The south side doesn't often get the chance to boast about cool, new happenings, but thanks to the enterprising minds behind TOASTA, Elsternwick will play host to a weekly convoy on food trucks aptly named The Southside Social. When TOASTA sandwich purveyor, Bec Feingold got word of a vacant block next to the Classic Cinema in Elsternwick, the cogs started turning. And the result is a space where south-siders can come and experience the enormous variety of food trucks that navigate our streets. Over the next six weeks, The Southside Social will have a rotating roster of trucks including the Brûlée Cart, Danger Dogs, Soul Kitchen Pizza, Nem N' Nem Vietnamese, Big Cook Little Cook Indian and, of course, TOASTA. And there's still more to come. In addition to the food, the team from Pink Lady Cider will be on the scene serving up beverages. Until now, Melbourne's food trucks rarely make it past South Melbourne. While typically associated with the north, provisions have been made to ensure The Southside Social is a little less rough 'n' tumble than the usual creepy side street of the north. Music, tables, chairs, ping pong, blankets and heaters are just some of the accoutrements that will make this a positively southside affair. Never has an empty block been so well utilised, creating what is essentially a glorified and constantly changing outdoor food court. We predict The Southside Social will be a welcome addition to the south of the river. The Southside Social will be rolling into Elsternwick Wednesday to Friday 5.30-9pm, and Saturday and Sunday 12pm onwards. Keep an eye on the TOASTA facebook page for locations and which trucks will be parking up.
On the page and the big screen, Scott Pilgrim vs the World told the same story. Its namesake (Michael Cera, Barbie) fell in love with Ramona Flowers (Mary Elizabeth Winstead, Ahsoka), but there was a roadblock on the way to the pair dating: her seven evil exes that needed defeating. On streaming from November, Scott Pilgrim Takes Off will also cover those details in anime; however, that's just the beginning of the tale. One, two, three, four: Sex Bob-Omb! are back, and everything Scott Pilgrim with them, thanks to this animated Netflix series. First announced earlier in 2023 and dropping its teaser trailer in August, the new take on a bass player fighting the object of his affection's past boyfriends isn't just hitting the small screen as a streaming series — as the new full sneak peek stresses, it has amassed the entire Scott Pilgrim vs the World cast back in their roles. Obviously, a lot can happen in 13 years — and for the cast of 2010's page-to-screen favourite Scott Pilgrim vs the World, much has before Scott Pilgrim Takes Off reaches screens. Michael Cera kept returning to Arrested Development's George Michael, made a stunning appearance in the Twin Peaks revival and featured in Barbie. Mary Elizabeth Winstead added everything from Fargo and 10 Cloverfield Lane to Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) and Ahsoka to her resume. Chris Evans became Captain America, Kieran Culkin killed it with insults in Succession and Anna Kendrick had the whole Pitch Perfect franchise. Brie Larson slipping into Captain Marvel's shoes, Aubrey Plaza's The White Lotus stint, Jason Schwartzman still showing up in Wes Anderson films aplenty — that's all occurred as well. Now, more Scott Pilgrim has come all of the above actors' way, too. The movie that started off as a series of graphic novels by Bryan Lee O'Malley, and also hit video games, will live on again from Friday, November 17. When a film becomes a streaming series, that doesn't always mean that the OG stars return with it — but it does in this case. As well as Cera and Winstead, Scott Pilgrim Takes Off boasts Culkin as Wallace Wells, Kendrick as Stacey Pilgrim, Larson as Envy Adams and Plaza as Julie Powers. And, yes, Evans, Schwartzman, Satya Bhabha (Sense8), Brandon Routh (The Flash) and Mae Whitman (Good Girls) are all back as Ramona's evil exes. The list doesn't stop there. Alison Pill (Hello Tomorrow!) as Kim Pine, Johnny Simmons (Girlboss) as young Neil, Mark Webber (SMILF) as Stephen Stills, Ellen Wong (Best Sellers) as Knives Chau are reprising their roles as well. While Scott Pilgrim Takes Off still sees its namesake swoon over Ramona, then tussle with her former paramours, this is more than just a do-over. "I knew that a live action sequel was unlikely, but I would usually defer by suggesting that perhaps an anime adaptation was an interesting way to go," the original film's director Edgar Wright told Netflix back when the series was first announced. "And then, lo and behold, one day Netflix got in touch to ask about this exact idea. But even better, our brilliant creator Bryan Lee O'Malley had an idea that was way more adventurous than just a straight adaptation of the original books," Wright continued — and he's back as an executive producer. Check out the full trailer for Scott Pilgrim Takes Off below: Scott Pilgrim Takes Off streams via Neflix on Friday, November 17.
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.
"Let food be thy medicine and medicine be thy food." They're words famously spoken by Hippocrates, way back when, and lived diligently by so many foodies, even today. They also sum up the concept at the heart of Prahran café Market on Malvern, which opened its doors in October 2016. The brainchild of Dr Anthony Yeuong, who's also behind adjoining health practice Beingwell Healthcare, MOM was dreamt up in response to a growing number of patients with dietary dramas and allergy issues. Dr Yeuong has long been a champion of food that both tastes good and feels good afterwards, and now he's treating the good folk of Melbourne with a bit of pre-emptive edible 'medicine', Hippocrates-style. With an ex-Nobu chef helming the kitchen, MOM's catering to clean eaters and flavour seekers alike; its thoroughly-researched menu is packed full of paleo, vegan, allergen-free, and FODMAP-friendly goodness. Dishes are categorised according to their specific properties and benefits to the body. You might find yourself boosting those energy levels with the caramelised sweet potato and hemp protein hummus, or you might opt for the red rice and miso eggplant, to help soothe any digestive issues. Backing up all those healing food options, there's a slew of juices and smoothies, coffee by Allpress, and a list of caffeine-free lattes that runs from beetroot right through to mushroom.
Star Wars fans, prepare to punch it on down to Sydney's Powerhouse Museum in November — and prepare to come face to face with 200 original objects from the popular sci-fi franchise at Star Wars Identities: The Exhibition. You might have to wait more than 12 months until Star Wars: Episode IX reaches cinemas late next year, but you can spend your days from November 16, 2018 until June 10, 2019 perusing the items that helped make space opera movie magic happen. Coming to Australia for the first time, that includes costumes, props, models and artworks from the Lucasfilm archives, complete with a galaxy's worth of favourites — think BB-8, R2-D2 and the Millennium Falcon just for starters. Get a glimpse of Yoda, you will, circa Star Wars: Episode V — The Empire Strikes Back. You'll also feel the power-hungry menace radiate from Darth Vader's suit from Star Wars: Episode VII — Return of the Jedi. Star Wars Identities is also an interactive exhibition, with creating your own unique character also part of the experience. If you've ever felt as though you should be hanging out in a cantina somewhere on a remote planet, here's your chance to answer a heap of questions, work through a series of stations and find your inner Star Wars hero. You won't need to use the force — rather, you'll receive a smart technology bracelet and a headset to use while you're in the exhibition. But if you want to say that you are using the force — or even want to give midi-chlorians some credit — no one will stop you. The Powerhouse Museum is no stranger to Star Wars shenanigans, having hosted a weekend's worth of May the Fourth fun earlier this year. For those already planning their costumes for this 90-minute experience, you're welcome to attend as Han Solo, Leia Organa, Luke Skywalker or whichever other character you'd like — but helmets and masks will need to be left in the cloak room, and you'll also need to leave your lightsabers at home. Star Wars Identities: The Exhibition displays at the Powerhouse Museum, 500 Harris St, Ultimo from November 16, 2018 until June 10, 2019. For more information or to buy tickets, visit the exhibition website.
When the Mr Black Festival of the Espresso Martini first hit Melbourne in 2016, caffeinated cocktail lovers rejoiced — and forgot all about sleep for a few days. It's far from surprising that the fest is back for another round of chilled coffee and vodka. Best get some rest now because you won't in November. After last year's event expanded from one to three days due to demand, the 2017 iteration knows it'll need to spread out its buzzing boozy fun from the outset. Taking over North Melbourne's Meat Market from November 3 to 5, it'll serve up six different bar areas, a range of workshops and classes, food aplenty, live music from Australian musicians and, yes, the drink in question. Thanks to the fine folks at NSW cold-pressed (and damn fine) coffee liqueur brand Mr Black, attendees can try espresso martinis topped with doughnuts, other variations on the tasty cocktail and even White Russian slushies. A garden tiki bar and hidden speakeasy will also boast their own drink menus, while a G&T bar will offer a reprieve from the coffee — if that's what you feel you need. Holgate Brewing's beer will also provide a non-espresso option. With Fancy Hank's, Zeus Street Greek Food, That Arancini Guy, Toasta & Co and Butter Mafia on food duties, there'll be a range of eats to help line the stomach (and soak up the caffeine). Tickets start at $30, with multiple sessions running each day. Entry includes a Mr Black tasting on arrival, and if you head along to the brunch slot from 10.30am until 2pm on November 4, you'll also get brunch and your first espresso martini included.
We're always looking for an excuse to indulge and an international celebration for everyone's favourite sweet seems as good a reason as any. This Saturday, July 7 is World Chocolate Day, and, as you would expect, Australia's oldest family-owned bean-to-bar chocolate maker, Haigh's Chocolates, is ready to celebrate the good stuff. Haigh's Chocolates certainly knows a thing or two about delicious artisan choc, seeing how it's been crafting chocolate from raw cocoa beans since 1915. The Adelaidean chocolate purveyors now offer more than 250 different specialist varieties produced at its SA-based factory. This Saturday, Haigh's will be offering free delivery on online purchases for purchases over $25. And, if you visit a Haigh's store, staff will be handing out free chocolate frogs. And to treat you, our lovely readers, even further, Haigh's has given us $200 for one of you to spend at any Haigh's Chocolates store or online. Enter below, and you could turn World Chocolate Day into World Chocolate Month with your winnings. Once you've entered, make sure you also save this Haigh's chocolate fondant recipe to try with your winning haul. INGREDIENTS: 150 grams Haigh's 70 percent dark chocolate pastilles, roughly chopped 150 grams unsalted butter, plus extra for greasing, cut into cubes 200 grams light brown sugar 4 large eggs 1 large egg yolk 1 teaspoon vanilla extract 1/2 cup (75 grams) plain flour, sifted Cocoa powder, to dust DIRECTIONS: Pre-heat oven to 200°C (180°C fan-forced). Grease the inside of six dariole moulds or ramekins. Place butter and chocolate together in a medium mixing bowl over a saucepan of barely simmering water, stirring occasionally until melted and smooth. Add sugar, stirring to combine and remove from heat. In a separate bowl, combine eggs, yolk and vanilla together, stirring until combined. Add to the chocolate mixture, stirring until well combined. Sift the flour over the chocolate mixture, stirring until well combined. Divide mixture between prepared dariole moulds, making sure each mould is no more than 2/3 full. Place dariole moulds in preheated oven and cook for 15 minutes or until tops are set and coming away from the moulds. Remove from oven and allow to stand for one minute. To serve, use a small spatula to very gently ease the fondant away from the edge of the mould. Carefully invert each mould onto small serving plates and dust with cocoa powder. Serve with a dollop of jersey cream and fresh raspberries. Note: filled dariole moulds can be chilled ahead and baked just before serving. [competition]675143[/competition]
A drug kingpin disappearing into a new life, clashing cousins, voting popes, a veteran actor trying to reclaim her career with the help of a mysterious liquid, Adrien Brody surviving history's horrors again, fierce tennis competitors: films about all of the above have earned Golden Globes in 2025. Stressed-out chefs, stand-up comedy greats, Japanese warriors, Gotham villains, determined detectives: TV shows about them are all also in the same category. And, they each have a heap of company. Held on Monday, January 6 Australian and New Zealand time, this year's Golden Globes ceremony started with host Nikki Glaser cracking gags about everything from Dune: Part Two's running time to Nicole Kidman making awards-nominated work to get away from Keith Urban's strumming and Adam Sandler pronouncing Timothée Chalamet's name. It then threw in excited shouts and enthusiastic speeches aplenty among the winners. Picking up the first award of the night — but not the only award for Emilia Pérez — Zoe Saldaña (Special Ops: Lioness) delivered both alone. Other highlights from the hijinks: Catherine O'Hara (The Wild Robot) and Seth Rogen (Mufasa: The Lion King), co-stars in upcoming streaming series The Studio, making up a whole lot of accolades for fake Canadian projects; The White Lotus favourite Jennifer Coolidge being Jennifer Coolidge; Emilia Pérez songwriter Camille calling the whole shebang "such an American experience"; and Vin Diesel (Fast X) starting his presenting stint with "hey Dwayne". And more standouts among the awards: gorgeous Latvian independent animation Flow taking out its category, in the first time that a movie from the nation has been at the Golden Globes; Kieran Culkin winning the supporting actor Succession battle for A Real Pain over Jeremy Strong for The Apprentice; Shogun's well-deserved swag of gongs; Demi Moore's touching sentiments about believing in your own value; A Different Man winner Sebastian Stan demanding that tough films still get made; and also Feranda Torres emerging victorious for I'm Still Here over Nicole Kidman (Babygirl), Pamela Anderson (The Last Showgirl), Angelina Jolie (Maria), Tilda Swinton (The Room Next Door) and Kate Winslet (Lee). Not every ace nominee could snag a statuette, of course. Not every worthy movie and TV series even made the roster of contenders. They're truths that everyone should remember at every awards ceremony. Still, the rundown of newly minted 2025 Golden Globe winners spans an array of deserving folks and projects — and comes in less than a fortnight before the Oscars joins in, announcing its nominees on Saturday, January 17 Down Under time. Will the Academy Awards follow in these footsteps? And the Emmys later in the year, too? What else received some love? Here's the full list of 2025's Golden Globe winners and nominees (and you can also check out our rundown of victorious films and TV shows to watch right now): 2025 Golden Globe Winners and Nominees Best Motion Picture — Drama The Brutalist — WINNER A Complete Unknown Conclave Dune: Part Two Nickel Boys September 5 Best Motion Picture — Musical or Comedy Anora Challengers Emilia Pérez — WINNER A Real Pain The Substance Wicked Best Motion Picture — Animated Flow — WINNER Inside Out 2 Memoir of a Snail Moana 2 Wallace & Gromit: Vengeance Most Fowl The Wild Robot Cinematic and Box Office Achievement Alien: Romulus Beetlejuice Beetlejuice Deadpool & Wolverine Gladiator II Inside Out 2 Twisters Wicked — WINNER The Wild Robot Best Motion Picture — Non-English Language All We Imagine as Light Emilia Pérez — WINNER The Girl with the Needle I'm Still Here The Seed of the Sacred Fig Vermiglio Best Performance by a Female Actor in a Motion Picture — Drama Pamela Anderson, The Last Showgirl Angelina Jolie, Maria Nicole Kidman, Babygirl Tilda Swinton, The Room Next Door Fernanda Torres, I'm Still Here — WINNER Kate Winslet, Lee Best Performance by a Male Actor in a Motion Picture — Drama Adrien Brody, The Brutalist — WINNER Timothée Chalamet, A Complete Unknown Daniel Craig, Queer Colman Domingo, Sing Sing Ralph Fiennes, Conclave Sebastian Stan, The Apprentice Best Performance by a Female Actor in a Motion Picture — Musical or Comedy Amy Adams, Nightbitch Cynthia Erivo, Wicked Karla Sofía Gascón, Emilia Pérez Mikey Madison, Anora Demi Moore, The Substance — WINNER Zendaya, Challengers Best Performance by a Male Actor in a Motion Picture — Musical or Comedy Jesse Eisenberg, A Real Pain Hugh Grant, Heretic Gabriel Labelle, Saturday Night Jesse Plemons, Kinds of Kindness Glen Powell, Hit Man Sebastian Stan, A Different Man — WINNER Best Performance by a Female Actor in a Supporting Role in Any Motion Picture Selena Gomez, Emilia Pérez Ariana Grande, Wicked Felicity Jones, The Brutalist Margaret Qualley, The Substance Isabella Rossellini, Conclave Zoe Saldaña, Emilia Pérez — WINNER Best Performance by a Male Actor in a Supporting Role in Any Motion Picture Yura Borisov, Anora Kieran Culkin, A Real Pain — WINNER Edward Norton, A Complete Unknown Guy Pearce, The Brutalist Jeremy Strong, The Apprentice Denzel Washington, Gladiator II Best Director — Motion Picture Jacques Audiard, Emilia Pérez Sean Baker, Anora Edward Berger, Conclave Brady Corbet, The Brutalist — WINNER Coralie Fargeat, The Substance Payal Kapadia, All We Imagine as Light Best Screenplay — Motion Picture Jacques Audiard, Emilia Pérez Sean Baker, Anora Brady Corbet, Mona Fastvold, The Brutalist Jesse Eisenberg, A Real Pain Coralie Fargeat, The Substance Peter Straughan, Conclave — WINNER Best Original Score — Motion Picture Volker Bertelmann, Conclave Daniel Blumberg, The Brutalist Kris Bowers, The Wild Robot Clément Ducol, Camille, Emilia Pérez Trent Reznor, Atticus Ross, Challengers — WINNER Hans Zimmer, Dune: Part Two Best Original Song — Motion Picture 'Beautiful That Way', Andrew Wyatt, Miley Cyrus, Lykke Zachrisson, The Last Showgirl 'Compress / Repress', Trent Reznor, Atticus Ross, Luca Guadagnino, Challengers 'El Mal', Clément Ducol, Camille, Jacques Audiard, Emilia Pérez — WINNER 'Forbidden Road', Robbie Williams, Freddy Wexler, Sacha Skarbek, Better Man 'Kiss The Sky', Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi, The Wild Robot 'Mi Camino', Clément Ducol, Camille, Emilia Pérez Best Television Series — Drama The Day of the Jackal The Diplomat Mr & Mrs Smith Shogun — WINNER Slow Horses Squid Game Best Television Series — Musical or Comedy Abbott Elementary The Bear The Gentlemen Hacks — WINNER Nobody Wants This Only Murders in the Building Best Television Limited Series, Anthology Series or Motion Picture Made for Television Baby Reindeer — WINNER Disclaimer Monsters: The Lyle and Erik Menendez Story The Penguin Ripley True Detective: Night Country Best Performance by a Female Actor in a Television Series — Drama Kathy Bates, Matlock Emma D'arcy, House of the Dragon Maya Erskine, Mr & Mrs Smith Keira Knightley, Black Doves Keri Russell, The Diplomat Anna Sawai, Shogun — WINNER Best Performance by a Male Actor in a Television Series — Drama Donald Glover, Mr & Mrs Smith Jake Gyllenhaal, Presumed Innocent Gary Oldman, Slow Horses Eddie Redmayne, The Day of the Jackal Hiroyuki Sanada, Shogun — WINNER Billy Bob Thornton, Landman Best Performance by a Female Actor in a Television Series — Musical or Comedy Kristen Bell, Nobody Wants This Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Selena Gomez, Only Murders in the Building Kathryn Hahn, Agatha All Along Jean Smart, Hacks — WINNER Best Performance by a Male Actor in a Television Series — Musical or Comedy Adam Brody, Nobody Wants This Ted Danson, A Man on the Inside Steve Martin, Only Murders in the Building Jason Segel, Shrinking Martin Short, Only Murders in the Building Jeremy Allen White, The Bear — WINNER Best Performance by a Female Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television Cate Blanchett, Disclaimer Jodie Foster, True Detective: Night Country — WINNER Cristin Milioti, The Penguin Sofía Vergara, Griselda Naomi Watts, Feud: Capote Vs. The Swans Kate Winslet, The Regime Best Performance by a Male Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television Colin Farrell, The Penguin — WINNER Richard Gadd, Baby Reindeer Kevin Kline, Disclaimer Cooper Koch, Monsters: The Lyle and Erik Menendez Story Ewan McGregor, A Gentleman in Moscow Andrew Scott, Ripley Best Performance by a Female Actor in a Supporting Role on Television Liza Colón-Zayas, The Bear Hannah Einbinder, Hacks Dakota Fanning, Ripley Jessica Gunning, Baby Reindeer — WINNER Allison Janney, The Diplomat Kali Reis, True Detective: Night Country Best Performance by a Male Actor in a Supporting Role on Television Tadanobu Asano, Shogun — WINNER Javier Bardem, Monsters: The Lyle and Erik Menendez Story Harrison Ford, Shrinking Jack Lowden, Slow Horses Diego Luna, La Máquina Ebon Moss-Bachrach, The Bear Best Performance in Stand-Up Comedy on Television Jamie Foxx, Jamie Foxx: What Had Happened Was Nikki Glaser, Nikki Glaser: Someday You'll Die Seth Meyers, Seth Meyers: Dad Man Walking Adam Sandler, Adam Sandler: Love You Ali Wong, Ali Wong: Single Lady — WINNER Ramy Youssef, Ramy Youssef: More Feelings The 2025 Golden Globes were announced on Monday, January 6, Australian and New Zealand time. For further details, head to the awards' website.
Vegetables are the undisputed heroes at the southside's newest casual eatery, which is located right on the edge of South Melbourne Market. Opening its doors this week, Marko is kicking it slow, embracing an old-school food philosophy and dishing up a vibrant offering that's entirely plant-based. The brainchild of food industry veteran Dehne Bingham (former CEO of Belles Hot Chicken and 100 Burgers Group), the restaurant is set on getting back to basics, focusing on serving food that's better for the community, the planet and the people eating it. In the kitchen, Head Chef Nabin Shrestha (Rumi, Vegie Bar) is plating a daytime menu of vegan and vegetarian dishes, curated by long-time champion of plant-based dining, chef Charley Snadden-Wilson (Ramblr, Etta, Embla). There's a strong emphasis on sourcing ingredients as locally as possible, working with the seasons and, of course, snubbing any preservatives or other nasties. But Marko isn't afraid to have some fun, too, with a colourful lineup of eats that shows plenty of creativity. Diners can choose from a range of meals in buns, all available with gluten-free alternatives — from the signature Marko cheeseburger layered with coconut cheese and a plant-based patty to the spicy cauliflower number with jalapenos and chipotle mayo. Fluffy pitas from Brunswick's Alasya Bakery are also on the menu, and come stuffed with the likes of green pea falafel or roasted mushrooms with quinoa tabbouleh and tahini sauce. Marko also serves up a range of vibrant veggie bowls, along with sides like chilli-topped corn ribs and crispy eggplant chips finished with your choice of house seasoning. And, you can make a meal of it with one of three 'feed me' options, matching a burger or pita with chips, dip and a Capi soda. To drink, expect to find a rotation of craft brews, natural wines, and cocktails both boozy and non-alcoholic, along with caffeinated options shuttled down from nearby coffee window Clement. As a bonus feel-good factor, there's also an environmental conscience that extends beyond the meat-free menu. Marko is using all recyclable packaging, has implemented a special system for recycling food waste and powers its kitchen partly by renewables. Find Marko at Site 99, South Melbourne Market, Cecil Street, South Melbourne — open 11.30am–3pm Wednesday–Friday and 11am–4pm Saturday–Sunday.
If this week's frosty weather has turned your thoughts to snuggly doonas, and breakfast enjoyed huddled beneath the covers, we've found exactly where you need to be this weekend. Luxury lifestyle and homewares label In Bed is celebrating the launch of its new Armadale store by hosting a market day brimming with artisan goodies. This Saturday, May 14, the brand is teaming up with food writer Julia Busuttil Nishimura and art director Stephanie Stamatis, transforming the Flack Studio-designed High Street digs into a pop-up marketplace. Joining them is a curation of local food vendors and producers, including Wild Life Bakery, Lello Pasta, Hunted and Gathered Chocolate, Sarafian Hummus, Ramarro Farm and Holy Crumpets; along with Market Lane, which'll be handing out complimentary coffees. You'll also be able to buy signed copies of Nishimura's two cookbooks and a range of fresh blooms, in between shopping In Bed's premium collection of linen, homewares and handmade ceramics. [caption id="attachment_853612" align="alignnone" width="1920"] Julia Busuttil Nishimura, by Annika Kafcaloudis[/caption]
Australia's most prestigious portrait award is almost upon us for another year, with the paintings vying for the 2021 Archibald Prize just announced. Ahead of anointing the winner on Friday, June 4, 52 portraits have just been shortlisted for the coveted gong — and, for the first time in its now 100-year history, an equal number of male and female artists have made the cut. More of this year's portraits depict women than men, too, although that isn't a first. Among the highlights: Kirsty Neilson's Making Noise, a portrait of Grace Tame — and Oliver Watts' Dorian Gray (Eryn Jean Norville). Other finalists include Matthew Clarke's Del Kathryn Barton is a good listener; Rachel by Thea Anamara Perkins, which depicts the latter's aunt and Jasper Jones filmmaker Rachel Perkins; and Natasha Bieniek's image of actor Rachel Griffiths. Mirra Whale's Repose, which features fellow artist Ben Quilty, has been shortlisted as well — as has Jonathan Dalton's portrait of artist Ramesh Nithiyendran. Kathrin Longhurst's Kate is in the running, and has also taken out the coveted 2021 Archibald Packing Room Prize, which is chosen by the packing room team. The portrait depicts singer and songwriter Kate Ceberano. [caption id="attachment_813770" align="aligncenter" width="1920"] Archibald Prize 2021 finalist. Kathrin Longhurst, 'Kate'. Oil on linen, 122 x 122 cm. © the artist. Photo: AGNSW, Jenni Carte.[/caption] Also spanning Sally M Nangala Mulda's Two town camp stories, Eunice Djerrkŋu Yunupiŋu's Me and my sisters, Peter Berner's Stop pouting, you've had your turn and Kim by Kim Leutwyler — all self-portraits — the 52 shortlisted works are all in contention for the Archibald's $100,000 prize. Speculation about who will be awarded the coveted prize — and, more often than not, the Archibald winner itself — usually causes much-heated debate. From 2018's five-time Archibald finalist Yvette Coppersmith's first win to Tony Costa's win with his painting of fellow artist Lindy Lee — the first portrait of an Asian Australian to pick up the prize — it's hard a win to pick. All that's really assured is that it'll be a portrait of a person by an Australian. In 2020, Vincent Namatjira's portrait of Adam Goodes did the honours, and also marked the first the award has gone to an Indigenous artist. [caption id="attachment_813771" align="aligncenter" width="1920"] Archibald Prize 2021 finalist. Oliver Watts, 'Dorian Gray (Eryn Jean Norvill)'. Acrylic on canvas, 213.5 x 137.5 cm. © the artist. Photo: AGNSW, Jenni Carte[/caption] Held at Sydney's Art Gallery of NSW every year, the Archibald runs in conjunction with the Wynne and Sulman Prizes — recognising the best landscape painting of Australian scenery or figure sculpture, and the best subject painting, genre painting or mural project, respectively. This year, 2021's winning works and finalists will be on display from Saturday, June 4–Sunday, September 26. And if it feels like all of this just happened recently, that's because 2020's Archibald Prize happened later in the year due to the pandemic. If you don't agree with the judges, you can cast your own vote for People's Choice, which will be announced on Wednesday, September 1. ARCHIBALD PRIZE 2021 DATES Art Gallery of NSW, Sydney, NSW — June 4–September 26, 2021 Gippsland Art Gallery, Sale, Victoria — October 8–November 21, 2021 Hazelhurst Regional Gallery & Art Centre, Gymea, NSW — December 3–January 16, 2022 Maitland Regional Art Gallery, Maitland, NSW — January 23–March 6, 2022 Cowra Regional Art Gallery, Cowra, NSW — March 18–June 22, 2022 Manning Regional Art Gallery, Taree, NSW — July 8–August 21, 2022 If you can't make it to any of the above dates, you can check out the award winners and finalists of the Archibald, Wynne and Sulman prizes on the Art Gallery of NSW website. Top image: Archibald Prize 2021 finalist. Kirsty Neilson, 'Making noise'. Oil on linen, 50.1 x 60.1 cm, © the artist. Photo: AGNSW, Felicity Jenkins
Earlier this week, the organisers of Bluesfest announced that the award-winning festival was likely to leave Byron Bay — and NSW altogether — after its 30th anniversary this April in a scathing open letter to the State Government. The letter was a response to the government's stringent new music festival policies, which require them to follow a new licensing regime and, in many cases, spend thousands of dollars on increased police presence. Speaking to the media yesterday, Premier Gladys Berejiklian responded to the letter, saying that Bluesfest is a "fantastic festival" that has "nothing to worry about". Premier Berejiklian continued, saying that Bluesfest was a "low risk" event, despite Festival Director Peter Noble's announcement that, according to the government's new criteria, it was deemed a "high risk event", which meant they were required to spend hundreds of thousands of dollars to comply with the new policies. This has led to more confusion about what exactly a low- or high-risk event is — and has exacerbated criticism that the government's new policies lack transparency — with guidelines released by the government saying that the level of risk is based on a number of factors including how many attendees, festival duration and whether on-site camping is taking place. Following this criteria, Bluesfest would be ranked as either a "high" or "extreme" risk event. According to Premier Berejiklian, however, high-risk festivals are events where "we've seen death or serious injury" in the past. Two other NSW music festivals, which were forced to cancel in the past week — Mountains Sounds and Psyfari — were both deemed "high risk". [caption id="attachment_566069" align="alignnone" width="1280"] Bluesfest, Andy Fraser.[/caption] Speaking to the SMH yesterday, Bluesfest's Festival Director Mr Noble said they were still considering a move to either Queensland or Victoria. "Both the States of Queensland and Victoria do not have these guidelines... In fact, they invest in music and the live arts," Mr Noble told the SMH. "NSW needs to come an awful way along to start doing the same thing to the levels of the states surrounding them are doing. They're falling behind, and yet they're patting themselves on the back at the same time." While many festivalgoers have lamented the festival's possible relocation, saying "Byron is the Bluesfest, Bluesfest is Bryon", some have embraced it, with suggestions the festival move to Victoria. One Concrete Playground reader wrote, "Victoria The Bellarine Blues Festival 2020". Bluesfest 2019 is scheduled to run from April 18 to April 22 at Tyagarah Tea Tree Farm, Byron Bay. More details and ticket info here. Image: Andy Fraser.
The place: earth in the near future. The situation: a frozen planet chilling at a frosty -119 degrees celsius, as caused by humanity's attempts to combat climate change. The only solution: a constantly hurtling 1001-car train that plays host to the world's only remaining people. But, instead of banding together on the speeding locomotive, the residents of Snowpiercer have transported society's class structure into the carriages of their new home. That's the story that drives Snowpiercer — on both the big screen and on TV. First came Bong Joon-ho's 2013 film, which marked the acclaimed South Korean writer/director's first English-language film, and one of the movies that brought him to broader fame before Netflix's Okja and 2019's Cannes Palme d'Or-winning and Oscar-winning Parasite. Then, unsurprisingly, came a US-made television series, which was first announced back in 2016, and then finally started speeding across screens — including Down Under, where it's available via Netflix — from May 2020. In both forms, Snowpiercer boasts a smart, immersive and all-too-timely concept — and unpacks its underlying idea in a thrilling and involving manner. While the TV version isn't as stellar as Bong's film (because, honestly, how could it be?), it takes the same dystopian concept, heightens the suspense and drama, and serves up both a class warfare-fuelled survivalist thriller and a murder-mystery. Think constant twists, reveals and reversals, cliffhangers at the end of almost every scene, and a 'Murder on the Snowpiercer Express' kind of vibe. Indeed, it's very addictive — and, ahead of its season two premiere on Tuesday, January 26 on Netflix, the streaming platform has dropped the full trailer for the show's next batch of episodes Once again, Hamilton's Tony Award-winning Daveed Diggs leads the charge, playing an ex-detective who has spent seven years in the tail end of the train and is dedicated to overthrowing the status quo to achieve equality for all. Also aboard is Jennifer Connelly as the engine's all-seeing, ever-present head of hospitality, with the likes of Frances Ha's Mickey Sumner, Slender Man's Annalise Basso and The Americans' Alison Wright all part of Snowpiercer's new world order as well. And, as first teased last year, Snowpiercer's existing cast are all facing a significant change in the second season. They're about to meet a new adversary, as played by none other than Game of Thrones' Sean Bean. Just how long he'll survive in his latest role is something you can start pondering right now. Watch the full Snowpiercer season two trailer below: https://www.youtube.com/watch?v=0yZatBxIqVk Snowpiercer's second season will hit Netflix Down Under from Tuesday, January 26 — dropping new episodes weekly. Top image: David Bukach.
In late March, the City of Melbourne temporarily stopped issuing parking fines for minor infringements to assist essential workers during the initial stages of COVID-19 restrictions. From May 11, though, you'll need to make sure you're topping up the meter, with the Council resuming the enforcement of all restrictions once again. The Council said the decision to restart issuing all parking fines came after reviewing "on-road parking conditions across the City of Melbourne" and considering feedback from local residents and businesses. "At the start of lockdown, Melbourne's streets were empty and it was appropriate to have temporary unrestricted parking in areas with green signs to support workers who were still required at their workplace," Lord Mayor Sally Capp said in a statement. "Vehicles are now returning to the city and traders and residents have called for greater turnover of car parks outside their homes and businesses to welcome customers and visitors." During the six weeks of eased parking restrictions, the Council's officers weren't slapping people with fines for disobeying rules in green-signed areas, but were still fining people for disobeying red signs; parking unsafely; blocking driveways, clearways or lanes; parking in a resident permit zone; parking too close to an intersection; or parking in a disability bay without the proper permit. https://twitter.com/cityofmelbourne/status/1257437877614579713 So, what does this all mean for you? From Monday, May 11, you'll need to keep an eye on all the parking signs — including the green ones — and make sure you pay for a ticket. Hopefully, just like you were doing in a pre-COVID-19 world. If you're worried about using the parking meters, the Council said all high-touch areas, including parking meters and traffic light buttons, are being sanitised on a regular basis, and it recommends you sanitise your hands before and after use. You can also avoid touching the meters altogether by downloading the PayStay app (for iOS or android), which lets you pay directly from your phone. Frontline health and emergency workers, including staff from Victoria Police and at eight Melbourne hospitals, can apply for free temporary parking permits. Victoria's stay-at-home rules are still in place, though, so ensure you're only leaving home for one of the essential reasons, or you could be slapped with a fine. For more information about parking in the City of Melbourne and its response to COVID-19, head to the Council website.
Summer has settled in for the long haul and a sultry season of day-tripping, beach sessions and poolside hangs awaits. It can be hard to keep your cool when the temperatures are soaring. So, we've teamed up with the skin and beauty experts at M.A.C Cosmetics to share our list of summer essentials. Stock up on these must-haves and be ready for anything summer throws your way. FIX+, M.A.C COSMETICS ($39) Sticky, sweaty faces are a classic summer curse, but they needn't be. M.A.C's cult favourite Fix+ facial mist works as both a hydrating setting spray and a cooling skin spritz, so it's a must-have item for when those temperatures start climbing. It's free from alcohol and packed with nourishing ingredients like cucumber and camomile. It's even infused with caffeine to help pep up tired, post-party-season skin. Use it before, during or after makeup application to help stop wayward foundation from slipping down your face in a sweaty mess. Or, simply spritz some on whenever you need to counter the sweats with a little facial refresh. Hot tip: pop it in your fridge or esky so it's nice and cool when you spray away. WATER-RESISTANT SPEAKER, BOSE ($199.95) Beach, backyard, park or pool — any good summer session needs a decent soundtrack. And with a nifty waterside speaker like this one from Bose, you can keep the music kicking on no matter where the party takes you. It's poolside-friendly, so you can have those tunes pumping right alongside you while you swim, soak or sunbake. What's more, a nine-metre bluetooth connectivity range means your whole crew can take turns playing DJ, without any pesky sound dropouts. And with an impressive eight-hour battery life, this little noise machine will keep partying as long as you do. BEACH UMBRELLA, BASIL BANGS ($289) The Aussie sun can be savage, no matter how heavily you slather on the sunscreen. But with an umbrella in tow, you'll always have some sweet, shady relief from its rays, whether you're kicking back in the park or battling scorching hot sand at the beach. Amp up the summer vibes with a lively, feel-good print, like this special edition umbrella, designed by Basil Bangs in collaboration with legendary artist Ken Done. It boasts a hefty 1.8-metre diameter — so, no squishing in like sardines — with UPF50+ sun protection. Plus, it comes with a matching carry case that transforms into a sandbag weight should things get blustery. PICNIC CUTLERY WALLET SET, LAZY DAYZ ($34.95) Long days and balmy temperatures mean picnic season is in full swing, so you'll want to be prepared to make the most of it. Just because you're dining on a rug on the ground doesn't mean you have to slum it. Elevate any al fresco feast with the help of a proper picnic set, like this fun design from Lazy Dayz. Available in two vibrant prints, it has plastic plates, stainless steel forks, knives and spoons for two, all zipped up neatly into one compact carry case. Keep it by the front door and you'll always be picnic-ready in a snap. [caption id="attachment_799130" align="alignnone" width="1920"] Abbas Malek Hosseini[/caption] UNDERWATER CAMERA, KASBAH ($21.56) Here in Australia, summer and water go hand-in-hand, whether it's a backyard pool or your local stretch of beach. And while you might be partial to a splash and a dip, your phone probably isn't. So, for the sake of those summer happy snaps, hook yourself up with a camera that was made to get wet. This lightweight underwater version from Kasbah features a fun, tropical get-up and a detachable waterproof casing, so you can take it just about anywhere. Just stock up on 35-millimetre film and you're all set to capture even the soggiest memories this summer. To learn more about M.A.C Cosmetic's Fix+ facial mist, head this way.
The secrets trade is booming. Julian Assange and WikiLeaks have proved the incredible consequences of when confidential information shows up where it's not supposed to, as well as the accompanying newspaper sales spikes. Rupert Murdoch no longer wants to rely on the whims of a third party and last week introduced the Wall Street Journal's SafeHouse. SafeHouse is News Corporation's online attempt at replicating the success of WikiLeaks. The website aims to increase whistle-blowing on wrongdoing, whether that be individual, corporate or governmental. The site encrypts your personal information so that your leaking of documents doesn't get back to you (anonymity is offered but not preferred as oftentimes information without a background is useless from a journalistic standpoint). If your information is juicy enough it will get coverage in the Wall Street Journal. So what's the catch? Questions over the motives of establishing such a site have been raised. Rupert Murdoch and his broadcasters have traditionally treated WikiLeaks and Assange with incredible disdain, with Fox News broadcaster Bill O'Reilly saying Assange "is a sleazeball...bent on damaging America". Why the sudden turnaround? Is the Wall Street Journal slighted over the New York Times traditionally getting the better (read: more scandalous and destructive) information from WikiLeaks? Or, as security analysts and conspiracy theorists alike think, is it all a trap? Security analyst, Jacob Appelbaum, was quoted as saying that the site had a "laundry list of amatuerish security flaws", with no guarantee your personal details or anonymity are safe. The website also holds the dubious disclaimer that your identity as a source is anonymous except under "extraordinary circumstances". With no definition of "extraodinary circumstances" provided, what does it entail? Does it include getting asked by the government to give up the information? Does it include selling the source's details to the highest bidder? The absense of such fine print flexibility is what made WikiLeaks what it is - a safe haven for the tell tale and leaker. If not a deliberate trap, the security concerns and disclaimers could make SafeHouse a fruitful hunting ground for a US government who's had enough of people knowing their confidential goings-on. Either way, if Murdoch wants more secrets, he might have to start being a bit nicer to Assange. [via Fast Company]
When it comes to street art exhibitions, it really doesn't get any bigger than this. A retrospective of Banksy's work has made its way to Australia, featuring more than 80 of the artist's off-street masterpieces. Opening today, Friday, October 7 at The Paddock in Melbourne's Federation Square, The Art of Banksy is a massive collection of pieces by the art world's chief enigma — including the darkly satirical, overtly political work that has turned the stencil-loving artist into such an infamous icon. Endeavouring to take audiences on a journey through Banksy's output and mindset, the exhibition includes the well-known Girl with Balloon, Flag Wall and Laugh Now pieces, as well as three efforts that have never before been displayed to the public. If it sounds epic, that's because it is. The art featured has been sourced from over 40 different private collectors around the world, and comprises the largest showcase of Banksy pieces to ever make its way to our shores. As curated by the artist's former manager Steve Lazarides, the exhibition is also a little controversial. While every piece is original, unique and authentic, The Art of Banksy proudly boasts that the entire show is 100 percent unauthorised. No, Banksy hasn't signed off on the event. As well as displaying Banksy's work in a custom-built enclosure, The Art of Banksy also shines a light on a range of pieces by well-known and emerging local street artists. Expect to find them on the surrounding external surfaces and the inside walls of the exhibition's own Circle Bar, which will serve craft beers and cocktails. Outside, the Welcome to Thornbury team will corral a heap of food trucks into an area called 'The Railyard'. Plus, on Friday nights and Saturday arvos, DJs will also provide appropriate tunes to suit the occasion. Of course, Melburnians will know that this isn't the mysterious figure's first dalliance with the city. The artist's stencils have popped up around the city previously courtesy of a visit in 2003, though many have been destroyed and damaged in the years since. The Art of Banksy will run from October 7 to January 22 at The Paddock in Federation Square, Melbourne. For more information or to buy tickets, visit the exhibition website. Images: Olga Rozenbajgier. Words: Sarah Ward.
The world's most famous and adored graffiti exponent, Banksy, has brought his style to America, beginning a month-long 'residency' on the streets of New York City. The British-based artist announced his 'Better Out Than In' exhibition on his website two weeks ago, and his attempt to host an entire show on the city's streets started on Tuesday, October 1. His appearance in the city that never sleeps has created quite a stir. He appears to be creating a new work each day, opening with 'Manhattan', a stencil of two young children disregarding a sign declaring 'graffiti is a crime' and following up with the above artwork, titled 'Westside', written in his New York accent. The titles clearly hint at the location of the works and, combined with Twitter, allow his fans to track them down before they are vandalised or whitewashed (as was the case with 'Manhattan'). Perhaps most enjoyable for those able to visit the works is the availability of an audio guide. Each stencil is accompanied by a toll free number to call that provides a description of the work. In true Banksy fashion, it does not take itself too seriously, with one informing us that graffiti is "from the latin graffito, which means graffiti with an o". You can keep track of the exhibition on his website or Instagram throughout October and enjoy Banksy's brilliance. Alternatively, fly to New York and take them in first hand. We certainly would if we had the cash. Via Fast Co.Create.
Vegans of the north, rejoice. The age of meat is waning and it's nearly your time to inherit the earth. To build your strength, head down to Welcome to Thornbury for the Vegan Vegout, an all-vegan food truck event that rolls into High Street on the first Wednesday of every month. For this month's event, you can expect a lineup of vegetarian and vegan snacks from Pierogi Pierogi, Woking Amazing, Bomba Wood Fired Pizza and YAY Foods, who specialise in vegan pies, pastries and marinated feta. It all kicks off from 5pm and dogs are welcome.
Since launching in 2008, Airbnb has drastically changed the short-term accommodation market. Travellers can now stay somewhere other than a hotel — and find more than three million places in 65,000 cities and 191 countries around the world — while anyone with a spare room or an empty house can rent them out and make some cash. Alas, their gains can come with pain for folks living next door to an Airbnb-listed property. There's no shortage of stories about neighbours finding themselves faced with an endless stream of parties, for example. Enter Airbnb's next move, Niido. Set to open in 2018, it's a Florida complex that's designed specifically with house-sharing in mind. In partnership with property developer Newgard Development Group, Airbnb will build a 324-unit block near Disney World in Kissimmee, Florida, rent out its apartments to tenants, and allow anyone who signs a lease for a year to offer up their homes on the website for up to 180 nights each year. If residents just wish to list a single bedroom, then there's no cap. If this sounds familiar, that's because it's rather similar to plenty of concepts that already exist, including ones that Airbnb is in direct competition with. Basically, it's their version of a hotel and time-share accommodation combined. Other hotel-like touches include keyless doors, housekeeping and cleaning services, and an on-site "master host" (aka, a concierge) who checks-in visitors, helps during their stay, and can act as an intermediary between hosts and guests. Speaking to Financial Times, Newgard CEO Harvey Hernandez said that 2,000 Airbnb-branded units are planned in the next two years. Airbnb aren't the first to attempt to reinvent something that already exists — Lyft announced plans for a bus-like shuttle service earlier this year. Via Financial Times / Forbes. Image: Airbnb.
It has been three months since the Australian Government implemented an indefinite ban on international travel due to COVID-19, only allowing Aussies to leave the country in very limited circumstances. And, while other restrictions across the nation are starting to ease as part of Australia's overall roadmap out of lockdown, jetting overseas won't be on the agenda any time soon. This isn't surprising news. In fact, back in April, Chief Medical Officer Brendan Murphy advised that international travel wouldn't be back for at least three-to-four months. But now Federal Tourism Minister Simon Birmingham has confirmed that opening our border to the rest of the world is still some way off. Speaking at the National Press Club on Wednesday, June 17, the Minister said that "international border restrictions are likely to be there for some time to come" — and that "keeping those border restrictions largely in place is a price we're going to have to pay to keep COVID under control". Given that the status of COVID-19 in Australia is vastly different to most other countries around the globe, again, that's hardly an unexpected revelation. Expanding on the subject, Senator Birmingham explained that "in terms of open tourist-related travel in or out of Australia, that remains quite some distance off, just because of the practicalities of the volumes that are involved and the need for us to first and foremost keep putting health first". And, when specifically asked if it was more likely to happen next year rather than this year, he said, "I think that is more likely the case". [caption id="attachment_769188" align="alignnone" width="1920"] A trip to Sicily might not be possible till next year.[/caption] There are exceptions to Australia's border stance, however. The Minister noted that "international students and other categories of visitors to Australia who stay here for a longer period of time can more easily be accommodated, because we can simply work through the 14-day quarantine periods that have worked so well in terms of returning Australians to this country safely to date". Indeed, in the Australian Capital Territory, plans for a pilot scheme allowing around 35o students to enter the country are progressing. Senator Birmingham also advised that the government is trying to "find safe pathways to deal with essential business travel that helps to contribute to jobs across our economies". And, as has come up frequently over the past few months, implementing a 'travel bubble' with New Zealand — aka reinstating international travel just between the two countries before Australia's international border reopens to all nations worldwide — is still under consideration. "We will progressively and carefully step through what we can do to reopen," the Minister noted. "That's what talks with New Zealand are about, and I hope we can see that advance." He also touched upon opening up the travel bubble to other short-term visitors from countries with low COVID-19 rates. "That becomes much more challenging once you move beyond New Zealand. But not impossible and I hope that we can look eventually at some of those countries who have similar successes in suppressing the spread of COVID to Australia and New Zealand." It's worth noting, of course, that many of Australia's state borders are still closed, too. Queensland is working towards reopening to visitors from other states on July 10, although that hasn't been officially confirmed as yet, while the Northern Territory just today, Thursday, June 18, announced it'll reopen on July 17 — and South Australia is slated to do the same on July 20. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
Both in Australia's nationwide lockdown between March and June and under Victoria's current Stage Four restrictions, the country's hospitality businesses have been doing it tough. Temporary closures, pivoting to takeaway and delivery, stocking sought-after grocery items, enforcing social distancing, operating at limited capacity — these have all been on the cards across the nation to help stem the spread of COVID-19, and they've all had a sizeable impact on restaurants, cafes, pubs and bars. In fact, in Melbourne, 15 percent of hospitality venues don't think they'll be able reopen after the present stay-at-home period. The situation is comparable worldwide, of course — and in the United Kingdom, a new scheme has just come into effect to attempt to help the culinary sector. Operational since Monday, August 3 and running until Monday, August 31, the UK Government's 'Eat Out to Help Out' regime is trying to encourage folks to head out of the house and have a meal, all by offering 50 percent discounts. There are a few caveats, understandably. Nonetheless, diners will indeed score a half-price feed if they sit down for a bite at a participating venue — of which there's more than 72,000, the BBC reports. As well as restaurants, cafes, pubs and bars, the scheme also applies to canteens at workplaces and schools, plus food halls. But, it's only on offer for dine-in customers, not takeaway or delivery. [caption id="attachment_763228" align="alignnone" width="1920"] Julia Sansone[/caption] Among the other rules, the deal is only available Monday–Wednesday each week, only applies to food and non-alcoholic beverages (sorry, no booze), and only provides up to £10 (about $18 AUD) off per diner per meal. But, there's no minimum spend, no vouchers required to redeem the discount and no limit on the number of people per group. There's no cap on the amount of times a person can claim the discount, either, so UK residents could eat breakfast, lunch and dinner out of the house three days a week for the entire month if they wanted to. The UK's social distancing requirements and other COVID-19 hygiene practises still apply to anyone venturing out of their house for a meal, naturally. Still, if you're an Aussie currently thinking "that sounds like a good idea", you might want to cross your fingers that something similar is implemented closer to home — when it's safe to do so. If you're reading this from the UK, you can find more information about the 'Eat Out to Help Out' scheme via the UK Government's website.
When you're a film festival that's all about the best cinema from Spain and Latin America, and you've been showcasing flicks from the two regions for a quarter century, how do you mark the occasion? If you're Australia's annual Spanish Film Festival, you put together a hefty 25th-birthday festival filled with 32 movies. That's the just-announced plan for 2023's event, which will take over screens around the country across June and July complete with Spanish box-office hits, stars from beloved series, a focus on female directors and plenty more. As usual, this year's Spanish Film Festival is taking its show on the road, launching first in Canberra, Adelaide and Brisbane from Wednesday, June 14, and then a day later in Melbourne, Perth and Byron Bay. Sydney's season will commence on Tuesday, June 20, avoiding a clash with Sydney Film Festival, aka the Harbour City's other huge excuse to spend winter in a darkened theatre. Kicking off this fellow SFF is the Australian premiere of culinary comedy Two Many Chefs, which follows a father-and-son pair reuniting in the high-cuisine scene in Bilbao. Also a high-profile must-see is the festival's centrepiece selection Alcarràs, the winner of the Berlin Film Festival's Golden Bear in 2022. It popped up at a few local fests last year, and is now finally being made available to a wider Aussie audience. Other highlights include five-time Goya Award-winner Prison 77, a smash in its homeland starring Miguel Herrán from Netflix's Money Heist; The Kings of the World, which focuses on five Medellín teenagers; and Four's a Crowd, the latest from The Bar, Witching and Bitching and As Luck Would Have It filmmaker Álex de la Iglesia. Plus, there's thriller A Singular Crime, about a wealthy businessman's disappearance in Argentina in the 80s — and Staring at Strangers, where The Unbearable Weight of Massive Talent's Paco León spies on a family from inside a closet (and yes, sounds like it takes its cues from Parasite). Film lovers can also look forward to rom-com My Father's Mexican Wedding, about two Spanish siblings travelling abroad for the titular nuptials; Mighty Victoria, which sees residents of a small town try to build their own steam train in 1930s Mexico; black-and-white horror film History of the Occult; and feminist Argentinian western The Broken Land. The 2022 fest boasts an Australian link as well via Greg Mortimer, about the passengers and crew on the Australian cruise ship that left for Antarctica just prior to the COVID-19 pandemic being declared. And, the Spanish Film Festival's survey of prominent Spanish and Latin American women directors includes seven movies, while its five-title 2023 retrospective is dedicated to iconic Spanish filmmaker Carlos Saura, who passed away earlier in 2023. SPANISH FILM FESTIVAL 2023 DATES: Wednesday, June 14–Wednesday, July 5: Palace Electric Cinema, Canberra Wednesday, June 14–Wednesday, July 5: Palace Nova Eastend Cinemas, Adelaide Wednesday, June 14–Wednesday, July 5: Palace James Street and Palace Barracks, Brisbane Thursday, June 15–Wednesday, July 5: The Astor Theatre, Palace Cinema Como, Palace Brighton Bay, Palace Westgarth, The Kino, Palace Balwyn and Pentridge Cinema, Melbourne Thursday, June 15–Wednesday, July 5: Palace Raine Square, Luna Leederville and Luna on SX, Perth Thursday, June 15–Wednesday, July 5: Palace Byron Bay, Byron Bay Tuesday, June 20–Wednesday, July 12: Palace Norton Street, Palace Verona, Palace Central and Chauvel Cinema, Sydney The 2023 Spanish Film Festival tours Australia in June and July. For more information or to buy tickets, visit the festival's website.
The inevitable robot uprising is one step closer to becoming a reality, with Domino's completing what they claim to be the world's first ever pizza delivery by drone. The store-to-door aerial pizza man was unveiled in New Zealand back in August, but this week successfully completed its first pie in the sky mission in Whangaparaoa, just north of Auckland. The order — a questionable combo of peri-peri chicken and chicken and cranberry pizzas, FYI — was delivered to two happy customers around lunchtime on Wednesday, and of course the Domino's team who were there to capture the whole glorious thing. The delivery was made by unmanned aerial vehicle DRU Drone by (U.S. drone developers) Flirtey, which was autonomously controlled by a team of drone experts and a drone pilot. Domino's is calling it the world's first commercial delivery of food by drone to a customer (although 7-Eleven did deliver their first Slurpee by drone back in July). "We invested in this partnership, and technology, because we believe drone delivery will be an essential component of our pizza deliveries, so even more customers can receive the freshest, hottest pizza we can offer," Domino's Group CEO and Managing Director, Don Meij said in a statement. "DRU Drone by Flirtey offers the promise of safer, faster deliveries to an expanded delivery area, meaning more customers can expect to receive a freshly-made order within our ultimate target of ten minutes. They can avoid traffic congestion and traffic lights, and safely reduce the delivery time and distance by travelling directly to customers' homes. This is the future." According to Domino's, the drones will be used as a delivery method alongside the existing fleet of human couriers (well, until they outlive their usefulness) and will eventually be "fully integrated into online ordering and GPS systems". Expect the drones to make short distance deliveries in fine weather, because the last thing we need is pizza falling from the sky. …actually, scratch that. That sounds excellent. The successful pizza run looks set to see drone delivery integrated into the delivery repertoire of more New Zealand stores, and Domino's is looking at starting drone delivery trials in Australia, Belgium, France, The Netherlands, Japan and Germany. By Tom Clift and Lauren Vadnjal.
In February, we announced that Melbourne could soon be home to the world's most sustainable shopping centre. This possibility is now one step closer to a reality as plans for the ground-breaking new shopping centre, and surrounding mixed-use community, have just been approved by council — and construction has, as of today, begun. A highlight of the shopping centre, which is expected to be completed by late 2019, will be a 2000-square-metre rooftop farm and restaurant designed by eco-warrior Joost Bakker (Greenhouse by Joost, Brothl) together with Frasers Property Australia. The rooftop's massive agricultural hub will sit within the complex's 12,700-square-metres of retail and hospitality space, with the urban farm split between greenhouse, external planter box and landscaped growing areas. Some of the sustainable elements Bakker plans to implement include a closed-loop water system, composting capability, and minimal transportation of food and waste. Inside the shopping centre, the sustainability continues with a solar-powered Woolworths, soft plastic recycling facilities and natural refrigerants, which aim to reduce the centre's carbon footprint. The shopping centre and rooftop space will be part of a mixed-used community Burwood Brickworks development — just 15 kilometres south of the Melbourne CBD in a former brickworks site. The development will be made up of 2.5 hectares of open space and parklands, community facilities and 700 homes, which are expected to hit the market as early as spring this year. The design of the wider mixed-use development will also focus on sustainability, using a large solar PV system and an embedded electricity network to target a minimum five-star green rating, with the aim of becoming Australia's first six-star Green Star Design — and to achieve Living Building Challenge accreditation. This accreditation is seriously hard to obtain and means the building must have a net zero carbon footprint, produce more electricity than it consumes, grow agriculture on 20 percent of the site, and prove net water and waste positive. It must also be constructed using non-toxic and recycled materials, and have other social benefits like access to natural daylight and indoor air quality. Once completed in October 2019, the Burwood Brickworks development will join the challenge to determine if it meets the criteria to be considered the world's most sustainable shopping centre. The Burwood Brickworks sustainable shopping centre is expected to be completed by late 2019, with the residential housing following in late 2020.
Counting down to see legendary electronic music duo Groove Armada perform in the Auckland Domain during Spring City next month? You're not alone. The festival's new inner-city setting and exciting headliners have already seen most tickets snapped up — and now we know who'll be joining the superstylin' duo on stage. A lineup of epic local and international dance acts will bring the vibes on Saturday, November 26, so you can groove for all eight hours across the Domain's expansive lush lawns. Adding to the international setlist are electro-synthpop group Hot Chip and Californian rapper and house producer Channel Tres. You might know the latter from such house hits like 'Controller' (a 2018 Triple J favourite) or 'Fuego' with Tyler the Creator. To check out how his tunes go down on a sunny afternoon, check out his rooftop set below. Aotearoa will also be nicely represented — industry icon and ex-Radio 1 DJ Zane Lowe is popping in off the back of interviewing some of the biggest names in the business like The Arctic Monkeys and Fred Again to perform a DJ set. He'll be joined by fellow locals like George FM host and DJ SIN, Indie artist Ladyhawke and Auckland rock/pop band Coast Arcade. So yeah, it's a pretty stacked lineup and one you're going to want to make the most of — so do it in the best way possible. If you want to enjoy the full celeb-worthy experience including press-lane access into the festival, entry into the VIP tent, premium toilets and access to the VIP bar you'll probably want to check out this epic CP Trips Package — it's the only way you can still get your mitts on a VIP ticket which have already sold out individually. The celeb-worthy package also includes accommodation at uber-chic inner city accommodation Hotel Britomart (including a delish daily brekkie to line the tum), lunch on Waiheke and more. If you're a local looking to party with the other normies, there are still a few final release tickets available too — head to the website to find out more. Spring City kicks off at 1.30pm at Auckland's Domain on Saturday, November 26 — for full event info head to the website. To check out our CP Trip Spring City package, head here.
That feeling you get when a decades-old band either reforms its classic lineup and hits the road, or tours your way with a huge history behind them, kickstarting all those nostalgic old memories? If you're blink-182 fan, you'll know the right words for that: well I guess this is growing up. Actually, if you're a blink-182 fan, you'll be feeling all of the above right now. The group's best-known lineup is indeed back together, with Tom DeLonge rejoining Mark Hoppus and Travis Barker to play together for the first time in nearly a decade. They're heading around the world on a massive tour, and yes, as part of that, they're coming to Australia and New Zealand. 'Coming' is the theme of the announcement video the band put together to reveal the news — so if you're already wondering "what's my age again?", there's another reason for that train of thought. In much of the world everybody will like seeing blink-182 live again in 2023; however, Down Under, that'll happen in February 2024. DeLonge, Hoppus and Barker — with Rise Against in support — will start their Australian run in Perth, then head to Adelaide, Melbourne, Sydney and Brisbane. In NZ, they're playing two shows: Auckland and Christchurch. For three decades, blink-182 have been the voice inside punk and rock fans' heads, especially in the late 90s and early 00s thanks to albums Enema of the State and Take Off Your Pants and Jacket. Now that they're back together after DeLonge left the band in 2015, blink-182 are also recording new music together, with single 'Edging' releasing on Friday, October 14. Expect to hear everything from 'Dammit', 'Josie' and 'What's My Age Again?' to 'All the Small Things' and 'I Miss You' live, though — and yes, the latter feels oh-so-apt right now. BLINK-182 2024 AUSTRALIAN AND NEW ZEALAND TOUR: Friday, February 9 — RAC Arena, Perth Sunday, February 11 — Adelaide Entertainment Centre, Adelaide Tuesday, February 13 — Rod Laver Arena, Melbourne Friday, February 16 — Qudos Bank Arena, Sydney Monday, February 19 — Brisbane Entertainment Centre, Brisbane Friday, February 23 — Spark Arena, Auckland Monday, February 26 — Christchurch Arena, Christchurch Blink-182 will tour Australia and New Zealand in February 2024. Blink-182 fan club pre-sales start at 12pm on Thursday, October 13, with Live Nation and Spotify pre-sales from 1pm on Wednesday, October 19 — and general sales from 1pm on Thursday, October 20 (all local time). For more information, head to the Live Nation website. Top image: Jack Bridgland.
2021 marks 23 years since '...Baby One More Time' rocketed up Australia's charts, and made sure that everyone in the country knew who Britney Spears was. In the decades since, the singer has enjoyed a slew of other hits, thanks to everything from 'Sometimes', '(You Drive Me) Crazy' and 'Oops!... I Did It Again' to 'Toxic', 'Everytime' and 'If U Seek Amy'. Yes, you now have at least one of these songs stuck in your head (or, let's be honest, a medley of all them). This year also marks the arrival of a must-see documentary about the pop star, which Aussies have heard plenty about but have been unable to watch for the past month. Part of The New York Times Presents series that streams in the US via Hulu, Framing Britney Spears examines not only the singer's life since she was a child — going back to before her first hit single, and before her time on The All-New Mickey Mouse Club in the early 90s, too — but also the way she has been treated in the press, the fact that she has been under a conservatorship since 2008 and the #FreeBritney movement that's sprung up in response to the latter. Not by her own choice, Spears has been an almost-constant presence in the tabloid media for nearly quarter-century. The paparazzi has covered her every move and career with disturbing intensity, in fact. Everyone knows the details, because they've been plastered all over magazine front pages and internet headlines for years and years, to the point that they've been impossible to avoid. And, as this doco ponders, it's easy to join the dots between the relentless hounding by photographers, the endless mentions in gossip columns, the ridiculous way Americans reacted when she didn't meet their idea of what a 'girl next door'-style pop star should be, how she has been regarded by pop culture in general and how the US legal system has stripped away her right to control her own life for more than a decade. The film makes for important and grim viewing — and, although it premiered in the US in early February, Channel 9 just aired the Hulu doco this past week, and has also made it available on its online service, 9 Now. So, you can now spend 71 minutes stepping through a story that hasn't ended yet and doesn't wrap up happily in the movie, but is rightly sparking a reassessment of how female celebrities — and young women in the spotlight in particular — are treated, Spears included. Check out the Framing Britney Spears trailer below: https://www.youtube.com/watch?v=_GEa844LCoI Framing Britney Spears is now available to stream on 9 Now.
It may have taken 15 years and two full blown reboots, but the Spider-Man movies finally have a decent villain. Gone are the Green Goblins and anthropomorphic sandpits, replaced at long last by...a guy. Just a guy; a vulnerable, human, salt-of-the-earth labourer trying to carve out a little something of his own amongst the rubble and ruin of a post-Avengers New York City. Played by Michael Keaton, Adrian Toomes is an ordinary character in an extraordinary world, whose bare bones simplicity helps ground this refreshingly low-key entry in the Marvel Cinematic Universe. And low-key is the key to this movie's appeal. Spidey (Tom Holland) isn't a world saver, but a hero for the little guy; intervening in grocery store holdups and helping grandparents with their luggage. The problem is that he wants more. He's fought alongside Iron Man and taken on Captain America, and the expectation of future avenging is what drives his daily routine. Expectation, however, soon falls short of reality, as he's told by Tony Stark (Robert Downey Jr) that which no teenager ever wishes to hear: "you're not ready". What's worse is that Stark is plainly right. Thing is, gaining super-powers doesn't mean you automatically gain super skills, and Spidey/Peter Parker is a superhero still very much in the training wheels phase. It's a clever device by director Jon Watts, whose hero – like a giraffe attempting its nervous first steps – repeatedly fumbles his landings, misses his web castings and wreaks low-level havoc in suburban backyards while chasing down the bad guys. Paired with raging hormones in a body that's also transforming in a more typically teenage way, and Peter makes for an immensely likeable lead. It helps that Holland makes for a far more plausible teen than either Tobey Maguire or Andrew Garfield. The teenage superhero setup has always given Spider-Man an added complexity (one perhaps only shared by Superman), in that his public persona is painfully weak and nerdy. Bruce Wayne and Tony Stark get to be billionaire playboys when they're not battling criminal kingpins, but Peter Parker is perceived as a weedy, bookish, scatter-brained dork who rolls over for bullies and can never keep an appointment. His life would be immediately and immeasurably better if he simply revealed his true, courageous self. But to do so would invite sudden and deadly peril upon all those he cares about. That dilemma, in turn, passes on to the audience, as you find yourself grappling with your desire to see Spider-Man take down the villains but also make his date with the dream girl. Even better, it all comes without another version of Uncle Ben's 'great power comes with great responsibilities' speech, or another retelling of Parker's spider-bite origins. Spider-Man: Homecoming is a film that knows what we already know, and just gets on with telling its story. If there's a drawback to all of this, it's that the final product feels a little bit childish. Yes, it's a film about a teenage superhero, but plenty of movies have captured the teenage experience without feeling like they were written by teenagers as well. There's far too much 'whoa, awesome, dude, bro, cool' going on here for our liking, although thankfully the adults (Downey Jr, Jon Favreau, Marisa Tomei and Keaton) provide plenty of counterbalance. Minor flaws aside, Spider-Man: Homecoming is a fun cinema experience, and a refreshingly human story amidst the surfeit of superhero movies that continue to flood our screens. Oh, and yes, there are the additional Marvel scenes – so if you're so inclined, remember to stay through to the very end of the credits. https://www.youtube.com/watch?v=n9DwoQ7HWvI
It's the ultimate holiday dream, particularly when the weather's warm: golden shores and blue waters as far as the eye can see, comfortable surroundings for all-day lazing around, and your full run of the resort facilities. For most of us, it'll remain a fantasy; however, if you happen to have a cool $5.99 million burning a hole in your bank account, you can head to the Whitsundays and make this beachy vision become a reality. Mackay and Marina Real Estate have listed the Cape Gloucester Beach Resort for sale, and the inclusions are epic. Your fat stack of cash will get you thirteen hectares of sand and bush, plus a licensed bar, a restaurant and an array of beach-side, self-contained cabins boasting 45 beds. The resort was established in 1995, offers visitors everything from snorkelling and kayaking to bird- and whale-watching, and is located 45 minutes by car from Airlie Beach — or 20 nautical miles by boat, if that's your preferred mode of transport. The current owners are four Brisbane friends who put their funds together to purchase the property around six years ago, but are no longer able to make the most of having their own beach getaway. If you'd like to follow in their footsteps (or pretend that you might, just for a minute or so), check out the listing. Via realestate.com.au. Images: Mackay and Marina Real Estate.
Sisters Grimm do not make theatre the way you might usually think of theatre. The trashtastic Melbourne satirists (also known as Ash Flanders and Declan Green) staged their DIY 2010 theatre piece Little Mercy in a car park and 2012's Summertime in the Garden of Eden in a suburban garage — and got rave reviews for both. So much so that the anti-establishmentarians have gone establishment, in the nicest possible way, as the Sydney Theatre Company is bringing them out to reimagine Little Mercy, a high-camp ode to 'evil child' movies, for their Wharf 2 stage. (Summertime in the Garden on Eden, meanwhile, will get a run at Griffin Theatre in November). Marcus Costello caught-up with Ash, who as well as writing and directing is playing the mother character Virginia, on his first day treading the boards at the Wharf. Here's what he had to say on stepping up to the main stage, the joys of the low-brow, and how they're adapting their "aesthetic of failure". First day of rehearsals, how's it going? We haven't stopped laughing that we’re actually here at STC. Well it's a long way from where you gave birth to Little Mercy in a Melbourne car park all those years ago. How has the show changed since then? Oh, you know, just little tweaks — like rewriting the whole show. Our shows are always staged in response to the space we're working in and the resources we have available, which is usually next to nothing. Our work ends up being an exercise in the aesthetic of failure, which is where much of the comedy comes from. Of course, being here [at STC] we can't just pretend we have no money so we're responding to the idea and construction of conventional theatre. In a way it's not that radical a departure because we're all about the interrogation of genre — finding the cracks, tearing it apart, and putting it back together. We like to see how much pressure something can take before it's completely unintelligible. Stepping up to the main stage... I like to think of it as STC stepping down [laughs]. Good call. In any case it's a collision of worlds. If you like it here and want to stick around, how is that going to affect your anti-establishment practice? If we can get paid to do shows on big stages, great, but it was never really our aim to make it to this point at settle-in. I think we'll always do scratch shows because mixing up where we perform is really important to us. I mean, we'll ride this out and have fun along the way, but we won't get so big-headed that we'll stop performing in living rooms and backyard sheds, or car parks, even. By the same token, if performing in car parks to a bunch of our adoring friends was all we ever did, it wouldn't amount to much. We don't plan to play it safe. A character at the centre of your play, Rodger, is a wealthy theatre director. Should we take that as a dig at the establishment? Um, [laughs] oh I don't know how meta we want to get about that! I mean, yeah, his job, his taste comes across as increasingly ridiculous throughout the show. We needed a job where the husband/father could become totally engrossed in what he does. As we both know, directors can get way too involved with their own projects and stop seeing the world around them — maybe even fail to see their own child is a psychotic killer. You say that the goal of your theatre is to make the audience laugh. I reckon your gritty-camp shtick might rankle with some of the more conservative STC season subscribers, don't you think? We don't intend to shock them too much. I mean, we won't be flopping our dicks out. In a way, our comedy is kind of old-fashioned. A man in a dress isn't new, but what we do with it hopefully is new and interesting and funny. At least we hope so because we think laughter in the theatre is vital. If you go to the theatre to take your medicine, to eat something that's good for you, then you've killed a lot of the joy. I don't like to go to the theatre to be educated. Dialectical, polemical, preachy theatre, theatre where the performers blast their politics at you, that doesn't inspire me. At least, if I learn something I want it to be incidental to the laughs. And if it's not making me laugh, it should make be gasp. Whatever is does, it needs to make me feel something. There are a number of Australian theatre-makers at the moment who set out to hurt feelings and sensibilities. How do you feel about that? Oy vey! That's not something we would deliberately set out to do. Our kind of humour can be quite hoary and hokey but I think if anything was going to offend, especially the STC audience, it would be the stupid jokes — because we would offend their intelligence [laughs]. I'm not playing Virginia for a joke, but every time I get on stage there will be laughter for a good five seconds. That's interesting because you're not unknown to the Melbourne drag scene. How does it feel having an audience laughing at you not with you? I'm totally fine with it. It’s not my job to know why people are laughing, it's really not. I'm happy with laughs wherever they’re derived from. I'm just not that precious; I'm aware of the grenade that I am. Little Mercy is on at the Sydney Theatre Company's Wharf 2 from March 7 to 24. Tickets are available from their website.
Jeez Frozen was a terrific film. Catchy tunes, loveable sidekicks, a woodsman hero and – at its heart – two sisterly princesses thrown into turmoil after one of them discovers her power to manipulate ice and flees to establish an unforgiving frozen kingdom in the north. Jeez The Huntsman: Winter War isn't a terrific film. No tunes, stilted sidekicks, a woodsman hero with a comically bad Scottish(?) accent and – at its heart – two sisterly princesses thrown into turmoil after one of them discovers her power to manipulate ice and flees to establish an unforgiving frozen kingdom in the north. Perhaps you could forgive the makers of The Huntsman for trying to leverage some of the success of the former. After all, it is the ninth highest grossing film of all time. But 'beautiful girl doing cool shit with chilly water' isn't enough to constitute an entire story. You still need, well, 'a story', and it's on that front where The Huntsman: Winter War really falls apart. It begins with Liam Neeson's voice telling us we're about to see a prequel to 2012's Snow White & The Huntsman. And Neeson – like the proverbial mirror on the wall – does not lie. But then, about half an hour in, The Huntsman: Winter War suddenly turns into a sequel, making this about as close as a film will ever come to possessing a literal 'plot twist'. Eventually deciding it's set after Snow White has vanquished the evil Ravenna (Charlize Theron), we find our Huntsman (Chris Hemsworth) moping about the South and mourning the loss of his wife (Jessica Chastain), before committing to foil the evil ice queen Freya (Emily Blunt) in her attempt to secure the famous mirror. The rest of the movie is little more than a collection of special effects, shaky fight scenes and a few funny lines from dwarf sidekicks Nick Frost and Rob Brydon. Theron, it must be said, lights up every scene she's in, reminding us that she is still absolutely the fairest and most interesting in the land. Alas, her screen time is also the most restricted, reducing her menacing smile and genuinely engaging relationship with her sister to mere bookends around an otherwise entirely dull affair. https://www.youtube.com/watch?v=_W65ndip7MM
Abbotsford is a little pocket of awesome sometimes and, with the arrival of Admiral Cheng Ho, it just got that little bit better. For those playing at home, Admiral Cheng Ho was an explorer during the Ming Dynasty who, under instruction from the Emperor of China, embarked on naval expeditions where he offered new lands gifts. These gifts were often some of China's finest teas. See the clever connection? While Abbotsford's Admiral doesn't do all that much exploring, he does have some fine teas — and coffee blends, for that matter. From the people behind Monk Bodhi Dharma in Balaclava — owner Marwin Shaw, to be exact — Admiral Cheng Ho serves up fair-trade teas and single estate coffee with an overwhelming six grinders filled with their own single origin coffee beans. Order what you drink, and they will happily pick the roast for you. The menu is similar to that found at Monk, with a few of their signature dishes thrown in there amongst the consistent theme of food that is both health and allergy conscious, whilst still being damn tasty. Virtuous and delicious. We're sold. For something vegan, gluten free and raw, try the Cheng's Granola topped with seasonal fruit and house made organic hazelnut milk ($14.50), or the Banoffee Pie, a mix of banana cream, Ethiopian Nekisse coffee mousse served with marinated banana, macadamia nut crumble and raw white chocolate ($14.50). How they make these creations, we are none the wiser, but colour us impressed. For those who like their breakfasts cooked and hot, the Avoca Ho of avocado tossed with feta, mint and lemon served on sourdough ($15.50) rivals some of Melbourne's best, while The Admiral — zucchini fritters served on sauteed kale, seasonal vegetables, tangy beetroot relish, basil cashew cream and local fennel ($18.50) — is a crowd favourite. The pancakes are also gathering a cult following. The Northside Quinoa Pancakes are served up with candied orange, coffee soil, raw vanilla cream and butterscotch sauce ($18.50). Is it possible to fan girl a dish? This is a go now and go often situation folks. We're serious.
Mark Ruffalo has always been a stellar actor, and he has the resume to prove it. But he's in particularly excellent form in I Know This Much Is True. It isn't just because he's as reliably great as ever in the six-part HBO miniseries, which is adapted from the book of the same name. He is, of course; however he's also playing two roles. While identical twins Dominick and Thomas Birdsey look alike, they have their own struggles — including, in the latter's case, paranoid schizophrenia. Set in the 90s in Three Rivers, Connecticut, the series charts the intricacies of their intertwined lives as past and present troubles collide. It's no slouch behind the lens, either, with Blue Valentine and The Place Beyond the Pines filmmaker Derek Cianfrance directing and co-writing the entire thing.
The original Assassin's Creed video game was a sublime blend of world design, innovative mechanics and thrilling gameplay. While high-octane action was available, stealth was definitely favoured as the most useful mode of play, and almost always proved the most gripping. The game's story centred upon a technological breakthrough that allowed direct descendants of an ancient assassin's guild to revisit the memories of their ancestors, essentially re-living their darkest and most dangerous endeavours in order to ascertain the location of a long-lost relic. While some time was spent in the modern world, the lion's share was spent inside the machine, allowing the gamer to experience all the exhilaration of exploring and causing chaos in the age of Renaissance Europe. The film adaptation, by contrast, makes the same ill-conceived decision that doomed the third instalment of the Matrix trilogy, in that it spends far too much time in the real world at the expense of everything that made its source material so innovative and engaging. Worse, when inside the 'Animus', the focus is almost entirely on action, meaning there's almost none of the signature stealth assassination that made the gameplay so tense. Overly-coreographed and devoid of tension, these periodic action scenes depict the assassins as mostly ineffective killers who spend most of their time running away from far superior fighters. Perhaps the greatest disappointment, however, is that Assassin's Creed boasts an outstanding cast whose talents are almost entirely wasted. Michael Fassbender, Marion Cotillard, Jeremy Irons, Brendan Gleeson and Charlotte Rampling are all tasked with delivering exposition-heavy drivel and/or cringeworthy clangers like "Welcome…to the Spanish Inquisition". Truly, the only line that earns a non-ironic laugh and feels genuine to both the film and the actor who delivers it comes about halfway through the film, when Fassbender looks around, laughs to himself and mutters: "What the fuck is going on?" You'd be hard-pressed to find a more fitting tagline to slap on the posters. https://www.youtube.com/watch?v=gfJVoF5ko1Y
Titles matter. A film with a good one can intrigue, inspire and entice audiences from far and wide, just as a bad one can turn you off faster than a date swearing at a waiter. The grey area is when things get literal. Everything's okay so long as it's just a case of 'does what it says on the can' — your Ghostbusters, your Ferris Bueller's Day Off, your The Pianist — but what about when it gives something away? That poor choice of words can destroy all semblance of mystery for a movie. It's why studios ultimately didn't go with: 'Bruce Willis Is a Ghost', 'Don't Trust the Gimp with the Limp' or 'It's...His...Sled'. With that in mind, the decision to title Peter Berg's new film Lone Survivor would seem a miscalculation. "Four Navy SEALs go into Afghanistan to target a Taliban leader, but how many make it out ali- oh, wait, it's one. Just one. A 'lone survivor'. Says so right there on the poster. And yet, despite having directed Battleship, Peter Berg's no idiot. Mindful that the details of this true (and widely publicised) military mission were already known to many, he realised the most compelling question was not 'how many would survive?' but rather 'how did ANY of them survive?' That disastrous mission was Operation Red Wings, and the reason for its failure was essentially the SEAL team's decision to not kill three unarmed farmers who'd stumbled across their position. For the (moral) armchair general, it's a no-brainer. Rules of engagement and all that. But in the moment, knowing that to let the civilians go was to guarantee an attack by the Taliban and fail the mission… the ethics of combat became a lot murkier. Mark Wahlberg, Emile Hirsch, Ben Foster and Taylor Kitsch play those four imperilled SEALs, and from the moment they elect to abort the mission, Lone Survivor becomes a heart-in-mouth, hug-yourself-for-two-hours, ball-breaker of a film. Pursued through inhospitable mountains by several hundred Taliban and cut off from their support, the feats of those four soldiers quite simply defy belief. That's where the film's opening titles come into play: a montage of real-life footage from the SEALs' infamous 'Hell Week' training program that effectively acts as a 'proof of concept' for what you're about to see (if you're interested: youtu.be/sg2vF4UQMmQ). This is a war movie at its most confronting; it terrifyingly captures the confusion, brutality, chaos and intensity of combat in a way not seen since 1998's Saving Private Ryan. It's a suffocating sort of tension, and whilst there's no question the movie suffers from some clumsy jingoism, the experience is so tactile and overwhelming, you frequently find yourself ducking in your own seat. The author and journalist Sebastian Junger observed after his embedment in Afghanistan that "War is a lot of things and it's useless to pretend that exciting isn't one of them." From an adrenaline standpoint that might well be the case, but in every other respect, from every other possible viewpoint, it's an inescapable waking nightmare that you'd never wish upon anyone. If that doesn't ring true for you, go see Lone Survivor. https://youtube.com/watch?v=yoLFk4JK_RM
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
Picking up just seconds from where the last Muppets film left off, Muppets Most Wanted opens with a rousing song that explains: "Everybody knows a sequel is never quite as good". A few famous exceptions notwithstanding, the in-joke is right on the money, and even though it's definitely true of this film as well, thankfully the follow up to James Bobin's 2012 hit is only slightly poorer than its predecessor. This time round, the gang is talked into embarking upon a world tour by Ricky Gervais's smooth-talking yet unscrupulous talent manager, Mr Badguy ("Its...French. It's pronounced...Bad Geeee"). The tour is, however, just a front to enable Badguy and his boss Constantine (aka Evil Kermit) to conduct a series of high-end museum robberies and steal England's Crown Jewels. Key to the plan is Constantine's escape from a Siberian gulag and an ole switcheroo that sees him trade places with the real Kermit. "Eeets...dee Marrr-pet shaow" practices the heavily accented villain as he reviews file footage of Kermit in what's just one of dozens of charming imposter-Kermit based jokes. As always, the film is packed with self-referential humour (one Muppet complains that it's actually the seventh movie in the franchise), cameos (Usher plays an usher, Celine Dion takes the absolute piss out of herself and James McAvoy appears as a 'blink and you'll miss him delivery man', to name just a few), and — of course — musical numbers. None of the songs come close to matching The LEGO Movie's impossibly catchy 'Everything Is Awesome', but several of them are good enough to gets the toes tapping. Constantine's 'I'm Number One', for example, is amusing in its constant forcing of Gervais to reply 'I'm number two', and the disco-inspired 'I'll Get You What You Want' is just crying out for a Pharrell cover. The highlight of Muppets Most Wanted, however, is the subplot involving the partnership of Sam the Eagle and Interpol's Jean Pierre Napoleon (in an outrageously cliched swipe at the French by Ty Burrell). Their dogged pursuit of the thieves leads to some fantastic scenes involving muppet interrogations, crime scene analysis and police badge oneupmanship. Tina Fey also impresses as the gulag's warden Nadya, whose determination to put on the prison's annual revue sees Kermit end up directing a terrifically funny all-male A Chorus Line. I'm also told Ms Piggy's wedding dress (designed by Vivienne Westwood...no, seriously) is to die for. Based on the laughter of the kids attending the screening, kids will laugh at screenings of this movie, and so too will adults, though not in the same way or with the marked regularity of, say, a Pixar film. It's a little light on plot, and begins to feel a little repetitive by the end, yet the pacing is rarely in danger of lagging and the jokes come often enough to keep everyone entertained. Empire Strikes Back it 'aint, but it's not a bad sequel to what was always going to be a hard act to follow. https://youtube.com/watch?v=wXfLrt90CHM
While a lot of people are wondering about the future of journalism in general, some people are thinking about the future of just the magazine in particular. Craig Mod, once part of the team behind slick, newsreading app Flipboard, coined the genre name of a new kind of small magazine: "Subcompact Publishing". It's an interesting new form that's getting played over in the States, especially on the iPad, and most notably by the Weekend Companion of pioneeringly-profitable blog the Awl, the Atlantic Weekly and — inspiration for Mod's original manifesto — the Magazine. Now Australian publication the Lifted Brow is throwing its hat in the subcompact ring, one of the first publications to try it over here. Though not the first, as it turns out. The Brow is a literary mag — originally with a strong McSweeney's influence — that grew up amongst a bunch of Brisbane writing students in 2007 and now runs big name, international authors alongside local Australian talent. Now based in Melbourne, they've got a back catalogue that includes literary wunderkind David Foster Wallace, Aussie comics star Eddie Campbell and sex advice from Benjamin Law. And his mum. It's big. To say, as a reader, that each issue can be hard to finish isn't exactly a flaw: it's just that they each have so much stuff in them. Because, First World Problems Craig Mod's idea of the subcompact magazine is kind of the opposite aesthetic to the Brow's all-inclusive, physical incarnation. It describes a world of smaller digital publications that eschew the idea of replicating print's design, size and digital slowness. Following his style lets you avoid a few first world problems. Downloads, for a start. A single issue of Wired on the iPad, say, can weigh in at just over 600 megabytes. A month or so of mobile phone data for some people. Subcompact-only the Magazine, by contrast, can go from pressing download in the the app, to reading its trial issue's opening story about roller derby, in about 18 seconds. One of these small magazines will typically have just a few articles, so it's much easier to get your head around the range of stuff in it. These, and other, small usability problems addressed by the subcompact format seem really do seem like first world issues. But we read magazines for fun. It's nice not to have to kill yourself to enjoy reading one. Ease and comprehension are good things. Less is More Mod saw the rise of small, mostly iPad-based magazines through the historical metaphor of Honda's development of subcompact cars. In his telling, Honda's cars weren't as big or feature-heavy as the big US cars they were competing with. But they were good enough, efficient enough, nimble and cheap. He suggests that the magazines of this new digital world should take a similar approach. An important word here is closure. The idea of internet addiction, with accompanying thoughts of switching off and the "digital sabbath", is a bit of a rising meme. Closure isn't a thing that you run into too often online. I mean, how often do you get to the end of the internet? A lot of sites are easy to browse, but hard to finish. Think Tumblr, Twitter or Facebook. Design = Journalism Australian immigration detention monitor, Detention Logs had already got its subcompact on before the Lifted Brow hit the app store. It uses freedom of information requests to the Department of Immigration and Citizenship (DIAC) to gather and publish records of incidents at immigration detention centres. They have over 7000 of these records up so far, each incident encapsulated into its own tiny and individual webpage. On their Principles page they specifically single out Mod's Subcompact Publishing Manifesto alongside their other ethical and design considerations. For them, this nimble and lightweight form seems to actually be a kind of journalistic muscle. "Small parts loosely joined" is how Detention Logs co-founder Luke Bacon describes it. He adds that using selections from Mod's manifesto publishing model is, essentially, a case of reporting form following function. "The form in which we received this information from DIAC could be seen as the opposite [of an appropriate and useful format]: one enormous, inaccessible PDF file, poorly labeled and thoroughly redacted. Transforming this complex information into easy to access and understand chunks is an act of design and journalism." Why Change What Now? So will "easy to access" work for the Brow? The new Lifted Brow iOS app is pretty slick. It's published by 29th Street Publishing, who put together minimalist iPad periodicals like Maura Magazine, the Awl's Weekend Companion and free, investigative subcompact ProPublica. The Brow is voluminous and dense in a way that 29th Street's publications are not. By going subcompact, the Brow is using the format both to boost, and cut through, their print legacy. They have a strong bench. Their all-star back catalogue of local and overseas writers sold the idea to 29th Street, according to Brow Digital Director Elmo Keep. "It has a great mix: a very strong roster of international writers, and an amazing cadre of Australian writers, so it was a perfect way for both 29th Street to reach outside the US and for the Brow to reach outside Australia." This small format makes that reach easy. Every fortnight, in a small, digestible format, you'll get the chance to catch up with new work, and their back catalogue. "It's going to be a mix of sort of teaser content from upcoming issues with reprinting stuff from the archives which a lot of people only joining us now could have missed." It will be a finite amount of short articles bimonthly, distributed via Apple's Newsstand service. There's a free trial, but the model banks on you being interested in subscribing. (Old issues will remain, if you unsubscribe.) Pixels Make It Better It's low maintainance. And that's no mistake. "There's so much opportunity to do things on digital that would be not be so cost effective to do in print," says Keep. She feels like a lot of the hard work has been done for her already. "I just move some things around in a content management system, and TA DA. (Not really, but kind of.)" The plan is to split the money the digital version makes between the writers and 29th Street. "There isn't a huge amount of money to be had by anyone in this entire transaction, so we want there to be ways for writers to make money beyond what we can pay them initially [in print]." In an age where it's easy to be asked to write for free the Brow prizes paying its contributors. PLEASE BUY OUR MAGAZINE So the Brow's writers will get a little more money, the Brow finally gets a wider audience ("realistically, there will only ever be so many printed copies that can be produced") and the public gets a newer gobbet of casual reading. (29th Street's Creative Designer, Tim Moore, compares the subcompact style to a cheap Pengiun paperback.) It all seems like a pretty good deal. And, on the iPad, an Aussie first. But these new digital steps aren't necessarily part of a war between online minimalism and print. "There will always be the magazine, in its dense and intense full-page glory," says Keep. "PLEASE BUY OUR MAGAZINE THANK YOU FOR YOUR TIME." Photo of Honda N360 by Tennen-Gas, Looking for Loretta artwork by Total Bore. Revised myth of superman artwork by Colin Panetta. Update: Luke Bacon's full email response, quoted in part for this article, is worth reading. It's up now at his blog Equivalent Ideas.
Hold onto your hats, kids. The 19th Biennale of Sydney has just announced its 2014 lineup and it's shaping up to be a cracker. Along with the usual slew of international art superstars — Tacita Dean OBE, Roni Horn and Ugo Rondinone — artistic director Juliana Engberg has focused on lesser-known, younger artists and special, one-of-a-kind works commissioned for the event. The list of artists slated to show works is impressive. Martin Boyce, the Scottish artist who made a big splash at the 2009 Venice Biennale is one to look out for, as is Australia's TV Moore and Susan Norrie. The Biennale will be staged in various venues across the city, and each locale will offer a different experience. Cockatoo Island will once again be overcome by larger, site-specific works, many of which will be targeted at families and children. The Art Gallery of NSW will host, among other pieces, a performative installation by Yingmei Duan, who will live, for the duration of the Biennale, in a 'forest' built inside the gallery. As part of Happy Yingmei, the artist will interact with visitors, before retreating back into the forest to retrieve little notes dispensing advice and observations to them, in what Engberg described as a nexus between the practices of Yoko Ono and Marina Abramovic. Another key venue, the Museum of Contemporary Art Australia, will feature works responding to its surroundings of 'air and water', and what those elements represent in the human psyche. Look out for the large-scale multimedia installation Phantom (2011), by Scottish artist Douglas Gordon (the first video artist to win the Turner Prize) and featuring the heartbreaking vocals of Rufus Wainwright. Meanwhile, Artspace in Woolloomooloo will display 'flights of fancy', presenting works from several artists including Maxime Rossi and Henna-Riikka Halonen. The recently renovated space at Carriageworks will also house works, including a large-scale installation Dutch artist Gabriel Lester, who will offer a piece which responds to the architecture of the building. This fascinating work will explore the idea of cinematic and multimedia art as the 'new readymade'. Engberg is a sensational choice to man the helm of the Biennale, which is celebrating its 40th anniversary this year. Her excitement is palpable as she reveals details of a "happy anarchy" to be released upon unsuspecting Sydneysiders on March 21, 2014. The Sydney Biennale is one of the world’s oldest and longest running biennial art fairs. It's also one of the few biennales offering free entry to visitors. Every edition of the event brings together some of the world's most exciting contemporary artists in a vibrant celebration of Australian and international visual art. Each year, the works are curated around a specific theme. In 2014, that will be 'You Imagine What You Desire'. This "optimistic" Biennale takes its cue from a George Bernard Shaw quote: "Imagination is the beginning of creation. You imagine what you desire, you will what you imagine and at last you create what you will." Images: Henna-Riikka Halonen, Moderate Manipulations, 2012 (video still) and Yael Bartana, Inferno, 2013 (production still).
Port Macquarie's Festival of the Sun has been running for nearly two decades, and the boutique summer music festival is still bringing the goods. The lineup for May has just been released and it looks like it'll be another doozy. Hermitude, Skeggs, Middle Kids and San Cisco lead the three-day fest's bill, with Ruby Fields, A Swayze and The Ghosts, The Buoys, Caitlin Harnett and the Pony Boys, Concrete Surfers and First Beige lending their voices too. The list goes on, so get ready for a big couple of days of music. Running between Thursday, May 19—Saturday, May 21, the camping festival is also — excitingly — BYO, so you don't need to spend your hard-earned cash on overpriced UDLs. Alongside the lineup of live music, there will also be a heap of food trucks (serving everything from burgers to vegan fare), silent discos and silent comedy. Tickets go on sale at 10am on Thursday, April 15. FESTIVAL OF THE SUN 2022 LINEUP Hermitude Skeggs San Cisco Ruby Fields Middle Kids A Swayze and The Ghosts The Buoys Caitlin Harnett and the Pony Boys Concrete Surfers First Beige Hayley Mary Jelly Oshen Kim Churchill Lazywax Liyah Knight The Rions Romero Pink Matter The Oogars Saint Lane Radolescent Boycott Fungas Palomino Updated Tuesday, May 3.
Cumulus Up's City Cellar Door series returns for 2019, once again featuring a revolving door of Australian wine producers all keen to show off their top-notch drops. The event is the perfect opportunity to taste delicious wine, chat directly to the makers and grab your fave bottles at cellar door prices — all without leaving the CBD. And, while Victorian producers will sit in the spotlight, the series will also showcase Tasmanian wineries. The year's series — which will run on the first Saturday of every month until October — will kick off at midday on May 4, this month paying homage to the Mornington Peninsula. Wine enthusiasts will be treated to stellar tipples from the likes of Moorooduc Estate, Allies, Quealy and Balcombe Gin. And what's wine without snacks? To make sure the event has all the trimmings, there'll be plenty to eat, including oysters, duck waffles and cured meats. Entry is by gold coin donation, with all proceeds going to OzHarvest. This is a not-to-be-missed event for anyone who loves wine. If you'd like to sit down for a more substantial meal, the upstairs wine bar will also be hosting four-course lunches with matched wines on July 20 and October 19. Alternatively, you can get out of the city and join a behind-the-scenes tour of vineyards as part of a wine-filled day trip on August 24 and November 16. You can find out more info and book tickets via the website. City Cellar Door wine tastings run from midday–4pm.
More so than any other in recent memory, this summer is going to be all about socialising. And, whether you've got a special occasion to celebrate or looking for places to have those overdue catch-ups, you can't beat a private dining room if you want to go all out. We've teamed up with Hennessy to highlight six impressive private rooms in Melbourne, Sydney and Brisbane for your next baller night (or day) out. Round up your crew, get the Henny flowing and your night is set.
In the next chapter of Australia's plastic bag saga, Coles has paused its ban. Six days after the supermarket giant implemented its nationwide single-use plastic bag ban, it has announced it will be giving out free reusable plastic bags until the close of business on Sunday, July 8. This brings the supermarket chain into line with Woolworths who, after implementing a nationwide ban on June 20, also reneged on the ban and announced it would be giving them out for free until July 8. The reusable bags that are currently being given out for free would usually cost shoppers 15c in both Coles and Woolworths. They're thicker, more durable and are made from 80 percent recycled plastic — and were meant to encourage shoppers to bring them back, again and again, rather than buying a new one each time. The temporary, complimentary bag offer for both supermarket giants is only valid in NSW, Vic, WA and Qld, as the other states and territories have already had single-use plastic bag bans in place for several years (SA leading the pack, introducing it back in 2009). Both moves came after backlash to the bans on social media and in store, with reports of some shoppers becoming aggressive, others stealing plastic baskets instead of paying for reusable bags, and many accusing the chains of using the ban as a profit making scheme. Both supermarkets are also offering cloth bag alternatives, with Woolworths' 99c Bag for Good, which the supermarket chain will replace for free if it gets damaged, and Coles' $1 Community Bags, which are designed by Australian school children and ten percent of sales are donated to charities. Both bags are designed to be used repeatedly. On a national level, NSW and Victoria are now the only states that haven't implemented state-wide bans, with Queensland introducing its ban earlier this month on July 1. Victoria is set to do so next year, but NSW is yet to announce whether it will join suit.
It was a year of gun-toting racoons, talking Lego and trying desperately to catch a glimpse of Ben Affleck’s junk in the shower. Yes, the last 12 months saw the release of some truly terrific movies, from Hollywood hits that dominated the box-office to startling foreign and indie films that only a handful of people bothered to see. But enough about the past. January is already well underway, and a whole crop of new releases are on the horizon. This promises to be another huge year for cinema, with the latest instalments in blockbuster franchises including The Fast and the Furious 7, Mission: Impossible 5 and The Hunger Games Part 3B, not to mention perhaps the most hotly anticipated sequel of them all: Paul Blart: Mall Cop 2. Of course the above titles only scratch the surface. Presented in the order they’re due to be released, here’s our list of the 12 motion pictures we’re most looking forward to in 2015. You’ll be pleased to note that there isn’t a single Hobbit movie to be found. FOXCATCHER The latest film from Moneyball director Bennett Miller tells the unsettling true story of reclusive millionaire John DuPont, whose sponsorship of the US Olympic wrestling team coincided with a spiral into madness. A cast that includes Channing Tatum and Mark Ruffalo is enough to pique our interest, but it’s comedian Steve Carell who has been kicking up Oscar buzz for his against-type dramatic performance as DuPont. Out January 29 ROSEWATER Comedian Jon Stewart took time out from hosting The Daily Show in order to shoot this film about Maziar Bahari, a Canadian-Iranian journalist imprisoned by the Iranian regime. Not exactly the barrel of laughs you might expect from Stewart’s directorial debut. Then again, it’s only fitting that he be the one to tell the story, given that the “evidence” the Iranians used to justify Bahari’s detention included an interview he gave on Stewart’s show. Out February 19 TOP FIVE Speaking of comedians in the director’s chair, Chris Rock’s Top Five sees the funny-man working three jobs as writer, director and star. In a foul-mouthed takedown of the media and entertainment industries, Rock plays Andre Allen, a popular movie comedian who wants to be taken seriously. The film looks hilarious, and has a seriously stacked cast — including Rosario Dawson, Tracey Morgan and Kevin Hart — as well as cameos from Whoopi Goldberg, Adam Sandler and Jerry Seinfeld. Out March 5 INHERENT VICE Joaquin Phoenix heads a host of enviable Hollywood talent in Paul Thomas Anderson’s strange adaptation of Thomas Pynchon’s novel. A stoner crime thriller, Inherent Vice looks like the spiritual cousin to The Big Lebowski, and not at all like Anderson’s previous films, which include The Master and There Will Be Blood. Reviews out of the States have been divided, which really only makes us want to see it more. Out March 12 MOMMY The best film of last year’s festival circuit, this masterpiece of melodrama from Quebecois wunderkind Xavier Dolan is a movie you can’t afford to miss. An emotional roller coaster presented in 1:1 aspect ratio, the story follows a brassy single mother whose teenage son suffers from violent mood swings as well as ADHD. Seriously, if this film doesn’t make you cry buckets, you flat out haven’t got a heart. Out March 26 AVENGERS: AGE OF ULTRON Avengers assemble! The red-hot sequel to Marvel’s superhero phenomenon reunites all your favourite costumed heroes, including Iron Man, The Incredible Hulk and Thor. The most important returnee, however, is writer-director Joss Whedon, whose witty dialogue and knack for ensemble character dynamics was a huge part of why the first film was so great. Out April 23 MAD MAX: FURY ROAD Australia’s most iconic action hero is back for round four. Tom Hardy replaces Mel Gibson as Road Warrior Max Rockatansky in this sequel-cum-reboot 30-odd years in the making. From the insane visuals in the trailer, it would appear that original director George Miller hasn’t lost his touch. Hard to believe this is the same guy who made Happy Feet. Out May 14 INSIDE OUT The latest film from the geniuses at Disney Pixar looks like one of their most original yet. Directed by Pete Docter of Up and Monsters Inc. fame, Inside Out takes place inside the mind of young girl, as Joy, Anger, Disgust, Fear and Sadness steer her through life as best they can. Out June 18 SPECTRE Daniel Craig returns as Britain’s most deadly secret agent, with a supporting cast that includes Monica Belluci, Dave Bautista and Christoph Waltz. If the title is anything to go by, the latest Bond film will see 007 go up against his most notorious enemy, the international crime syndicate SPECTRE. We’re calling it now: Waltz is playing Blofeld. Out November 19 STAR WARS: THE FORCE AWAKENS Yes, we’ve been burnt with new Star Wars films before. But come on, how can you not be excited, or at least curious, by the prospect of returning to a galaxy far, far away? And without the influence of George Lucas, we’re hopeful that The Force Awakens might actually be good, or at least not bogged down by the politics of trade negations. Now excuse us while we re-watch the trailer for the 5000th time. Out December 18 THE HATEFUL EIGHT Two words: Quentin Tarantino. The script for his latest Western leaked online last year, leading to fears that he’d scrap the project altogether. Thankfully QT got over his little temper tantrum and is moving ahead with production. The Hateful Eight is being shot on glorious 70mm film with a cast that includes Samuel L. Jackson, Kurt Russell, Michael Madsen and Bruce Dern. Release Date TBA MACBETH Australian director Justin Kurzel made serious waves with his debut film Snowtown. For his follow-up, he’s put together a lavish adaptation of Shakespeare’s iconic play, with Michael Fassbender starring as the ambitious Scottish soldier and Marion Cotillard as his conniving lady wife. Release Date TBA
Linden Centre for Contemporary Arts is rounding off their Innovators series on a bit of a downer this year with "an exploration of time, transience, frailty and decay". Pretty challenging stuff for the beginning of summer, guys. That being said, the artwork on exhibition is anything but depressing. Off the back of her recent residency at Artspace in Sydney, Santina Amato's No Point in Time (pictured) will be leading audiences through an engaging video installation that explores the idea of ageing through a distinctive feminine lens. Alternatively, in a contemplative display of masculinity and its downfalls, Peter Thomas' Coma Country will be interrogating local sites where "young men have been killed by other young men outside licensed venues." Similar to the bold affirmations of Jenny Holzer, Michael Carolan will be drawing from the world of advertising and neon signs to examine our modern-day relationship with Elisabeth Kubler-Ross' '5 stages of grief' in 5 Stages of Grief: Choose your own (Mis)adventure. Daniel Price's sculpture in Plans will be exploring frailty and decay, and in a joint venture between curators Kim Fasher and Sarah Mosca, Mono No Aware is a group exhibitions by 12 artists looking at the Japanese concept of 'the pathos of things'. According to Fasher and Mosca, the chosen works are "about an experience of beauty and time that is heightened by an understanding of its inevitable passing. It is about the wonder of beauty in the face of decay, of happiness that cannot last, about an appreciation of light in the knowledge of darkness." Image: Santina Amato, The Garden of Instance, 2013, video, reproduced courtesy of the artist.
Whether it celebrates music, performances or film, every arts festival is a gift. When it's brand new and combines all three, it's like Christmas. And, when it also boasts Solange's return to Australia, it's the adult equivalent of scoring the pony or bike that you always wanted when you were a kid. The event ticking all of those boxes? Volume, the newly announced fest that'll take over the Art Gallery of New South Wales this spring When it debuts from Friday, September 22–Sunday, October 8 at the Sydney gallery, Volume will hero the cutting edge and the contemporary in all of its chosen artforms — and, given that it's calling itself a festival of sound and vision, that's where it'll be focusing. Solange has the headline slot, but the Grammy–winning R&B singer-songwriter has ample company, including Sampa The Great, Mount Eerie and Sonya Holowell. [caption id="attachment_738150" align="alignnone" width="1920"] Max Hirschberger[/caption] Also taking to the stage: everyone from Black Belt Eagle Scout, crys cole, Datu Arellano, Fuji|||||||||||ta and Hamed Sadeghi to Jeff Parker, Joe Rainey, Kim Moyes, Lonnie Holley and Maissa Alameddine, and the list keeps going from there. Via Dean Hurley, KMRU, Lea Bertucci, Loraine James, Megan Alice Clune, R Rebeiro and salllvage, Volume will also host the world premieres of seven new music recordings, all commissioned by AGNSW. All up, the fest will showcase 27 local and international musicians, with the venue's music and community curator Jonathan Wilson putting together the impressive roster of talent behind the microphone. That program includes an experiential live music performance series called Play the Room, plus local and international composers creating and playing new scores courtesy of the fest's Playback sessions. [caption id="attachment_881769" align="alignnone" width="1920"] Jordan Munns[/caption] And, thanks to the gallery's new North Building, the setting is as stunning as the lineup. The Tank, which is a former-WWII oil tank-turned-art space, will host shows — and give its acoustics a workout — as will the 13-metre-high atrium and sculpture gallery spaces. Volume's film and performance lineups will be announced in August, with AGNSW's film curator Ruby Arrowsmith-Todd picking the moving-image works and the venue's curator of contemporary art Lisa Catt doing the honours with the dance performances. Expect 50-plus music, film and performance events in total — some free, some ticketed, and with the program running during the day and into the evening. [caption id="attachment_906009" align="alignnone" width="1920"] Art Gallery of New South Wales, Jenni Carter[/caption] "While the visual arts have traditionally been the Art Gallery's focus, our expansion, through the Sydney Modern Project, has created an exceptional opportunity for us to extend our programming as part of our new curatorial narrative to include more cutting-edge live music, film and performance. Volume is the manifestation of this vision," said Art Gallery of New South Wales director Michael Brand, announcing the new festival. "Featuring some of the most compelling artists of our time, Volume sets a new standard for music curation in public art museums and is the most exciting performative live music and art festival to be staged in Sydney." [caption id="attachment_880684" align="alignnone" width="1920"] Art Gallery of New South Wales, Iwan Baan[/caption] VOLUME 2023 LINEUP: Solange Sampa The Great Mount Eerie Sonya Holowell R. Rebeiro Toni Muñoz Datu Arellano KMRU Lonnie Holley crys cole TENGGER Maissa Alameddine Sumn Conduit Loraine James Jeff Parker Kim Moyes Joe Rainey Mourning (a) BLKstar Lea Bertucci Black Belt Eagle Scout Hamed Sadeghi Megan Alice Clune Oren Ambarchi salllvage FUJI|||||||||||TA Naretha Williams Dean Hurley Volume runs from Friday, September 22–Sunday, October 8 at the Art Gallery of New South Wales, with ticket pre sales from 10am on Tuesday, July 18 and general sales from 10am on Wednesday, July 19 — head to the festival website for further details. Top image: Ibrahem Hasan.
No longer just the realms of year three excursions where your mum came as chaperone, Melbourne Zoo Twilights — the after-hours live music series that boasts perhaps one of the best summer nights out, as well as lots of adorable animals — has proven it's got some real cred when it comes to hosting outdoor gigs in the past few years. After all, the event has hosted headliners such as Kurt Vile, José González and Warpaint over the last few years. And this summer the event will return with a series os live sets every weekend from Friday, January 26 through Saturday, March 10. At this stage the Zoo Twilights team have only announced one act on the 2018 bill: Ben Folds. In his return to Melbourne (he was last here in 2016), the American musician will play his two-part live show at the zoo on Friday, February 16 with support from the UK's Lucy Rose. Picnic-bringing is encouraged, but there'll also be handy gourmet hampers available on-site, as well as a slew of food trucks to choose nosh from. Either way, it's actually the one of the best dates in Melbourne. Plus, all proceeds from Zoo Twilights go back into Zoo Victoria's ongoing conservation work to help fight the extinction of the Eastern Barred Bandicoot. Melbourne Zoo Twilights will return to Melbourne Zoo from January 26 until March 10. The full lineup will be announced on October 18 (we'll let you know when it's up) and tickets go on sale at 8am on Tuesday, October 24 at zootwilights.org.au. By Lauren Vadnjal and Shannon Connellan. Image: Ian Laidlaw.
In its sixth year, the Gertrude Street Projection Festival is turning Gertrude Street into a hub of creativity, community and, of course, lights for 10 nights starting on July 19. Thirty sites, from buildings to shopfronts to squares on the pavement, will show the length of Gertrude Street in a way you're unlikely to see again. With each year a different story, it's bound to be a new experience each time. 'Illuminate' is the theme and illuminate they will. Artists include Melbourne-based video artist Alesh Macak; Amanda Morgan, who is exploring the relationship between the material and immaterial; and Yandell Walton, who will look at our emotional responses to our world. The Festival Hub, upstairs at Brown Couch, will house events made to complement the festival, from musicians to workshops to panel forums. Gertrude Street Projection Festival is one of those beautiful moments where participating in art consists of simply standing in the street and looking up.
