brie, camembert, raclette or whatever other cheese takes your fancy, Mould is back for another year, letting dairy lovers to explore and devour the mild, hard and soft bites that Australia's best cheese wizards have to offer. The event hails from Bruny Island Cheese Co cheesemaker Nick Haddow and the organisers of Pinot Palooza, and will hit up not just Brisbane, Melbourne and Sydney but also Perth for its latest run. Running for either two or three days in each city, Mould will kick off in Brisbane in May, then head to Melbourne in early June, plus Sydney at the end of June and beginning of July. As for Perth, it's getting a Mould x Pinot Palooza combo — because cheese and wine are that fine a pairing. There won't just be a few cheeses on the menu at each stop. Usually, more than 75 artisan cheeses from around the country are ready and waiting for you to devour, spanning dairy from around 30 producers. In past years, that lineup has included Bruny Island Cheese Co, naturally, plus Grandvewe, Milawa Cheese, Yarra Valley Dairy and Stone & Crow, as well as Section 28, Red Cow Organics, Nimbin Valley Cheese, Dreaming Goat, Long Paddock Cheese and Second Mouse Cheese. Alongside unlimited tastings of Australia's best cheeses — snacking on samples and purchasing slices and slabs to take home with you — the fest features cooking demonstrations, masterclasses and talks. And it wouldn't be a cheese festival without beverages to wash it all down with, so expect a bar serving Aussie wines, whisky, vodka, gin, beer, cider, cocktails and sake, all of which match nicely to a bit of cheese. Unsurprisingly, Mould is mighty popular. In 2021, attendees tucked into a one million samples across the fest's three cities, and also took home over 3.5 tonnes of Aussie dairy products. So, if this the kind of event that your cheese dreams are made of, you'll want to nab an early-bird ticket ASAP for Sydney, Melbourne and Brisbane — with the Perth event not yet on sale. MOULD — A CHEESE FESTIVAL 2023 DATES: Friday, May 12–Sunday, May 14 — John Reed Pavilion, Brisbane Showgrounds, 600 Gregory Terrace, Bowen Hills Friday, June 2–Sunday, June 4 — The Timber Yard, 351 Plummer Street, Port Melbourne Friday, June 30–Saturday, July 1— Carriageworks, 245 Wilson Street, Eveleigh, Sydney Friday, August 25–Sunday, August 27 — Centenary Pavilion, Claremont Showgrounds, Perth Mould — A Cheese Festival tours Australia from May. For more information or to buy tickets, head to the event's website.
Well before Margaret Atwood's dystopian novel The Handmaid's Tale was turned into a TV series, it was transformed into an opera. And this October, the show will make its Australian premiere as part of the inaugural Yarra Valley Opera Festival. Among the historical buildings and landscaped gardens of Olinda Yarra farm, you'll experience Offred's story taken to new dramatic heights, thanks to Melbourne-based opera company Gertrude Opera. The work was originally created by Danish composer Poul Ruders and librettist Paul Bentley and, since premiering in Denmark in 2000, The Handmaid's Tale opera has appeared in the UK, the US and Canada. We can safely say there will be no Talking Heads in this version. If you don't yet know the story by way of your high school reading list or SBS On Demand, here's the gist: a handmaid, Offred is sent to a barren household, where, once a month, she is forcibly inseminated in the expectation that she'll bear a child for The Commander, Fred Waterford. The Yarra Valley Opera Festival will take place over ten days, from October 12–21. Other highlights include the Gala Opening Concert, Mozart's Cosi Fan Tutte sung in English and an evening combining opera trivia and dinner.
If you've ever worn a little black dress, then you owe Gabrielle 'Coco' Chanel a big thank you. Depending on your choice of suit, bag and perfume, you might owe her some gratitude there as well. The French designer's influence upon 20th-century fashion extends far and wide — and, even though she passed away in 1971, her imprint can be felt in the 21st century as well. So, when the NGV International sends some love her way at its next blockbuster exhibition, it'll have plenty to cover. Displaying at the St Kilda Road gallery from Sunday, December 5, 2021–Monday, April 25, 2022, Gabrielle Chanel. Fashion Manifesto will arrive fresh from its current stint at Paris' Palais Galliera. Its stop in Melbourne is its first international jaunt, in fact. On show will be pieces from the French venue, as well as from the Patrimoine de Chanel, the fashion house's heritage department. More than 100 garments will grace the NGV's walls and halls, with the exhibition charting her career. You'll also be able to see what Chanel achieved with perfume, jewellery and accessory design, too. Some pieces will date back more than a century, given that the fashion icon opened her first boutique in Deauville in 1912, before making the leap to her own Parisian couture house in 1918. Expect to check out everything from black threads — obviously — to lace gowns, wool jersey and tailored tweed suits, and an array of beaded garments. As you peer at Chanel's designs, you'll see how womenswear developed, and both how and why she's left a mark that still lingers today. [caption id="attachment_819495" align="aligncenter" width="1920"] Gabrielle Chanel (designer). Dress, spring–summer 1925, silk guipure lace, silk organza flower. Patrimoine de Chanel, Paris. Photo © Julien T. Hamon.[/caption] The NGV is also adding its own Chanel pieces to the exhibition, such as a white lace Evening dress that dates back to 1933, and a shirred red silk velvet and marabou-lined evening cape from around 1924–26. They'll form part of a showcase that's split into themed sections, with different parts devoted to her early work, the way her design language evolved in the 1920s and 1930s, the iconic scent that is Chanel No 5, and how the brand's pieces have favoured a look best described as "austere luxury". Also getting their own themed strands: suits, accessories and jewellery. To launch Gabrielle Chanel. Fashion Manifesto, which will be ticketed — and will be the first-ever exhibition in Australia that'll solely focus on Chanel's contributions to fashion and culture — the NGV is bringing back its black-tie NGV Gala, which'll take place on Saturday, December 4. [caption id="attachment_819496" align="aligncenter" width="1920"] Gabrielle Chanel, c. 1930s, photograph by André Kertész. Médiathèque de l'architecture et du patrimoine. Photo © Ministère de la Culture–Médiathèque del'architecture et du patrimoine, Dist. RMN-Grand Palais /André Kertész. Courtesy of the National Gallery of Victoria.[/caption] Announcing the exhibition, NGV Director Tony Ellwood AM said that "there is no bigger name in 20th-century fashion design than Gabrielle Chanel. Her originality, timelessness and elegance forged a radically modern vision of fashion and a singular style. Gabrielle Chanel. Fashion Manifesto will be expansive, visually sumptuous and will reveal the achievements and enduring legacy of the extraordinary French fashion designer." If you decide to wear a little black dress while you're checking out all things Chanel this summer, you'll likely have plenty of company. Gabrielle Chanel. Fashion Manifesto will display at the NGV International, 180 St Kilda Road, Melbourne from Sunday, December 5, 2021–Monday, April 25, 2022. For more information, or to buy tickets, head to the gallery's website. Top image: Anne Sainte-Marie in a Chanel suit, photograph by Henry Clarke, published in Vogue US, 1955, retouched by ARCP. ParisMusées. © Henry Clarke, ParisMusées /PalaisGalliera/ADAGP. Copyright Agency, 2021.
Leah Purcell's resume isn't short on highlights — think: Black Comedy, Wentworth and Redfern Now, plus Lantana, Somersault and Last Cab to Darwin (to name just a few projects) — but the Goa-Gunggari-Wakka Wakka Murri actor, director and writer clearly has a passion project. In 2016, she adapted Henry Lawson's short story The Drover's Wife for the stage. In 2019, she moved it back to the page. Now, she brings it to the big screen via The Drover's Wife The Legend of Molly Johnson. Only minutes into her searing feature filmmaking debut, why Purcell keeps needing to tell this 19th century-set tale is patently apparent. In her hands, it's a story of anger, power, prejudice and revenge, and also a portrait of a history that's treated both women and Indigenous Australians abhorrently. Aussie cinema hasn't shied away from the nation's problematic past in recent times (see also: Sweet Country, The Nightingale, The Furnace and High Ground); however, this is an unforgettably potent and piercing movie. In a fiery performance that bristles with steeliness, Purcell plays the eponymous, gun-toting and heavily pregnant Molly. In the process, she gives flesh, blood and a name to a character who wasn't allowed the latter in Lawson's version. In this reimagining, Molly is a 19th-century Indigenous Australian woman left alone with her four children (and one on the way) on a remote Snowy Mountains property for lengthy stretches while her husband works — and that situation, including the reasons behind it and the ramifications from it, causes ripples that shape the course of the film. Two of the key questions that The Drover's Wife The Legend of Molly Johnson asks couldn't be more obvious, but something doesn't have to be subtle to be potent and perceptive. Those queries: what impact does being marginalised twice over, as both a woman and a First Nations Australian, leave on the feature's protagonist? How has it forged her personality, shaped what she cares about and cemented what she's capable of? It's during her spouse's latest absence that the film unfurls its story, not with a snake but rather strangers trotting Molly and her children's way. New sergeant Nate Clintoff (Sam Reid, The Newsreader) and his wife Louisa (Jessica De Gouw, Operation Buffalo) decamp from England — both well-meaning, and the latter a journalist who even protests against domestic violence, but neither truly understands Molly's experience. Also darkening her door: her husband's pals (Dead Lucky's Anthony Cogin and Wakefield's Harry Greenwood), who make the male entitlement and privilege of the time brutally apparent. And, there's no shortage of other locals determined and downright eager to throw their might, morals and opinions around, be it the resident judge (Nicholas Hope, Moon Rock for Monday), the minister (Bruce Spence, The Dry) or his unwed sister (Maggie Dence, Frayed). As Purcell impresses in her stare and stance first and foremost, Molly doesn't let her guard down around anyone. The Drover's Wife The Legend of Molly Johnson has the parade of supporting characters to show why, and to illustrate the attitudes its namesake has been forced to stomach silently her entire life. She sports physical markers, too; from the outset of this moody and brooding film, there's no doubting that violence is a familiar and frequent part of Molly's existence. But Aboriginal fugitive Yadaka (Rob Collins, Firebite) is one of the few figures to venture in her direction and earn more than her ferocious gaze. He's on the run from murder charges, although he states his real crime bluntly: "existing while Black". Around the Johnson property, he strikes up a warm camaraderie with Molly's eldest boy, 12-year-old Danny (newcomer Malachi Dower-Roberts) — and, in another of the script's point-blank strokes, he's soon the closest thing to an ally his wary host has ever had beyond her children. Fiercely revisionist meat-pie westerns have been having their moments of late — spanning not only the aforementioned stretch of flicks, but back to The Proposition — and it's plain to see why. The always-blistering The Drover's Wife The Legend of Molly Johnson digs sharply into issues of race, gender and identity, looking backwards with modern eyes to lay bare the horrors that've lingered at Australia's core for too long. It's a silver-screen reckoning, as its predecessors have been as well. It's also as resonant and striking as this Aussies slice of the genre has ever managed. Westerns as a whole have never simply dramatised frontier and colonial times, of course, but pondered the threats, behaviours and ways of thinking that were emboldened and entrenched amid all that dry, dusty land. In that tradition — one that, overseas, includes Deadwood and Django Unchained, too — The Drover's Wife The Legend of Molly Johnson keenly, shrewdly and forcefully draws cinematic blood. Also simple to spot: the dedication that Purcell brings, on- as well as off-screen, to her unflinching examination of the country's past. It's there in every exacting frame, and obviously in her performance — which adds a new and instantly memorable Indigenous hero to the nation's screens. Purcell makes it impossible to look away from her film and its lead character, even while it's rarely easy to weather everything that Molly's been made to bear. Her scenes with Collins, intimate and heaving with shared woes as they are, crackle and spark with fury and pain. Both veterans of 2016–17 TV series Cleverman (Purcell as a director, Collins as a star), they gift The Drover's Wife The Legend of Molly Johnson with portrayals that demand attention, and that never let the movie's First Nations, feminist and anti-colonial perspective waver in intensity. The theatre version of The Drover's Wife The Legend of Molly Johnson won a spate of accolades, the 2017 Helpmann Award for Best Play included, so that there's a stagey feel to Purcell's feature is similarly unsurprising. That's one of its few struggles, though. Cinematographer Mark Wareham (Jasper Jones) has been tasked with trying to thwart that sensation, and overtly — but his expressive camerawork still adds beauty and texture to the film, welcomely so. And, when The Drover's Wife The Legend of Molly Johnson does resemble impassioned dialogue pitched to the back rows, something else pivotal becomes apparent. A story this fervent and bold should echo across multiple formats. It needs to feel as if it's shouting its ire as far and wide as possible, and that every attempt to do exactly that is bleeding together as well as spreading. The Drover's Wife The Legend of Molly Johnson will get another chance and another medium to do just that, in fact, with a TV series already slated to follow this commanding movie.
In an era when plastic waste is on all our minds and packing a serious threat, Melbourne's got a new eco hero. And this one happens to be of the four-wheeled variety. Introducing Roving Refills — a new local environmental initiative that's set out to put a big dent in our container habit. The vehicle operates a bit like your favourite food truck, with locations posted to social media. But instead of takeaway fare, this one's loaded with bulk cleaning and laundry products. Think detergent, dishwashing liquid, disinfectant, shampoo and conditioner, plus ingredients for DIY products such vinegar, bicarb soda and coconut oil. Rather than racking up more plastic waste with each trip to the supermarket cleaning aisle, you can bring your own reusable containers to Roving Refills to fill up on the go. It's the brainchild of Environmental Management and Sustainability Masters student Claudine Lagier, who runs the van as a part-time side project with her sister Raphaelle. Right now, they're operating using a borrowed ute and a mobile vendor permit for the City of Maribyrnong, but have plans to expand to more locations — and hopefully obtain a new solar-powered or hybrid vehicle to keep those carbon dioxide emissions to a minimum. You'll also spy them popping up at a handful of markets, in areas like Kensington and Altona. The Roving Refills concept sets out to take a direct hit at plastic waste, inspire action and give consumer habits a big ol' shake-up. While most of us are becoming more mindful of the waste generated by our food products and things like straws and plastic bags, Lagier wants to extend the focus onto other plastic-filled aspects of daily life. And she's certainly leading by example — aside from the products themselves, which are bought wholesale from mindful operations like Williamstown's Back to Basics and Robyn's Soap House in Knox, Roving Refills uses almost only recycled items. We're talking ice cream containers upcycled into storage boxes and chipped cups used as scoops, sourced from places like Urban Upcycle in Geelong. Keep track of the Roving Refills van — its movement are posted on its Facebook page. Updated: June 4, 2019.
In the early 1970s Patti Smith and Sam Shepard illicitly shacked up in the notorious Chelsea Hotel and co-wrote a play in just two nights, literally shoving a typewriter back and forth across the table until Cowboy Mouth was complete. Forty years on director Emily O'Brien Brown and Exhibit A: Theatre pay homage to the self-destructive lovers' attempt to immortalise their young wild selves through the play’s two characters, Slim and Cavale. Cavale is French for “escape” and Slim is “a rock ‘n’ roll Jesus with a cowboy mouth” — a far cry from Slim Shady. Cavale and Slim fight, drink and wrestle with their own egotistical fantasies of themselves; their unravelling mental states mirrored by the literal deterioration of their decrepit, rundown hotel room. Like a rock royalty version of Vladmir and Estragon in Waiting for Godot, both express a desire to leave but neither follow through. Instead, they play games or musical instruments and survive, barely, on dreams, Cavale’s stories and lobster take-out. Adorned with a baseless mattress, tatty drawings and a drum kit, the stage at GoodTime Studios is cleverly used to show the two characters trapped in their perceived corner. Cavale cuddles a dead bird and tells stories of dead French poets as she avariciously stalks Slim across the stage. He is edgy and practically aquiver with artistic torment: he’s left a wife and child (or she’s left him) for Cavale’s feverish artistic blatherings. Partnered in psychotic torment the two ricochet from happy to wretched, from lustful to fearful, from psychiatrists to podiatrists. Comic relief comes, happily, when they call up the Lobster Man — an inarticulate delivery dude outfitted in full crustacean uniform. The theatre group has breathed new life into this rock ‘n’ roll tale of psychotic infatuation with two impossibly attractive leads, an eclectic soundtrack and even a Rock Lobster. Regardless of whether Cavale and Slim are drunk, demented or simply defiant of spiritual demarcation it's surprisingly easy to relate — we all know what it's like to look around and find ourselves trapped in a corner. Image via Exhibit: A Theatre
It's been less than a year since Scottish craft beer giant BrewDog made its much-anticipated Australian debut, opening the doors to its hefty Brisbane brewery DogTap last November. But already the team's looking to ramp up that local presence, announcing ambitious plans to open more flagship venues across Brisbane, Melbourne and Sydney by the end of 2021. While the company's keeping hush for now on exactly where these new bars will be located, it has confirmed it's already started searching for sites between 300 and 1000 square metres, in each of the three above cities. It seems the choice to kickstart Aussie operations in the Queensland capital has proved a smart move for the brewery, especially given the extra COVID-19 fallout some other states have had to endure. "The continued success of our DogTap taproom has convinced us that the time is right to start the search and find exciting locations to join the fold," said BrewDog's Head of Australian Operations Calvin McDonald in a statement. Already operating in over 80 countries, the company plans on snapping up 25 more sites worldwide before the year's out. [caption id="attachment_751726" align="alignnone" width="1920"] Pandora Photography[/caption] BrewDog's ambitious expansion plans come off the back of a few news-filled months for the brewing company. Just recently, it claimed the distinction of becoming the first carbon negative international beer brand in the world, removing twice as much carbon from the air than it emits. BrewDog plans to open more sites in Brisbane, Melbourne and Sydney in the coming 12 months. We'll share more details as they're confirmed. Images: DogTap Brisbane by Pandora Photography
As everyone who has ever sipped an espresso martini knows, combining coffee and alcohol is a stroke of both boozy and caffeinated genius. Love a cuppa? Fond of a tipple? Then of course you like them paired together. What's not to adore? Fans of the beloved combination now have another boozy beverage to try, too, thanks to Sydney distillery Archie Rose and Melbourne coffee roasters St Ali. The duo have joined forces on a new and enticing concoction that, like its fellow blends of the caffeinated stuff and the hard stuff, is bound to give you a buzz. It's likely to earn its own obsessives as well. The end result: Blasphemy coffee whisky. It's actually a coffee whisky spirit, to be precise, and it's made from Archie Rose's single malt whisky and St Ali's Orthodox and Wide Awake coffees. Yes, as the name makes plain, the folks behind it know that it might be seen as sacrilegious by some diehard whisky and coffee aficionados. "Although strict whisky and coffee purists might consider it an abuse of both liquids, it's a pairing that when you taste it, and understand the production processes, actually makes perfect sense," says Archie Rose founder Will Edwards. Whether you're drinking it neat or in a boulevardier — as the two brands recommend — you'll also be able to taste amaretto, dark chocolate, creme caramel, roasted hazelnuts, stewed apples, plum jam and fresh berries. And no, unlike St Ali's cold brew, it isn't available in goon sacks. Instead, you'll find it in 700-millilitre bottles — which is perfect for adding it to your whisky shrine. Archie Rose and St Ali's Blasphemy coffee whisky will be available to order from Wednesday, July 28 via the Archie Rose and St Ali websites, for RRP $89.99 — and you'll be able to find it at the Archie Rose Cellar Bar, and at selected bottle shops. Images: Nikki To.
It takes a lot to make great wine. It also takes a lot to successfully run a business and a happy family. So, what about when all three things are put together? We chat to three wineries in Victoria's north east that are managing to nail all three. Here are a few stories from their journey through wine, family, tradition and hard work. Brown Brothers Winery – Stories and Shiraz An old lady is fussing about in her kitchen, many moons ago. She takes four teacups and places them in the oven, just until they are too hot to touch. She takes them carefully out of the oven and places them on the table, next to a steaming hot pot of tea. In walk four of her sons. They take a chair at the kitchen table as their mother pours them a cup of tea in the scorching cups. The cups are too hot to touch. They stay that way for a while. The boys linger, telling storing, sharing tales of the family business — tales of the winery. The woman is happy. Her plan to keep them there long enough for their tea to be drinkable is working. The hotter it is, the longer they stayed. A brilliant plan. She is the mother of the Brown brothers and grandmother to Katherine and Caroline — the fourth generation of Browns and the next to take over the reigns of the well-known Brown Brothers family winery. Now picture this: three young, beautiful and driven Brown daughters are sent off into the big bad world. They must complete the non-negotiable task of working outside the family business for four years before being allowed to work within the winery. A beautiful clause, it encourages hard work and avoids entitlement. And it's worked. The daughters ooze with appreciation of the business and a keenness to continue the legacy. Brown Brothers have just relabeled their 18 Eighty Nine range, each fit with a different chair from their family table and a different tale of the family. This dry range includes a fruity Chardonnay, a Shiraz made in Heathcote and a savoury Cabernet Sauvignon. 239 Milawa Bobinawarrah Road, Milawa VIC 3678, brownbrothers.com.au Dal Zotto Wines – Practice and Prosecco Otto, Eleanor, Christian and Michael Dal Zotto are sitting around the large table in their trattoria in King Valley. While Italian voices are coming from one end and Australian accents from the other, there is no denying they are related. Mother, father and two sons. As the kitchen serves up divine, simple, sharing style Italian cooking, the wine begins to pour. A Prosecco to begin, of course. The two wine glasses in front of each person are instantly filled. Then the gentle bickering begins. Where are the rest of the wine glasses? After all, it is only right that each guest have the opportunity to taste all the wines on the table at once. After lunch, stuffed to the brim, they take their guests outside for a throw of the bocce ball, a run with the two dogs in the kitchen garden and to play with the many grandchildren that live just next door. What began as Otto and Eleanor's business — pioneering Prosecco in Australia — is now strongly ingrained in the lives of their children. Michael takes the reigns as the winemaker while Christian looks after the marketing. Spend an afternoon in their trattoria with them if you get the opportunity. The passion is tangible. 4861 Wangaratta-Whitfield Road, Whitfield VIC 3733, dalzotto.com.au Pizzini – Community and Chardonnay Roberto and Rose Pizzini, along with their three children migrated from the Northern Italian Alps to Australia back in 1955. Lost for what to do, digging potatoes became their bread and butter. This later turned into tobacco growing. None of these felt quite right to the Pizzinis. It was only when Brown Brothers planted their first grapes in the King Valley in 1978 that the Pizzini family began farming grapes. A collection of Chardonnay, Sauvignon Blanc, Cabernet Sauvignon, Merlot, Malbec and Shiraz were farmed by Alfred and Katrina and sold to different winemaking companies around Australia. Over the next twenty years Alfred Pizzini began trying his hand at two relatively unknown Northern Italian red grape varieties — Nebbiolo and Sangiovese — and later the white Italian varietals Verduzzo, Picolit and Arneis. It was only in 1994 that Alfred and Katrina Pizzini began the Pizzini label with their signature chardonnay. As they began to build their business they realised they needed to help build up the local area as well. After a cellar door was created from tobacco drying kilns, the Pizzini's invested in three local hospitality venues around town. A little restaurant in Oxley, the Mountain View Hotel in Whitfield and finally they renovated a cottage on the property and turned it into a self-contained B&B. Fast forward to today, Katrina Pizzini running a thriving cooking school, the winery is one of the biggest in the area and the King Valley is never short of wine enthusiasts. The winemaking is now in the capable hands of their son Joel. 175 King Valley Rd, Whitfield VIC 3733, pizzini.com.au
The Act of Killing is one of those movies that in its very form is something new. While filming survivors of the 1965-66 Sumatran massacre, Joshua Oppenheimer discovered that the perpetrators, now elder statesmen, remain openly proud of their crimes — and eager for fame. So he takes the project in a new direction (the survivors, for good reason, weren't keen to appear on camera anyway). Oppenheimer has the perpetrators join the film, scripting and starring in re-enactments of their murders. They jump at the chance; they're fans of American movies. The Act of Killing then becomes a documentary with fictionalised elements that, by virtue of what they reveal about their subjects, are a mode of deep-digging documentary in themselves. It's chilling but also achieves a surprising effect, leading Werner Herzog to say "I have not seen a film as powerful, surreal, and frightening in at least a decade...it is unprecedented in the history of cinema." He signed on to executive produce, along with documentary king Errol Morris. No synopsis can quite convey how extraordinary this all is. We in Australia, Indonesia's closest neighbours, have barely any memory of the genocide that took 1 million lives. The current Indonesian government still has links to the militias of 50 years ago, and in a speech by a senior politician, we see him further the ideology of the 'gangster', a libertarian delusion that alleviates the war criminals' consciences. They're welcomed on a daytime TV show as if they were pop stars, while the cheery host recognises their achievements in finding "a new, more efficient system for killing Communists". There are so many of these extraordinary scenes — too many, probably. It's hard to figure out what could have been cut, but there is a point in the middle at which it becomes a catalogue of bewilderment rather than a purposeful trajectory — and the running time is 159 minutes, so. US-born, Copenhagan-based Oppenheimer's real strength is his knowledge of Indonesia — he's spent a lot of time there, speaks the language without an interpreter and was able to really relate to his subjects as human beings. They're comfortable and candid around him, without his having to trick them into participating. He's also proved to have a great eye for character, as his main focus, Anwar Congo, is both charismatic and very easy to empathise with. Those spotlighted around him, too, serve to elucidate other sides of his character. It's challenging. We're made to wonder, who is more evil, the murderer who is an ostentatious true believer in the cause? The pragmatist quietly living out his days in great wealth? Ultimately, it's hard to believe there are evil people at all — just crazy, heightened situations with patterns that repeat all over the world. The Act of Killing is deeply humanist that way. There's no point dwelling on some minor drawbacks; The Act of Killing is the film of the year, if not the decade, if not documentary history. Just go see it already. It's simultaneously being disseminated in Indonesia via private screenings and sparking, you can imagine, a big conversation. Proof that sometimes, art changes everything. Read our interview with director Joshua Oppenheimer here. https://youtube.com/watch?v=zJ5_JAgoZ5Q
Mass environmental protests will flood the streets of Australia on Friday, September 20, when thousands of people across the country walk out of school and work to demand action on climate change. Part of the Global Climate Strike movement, and organised locally by School Strike 4 Climate, events will be held in cities and towns across the nation — not only in state capitals such as Sydney, Melbourne and Brisbane, but in more than 100 Aussie spots. With the United Nations' Climate Change Summit happening on Monday, September 23 in New York, the huge worldwide protests are timed to send a message. Taking place in 120 countries, they're the latest initiative to take the climate crisis to the streets, building upon the outcry expressed in other rallies this year. In March, a Global Climate Strike for Future attracted 1.4 million people around the globe. This week's strikes have significant community backing this time, too — thousands of Australian school students are expected to walk out of class to attend, more than 30 unions have pledged their support, and over than 1200 Australian and global businesses have committed to giving their employees time off so that they can head along as well. As well as drawing attention to Australia's horrific two years, weather-wise — as seen via soaring temperatures, prolonged drought conditions and the horrific bushfires that have plagued the Queensland and NSW for the last fortnight — protestors are fighting for three specific demands. They're asking for a ban on new coal, oil and gas projects, including the recently approved Adani mine; that 100-percent energy generated and exported by 2030 comes from renewable sources; and the funding of fair transition processes, including the provision of jobs, for fossil fuel industry workers and the communities currently reliant upon the sector. Unsurprisingly, most places across Australia can expect disruptions and delays on Friday as a result of the strikes, including possible road closures and traffic diversions. If you're planning to join the crowds or you're pondering your transport options for the day, here's how the events will go down in your city. And here are a few placard ideas, too: https://www.instagram.com/p/B2ev1lbHuwE/?igshid=yaz9l9ueayup SYDNEY Sydney protestors will converge on The Domain on Art Gallery Road at 12pm, then march to Hyde Park — heading down Macquarie Street, then along Elizabeth Street and ending on Park Street. For those keen to march through the city beforehand, a Global Climate Strike bridge walk will set off from Bradfield Park near Milsons Point Station at 10am. Accompanied by a marching band, walkers will stroll over the Harbour Bridge, then continue along the Cahill walk to The Domain. If you're looking for a caffeine hit before the strike, Single O in the CBD and Surry Hills will be doling out free coffees to protesters between 10–11.30am — don't forget to BYO cup (obviously). For public transport and traffic updates on the day, check Transport NSW and Live Traffic Sydney. MELBOURNE Melburnians will start their protest at the Treasury Gardens on Spring Street at 2pm, with people advised to arrive from 1.30pm. After a Welcome to Country, speeches and performances, a march will take place from 3pm. Protestors will walk down to Collins Street, keep going until Exhibition Street, then head down to Flinders Street — which'll bring them back to the gardens. If you're commuting to the strike via train, you may want to join one of the four pre-strike train parties — on the Belgrave, Mernda, Craigieburn and Upfield — where there'll be snacks, chanting, singing and dancing. For public transport and traffic updates on the day, check Yarra Trams and Vic Traffic. BRISBANE Brisbanites will assemble in Queens Gardens on the corner of George and Elizabeth Streets from 12.30pm, with speeches commencing at 1pm and a march to Musgrave Park — via Victoria Bridge — starting at 1.30pm. More speakers and performances will follow in West End's Musgrave Park until 4pm. Unions and workers will also be marching to Queens Gardens beforehand, meeting at 12.30pm at Brisbane Square in Reddacliff Place. For public transport and traffic updates on the day, check Translink and Qld Traffic Metro. Australia's Global Climate Strike protests will take place at various times on Friday, September 20. For further details, visit the School Strike 4 Climate website. Top image: School Strike
Returning for its third iteration, The Fork Festival sees top restaurants across the country offering sit-down meals for half the usual price. Yep, 50 percent off your total food bill, folks — think of it as the proverbial carrot luring you out of the house. Kicking off on Monday, February 15, the offer is a blessing for those feeling a little light-pocketed after Christmas, NYE and Valentine's Day. To snag a half-price meal, you just need to make a reservation through The Fork website or app at one of the participating eateries for any service (breakfast, lunch or dinner) during the six weeks. There are some great venues coming to the party, too. In Sydney, you'll find cheap eats at the likes of Tayim in The Rocks, Marrickville's Poor Toms Gin Hall, No 1 William in Darlinghurst, Cottage Point Inn, Dulwich Hill's Bambino Torino Pizza and Lone Star Rib House in Blacktown. [caption id="attachment_701766" align="alignnone" width="1920"] Tayim by Guy Davies[/caption] Brisbane's lineup includes the CBD's Pool Terrace and Bar, Baos Pop Bistro in South Brisbane and Albion's Nutmeg Indian Cuisine, while Melbourne's Giro d'Italia, Undercover Roasters, Don Taco, Temple Brewing Co and Tulum Restaurant will all serve up discounted eats — as soon as they're allowed to reopen, of course. All of Victoria is currently under a snap five-day lockdown until 11.59pm on Wednesday, February 17, and restaurants can only serve up takeaway until then. You might want to revisit an old favourite or you could get a little adventurous and road-test somewhere new. Either way, there's ample time to squeeze in a fair few discount feasts before the festival wraps up on Sunday, March 28. The Fork Festival runs from Monday, February 15–Sunday, March 28 at select restaurants nationwide, excluding the NT and Tasmania. Victoria's Fork Festival will begin when restaurants reopen. Top image: Giro d'Italia by Parker Blain
While some of us appreciate the cosiness of winter, others can't wait until warmer weather returns. Now is your chance to become someone who loves the cold, as Tourism Tasmania has just opened its Winternship applications. With ten lucky participants heading to Tassie to undertake an internship experience that helps them become winter people, embracing the cold and damp could change your life. From caring for adorable local wildlife and maintaining historic chairlifts to foraging in tunnels for tasty mushrooms, there's every prospect you'll discover a new passion, while realising that perhaps spending your days on a windswept hillside isn't so bad after all. So, pull on your thickest socks and don your favourite beanie, as these Winternships are perfect for changing the pace of your daily life. For instance, the Sauna Skipper experience sees a Wintern keep the temperatures toasty at the woodfired Kuuma Nature Sauna — a floating relaxation adventure soaked in natural beauty. For something more upbeat, head to Penguin's Hideaway Farmlet, where the Goat Doofer Wintern is tasked with hosting a mini music festival for a vibe-seeking herd. Then, night owls are primed for the Devil Sitter position, as they'll babysit Tasmanian devils who love to shriek, screech and growl from dusk to dawn. If Tassie's burgeoning culinary scene is more your mood, Tunnel Hill Mushrooms is looking for recruits to grow, pick and prepare their award-winning mushrooms, cultivated inside an old railway tunnel. Meanwhile, McHenry Distillery — the southernmost distillery and brewery in the world — invites a spirit-loving Wintern to learn whisky's tricks of the trade from amid the remote Tasman Peninsula. With several more Winternships to explore, there's no shortage of ways to discover what's special about the cold. "Tasmanians are winter people at heart, so we don't just endure winter, we celebrate it," says Sarah Clark, Chief Executive Officer of Tourism Tasmania. "We're inviting Winterns to dive head-first into our winter culture that's probably a bit different to their home state. From babysitting Tasmanian devils to fragrance foraging, there's something for everyone in Tasmania this off-season. We guarantee you'll head home with some different skills and most importantly, a new take on winter." Ready to toss your woolly hat in the ring? Tourism Tasmania's Winternship applications are now open until Tuesday, June 17. To enter, simply write a short submission of fewer than 50 words, explaining why you want to become a winter person. If chosen, you'll have your travel covered and be guided by local experts throughout your stay. Plus, you'll return home with a selection of Tasmania's best seasonal produce and goods, handpicked by your hosts. Tourism Tasmania's Winternship applications are now open until Tuesday, June 17. Head to the website to learn more and submit your application.
Fall down the rabbit hole with artists Hans Berg and Nathalie Djurberg, as they exhibit their work in Australia for the very first time. Installed at the Australian Centre for Contemporary Art, The Secret Garden is an original work presented by Melbourne Festival. Combining film, light, sculpture and sound, the piece promises to showcase the Swedes in all their surreal, hallucinogenic glory. ACCA will also host a marathon screening of the duo's early claymation short films that helped catapult them to international acclaim. This event is one of our top ten picks of the Melbourne Festival. Check out the other nine.
To choose the life of an artist means choosing canned tuna dinners, free beer at openings across the city and what is often a constant battle between maintaining artistic integrity whilst trying to put those aforementioned cans of tuna and that free beer on the (dirty share house) table every night. Each year, in association with the philanthropic Balnaves Foundation, the Australian Centre for Contemporary Art gives a handful of Australia's most exciting emerging artists a massive leg up, inviting them to create site-specific pieces for the annual NEW exhibition. NEW 13 is curated by ACCA's associate curator Charlotte Day and features the work of Benjamin Forster, Jess MacNeil, Alex Martinis Roe, Sanne Mestrom, Scott Mitchell, Joshua Petherick and Linda Tegg. The vastly divergent offerings include a sculpted weeping woman that cries actual tears, the ghosts of imaging technology captured and a piece that sheds sunlight on previously overlooked crevices of ACCA. Image — Alexis Martinis Roe, The Practice of Doing, 2013
