One of India's most celebrated contemporary artists will be the subject of a new exhibition at the National Gallery of Victoria. Running from May until October at NGV International, Subodh Gupta: Everyday Divine will feature numerous works by the eponymous sculptor, painter, photographer and performer, whose works imbue everyday items with spiritual meaning. Born in one of the poorest and least developed parts of India, Gupta's art explores the significance of simple items in the lives of everyday Indians. Some of his most well known pieces include a bronze and aluminium sculpture of a bike, and an installation made up of dozens of stainless steel pots and pails. The NGV will also program numerous events around the exhibition, including curator talks and panel discussions about the state of contemporary Indian art.
When the eighth season of Game of Thrones finished its run a few months back, bringing the highly popular series to a conclusion, everyone knew that it wasn't really the end. The world created by George RR Martin will live on in his books, whenever the author finally publishes the long-awaited next instalment of his A Song of Ice and Fire series. And, because HBO likes both ratings and advertising dollars, it will keep the GoT-related TV shows going as well. Like residents of Westeros hoping that summer (or at least autumn) will last for ever, the US network isn't ready to let go of its highly successful commodity. For years, there's been plenty of chatter about what it'll do next, with HBO first announcing that it was considering five different prequel ideas, then green-lighting one to pilot stage, and then pondering adapting Martin's House Targaryen-focused Fire & Blood for the small screen. Now, the channel has finally decided what GoT fans will be watching next. Sorry, everyone who was keen to explore Westeros thousands of years before the events we all just agonised over for this entire decade. That series — which was set to star Naomi Watts, Miranda Richardson and John Simm — has officially been scrapped. While that's disappointing news, HBO has softened the below with some flame-breathing scaly creatures and the family that adores them, ordering ten episodes of the Fire & Blood-based House of the Dragon. If you thought the Targaryens were chaotic already, we're guessing that delving into their history — and their love of using dragons to wage wars and claim power — is only going to cement that idea. We all know what happened to the last surviving members of the family in GoT, aka Daenerys, her brother Viserys and her boyfriend/nephew Jon Snow; however, House of the Dragon, like Fire & Blood, jumps back 300 years earlier. Published in November 2018 and coming in at a whopping 738 pages, the first volume in Fire & Blood's planned two-book series starts with Aegon I Targaryen's conquest of the Seven Kingdoms — and then works through the family's history from there. He created the Iron Throne, so you'll probably get to see one returning favourite. And you don't have to be the Three-Eyed Raven to know that this tale involves plenty of GoT's staples: fighting, battles for supremacy and bloodshed. If you're wondering when you'll be able to feast your peepers on House of the Dragon, or who'll be starring in it, those crucial details haven't been revealed just yet. But, as well as announcing that House of the Dragon is definitely happening, HBO has unveiled the key folks behind the scenes, with Miguel Sapochnik and Ryan Condal acting as the series' showrunners. Sapochnik has a hefty GoT history, winning an Emmy and a Directors Guild Award for directing 'Battle of The Bastards', helming season eight's 'The Long Night', and doing the same on four other episodes. As for Condal, he co-created and oversaw recent sci-fi series Colony, and co-wrote the screenplay for the 2018 film Rampage.
New season of True Detective, new cops, new case: since 2014, that's been the setup for this HBO hit, as viewers will enjoy again in January 2024. When True Detective: Night Country arrives, Liz Danvers (Jodie Foster, The Mauritanian) and Evangeline Navarro (Kali Reis, Catch the Fair One) are in the spotlight, investigating an icy mystery in Alaska. Eight men on an arctic research station disappear without a trace — and it's up to the franchise's latest duo to discover what's going on. Whether or not you believe that time is a flat circle — and everything we've ever done or will do, we're gonna do over and over and over and over again, too — watching new episodes of this sleuthing series is indeed about to become a reality again. When True Detective returns for a six-episode fourth season after a five-year absence, it'll head to the town of Ennis, spend time with a pair that's hardly happy to be working together, and serve up plenty of chills and darkness. In both True Detective: Night Country's initial teasers and its just-dropped full trailer, Danvers and Navarro team up to discover why the Tsalal Arctic Research Station staff have gone missing. In the latest sneak peek, a potential supernatural angle is teased, too — ice zombies, anyone? When it hits Down Under on Monday, January 15 — via Binge in Australia and Neon in New Zealand — True Detective: Night Country will also feature Finn Bennett (Hope Gap), Fiona Shaw (Andor), Christopher Eccleston (Dodger), Isabella Star LaBlanc (Long Slow Exhale) and John Hawkes (Too Old to Die Young) in front of the camera. Behind the lens, every one of the series' episodes is written and directed by Tigers Are Not Afraid filmmaker Issa López, with Moonlight's Barry Jenkins an executive producer. Each season of True Detective tells its own tale, so there's no need to catch up on past chapters if you watched the Matthew McConaughey (The Gentlemen)- and Woody Harrelson (White House Plumbers)-led first season in 2014 — as everyone did — but didn't keep up from there. Taylor Kitsch (Painkiller), Colin Farrell (The Banshees of Inisherin) and Rachel McAdams (Are You There God? It's Me, Margaret) starred in season two, while Mahershala Ali (Leave the World Behind) and Stephen Dorff (The Righteous Gemstones) took over in season three. Check out the full trailer for True Detective: Night Country below: True Detective: Night Country will stream in Australia Monday, January 15, 2024 via Binge in Australia and Neon in New Zealand.
Since first appearing on our screens in an uncredited role in 1995's Children of the Corn III: Urban Harvest, Charlize Theron has proven to be one of cinema's most versatile talents. She won an Oscar for playing real-life serial killer Aileen Wuornos in Monster, then nabbed two more nominations for dramas North Country and Bombshell. She's a delight not only in dark, existential comedies (Young Adult, Tully), but also in irreverent rom-coms (Long Shot). And, over the past decade, she's proven particularly formidable in action flicks — as Prometheus, Mad Max: Fury Road, Atomic Blonde and The Fate of the Furious have all demonstrated. Staying in kick-ass mode, Theron will next hit the screen on July 10 in Netflix film The Old Guard — and this time she's playing a warrior. Specifically, her character Andy leads a secret group of mercenaries who've been protecting the world for centuries. As she explains in the just-dropped trailer: "let's just say we're very hard to kill". Yes, that basically puts Theron in superhero territory, with the film based on Greg Rucka's graphic novel of the same name — and with the scribe himself writing the screenplay. The Old Guard also boasts a great director behind the lens, marking the latest film by Beyond the Lights' Gina Prince-Bythewood. Also strutting their immortal stuff are KiKi Layne (If Beale Street Could Talk), Matthias Schoenaerts (Kursk), Marwan Kenzari (Aladdin) and Luca Marinelli (TV's Trust), with Maleficent: Mistress of Evil's Chiwetel Ejiofor among the cast as well. And, story-wise, the straight-to-streaming film charts Andy and her crew's exploits when their special abilities are exposed during an emergency mission, which pits them against forces eager to cash in, copy and capitalise upon their extraordinary skills and power. Check out the trailer below: https://www.youtube.com/watch?v=aK-X2d0lJ_s The Old Guard hits Netflix on July 10. Top images: Aimee Spinks/Netflix.
UPDATE, Friday, February 7, 2025: Blur: To the End and Blur: Live From Wembley Stadium are both available to stream via DocPlay. In Blur: To the End, headlining London's famous Wembley Stadium is the pinnacle of Damon Albarn, Graham Coxon, Alex James and Dave Rowntree's careers so far. For two nights in July 2023, the Britpop band played their biggest-ever gigs to a crowd of 150,000 — shows that had been a dream not just since the group initially formed in 1988, but when high-school friends Albarn and Coxon watched 1985's iconic Live Aid concert on TV. Blur enjoyed no shortage of highlights in 35 years beforehand, of course; thinking about British music in the 90s means thinking about the foursome instantly. Still, in the latest documentary to turn the camera their way, which is playing big screens in Australia thanks to the 2024 British Film Festival, there's no doubting what standing on Wembley's stage at this point in their journeys, after reinventions, hiatuses, reunions, solo projects and more, means to the band. If the feeling that's written across Albarn, Coxon, James and Rowntree's faces when To the End finishes could be summed up by a snippet from one of their songs, the "woo hoo!" chorus from 1997 hit 'Song 2' would actually work nicely. That sensation — that immense emotional reaction, too — is evident not only in the intimate doco from Transgressive record label co-founder, filmmaker and lifelong Blur fan Toby L, however. It's also clear in accompanying concert film Blur: Live From Wembley Stadium, which captures the first night's show in like-you're-there detail (including largely sticking close to the band, so that viewers can truly witness what the gig means to them as they work through a two-hour set filled with everything from 'Popscene', 'Girls & Boys', 'Parklife' and 'Country House' to 'This Is a Low', 'To the End', 'Tender', 'The Universal' and 'The Narcissist'). Asked about what that pure joy was like to witness — Albarn comments in the film that the moment was as good as it gets — Toby L stresses how it genuinely did feel like the pinnacle for the band. "I can honestly say yes. And I know that if all four of them were asked that question, they would all agree. Which is amazing, because what must be it like to be at this point in your lives where you feel you've done one of your best albums, and you've done your best and biggest gigs?" he tells Concrete Playground. "I think just on a completely subconscious level for any performer, even if they pretend they don't want to get to that level, I think there's that sense of attainment and achievement that is the zenith of possibility. To not only play it, but to headline it and sell it out, I think it is the bucket list for every artist, potentially, that wants to get to a certain level." "And the feeling in the stadium both nights was so electric. I've been through a lot of big gigs and a lot of stadiums and a lot of festival shows, and they're always fun but, truthfully, sometimes the scale is just hard to make it feel personal and intimate. But somehow those gigs were. And anyone that was there — people that work in the music industry, everyone has recounted how something happened that was next-level in terms of the emotional connection," Toby L continues. "So yeah, it really was what the film portrays, that sense of it being a bit magic, and Damon being quite rarely open about the fact it's kind of the pinnacle, that was the truth. And I feel honoured and privileged to have been part of that in a small way." [caption id="attachment_980200" align="alignnone" width="1920"] Reuben Bastienne-Lewis[/caption] Toby L's own Blur journey also began decades back, as a fan since he was a kid. He has an early tie to Wembley, too, but at the indoor Wembley Arena, which sits next to the stadium. In the 90s, he saw his first-ever live gig at the venue — and yes, at that show when he was at age of ten, he was watching Blur. From his mid-teens, a career linked to music beckoned. He's blogged, founded music sites, organised live events, hosted TV, started his label 20 years back, and directed Olivia Rodrigo's Sour Prom, Rihanna's 777, Liam Gallagher: Knebworth 22 and more. Collaborations Albarn and Coxon first came through Transgressive, before he heard word about Blur's Wembley Stadium shows. That connection didn't mean that Toby L was a sure thing behind the camera when the idea of immortalising the gigs arose. His plan was always exactly what audiences can experience now, though: the full concert experience in one film — plus the path to it, through Blur reuniting in Albarn's country house in Devon to make their first album in eight years, then doing warm-up gigs, playing other festival sets and finally hitting Wembley, in another. The latter eschews the biodoc treatment for the here and now, for four men musing on their twists and turns together and apart, and for diving into friendship and mortality as well. Live From Wembley Stadium and To the End make a helluva pair, which Melburnians can see in a double feature at The Astor Theatre for one night only. How did the band respond to the two-movie plan? How did Toby L carve out a space for To the End when past documentaries such as No Distance Left to Run and Blur: New World Towers exist? How open were Albarn and company to such a close-up approach? We also chatted with the filmmaker about the above — as well as how being a fan shaped his role as a director, ensuring that the concert film felt equally intimate, and the longevity of both Blur and Oasis. ("Let's put it this way: I think Blur were my first band, and working with Liam was also a completely wonderful experience. Totally different. But a wonderful thing," he advises.) On the Pitch to Make Two Films About Blur's Wembley Gigs — and the Band's Reaction "It all stemmed back from me discovering about the gigs on the d-low, as it were. I was with Damon talking about a completely different project, and Wembley came up in discussion. I think he might have cheekily brought it up with that cheeky glint in his eye and his shining gold tooth, probably he was quite excited about the surprise element of it about to hit the newswires. I'd already done some filming with Damon around his second solo album, so he knew that I was in that world slightly. I think I probably quite embarrassingly and tritely said 'I'd love to throw my hat in', quite literally that basic. And I remember him just saying cryptically, both supportively but then also very vaguely, 'I would like that, too'. Then that was it. It wasn't spoken about for with him probably for another six months, during which time I felt that that was enough latitude for me to put a treatment together of what I would do with the documentary and the concert film. The original treatment and proposal that I put together, which was the written treatment, it was quite extensive, it was quite specific, and it stipulated that I felt there were two films. I felt that people would want to see a concert film, almost eternally as an evergreen Blur piece of memorabilia or document of that moment. But then I felt there was an opportunity for a wider story, hence the documentary, which was about getting older and growing up, and reconciling friendship, and mortality, and I guess some deeper human themes. And I just thought that'd be interesting to transpose into the situation Blur were finding themselves in, where they were getting back together for the first time in almost a decade, and they were that much older and about to undertake their biggest challenge yet, which was their biggest-ever gig. So it felt like to me there was a really cool story there that wasn't necessarily predicated on 'and then this album came out in this year, and then they had this fight with Oasis' and all the shit that most people can find on a Wikipedia page. So that was the premise of it, really. It was that — and then me waiting for months and hearing nothing. I thought I might have disgraced myself or embarrassed myself. Then suddenly, quite out of nowhere, I had a breakfast with the band's manager. I thought she was going to let me down because I hadn't heard anything. We're talking about other things and other projects, and then about an hour and a half into two-and-a-half hour breakfast, that's when she dropped the bombshell that they'd gone through the treatments and they thought mine was the strongest, regardless of relationships, which was really flattering. Then I had to have a meeting with all four of them the following week or so to convince them I could do it. Ten days later, we were filming in Devon." On Making To the End to Complement, Not Repeat, Past Documentaries About Blur "In a weird way, there was a relief that No Distance Left to Run had come out. Because that film did the job of 'if you don't know who Blur are or even if you do, here's their story'. It was the legacy story, if you will. It talks the viewer beautifully through how they came to be, and some career highs and lows, and key eras in their career, and the initial downfall. I thought that film did that job, so it was a relief that I didn't have to retread that old ground. But the one thing I felt that was completely up for opportunity was 'where are Blur at now?'. They're mid-to-late 50s, they're about to do, again, genuinely their biggest-ever gigs. There's nothing bigger than doing Wembley Stadium, in a way. So it just felt like this was a pivotal moment to reflect on their present state of being rather than reflecting on their career as a whole. Inevitably there are moments and flashbacks to their career, but really it's all in the context of the here and now. And I guess I wanted to do a bit more of a philosophical, emotional character portrait of the four of them, which I felt hadn't necessarily been done in the other documentaries. The other documentaries, even though this has a specific journey of sorts, they had more of a clear function than an emotional character study. Ultimately, I was lucky that the band were up for going there. Because I could have had this in my head and then, understandably, they might have been like 'fuck off, that's a bit personal'. Thankfully, they didn't respond that way. They understood what the essence of the project was — that my intent wasn't to expose them or show them up, it was to unveil a perspective that many people don't often see in a stadium band, which is the vulnerability and the drive and the motivation behind what it takes to be that kind of individual. And also what it takes to maintain a relationship after such a long time, which isn't easy. A lot of people have this entitlement that bands can and should live forever but, I don't know about you, how would you like it if you were stuffed in a tour bus for years on end even with your closest friends or family, and being forced to smile for the media and perform on no sleep? I think it's going to drive anyone a bit bananas. So I think that's kind of where I was coming from with the project. I was wanting to show something that could create a real bridge between the viewer and the subject, and hopefully a totem of empathy in this fractured age of ours." On the Band's Openness to To the End's Intimate Approach "We all agreed that was the way it was going to be best. That was the way I portrayed it in my treatment, and that was the way they were comfortable with it being captured. I think they had maybe moments before where they've been filmed for other projects and television, where they were just a bit — they're at this point in their career where they don't need to do this, right. It's like they don't need to do any of it. Their career is set. They don't necessarily need to reunite at all. They don't necessarily need to come back with a great album. They don't even necessarily need to make a documentary of any of that activity. But the reason they're doing it is because they want to, and they feel that there's a purpose to it. So equally the filmmaking had to have that element to it. It needed to not be interruptive to the point that the band couldn't do what they needed to do. And it needed to be an honest portrayal and a mirror to their activities. I actually think that's way more interesting than 'let's get the lighting up, let's sit them down, let's ask them the same questions — oh, retake that answer because we didn't get audio'. I just think it's so much more exciting to be in the present. It's technically quite a hard thing to do as a documentary crew because on the one hand, you're trying to be invisible and fly-on-the-wall — but then on the other, you need to also make sure you're guiding the viewer at points so it doesn't just feel like complete empty, vapid voyeurism with no purpose. So it's this tightrope you're walking between being sensitive to what's going on, but then also making sure that you're getting the insights that will contextualise the moment in real time. It's a tough thing to get right, and there are many famous examples of filmmakers being barked out by artists to 'get the eff out of the dressing room'. And that's always the risk, that you go too far or, equally the other way, you don't go far enough and then you haven't really got much to work with. Thankfully, the band were open to that way of working, and I think it's hopefully to the film's credit that the viewer gets that level of intimacy and access that is probably increasingly uncommon in these sorts of projects." On How Seeing Blur at Age Ten and Being a Fan Since Childhood Shaped Directing Two Films About the Band "I think being a fan is really useful, actually, because you just got that knowledge. It's quite an embarrassing, hilarious thing to say, but occasionally there'd be moments where they're trying to recount a song title from 1992 that was the B-side to a single — and being a massive nerd, you can go 'oh, was it this one?'. And then they all look at you and go 'yes, that's what it was'. And the irony is, apart from being vaguely helpful in moments like that, there's also just that sense of trust. You're not there to do a hatchet job. You're not there to trip them up. You're not there to be secretly a dissenting voice that's trying to throw them down. You are a fan. So you're coming at it from a pure place. So then the challenge becomes, in terms of credible filmmaking and documentary-making, how do you straddle that fandom with telling the truth and making sure you're being as objective as any one person can be objective? So that then is probably the other tightrope to walk, ensuring that your enthusiasm and your passion and your love for your subjects doesn't contaminate the need to extract truth, and to make sure that there's an honesty to the whole thing. Because otherwise it could just fall into being sycophancy or just a PR puff piece. And that was another thing we said when we all got together, that we hated documentaries that were too clean and too 'and isn't life perfect'. To that end, I think I really made sure that the enthusiasm of being a fan of the band didn't cloud my judgment. And hopefully anyone that watches it will agree that it's rare to see a band this vulnerable on-camera of their level, and so hopefully people will appreciate the fact that this is definitely a real account of who they are." On Finding Intimacy in Live From Wembley Stadium, Too, to Convey the Experience of Being There to Cinema Audiences "I love the way that you picked up on that approach because that was definitely, again, conscious. I just thought that the worst way to capture this gig was going to make it just be 'look, it's the Wembley Stadium gig, let's have fucking loads of wides and let's make it just look big, and yeah!'. It just felt naff. I also just feel that the art of Blur live is the emotion and the chaos, and then countered by the beauty and the ballads, so the only way to really portray that for me is to have cameras quite close to them. The idea of just dotting the cameras at some distance — obviously we've got lots of dynamic shots at various ranges in the stadium, but most of the cameras, over 50 percent of them, are just in and around the stage, and all on the audience, really close-up on the audience. Because I just thought the story is going to be on stage and the story's going to be in the moshpit. That's going to be where this magic happens. And yeah, we're going to have some big shots at the stadium, yada yada yada, but that stuff's fairly generic to me. You could put those in any concert film of any stadium shoot and it could just apply to stock footage for any artist. But the bit that was special for me was going to be the reactions of the band playing this environment and the excitement of it all — and, again, the audience and their adulation for the moment." On Where You Land on What Gives a Band Longevity When You've Made Films About Both Blur and Oasis "I think obviously it's the songs. I think songs have to permeate not just in the era in which they're conceived, but most truthfully resonate with periods beyond that. A great folk song that was written probably in the 1700s or whatever travels around the hills and finds its way to become a traditional song all around the world, and then eventually becomes blues music. Good songs travel and they last, and I think songwriting is at the core. I think then beyond that, obviously the performance of the song, the recording and the way in which it becomes indelibly linked to people's lives. If you capture the zeitgeist, which both Blur and Oasis did, as examples, it brings people back that were there first time round — or even people that weren't there, they feel that essence of connectivity and culture just resonate in the chords and in the performances and in the vocals. And that's what is effectively bottling magic. That's what music is, it's trying to find magic and it's bottling it, really, either in performance or in recording. Both bands just had that essence of reality. They came at writing and culture in completely different ways, but totally valid respective ways. And they just endured. I know for a fact that you could play most Blur songs to a small child and they're going to enjoy them because the melodies are good. And then most adults are going to connect to them because the themes lyrically still resonate to this day. The album Modern Life Is Rubbish by Blur, that could have been released last week, sadly. And that's ultimately what makes great art: stumbling across something that in the moment feels real, but then for decades onwards still manages to resonate. That's the art of it all, really: trying to find something eternal in the moment. " On What You Learn About Blur When You're Making Not Just One But Two Documentaries About Them "I think you learn that everyone, even if we've all got our own personalities, our own characteristics, we're all kind of the same person really. We all have our own needs and vulnerabilities, and strengths and weaknesses, and really that's what binds us all as a human race. And that's why I think it's so harrowing, the state of the world that we find ourselves in right now. Because I think that there are forces that are trying to falsely attribute disparity to our state of being, when actually we're all fucking similar and that's what we should be focusing on, our common ground, not our points of distinction. I think what I learned was that the fallibility and the brilliance in them is eminently what unites us all. It's kind of in all of us and in all of them. So in that way, it was very grounding. As the ten-year-old fan, what did I learn? I just learned that my favourite band were a great band to get behind. They were really complex in many ways, in terms of their unique quirks and things. They were very, very entertaining and very funny. They were very sweet and emotional people. And, ultimately, there's no other band like them to go on the stage. They really tear it up in a way that I don't think anyone before or since them has been able to do. And so for me, what I learned was, yeah, it was a great band to fall in love with at the age of eight years old or whatever it was." The 2024 British Film Festival tours Australia in November and December, wrapping up on Sunday, December 8. For more information and to buy tickets, visit the festival website. Both Blur: To the End and Blur: Live From Wembley Stadium are playing at the festival's stops across the country, with the Blur double feature showing at Melbourne's Astor Theatre on Saturday, November 16, 2024. Images: Altitude.
The City of Darebin has been transformed into a playground of creativity and performance, with multi-arts festival Fuse kicking off its long-awaited autumn edition. Descending on streets, parks, venues and galleries across the inner north region from Friday, March 11–Sunday, March 27, the fest will serve up a sparkling program of music, art and more. After two years relegated to the online realm due to COVID restrictions, it's Fuse's time to shine IRL. For the duration of the festival, street exhibition Made in Rezza will see 15 Reservoir shopfronts come alive with commissioned works by local artists paying homage to their 'hood. Meanwhile, for Live in Hi Rez, up to 40 of the suburb's emerging young musicians and performers will host ten days of free pop-up gigs across its streets and landmarks. Elsewhere, catch Joel Bray's immersive, tongue-in-cheek performance piece at the Northcote Social Club; enjoy sounds from a compelling lineup of First Nations song people for We Are Song, We Are Dreaming, We Are Country; and settle in at TW Andrews Reserve for an openair screening of Whale Rider (March 18). The fun wraps up on Sunday, March 27, with the Out of the Park Picnic — a free outdoor fiesta featuring food trucks, plus live tunes and performances from acts like Kylie Auldist, Kwame Tosuma, DJ Maya Vice and electro-soul trio Belove.
No fancy metaphors, clever pop culture references or humorous double entendres here — just an exclamation of something to which most Melburnians can relate. I Love Dumplings is certainly not trying to be coy, and if you do indeed love the steaming hot morsels of flavour, then this is the place for you. Sure, there are a myriad of dumpling houses in this city. But it's not often you find one this good beyond the CBD with a BYO license to boot. This little gem, tucked inconspicuously on the Kensington-Flemington border that is Racecourse Road, is relatively new to the fairly unexciting strip, but already proving to be a neighbourhood favourite. It strikes a great balance between the no-frills, frenetic-paced, plastic plates style of some dumpling houses and the high-end, high-price style of others. The pan-fried pork option is always a winner, and the steamed prawn in a rice paper casing offers some freshness to the table, but if you want a bit of variety, the menu holds all the regular Chinese dishes, as well as traditional Liao Ning-style cuisine. Push the boat out and try the stewed preserved Chinese cabbage with sliced pork belly in umami flavour soup or the stir-fried pork liver with carrot, capsicum and onion if you're feeling adventurous. There's more to love here than just the dumplings, but they are worth the trip alone. A solid, well-priced local haunt for the inner west, I Love Dumplings is consistently busy (always a good sign), so book a table to ensure you're not left out in the cold, staring longingly at the steaming hot plates of food flooding out of the kitchen.
The Bridge Hotel is all about raising the standards of what a typical pub experience should be. With its European-inspired interior complete with a cobblestoned laneway and refined twists on pub grub, the Bridge Hotel has been a favourite for locals and visitors alike for years. Made up of a collection of distinct, but interlinked, spaces across two levels, a night out here can be an intimate affair with friends or a partygoer's ideal spot for a dance and a few drinks. The pub has been mixing things up a little of late with $13 espresso martinis all day on Fridays, a new weekday happy hour and its host of Saturday offerings. To celebrate, it's giving away a special Absolut Vodka cocktail experience to seven lucky duos. In one of the pub's private spaces, you'll take a memorable cocktail making class with the Bridge Hotel's resident mixologist. Here, you'll learn to make three different cocktails using Absolut, including the much-loved Skipping Girl Sour — a tangy blend of Absolut Citron, Coco Lopez, pineapple juice and a mint garnish. Obviously, you'll get to drink them, too. Through all this, you'll be snacking on a special selection of canapés and charcuterie boards (it's always important to keep the stomach lined). And after the class is done, each duo will be able to invite friends in for drinks and complimentary nibbles. So grab your cocktail-loving pal and enter — you'll find all the details below. [competition]665986[/competition]
Your next Australian streaming obsession is on its way — and it's set to tell a story so wild that it can only be true. The tale of Australian cult The Family always falls into that category, as seen in the excellent and supremely creepy 2016 documentary that shares the cult's name, plus the 2019 series The Cult of the Family, both by filmmaker Rosie Jones. Now, the sinister Aussie sect is also providing inspiration for Disney+'s new eight-part series The Clearing, which will hit the service globally in May. First announced in 2022, this new show is a drama and based on a novel — but The Family is clearly an influence. If you're new to these details, then strap yourself in for quite the story. The Family was very real, forming in the 1960s around Melbourne, with charismatic yoga teacher Anne Hamilton-Byrne at its head. A cult run by a woman is already extremely rare, but this tale also includes adopting kids who looked identical, dressing them in matching clothing, claiming that Hamilton-Byrne was a living god and, because that's not enough, a lot of LSD. Police raided the sect's Lake Eildon compound back in 1987, all those children were removed from the property, and Hamilton-Byrne and her husband fled Australia, but were arrested in the US in 1993. There's more to this story, which inspired JP Pomare's book In the Clearing alongside other cults around the world — and that's what The Clearing adapts. The show steps into the fictionalised but still chaotic details by following a woman who starts to confront her nightmarish past to stop a secret cult that's gathering up children to serve its master plan. Unsurprisingly, the mood is tense in the psychological thriller's just-dropped first teaser trailer, which arrives ahead of the series premiering its first two episodes on Wednesday, May 24. Cast-wise, almost every famous Aussie acting name possible is involved, or so it seems, including Teresa Palmer (Ride Like a Girl), Miranda Otto (Wellmania) and Guy Pearce (Mare of Easttown), as well as Claudia Karvan (Bump) and Mark Coles-Smith (Mystery Road: Origin). Also set to appear on-screen: Hazem Shammas (The Twelve), Kate Mulvany (Hunters), Xavier Samuel (Elvis), Anna Lise Phillips (Fires), Harry Greenwood (Wakefield) Erroll Shand (The Justice of Bunny King), Doris Younane (Five Bedrooms), Miah Madden (Dive Club), Julia Savage (Blaze), Gary Sweet (Wentworth), Alicia Gardiner (Offspring), Matt Okine (The Other Guy) and Jeremy Blewitt (The Lost Flowers of Alice Hart), plus Lily La Torre (Run Rabbit Run) and Ras-Samuel Welda'abzgi (Neighbours). We told you it was a hefty list. Behind the lens, Jeffrey Walker (Lambs of God) and Gracie Otto (Seriously Red) are on directing duties, with Elise McCredie (Stateless) and Matt Cameron (Jack Irish) creating and writing The Clearing — with help from co-writer Osamah Sami (Ali's Wedding). And if all of the above information doesn't have you ready to watch ASAP, the trailer will — complete with blonde-haired kids everywhere, Otto at her most unnerving, Palmer looking frantic and a police investigation heating up. Check out the first teaser trailer for The Clearing below: The Clearing will stream via Disney+ from Wednesday, May 24.
This month Alex Steinweiss, the inventor of the album cover, died at the age of 94. In the 1930s his simple idea revolutionised the marketing of music, and although the digital revolution hasn't killed off the music industry in the way many predicted, perhaps the marketing and consumption of music is due for another shake up. We look at three ways artists are using new tech to grab their fans' attention and beat the pirates. 1. Make it collaborative. Many a young band has called on friends and fans to help make their first film clip. British band The Vaccines have taken the idea to their entire fanbase, inviting them to provide images of their summer festival experiences via instagram to make the clip to their new song 'Wetsuit.' Other artists like Imogen Heap have gone a step further and asked fans to pitch in with creating the lyrics and music. https://youtube.com/watch?v=ur-y7oOto14 2. Make it interactive. By and large, music is now consumed digitally, either online or via a portable device that probably starts with 'i'. In the same way that Steinweiss used the medium of the record sleeve, artists are using the web and digital devices to express their creativity and involve the 'listener' on more levels. The Polyphonic Spree's latest single Bullseye is available as an interactive, video-game-like app. OK Go have released their latest song, 'All Is Not Lost', online with a dedicated website where, thanks to the magic of HTML5, viewers can generate a customised, kaleidoscopic video featuring their own message spelled out by the Pilobolus dancers. https://youtube.com/watch?v=o8AELvVUFLw 3. Make it immersive. Going one step further, Bjork has released her entire album Biophilia as a free app. Within the app you can purchase the tracks, each of which comes with its own game, video, musical score and sleeve notes. The volume and variety of material on offer demonstrates that there is a world of possibilities for artists to deliver far more than just an audio file, and change the way we consume music. [via PSFK]
Every December, the Geminids meteor shower lights up our skies. Considered to be the most spectacular meteor shower of the year, it's caused by a stream of debris, left by an asteroid dubbed the 3200 Phaethon, burning up in Earth's atmosphere. The shower is expected to be visible from around 11pm in Sydney, midnight in Melbourne and 9pm in Brisbane on Friday, December 14 through to the early morning on Saturday, December 15. The best time to catch an eyeful will be after midnight, when the moon has set and its light will not interfere. At that time, you could catch as many as 120 meteors every 60 minutes — each moving at about 125,500 kilometres per hour. To catch the spectacular shower, get as far away from bright lights as possible — this could be a good excuse to head out of the city to a clear-skied camping spot — and pray for no clouds. If there are, NASA will be live streaming from its Marshall Space Flight Center via its Facebook page. The shower's name comes from the constellation from which they appear to come, Gemini. So that's what you'll be looking for in the sky. To locate Gemini, we recommend downloading the Sky Map app — it's the easiest way to navigate the night sky (and is a lot of fun to use even on a non-meteor shower night). If you're more into specifics, Time and Date also has a table that shows the direction and altitude of the Geminids. The Geminids meteor shower will take place during the night on Friday, December 14. Image: NASA, Marshall Space Flight Center, Jeff Dai. Updated: December 14, 2018.
As a filmmaker, he co-created the Saw and Insidious franchises, and has since been tackling iconic horror tales with The Invisible Man and 2025 release Wolf Man. As an actor, he popped up in The Matrix Reloaded. Before all of that, he was a film critic on beloved late-90s Saturday-morning music TV show Recovery. That's a helluva career so far — and next, Leigh Whannell is heading to AACTA Festival to chat about it. In 2024, the Australian Academy of Cinema and Television Awards launched a festival to sit alongside its accolades, and to celebrate the latter's move to the Gold Coast. That event is returning in 2025 in a bigger guise, running for five days between Wednesday, February 5–Sunday, February 9, and hosting more than 100 sessions. The initial program details were revealed in November 2024, but a few more high-profile names have just been added. AACTA Festival will also welcome Australian The Greatest Showman filmmaker Michael Gracey, who has been earning some love from the academy of late. Better Man, his unconventional Robbie Williams biopic, topped the 2025 AACTA nominations — and attendees will hear all about the film at his festival session. Equally huge news is enlisting Paul Kelly to perform at the live How to Make Gravy concert, which also features Meg Washington, Brendan Maclean and Beddy Rays — and yes, it's easy to predict what the Australian icon will be singing. Plus, Late Night with the Devil is in the spotlight via filmmakers Colin and Cameron Cairnes getting talking, while Netflix's upcoming Apple Cider Vinegar series will score a behind-the-scenes look. [caption id="attachment_926549" align="alignnone" width="1920"] Moshcam[/caption] Featuring 20-plus new sessions, the expanded lineup builds upon a roster of events that already boasted plenty of highlights. One such drawcard: the Working Dog team, aka Santo Cilauro, Tom Gleisner, Jane Kennedy, Michael Hirsh and Rob Sitch, coming together for an in-conversation session that's bound to touch upon everything from The Castle, Frontline, Thank God You're Here and Utopia to The Dish, The Hollowmen and Have You Been Paying Attention?. The Dish is also the screening program, and the Working Dog team will receive the prestigious AACTA Longford Lyell Award. Australian cinematographer Greig Fraser, who won an Oscar for Dune and is highly tipped for another one for Dune: Part Two, is another big-name inclusion, chatting about his Hollywood work. Also in the same category: John Seale, who took home an Academy Award for The English Patient, and was nominated for Witness, Rain Man, Cold Mountain and Mad Max: Fury Road. Everyone can also look forward to authors Trent Dalton and Holly Ringland returning from 2024's lineup, chatting about Boy Swallows Universe and The Lost Flowers of Alice on the small screen, respectively; a dive into the Heartbreak High soundtrack; a panel on queer storytelling with RuPaul's Drag Race Down Under season two winner Spankie Jackzon and Deadloch's Nina Oyama; and a session with First Nations filmmakers. And if you're keen to watch movies, Gettin' Square followup Spit will enjoy its Queensland premiere, complete with star David Wenham (Fake) chatting about the feature's journey; Looney Tunes: The Day The Earth Blew Up will make its Australian debut, at Movie World, of course; and upcoming action film Homeward with Nathan Phillips (Kid Snow) and Jake Ryan (Territory) will take viewers behind the scenes. [caption id="attachment_985262" align="alignnone" width="1920"] Courtesy of Netflix © 2024[/caption] [caption id="attachment_927965" align="alignnone" width="1920"] Netflix © 2023[/caption] AACTA Festival will run from Wednesday, February 5–Sunday, February 9, 2025 at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise Gold Coast. For further details, head to the fest's website.
We enjoyed the tenth annual Bicycle Film Festival last year, and the 2011 instalment is already brewing. But obviously, there can be no film festival without films – that’s where you, dear cycling-and-film-making reader come in! BFF want you to make a bike film and be a part of the global event. Submitting an entry is free, and films can be of any style, as long as they’re bike-related. With the festival travelling to over 25 cities worldwide, successful entries are guaranteed some great exposure, and being an entrant will give you a great excuse to attend the screenings, parties and other events that make up the festival itself. If you’re in need of some inspiration check out the BFF trailer below, or consider using your bike in the film-making process. Entries close on April 1 so get your camera and get on your bike!
If you find yourself in the mood for some world-class pizza this week and you happen to be in Melbourne, you won't have to travel very far at all to get it. Simply head to 48h Pizza e Gnocchi Bar in South Yarra, where you'll experience the Best Pizzeria in the Asia Pacific, as decided by the experts for this year's 50 Top Pizza awards. The Victorian spot took out the prestigious title earlier this week at an awards ceremony in Bangkok, where the annual international pizzeria guide named its top 50 picks for the Asia Pacific region. The awards judge venues not just on the merit of their slices, but on each pizzeria as a whole, rating the food, drinks, service and overall ambiance. Running for the last five years, the 50 Top Pizza awards are chosen by around 1000 experts across the globe, who visit the pizzerias anonymously to judge and rank their offerings. 150 pizzeria 'inspectors' took on the task for the Asia and Oceania area specifically. With this new regional crown, 48h now scores an entry in the worldwide ranking, the 50 Top Pizza World 2022 competition, which will be announced in Naples on September 7. Of course, the southside pizzeria is no stranger to international praise, having claimed the title of Best Pizzeria In Oceania in last year's 50 Top Pizza awards. The chain's pizzas themselves, which are on offer at its Elsternwick and Spotswood venues as well, have also nabbed a stack of awards, including being crowned #1 Pizza in Australia at the Pizza World Championships in 2019. A handful of other Aussie venues were also named in this year's Asia Pacific top 50, including Sydney's Al Taglio (14), Bella Brutta (25), Gigi Pizzeria (27), Lucio Pizzeria (43) and Via Napoli (49); fellow Melburnians A25 (35), SPQR (37), Mozzarella Bar (39) and La Svolta (40); and Adelaide's Etica Pizza (42). Find 48h Pizza e Gnocchi Bar at 373 Malvern Road, South Yarra; 15 Gordon Street, Elsternwick; and Grazeland, Spotswood. For the full 50 Top Pizza Asia Pacific awards list, jump over to the website. Craving a slice, Melburnians? Check out our top picks for pizza in Melbourne.
When you've already announced Bad Feminist author Roxane Gay as one of your keynote speakers, what comes next? At the 2024 Festival of Dangerous Ideas, the conversation will flow from being a serial dissenter to the smartphone backlash, propaganda and censorship, giving kids the right to vote and taking on the one percent, then also cover tackling inequality, the myths surrounding women's health and humanity's need to find meaning through god-like figures. The just-dropped program for the Sydney fest, which will take over Carriageworks for two days from Saturday, August 24–Sunday, August 25, is filled with exactly what an event dedicated to crucial and complex topics demands: a wide-ranging lineup of boundary-pushing talks where hopping from one session from the next means jumping between a vast array of subject matter. [caption id="attachment_962706" align="alignnone" width="1920"] Reginald Cunningham[/caption] Under Festival Director Danielle Harvey, FODI has curated its 2024 roster around the theme of 'sanctuary'. For Harvey, this also means giving attendees a place to dig into sometimes-weighty, sometimes-provocative matters. "At a time when we are surrounded by bad ideas and bad faith, where information is cheap and shallow, we need a place people can come and be curious together and be inspired. A space safe from hype. Safe to listen and ask questions. A space with real experts from all disciplines," Harvey said, announcing the event's 2024 program. "Festival of Dangerous Ideas is here to be that space. The lineup won't please everybody (it never does!) and nor does it aim to. But it will be good for everyone. What FODI offers is a precious moment in real time with 87 thought leaders and creatives who will bring you next-level discussion, likely some disagreement and definitely some hope. Learning more about the world we are making and unmaking is a thrill, and I can't wait for you to discover new ideas and thinkers over one massive weekend of danger." [caption id="attachment_963054" align="alignnone" width="1920"] Damon Winter/ The New York Times[/caption] Joining Gay among the 16 international guests presenting keynotes are US psychologist Jean Twenge, which is where diving into the impact of handheld devices comes in; journalist and writer Masha Gessen, who'll explore the ways that narratives about conflicts are controlled; and David Runciman to give the Christopher Hitchens Oration on the topic "votes for six-year-olds". Plus, Megan Phelps-Roper of Unfollow fame will team up with Andy Mills from The New York Times' The Daily and Rabbit Hole to dig into the impact of their podcast The Witch Trials of JK Rowling — and Jen Gunter has her sights set on the poor medical care women can be subjected to. Elsewhere, academic Saree Makdis will examine the west's response to the conflict in the Middle East, economists John N Friedman and Richard Holden will chat through ideas for increasing upward social mobility, The Next Frontier academic Todd Fernando will hone in on Indigenous excellence and The End of Race Politics' Coleman Hughes will be a guest on Josh Szeps' Uncomfortable Conversations. Attendees can also hear sustainability professor Jem Bendell step through how civilisation is already collapsing, philosopher David Benatar dive into the ethics of having children and comedian David Baddiel deliver the first John Caldon Provocation on how the need for god to give life substance disproves the deity's existence. [caption id="attachment_963055" align="alignnone" width="1920"] Sandy Huffaker for The New York Times[/caption] The lineup goes on, whether you're keen for a session featuring Jordan van den Berg, aka renter advocate Purple Pingers, on why the one percent should be afraid — or chats about the new breed of world leaders, the price of democracy, public forgiveness, artificial and transplanted wombs, positive masculinity, peer pressure making us sick or individualism. If you can't attend or won't be in Sydney, some sessions will be livestreamed. For those heading along in person, perhaps you'd like to hear from Talk to Me's Danny Philippou about his favourite horror film and why we're all fascinated with fear, then crawl through a tape installation by Austrian and Croatian artists and designers Numen / For Use, then watch a jailbreak experiment by performance collective re:group, too? Yes, across what promises to be a busy weekend, they're all also on the program as well. The 2024 Festival of Dangerous Ideas runs from Saturday, August 24–Sunday, August 25 at Carriageworks, 245 Wilson Street, Eveleigh, with select sessions livestreamed. To peruse the full program, and to buy in-person festival tickets from 7am on Wednesday, June 26 — with livestream tickets available in August — visit the festival website. Festival of Dangerous Ideas images: Jodie Barker, Ken Leanfore and Yaya Stempler.
When it first hit the small screen between 2007–12, Gossip Girl didn't just introduce the world to Blake Lively, Leighton Meester, Chace Crawford and Penn Badgley, and make everyone want to sit on the steps of The Met. Across its initial run, the series spun a lavish, soapy, usually OTT but always watchable teen-focused drama filled with secrets and scandals — and gossip, obviously. When its titular figure said "you know you love me", as she did often, everyone watching knew she was right. Because we live in a world where a big Friends reunion just hit streaming, Sex and the City is getting a television sequel and Saved by the Bell has returned to the screen as ell, Gossip Girl was always going to make a comeback in some shape or form. So, come Thursday, July 8, you'll be saying XOXO to the series once again. HBO's streaming platform HBO Max is reviving the series, and Binge will screen it in Australia. If you're wondering what you're in for, it has been billed as both a reimagining and an extension. So, that means that Gossip Girl circa 2021 will take place in the same world as its predecessor, but it'll focus on different characters. An early sneak peek back in May teased what that'll look like, and now a just-dropped new trailer offers fans a bigger glimpse of all the dramas to come. Set nine years after the eponymous and anonymous blog went dark, the new series sees its namesake return, too — otherwise the show wouldn't have a premise. This time, a new bunch of New York private school-attending teenagers are at the ever-present, seemingly all-knowing gossip blogger's mercy, with their Upper East Side lives captured and dissected via an Instagram account. Whether any familiar faces will pop up is yet to be revealed; however, in the most important news there is regarding this revival, Kristen Bell is returning to voice the titular figure. She'll narrate the comings and goings of a group played Jordan Alexander (Sacred Lies), Eli Brown (Wrath of Man), Thomas Doherty (High Fidelity), Tavi Gevinson (Halston), Emily Alyn Lind (Every Breath You Take), Evan Mock, Zion Moreno (Control Z), Whitney Peak (Chilling Adventures of Sabrina) and Savannah Lee Smith. The cast has changed, but the social-climbing chaos is bound to be familiar. If you were a particular fan of the threads worn by Lively, Meester and company back in the day, you'll be pleased to know that costume designer Eric Daman (The Falcon and the Winter Soldier) is back for a second go-around. The creators of the initial show, Josh Schwartz and Stephanie Savage (The OC), have nabbed executive producer credits on the revival as well — so they'll have a hand in yet another adaptation of Cecily von Ziegesar's books. And the new series' showrunner Josh Safran (Smash) was a writer and executive producer on the original series. Check out the latest Gossip Girl trailer below: Gossip Girl will start streaming via Binge from Thursday, July 8. Top image: Karolina Wojtasik / HBO Max.
Melbourne sneakerheads can geek out over some of the rarest sneakers, streetwear pieces and apparel on the market when Australia's largest sneaker convention, Sneakerland, descends on the city this spring. On Saturday, November 19, the Melbourne Convention and Exhibition Centre will be filled with over 3000 sneakers from different 52 vendors. Expect lots of rare footwear in the mix, including the Jordan 1 OG Chicago (1985) and Nike SB Dunk Low Paris. But this event isn't just for cashed up collectors — there'll be stacks of more affordable sneakers available from both local and international sellers, and the sneaker museum promises to be a huge drawcard, no matter your budget. Sneakerland will also feature a heap of entertainment, setting the vibe as you peruse — and maybe purchase — all that footwear. In addition to the live sneaker auctions, and exclusive sneaker and streetwear drops, visitors will be able to get around some basketball competitions, try their luck in the day's raffles, hit up the tattoo station and listen to DJs. Guest appearances from local celebrities and sporting icons are also on the cards. While general tickets cost $40, if you nab a $100 VIP ticket you're in for some extra swag. You'll score early access to the event, food and drinks, and a private lounge to relax in. There'll also be special live auctions featuring the most sought-after items — so if you're looking to beat all others on the trading floor, this is for you.
Across the past eight years, Sydney's All About Women festival has featured sessions on everything from hip hop and toxic masculinity to the post-#MeToo era — and, for its ninth iteration in 2021, it's once again presenting an exciting and eclectic program. When the event returns on Sunday, March 7, it'll feature talks, panels, workshops and films about the evolution of the feminist movement, its limitations, the gendered nature of household responsibilities, misogynistic online communities and the judgements built into artificial intelligence. There's also a session about coping with doomscrolling, because that topic couldn't be more relevant after the past 12 months. Once again, the fest will take place around International Women's Day — happening the day before, though, so it can still be held on a weekend. And while AAW has always covered a huge array of bases each and every year, there is a particular focus on power structures that limit the female experience in 2021. That subject will come through in sessions about identity, sexuality and resilience, and others that explore technology, entrenched inequalities and feminist futures. Talks about sex work and mindfulness are also on the bill, too. Leading the lineup of speakers is writer Isabel Allende, who'll be discussing her 2021 memoir The Soul of a Woman — which explores her role in the feminist movement across continents, cultures, and centuries. She's joined on the program by How to Be A Woman and More Than a Woman author Caitlin Moran, who'll examine the realities of of middle-aged life; Koa Beck, the ex-Jezebel editor-in-chief who penned White Feminism: From the Suffragettes to Influencers and Who They Leave Behind; and Laura Bates, author of Everyday Sexism and Men Who Hate Women and founder of the Everyday Sexism Project — with the ways in which the individual is often valued over the community and the corners of the internet swaying the mindsets of boys and young men all on the agenda. [caption id="attachment_797616" align="aligncenter" width="1920"] Isabel Allende. Image: Lori Barra[/caption] For folks interested in AI, researcher and professor Kate Crawford will chat about machine classification and its role in entrenching inequality. Covering completely different subjects, one panel session will examine the often-complicated relationship between sex work and feminism, too, while another talk will help participants learn to cope with uncertainty in today's COVID-afflicted world. Or, attendees can head to workshops about making zines, weaving baskets — as led by Yorta Yorta woman Tegan Murdock and her mum Margaret Murray — and using music to help let go of the past. Unsurprisingly given the state of Australia's international borders, speakers from overseas will appear via video, rather than in-person. For those who can't attend AAW in person — including those located outside of Sydney — some sessions will be live-streamed as well, and made available to watch on-demand afterwards. The jump to online also includes AAW's film component. Two documentaries, Brazen Hussies and Coded Bias, will screen at the Opera House — and they'll also be available to stream online, alongside a lineup of short documentaries from female Australian filmmakers. All About Women 2021 will take place on Sunday, March 7 at the Sydney Opera House. Livestream tickets and event multipacks are on sale from 9am on Wednesday, January 20, with single-ticket pre-sales starting at the same time — and general public tickets available from 9am on Friday, January 22.
UPDATE: April 15, 2020: Aladdin is available to stream via Disney+. Let's get the obvious reference out of the way: in remaking the 1992 classic, Disney's live-action Aladdin doesn't venture to a whole new world. Instead, the company's latest rehash of its back catalogue adds literal, visible flesh to everyone's favourite makeover concept (Blue Eye for the Street Rat Guy, basically), as well as a few minor twists and an extra song. Relaying the same tale again isn't necessarily an issue, on paper. Storytellers have been doing the same thing since time began, as have filmmakers for more than a century, with re-interpreting familiar narratives, adapting them to different contexts and seeing them afresh all part of human nature. But what Aladdin lacks is a purpose beyond the obvious. It's a glossy new version with actors instead of animation; a shiny, nostalgic replica that's definitely entertaining enough. However it never tries to soar on its own magic carpet. One line of thinking, of course, is that if it ain't broke, don't fix it. Another is that faithful do-overs of beloved hits (including Alice in Wonderland, Cinderella, The Jungle Book, Beauty and the Beast and Dumbo, plus the forthcoming The Lion King) are just Disney's safety-driven success strategy. These are risk-averse filmmaking times, so the latter approach is understandable. When fans mobilise online en masse to cry about women with lightsabers and demand that a television show be remade because it didn't end the way they personally wanted, simply giving viewers what they already like is the all-too-sensible option. Accordingly, Aladdin circa 2019 is exactly what it was always going to be, with all of the expected ups and downs that entails. Yes, it'll make you want to revisit the original. No, Will Smith can't match Robin Williams, but he doesn't always try to. Surprisingly, while there are no geezers spouting Cockney rhyming slang (and no Jason Statham, sadly), director Guy Ritchie's penchant for energetic spectacle generally fits. The story, for those who didn't spend their childhoods rewatching the animated flick endlessly and committing the details to memory, charts Agrabah urchin Aladdin (Mena Massoud), his newfound love for Princess Jasmine (Naomi Scott) and the lamp-dwelling Genie (Will Smith) who can make dreams come true. Aladdin is merely a kind-hearted petty thief with a cheeky monkey for a best friend, with Jasmine only able to marry royalty — and her sultan father (Navid Negahban) is hardly fond of breaking tradition. Complicating matters even further is nefarious advisor Jafar (Marwan Kenzari), who exerts his own influence — with the help of his all-seeing parrot Iago (voiced by Alan Tudyk) — to try to seize the throne. With Genie's wish-granting assistance, Aladdin pretends to be a prince to secure Jasmine's hand, but securing the kingdom becomes just as pressing a concern. There's a timely female empowerment thread to this version to Aladdin, as seen in its new song, as well as Jasmine's rallying against her lack of agency. Barely tinkering with the initial flick's script, Ritchie and co-scribe John August (Frankenweenie) aren't trying to break the mould — or enchanted lamp — yet it's a welcome albeit fairly obligatory touch. Where the director best exerts his influence is in teaming with cinematographer Alan Stewart (Mary Poppins Returns) to bring Agrabah to vivid, jewel-toned life, watching Aladdin sneakily parkour himself around the city and giving the musical numbers the requisite bounce. Where the tunes are concerned, established crowd-pleasers such as 'Prince Ali', 'Friend Like Me' and 'A Whole New World' prove the high points they're meant to be, which sums up the film's fortunes perfectly: its hits are already known, and making sure they don't crash compared to the original is the primary plan. That could sum up Smith's tactics also, or at least that's how it initially seems. He's less comfortable and convincing when he's overtly mimicking Williams at the outset, but serves up an engaging and amusing Genie once he makes the character his own (and when he isn't sporting a distracting shade of blue). Indeed, if viewers had three wishes for the Aladdin remake, and one of them was for a great cast, that has largely been granted. Crucially, Massoud makes a suitably charismatic rapscallion, and Scott brings poise and radiance to a star-making performance, helping you forget that she was in the awful Power Rangers movie. The true scene-stealer, though, is ex-Saturday Night Live star Nasim Pedrad as Jasmine's handmaiden Dalia. It's a move that'd never happen, but if this adequate yet never arresting Aladdin revival sparked a spin-off about its two main ladies just being great and taking on the world, it'd justify its existence several times over. https://www.youtube.com/watch?v=foyufD52aog
Plenty of music polls have claimed to name the best songs ever made and, whatever they've chosen, they've sparked a heap of debate in the process. It's a tough, tricky and supremely subjective task, of course. But if 'Lick My Love Pump', 'Sex Farm' and 'Hell Hole' isn't on these lists, can you really trust them? If you're a This Is Spinal Tap fan, then no. Come 2024, those tunes just might have some more company — because the team behind the iconic 1984 music mockumentary is getting the band back together. Get ready to spend more time with David St Hubbins (Michael McKean, Better Call Saul), Derek Smalls (Harry Shearer, The Simpsons), and Nigel Tufnel (Christopher Guest, Mascots), aka the loudest, most explosive band in the world — at least according to their original movie outing. If you're new to all things Spinal Tap, the fictional English heavy metal band first debuted on American TV in 1979; however, it was This Is Spinal Tap that made them legends. With this trio, there is indeed a fine line between stupid and clever — and turning it up to 11 is a must. They've reformed IRL a number of times, too, and released albums. As reported by Variety and Deadline, filmmaker Rob Reiner (The Princess Bride, A Few Good Men) is returning to direct this four-decades-later on-screen followup, which'll release in 2024 to mark the OG flick's 40th anniversary. He'll also resume his role on-camera in Spinal Tap II as well, playing fictional filmmaker Marty DiBergi. The plot will follow the band as they reunite yet again to do one last in-film concert. They contractually owe it to their manager, who has passed away but his widow is insistent. This Is Spinal Tap isn't just an 80s comedy gem that everyone needs to see at least once, and actually several times more than that. Every music documentary since for the past four decades has followed in its footsteps, straightforward and satirical alike. Also, Spinal Tap's name has become shorthand for OTT bands who take themselves too seriously. Like all sequels made oh-so-many years later, Spinal Tap II is the kind of film that you'll believe is actually, genuinely, really happening when you're sitting in a cinema watching it, though, and coming up with your own two-word review. Still, best mark March 19, 2024 in your diaries now. And, in the interim, you can check out the trailer for the OG This Is Spinal Tap below: Spinal Tap II is set to release on March 19, 2024. We'll update you with further details when they're announced. Via Variety/Deadline.
A film so light on its feet, yet so insightful in every frame, Let the Sunshine In could only be the work of one filmmaker. Never one to avoid trying new things, the great French writer-director Claire Denis makes her first romantic-comedy, but it's also an anti-romantic comedy of sorts. Love may be the movie's subject, and a long line of lusty encounters might await its lonely protagonist, however Denis understands one thing that upbeat on-screen amorous affairs tend to ignore. While connecting intimately with someone can feel like the most fulfilling thing in the world (even when it only lasts mere moments), everything involved with chasing that sensation — and it's always a constant chase — rarely inspires the same emotions. Giving a straightforward story more heft and depth than most labyrinthine plots, Denis' sophisticated and soulful take on love follows the romantic escapades of Parisian artist Isabelle (Juliette Binoche). In her 50s and freshly divorced, she has no shortage of suitors — from the banker (Xavier Beauvois) she's in bed with when the film starts, to an actor (Nicolas Duvauchelle) who crosses her path, to the ex (Laurent Grévill) that she's not quite done with. The list goes on, with Isabelle's affairs of the heart sharing much in common with the movie's sex scenes, and with sex in general. Limbs tangle and so do lives, as each of her rendezvous veers back and forth between the messy and the sublime. Conversation helps fill in the gaps, in a film overflowing with honest and authentic dialogue. In fact, candour proves Let the Sunshine In's driving force as it dissects the ups and downs of dating and desire. Co-writing the screenplay with novelist Christine Angot, and loosely taking inspiration from Roland Barthes' A Lover's Discourse: Fragments, Denis lets her movie move with the moment. It glows with the story's disarming delights in one scene, then fades with Isabelle's devastating lows in the next. But this isn't a portrait of yearning. It's not about searching for 'the one', or only feeling complete in someone else's arms. It's a frank account of a mature woman trying to find someone she's truly happy to share her time, heart, body and mind with, and working out what she really wants out of life in the process. Both defiant and vulnerable, there's no one better to play Isabelle than Binoche. The acclaimed actor is as vivid, magnetic and complex as she's ever been on screen, willingly embracing the many conflicts and contradictions evident in a character who always feels like flesh and blood. Astonishingly, Let the Sunshine In marks Binoche's first collaboration with Denis. It went so well that they quickly paired up again for a film that's just as stellar yet couldn't be more different: the soon-to-be-released dystopian sci-fi picture High Life. Binoche's performance in the latter movie is something else entirely, but there's a potency and freedom to her work with Denis in general, as if they're opening the floodgates to a world of women at once. Perhaps surprisingly for a romantically inclined film, though not for Denis' oeuvre, Let the Sunshine In is also visually striking. Always one for showing as much as telling — even in a movie with plenty of chatter — the director ensures her frames are as multifaceted as the protagonist within them. Indeed, it's possible to sense Isabelle's internal state just by soaking in the distinctive auteur's stylistic choices, as lensed with intimacy and empathy by her regular cinematographer Agnès Godard. Across a filmography that includes military exploits in Beau Travail, erotic horror with Trouble Every Day and immigration drama courtesy of 35 Shots of Rum, Denis has seared many an image onto the retinas of her viewers. The rich and resonant Let the Sunshine In is no different. https://www.youtube.com/watch?v=0w_thDNw8Ww
Everyone has fond memories of their first trips to the flicks, back when the big screen seemed even bigger because you were a pint-sized cinemagoer. For the Barton brothers, aka Barrie, Bob and Chris Barton, some of those treasured recollections involve Lorne Theatre when they were kids holidaying from Geelong. The fact that the trio will now be helping movie lovers burn new film-watching dates in their minds at the same venue from December, when the Surf Coast spot reopens under their ownership and guidance, is a full-circle twist of fate, then — and cinephiles are set to benefit. The Barton siblings have added Lorne Theatre to a portfolio that has also spanned Melbourne's Rooftop Cinema, and includes Sydney's beloved Golden Age Cinema & Bar. They'll get the projector whirring on Mountjoy Parade from Friday, December 1 for a special summer season, and will then extensively restore and refurbish the site in conjunction with Heritage Victoria for a late-2024 relaunch. "As a family, some of our fondest summer memories were formed within the walls of the Lorne Theatre," said Chris. "It has always been a special place for us, and we're deeply aware of the space this building holds in the hearts of generations of local and visiting movie lovers." "This shared personal history with the space is why we jumped at this opportunity. It's a huge legacy to take on, but it's one that we're very excited to uphold and build upon." This summer, that means that that the 550-seat cinema that dates back to the 1930s will screen picks curated by Cinema Manager Jessa Shields (ex-Palace Cinema Como, Lido Cinemas and Golden Age Cinema & Bar) with help by Golden Age Director of Programming Kate Jinx. Highlights include classics and new titles alike — so you can see The Birds, Home Alone, The Nightmare Before Christmas and The Muppet Christmas Carol ('tis the season for those last three), as well as the newly restored Talking Heads concert film Stop Making Sense and Bradley Cooper's latest Maestro. As part of a lineup that will run until Easter 2024, Lorne Theatre will also join forces with magazine Monster Children to screen flicks across a series called Surfside. "After ten years in its historic Surry Hills home and across numerous pop-up locations, it's a thrill to see Golden Age continue to grow," said Jinx. "The vision has always been to provide an inclusive social experience that both recalls the classic cinemagoing of yore but celebrates new voices, too, and I'm excited for Jessa Shields to nurture that ethos in beautiful Lorne." The revamp plans for Lorne Theatre are just as exciting as the movies soon to grace its screen. Movie buffs can look forward to the installation of a new licensed bar, heroing the structure's existing art deco touches everywhere possible and new snack bar menus. "Our plans for the building are not to reinvent the wheel, but to add some love and polish and restore the Lorne Theatre to its original splendour," advises Chris. "We want to accentuate that same charm and sense of grandeur that has captivated visitors for more than 80 years and help ensure the theatre's future as a truly special cultural experience into the future." Find The Lorne Theatre at 76–80 Mountjoy Parade, Lorne. Head to the cinema's website for tickets to its summer program, which kicks off on Friday, December 1. Images: Annika Kafcaloudis.
Arguably the most innovative show of this year's Melbourne Festival, Since I Suppose takes you on a journey through the city with an interactive and intimate show that teeters on the edge of theatre and live art. Experienced by just two people at a time, the work reinterprets Shakespeare's Measure for Measure through filmed action on a handheld device. Site-specific moments will blur the distinctions between film and reality, and audio elements will create a wholly unique experience. Co-created by Richard Jordan Productions and the Chicago Shakespeare Theatre, the show's US run was sold-out before the season even opened. It finished sporting 5-star reviews. As each experience is so unique, there's not much more we can tell you. But watch this space: we'll definitely be trying it out for ourselves. This event was chosen as one of our top ten things to see at the Melbourne Festival 2014. See the full list here.
Okay, so National Margarita Day (February 22) might technically be an American thing. But we know a couple of marg-loving Melbourne venues that aren't about to let the opportunity pass by without some proper, cocktail-fuelled celebrations of their own. Brunswick's Howler and new pop-up sister venue Howlerwood is marking the occasion with a whole month of margarita-inspired fun, including plenty of specials and even a few cheeky freebies. Well-known for their margarita offerings, both bars will be kicking up their heels with a weekly Margarita Hour, running 6–7pm every Friday through February. Head on into either spot and treat yourself to a signature marg concoction for just $10. Then, for Margarita Day Eve on Sunday, February 21, the bars are handing out free margs — simply roll in between 3–4pm to nab your complimentary cocktail.These won't be just any old margaritas, either. Talented bartenders have assembled a top-notch rotation of drinks crafted on their own signature recipes, featuring both regular sips and slushie-style varieties. On the menu, expect punchy flavours like jalapeño, blood orange, mandarin and watermelon. Meanwhile, the kitchen's range of tacos and quesadillas promises a fitting match, whichever you choose — it's servicing Howler Wednesday to Sunday, and Howlerwood on Wednesdays and Thursday. Images: Will Hamilton-Coates
Summer music festivals are all about embracing the best things in life — good vibes, great friends, and epic tunes. But Secret Garden Festival is about to turn the happiness factor up to out of control joy, announcing it'll host an actual wedding ceremony when it returns to Brownlow Hill Farm next February. Held from February 24-26, the annual festival is a 48-hour celebration of music, creativity, and disco-infused fun, held against a lush forest backdrop, just one-and-a-half hours outside of Sydney. It's renowned for its stellar lineup, with Gang of Youths, Montaigne, and Parquet Courts just some of the acts to have graced its stages in the past. But at 4pm on Saturday, February 25, the main stage will host a very different kind of celebration — the nuptials between Sydneysiders Alexis and Jimmy. Festival director Clare Downes says her crew is pretty stoked to be taking on wedding planner duties, promising one hell of a party for the lucky lovebirds, their friends and family, and all other festivalgoers who'll be getting in on the loved-up fun. "Alexis and Jimmy sent us an email a couple of months ago and I had to rewrite my response about nine times because I was way too overexcited," she told Concrete Playground. "They had already locked in the February 25 for their wedding, but they were just really struggling to find a venue and a celebrant etc — so it was a no brainer. I'm just so stoked they are letting us organise their wedding." While past years have seen Secret Garden host kissing booths, faux weddings, and plenty of dance floor pashes, Alexis and Jimmy's February knot-tying will mark its first official wedding ceremony. We just hope you've got your invite — tickets to the festival is already sold out. ❤️ Secret Garden's first ever REAL wedding... and they have asked us to plan it 😏💥🎉 A video posted by Secret Garden (@secretgardenfestival) on Dec 12, 2016 at 1:25pm PST Secret Garden Festival will take place on February 24-26, 2017 with Alexis and Jimmy's wedding taking place at 4pm on the Saturday on main stage. For more info on the festival, visit secretgarden.com.au.
Now that summer has dropped its anchor, it's time to fancy up your cocktail making and shaking skills. And, as many a pro mixologist would tell you, this doesn't mean manufacturing a whole new wheel. Your best bet is to rehabilitate a classic, but give it a subtle modification or two. After all, if a beverage has made its way through the years better than Billy Joel's 'We Didn't Start the Fire', then surely we owe it our utmost respect. Here are three renovated cocktails to whip up at pool parties, languid beachy gatherings and festivals before January has slipped away. BEACHY DAYS: THE JAMAICAN STORMY The spicy, refreshing Jamaican Stormy is made for long evenings on – or near – the sand, whether you're camping or kicking back in a beachfront house. It's an evolution of the Moscow Mule, a vodka-ginger beer-lime combo that was invented in Hollywood in the early '40s and soon became the go-to drink at L.A. beach parties. In this concoction, the vodka is replaced with rum for a deeper flavour profile. Line up 1 part Appleton Estate V/X, 2 parts spicy ginger beer, 3 lime wedges and 1 dash Angostura bitters (optional). Squeeze the limes into a highball glass, pressing them with a muddler. Add ice, build in the remaining ingredients and give it a gentle stir. The more fiery the ginger beer, the better. POOL PARTIES: THE ESTATE DAIQUIRI Ernest Hemingway had one named after him. John F. Kennedy drank a few on the night he was elected president. The daiquiri, which, as far as we know, was first incarnated in Cuba in the 1890s, is one of the world's most-ordered drinks. Its sweet-and-sour easy drinkability makes it perfect for summer pool parties. In this recipe, the addition of Appleton's versatile Estate Reserve creates an especially smooth version. Take 1½ parts Appleton Estate Reserve, 1 part fresh lime juice and 1/6 part simple syrup. Pop them in a cocktail shaker with ice, give it a good shake and strain into a chilled Coupette glass. Add a twist of orange peel for garnish. POST-FESTIVAL NIGHT CAP: THE ESTATE OLD FASHIONED The Old Fashioned's unique combination of class and comfort makes it the ideal post-festival night cap. According to Slate gentleman and scholar Tory Patterson, the Old Fashioned is at once "the manliest cocktail order" and "something your grandmother drank." Having been around since 1806, it's one of the oldest cocktails on record, which means all kinds of wondrous variations have emerged. Here, the Old Fashioned is served premium-style, with the inclusion of Appleton's indulgent rare blend 12-year-old. You'll need 2½ parts Appleton Estate Extra 12 Year Old, 1/2 part sugar syrup, 2 dash Angostura bitters and 2 dash orange bitters. Put all ingredients in a mixing glass with a large cube of ice. Stir quickly until the glass frosts, then strain into an Old Fashioned glass, over a large block of ice or an ice sphere. Add orange peel for garnish.
Have you ever found getting through more than 17 syllables of news takes far too much effort? Well luckily for you the New York Times has designed an algorithm that deconstructs news stories into everybody's favourite Japanese poem style, the haiku. For those unaware, a haiku is a short style of poetry with a specific syllabic structure of five syllables in the opening line, seven in the following and five in the concluding. Although there are other elements to haikus, this is the format the algorithm operates on as other aspects of this poetic style are "a lot harder to teach an algorithm", according to Jacob Harris, the senior software designer for the NYT and the author of the advanced algorithm. The haikus are constructed when the algorithm periodically scans articles published on the newspaper's home page. It then breaks down these articles sentence by sentence, looking for potential haikus via an online dictionary that counts syllables and even encompasses a word like 'Rihanna' to process the language employed by the New York Times. Reversing the typical trend of technology, the computer needs humans to operate successfully as it cannot distinguish between a harmonious haiku and a horrid one by itself. Once a journalist has selected a poetic pearl, many of which encapsulate the article's essence, it is then transformed into an aesthetically pleasing image in order for the poems to "retain their visual integrity" as they are shared online. The coloured lines may seem illogical but they are actually delicately designed to match the metre of the first line of the poem. Our favourites are below but check the NYT haiku blog as it is updated daily. Via PSFK.
Things are looking a little bit queer in Federation Square, with the return of the Melbourne Queer Film Festival to ACMI. The largest event of its kind anywhere in Australia, this year's festival features over 100 different features, documentaries and shorts, from searing dramas to crowd-pleasing comedies and everything in-between. Throw in special events ranging from speed dating to a virtual reality drag show, and film lovers will have their work cut out for them. Standout films on this year's program include the highly anticipated Australian documentary Remembering the Man, a retrospective screening of Rainer Werner Fassbinder's The Bitter Tears of Petra Von Kant, and the local premiere of low key indie drama Boulevard featuring one of the final performances by the great Robin Williams. There's also a stellar selection of documentary, animated, gay and lesbian short films, plus industry workshops, public panels and more.
Japan's skiing and snowboarding season is coming. Each year from December to March, people hit to the slopes in search of some of the lightest and deepest powder in the world. But you don't only come to these mountain ranges to speed down the pistes. The best of Japanese culture is at every turn up around these regions. Your après ski activities will include soaking in onsen spas, sushi tastings and omakase experiences as well as seeing local art, fashion and snow monkeys. Head to any of these resorts and mountaintop villages for the ultimate winter escape — or better yet book now. RUSUTSU You will find some of the deepest snow in the world up in Rusutsu. It's on Japan's northern island where most of the famous resorts are found, but it remains a bit less hectic than most — a big win for those who want a little more space on the slopes. As this is a quieter region, you won't find much nightlife here — those wanting to party should look elsewhere. Instead, this is for those who want to ski and ride hard during the day, and chill at night. This resort also boasts some of the most luxurious natural hot spring baths, so stay an extra day to soak your sore muscles and fully relax surrounded by stunning views. [caption id="attachment_876946" align="alignnone" width="1920"] Delphine Ducaruge[/caption] HAKUBA This terrain is great for every kind of snow sport enthusiast. You'll find super steep runs, a series of jumps, tons of dry powder, half pipes, terrain parks and a few beginner pistes — whatever your snow-loving heart so desires. And if you really can't get enough mountain action, nighttime skiing is also an option at the Goryu Snow Resort. Hakuba is also close to the famous Snow Monkey Park, where you can watch these entertaining creatures hang out in hot thermal pools like furry little mountain kings. You can also find a whole series of onsen pools around here (which are thankfully monkey-free). Editor's tip: right now, you can book the ultimate Hakuba ski and snowboarding getaway here (including a 5-day Hakuba lift pass with full access to 9 mountains in the region). [caption id="attachment_876941" align="alignnone" width="1920"] Marek Okon[/caption] NISEKO Niseko has got to be the most popular ski resort in all of Japan. And this title brings both the good and the bad with it. First off, the good. Getting here is super easy thanks to the great transport connections and it's the most English-speaking-friendly place to ski and snowboard in Japan. The slopes are also immaculately maintained (made for skiers and snowboarders at all experience levels). But the increasing fame and popularity has, inevitably, brought crowds in huge numbers. And catering to Western travellers has meant the resort has lost some of its distinct Japanese culture and charm. Affordable accommodation is also challenging to come by — you'll need to book way in advance if you want to find a budget-friendly place to stay. If you do like to balance your mountain action during the day with proper partying after dark, the nightlife here is booming. Restaurants and bars will cater to most of your tastes — from udon shops to high-end dining and bars — and you can find parties taking place every night of the week. MADARAO Located just one hour out of Nagano City, Madarao is known for punching above its weight. It's a smaller resort but has a great reputation among those in the know. It's a battler. One of the most appealing features is that this resort actively encourages people going off-piste. It is banned at most skiing and snowboarding resorts in Japan, so Madarao is made for the true powder hounds. Another popular winter activity is snowmobiling in the Yakebitaiyama ski fields (known colloquially as ' Yakebi'). You'll feel like James Bond in a chase scene when cruising around on your own snowmobile. It' also one of the best ways to see the incredible scenery of area. From Madarao it's easy to head down into Nagano City and Toyama (known for having some of the best seafood in Japan). Trains will even take you into Tokyo in a few hours. Editor's tip: book a week-long skiing adventure up in Madarao and Hakuna here (including all transfers, accommodation and lift passes). [caption id="attachment_876944" align="alignnone" width="1920"] JNTO[/caption] KIRORO Kiroro is great for those wanting a really authentic Japanese skiing and snowboarding holiday. This smaller resort has huge snowfall but much smaller crowds throughout the season. This does mean that English speakers will need to crack open the phrase book to communicate with the locals — but that's what travelling abroad is all about. Immerse yourself in Japanese ski culture up here, hitting the many long runs and traversing the stunning backcountry. It's also really well designed for those who want to ski right down the pistes and directly up to the local restaurants, bars and hotels. The non-skiing options also offer up big wins for the family, if you're taking a whole crew. They have heaps of space dedicated to tubing and the equal parts fun and terrifying activity of snow zorbing (rolling around in a Snow Bubble Ball). [caption id="attachment_876945" align="alignnone" width="1920"] JNTO[/caption] FURANO Furano is another of the more famous ski and snowboarding resorts in Japan but has retained much of its unique charm. You will get spectacular views, very reliable snowfall and huge variety of slopes. It's also caters really well to English-speaking travellers. And one of its best qualities is its proximity to the city of Furano. Take a 6km drive down the mountain to find locals and tourists kicking back at restaurants and bars, galleries and idyllic onsen spas. It's also a hugely popular region during spring and summer, when the rolling hills come alive with the colours of blooming lavender, poppies, lilies and sunflowers. This area is a nature-lover's paradise. [caption id="attachment_878190" align="alignnone" width="1920"] JNTO[/caption] KAGURA This spot is mostly unknown to the international snow sport world — which is actually one of its biggest drawcards. Come here for really honest skiing without a bunch of egos tearing up the slopes at breakneck speed. It also has some of the best backcountry for exploring and experiencing a powder-filled wilderness. Take your time going off-piste here, feeling as if you're the only person on the mountain. Kagura is also a surprisingly budget-friendly to stay, with food and drinks priced quite a bit more affordably than other resorts in Japan. You'll also get more authentic dining experiences (they won't be changing their menus for Western pallets). But be prepared for super freezing temperatures as this resort is located at higher altitude. Pack your warmest ski gear and load up on the quality thermals when heading to Kagura. [caption id="attachment_876942" align="alignnone" width="1920"] Steven Su[/caption] Feeling inspired to book a getaway unlike anything else out there? Through Concrete Playground Trips, our new travel booking platform, can you now purchase holidays specially curated by our writers and editors. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips at destinations all over the world. Top images: Japan National Tourism Organisation (JNTO).
Supply of Indian cuisine in Melbourne is never limited, with our love for curries and naan causing restaurants to pop up far and wide. After 45 years in the business, this humble South Melbourne restaurant has maintained a solid reputation for quality North Indian food. First established in 1980, Bedi's was consistently featured in publications such as The Age and Herald Sun when they first opened. Many of Bedi's curries are prepared in a traditional tandoor oven. Try their famously creamy, spiced butter chicken with some fresh, buttery garlic naan for a satisfying night out.
From a rooftop glamping hotel to rumours of a rooftop bar at Tullamarine Airport, Melbourne's high spots have been getting more and more attention. The latest addition to the mix is QT Melbourne's secret rooftop garden. Not that the space, dubbed Secret Garden, hasn't existed before now. It was established the garden a couple of years ago by Andy Harmer, executive chef of QT's Pascale Bar and Grill, who has since been using it as a source of fresh produce. Every morning, he and his team head up into the sunshine to harvest vegetables, herbs, flowers and fruit in their wonderland of natives and rare varietals. Next time you're perusing the menu, look out for fruit salad sage, karkalla, native river mint and blue lily pilly. Now, for the first time, the garden has become open to the public — more specifically, to parties. Get together with 10–25 mates and you can have the beautiful space to yourself. There's a couple of food-and-drink packages available. With ten people, you can partake in a long, lazy, multi-course feast made up of dishes like asparagus, truffle and stracciatella, and rose veal with almond gazpacho and secret garden radish, all with matching wine, cocktails and spirits. Meanwhile, if you're travelling with a bigger group, you can opt for a two-hour experience that gives you a private chef, private bar and handpicked selection of share plates. Find Secret Garden at QT Melbourne, 133 Russell Street, Melbourne. More information and to make a booking, visit the hotel website.
As the world ramps up for the latest edition of the world's largest sporting competition later this month, many of us are looking at our bank accounts and finding we're short a few bucks to afford the flights to Paris. Fret not — you can grab a small slice of the Olympic action right here in Melbourne, all for free, at Melbourne Quarter. Never one to miss an opportunity for celebration, the inner city precinct is bringing Parisian delights on Thursday, August 1 and Wednesday, August 7. Those delights start with an Olympic-inspired eclairs pop-up on August 1 from Glacé Desserts, where you can enjoy some creamy pastry treats in the flavours of raspberry, chocolate and caramel, matcha, coffee milk chocolate and passionfruit. There's also a special offering on August 7, with chocolate-covered strawberries available with any purchase at a retailer in the precinct, so hold onto those receipts. Throughout the week, there'll be live music and game highlights broadcast live on the big screens. Paris Olympic Popups will be taking place at Melbourne Quarter on Thursday, August 1 and Wednesday, August 7. Entry is free.
Yeah, we're thinking he's back — John Wick, that is. Five years after Keanu Reeves introduced everyone's favourite assassin (and dog owner) to the world, and two years after the film scored its first sequel, the action-packed franchise is bringing its third instalment to the big screen in 2019. Entitled John Wick: Chapter 3 — Parabellum and due to hit cinemas in May, the series' latest follow-up picks up where the last flick left off, aka with Wick being hunted down by his fellow killers. With a $14 million price tag on his head, plenty of hitmen and women are out to collect the bounty. And all of this because, in the first movie, he became the proud owner of an adorable pooch. As Wick notes, of course, "it wasn't just a puppy". If you're not up on your Latin, parabellum means 'prepare for war', which is just what a kick-ass Keanu looks primed to do. This time, he'll have Halle Berry in his corner — and he's not adverse to brandishing some firepower while atop a horse or mowing down his enemies while he's riding a motorbike. With this year marking two decades since The Matrix first arrived and blew movie-goers' minds, he's not against quoting one of that film's most famous lines either. Like John Wick: Chapter 2, Parabellum does re-team Reeves with Laurence Fishburne once more, so prepare for another Neo and Morpheus reunion. As for the rest of the cast, Ian McShane, Lance Reddick and Jason Mantzoukas all return from the previous flicks, while Anjelica Huston ranks among the new additions. Behind the lens, former Keanu stunt double turned filmmaker Chad Stahelski directs again, as he has did with the previous John Wick flicks. The film's first trailer arrived earlier this year, and now a second sneak peek has dropped. Check them both out below: https://www.youtube.com/watch?v=pU8-7BX9uxs https://www.youtube.com/watch?v=7v2P3cpPOXY&feature=youtu.be John Wick: Chapter 3 — Parabellum releases in Australian cinemas on Thursday, May 16.
Arcade Fire already established themselves long ago as pioneers in the realm of music video interactivity: 'We Used to Wait' used HTML5 and Google Maps to feature the viewer's own home in the video, and a flock of new windows popped open all over your screen as the song progressed, birds flying in each of them. 'Neon Bible' similarly tapped new technology to create a fresh way of experiencing the band's sounds. Now the band has shown it has the finger on the pulse once again, with a dazzling interactive video (one of two videos, actually) for their song 'Reflektor'. Between its groovy beat and whisperings in French, 'Reflektor' is already uber cool. But the video Just A Reflektor, filmed in Haiti, is next level: a short film whose visuals you can affect, just so long as you have three basics of the modern tech era: Google Chrome, a computer webcam and a tablet or smartphone. That's when the real magic begins. Director Vincent Morisset takes us on a journey with a beautiful young woman who switches between her world and ours. Dancers in motion-tracking costumes, gyroscopes and mixed video assets add to the technological melee. Depending on how close you wield your handheld device to the screen, and its tilt, you can watch the action unfold from a variety of viewpoints and both conceal and reveal what you're seeing via whacky kaleidoscopic tunnel vision. Presto: the theme of reflection is seamlessly woven into the multimedia experience, with light effects swimming over the screen at your command in ways that are totally mesmeric and super fun to play with. The team consciously aimed for a strong visual metaphor that would chime with the song's lyrics, as you can see in the behind the scenes video below. They've even made it possible for computer geeks to mess around with the code, which is downloadable from the Just A Reflektor Technology page. Via PSFK
Much of 2017 might seem like it has been ripped from an episode of Black Mirror, but the real thing is about to show us just how grim the future could be. The Charlie Brooker-created TV show is set to return for its fourth season later in the year, and it has dropped its first sneak peek. Spoiler: things really do look grim. Headed to Netflix at a yet-to-be-revealed date, the new Black Mirror will consist of six instalments filled with more unnerving satire about humanity's relationship with technology. Although the new clip is really just that, announcing the series' episode titles with suitably moody snippets, expect snowy peaks, spooky blonde-haired kids, Star Trek-style space jaunts, monstrous robots and more. Each new chapter's moniker is certain to pique plenty of interest, with names such as 'Arkangel', 'Black Museum', 'Crocodile', 'Hang the DJ', 'Metalhead' and 'USS Callister'. In addition, the new season's directors and main cast members have also been revealed. Brooker himself wrote every new instalment, while the likes of Jodie Foster, Australian filmmaker John Hillcoat (The Road, Triple 9), Peaky Blinders' Colm McCarthy and American Gods' David Slade are sitting in the helmer's chair. On screen, expect a cast that includes La La Land's Rosemarie DeWitt, Nocturnal Animals' Andrea Riseborough and Fargo's Jesse Plemons getting up to the kind of sci-fi antics that no one wants to dream of. Check out the trailer below in preparation for a whole new round of futuristic bleakness. https://www.youtube.com/watch?v=oH85obU350E
Rock legend Patti Smith will soon see her most iconic pageturner made into your newest binge watch. The 68-year-old's immortal Just Kids memoir is being made into a Showtime miniseries. The best bit? Smith is producing and co-writing the series — alongside Penny Dreadful showrunner John Logan. Announced at this year's Television Critics Association press tour, Showtime’s new series will follow Smith's National Book Award-winning memoir detailing her years spent living in New York City with photographer Robert Mapplethorpe. No cast or release date has been announced, but uppity predictions will inevitably flow over the next few months. Costumes though: It goes without saying, the series already has one hell of a script. Smith, whose sequel memoir M Train is set to hit shelves on October 6, is keen to delve further into her own NYC youth with the series. “A limited series on Showtime will allow us to explore the characters more deeply, enabling us to develop stories beyond the book and allow a measure of unorthodox presentation,” said Smith in her media statement. “The medium of a television limited series offers narrative freedom and a chance to expand upon the themes of the book.” Via Flavorwire.
Carnegie's new café Left Field has been in the making for six months. If you know what the space on the corner of Koornang and Leila Roads looked like before, you'll understand why. The building, famous among locals, used to be the bright pink home of a suburban Indian restaurant; now, in its reincarnation as Left Field, it's been painted in much more understated hues of white and blue. Inside, its fit-out — featuring wooden outdoor seating and indoor plants — is very similar to what you'd find at two other cafes by the owners, Touchwood and Tall Timber. "It was a bit of a monster as far as demolition and renovation goes, but we're blown away with the results," says Ryan Lording, who comes from Tall Timber not only as a chef, but as a part owner as well. Convenient really, as he lives just up the road. The locals in the area have been incredibly supportive of the new venture in Melbourne's southeast — many of them young families who moved from places like Prahran or Richmond to Carnegie. "One of our owners was looking for a house in the area when we discovered this spot," he says. "A lot of the Tall Timber regulars moved out this way to live and start families. There's more space." On the menu, the food toes the line between healthy and indulgent. There's the smashed pea bruschetta with prosciutto, goats' cheese zucchini and basil, and the beetroot-cured ocean trout with quinoa, avocado hummus and black tahini. But then there's the Benedict, the pulled pork burger (on a black brioche bun), the Oreo cookies and cream ice cream sliders and an array of colourful muffins, doughnuts and treats sitting pretty at the counter. "People should be tossing up between five to six options, instead of the standard one or two possibilities on most menus," says Lording. With the food, they serve Niccolo coffee along with specialty drinks like kombucha, Golden Grind (a latte mix of turmeric, cinnamon, ginger and black pepper) and Matcha Maiden. Despite opening to a strong customer base who have already made Left Field their local, Lording says there's still a lot to come, like outdoor roofing and heating. His aim? To make the eatery the food destination of the southeastern suburbs. And judging by the success it's had so far, that statement isn't actually too far out of left field. Images: Melissa Cowan.
Navigation sure isn't everyone's strong point, but thank goodness for smartphones and maps, right? Well, soon getting around is about to get even easier, because the folks at Google have announced a whole swag of new features set to be rolled out in Google Maps this year. The app is being pimped out with over 100 artificial intelligence-powered improvements, including tools to help you pick the most eco-friendly travel options, helpful weather insights and even more foolproof navigation functions. In good news for anyone trying to live a little greener, one new Maps feature will identify the most environmentally friendly routes you can take to lower fuel consumption, even displaying the various CO2 impacts of your different route options. The model has been built based on factors like traffic congestion and road incline, using insights and data from the US Department of Energy's National Renewable Energy Lab. And if the route with the lowest carbon footprint has a similar ETA to your fastest suggested route, Google Maps will default to the greener option — unless you override it. You'll also be able to easily compare different modes of transportation to find the most eco-friendly choices, with your preferred modes automatically prioritised. The updates are aimed at helping users minimise their environmental footprint, in line with Google's ambitious sustainability goals. They'll come into effect in the US on both Android and iOS later this year, with a global launch to follow. Another update will see a new weather layer added to Maps, offering a snapshot of the current and forecast conditions in the area you're travelling to — so you can avoid any surprise downpours. There's also a new layer showing air quality, which will be rolled out in Australia, India and the USA before the rest of the world. This one gives an indication of how healthy the air is, targeted at places where there can be excessive smog or smoke haze. And that sinking feeling you get when you realise you've been wandering in the opposite direction to where you want to go while moseying through an airport, transit station or shopping centre? You can say goodbye to that, thanks to the soon-to-launch 'live view' function. It uses AI scanning technology to help get a comprehensive read on your orientation. When using the feature, handy augmented reality cues and arrows will pop up on your Maps screen, showing you how to find things like the nearest elevator or bathroom. Currently available in Chicago, Long Island, Los Angeles, Newark, San Francisco, San Jose and Seattle before rolling out to Tokyo and Zurich in the coming months — with more cities planned after that — we're sure that one will come in especially handy in hectic airports when we're eventually allowed to jaunt off overseas again. The new Google Maps updates are slated to become available this year. For more details, see the company's website.
Kraken Rum is giving UK bartenders the chance to mix drinks at the mother of all pop-up bars. The Black Ink Society will be hosting a bar at the Red Sand Sea Forts, a lonely 14km off the coast of Kent, for one day only on October 14. Hopeful bartenders will compete in the Think Ink competition for the chance to strut their stuff in the creepy abandoned pillboxes. The Red Sand Sea Forts were built during World War II as anti-aircraft defences and fell into disuse after the war. They were occupied by various pirate radio stations during the 1960s, but have since been abandoned and fallen into the depths of dilapidation. But Kraken Rum wants to change that. They want to restore the forts to their former glory — then throw a huge party in them. The competition itself carries only one proviso — in order to be considered a cocktail "as dark as the Kraken’s ink", bartenders must use at least 35ml of Kraken Black Spiced Rum. Otherwise, competitors are free to go for broke by mixing their own concoction in order to secure their place at this "unique, if terrifying" shindig. The finals are to be held on October 8. Via www.psfk.com. Picture by Russ Garrett.
It's no surprise that foodies make very deliberate lifestyle choices. They want to learn and care about every aspect of their meal. They advocate for organic produce and healthy eating. Even TV chefs like Jamie Oliver are always tending to a sprawling herb garden and reassuringly tousling the hair of pudgy middle-school kids. But Ben Shewry and his team at Attica, Australia's best restaurant, are about to take this well-meaning philosophising to the extreme. Launching on October 4, Shewry and co. have created a two-day 'anti-festival' designed to "inspire, energise and help people in the food community and beyond". From October 2–6, What a Wonderful World (WAW, the other W is silent?) will see some of the world's most influential chefs descend on Melbourne for a series of free public forums and a $500 a plate charity lunch that will make your mouth water in pre-emptive jealousy. Featuring LA-based Korean taco king Roy Choi, Parisian legend Inaki Aizpitarte, Bangkok's Bo Songvisava, London's Margot Henderson and San Francisco's Daniel Patterson, WAW is set to be a who's who of contemporary global cuisine. And, whether you know any of those names or not, it's a big get for the Melbourne foodie scene. Even if you don't have $500 to splash around at their no-doubt stunning charity lunch, it's going to be well worth heading along to see them talk. The free talks will take place on Saturday, October 4 and will feature an even broader array of talent from home and abroad. Non-chef types include Lucky Peach editor Chris Ying, enviro-pioneer Joost Baker and comedian Tom Gleeson. From 10am–5pm, 20 speakers will get on their soapbox at Spink St Warehouse in Brighton. The entire day will be free of charge although you will have to book a seat via the WAW website. Of course, if you do have the money to splurge, the charity lunch is a must. Hosted at Rippon Lea Estate, the feast will be prepared by a team of 30 famous chefs and all proceeds raised will go towards youth charity Helping Hoops. Shewry hopes the event will be a source of inspiration for both those in the industry and those with a simple passion for food. "[It's] a celebration of being alive," he told Good Food. "A reminder of the value of life, of the power of staying open, and the courage it takes to not only stand by your own convictions but remain open to those of others." Sure, the cause may sound a little huge and overwhelming, but it's certainly noble all the same. A touch more gourmet than the tired cry of peace, love and brown rice. For more information on the event head to the WAW website. Both the talks on October 4 and the lunch on October 5 are not yet available to book. Keep an eye on their website or Facebook page for release dates. Be warned: tickets will go fast.
We've talked before about the rapidly expanding genre of films we like to call 'BDF', or 'big, bumb and fun'. And let's be clear, that label's in no way intended as an affront. On the contrary, when done right, we love the BDF because it satisfies that very basic need every now and then to be entertained without having to tax our brains. More often than not, the BDF rears its head around holiday seasons in the form of disaster and/or alien invasion movies, with San Andreas, Pacific Rim and perhaps even the first Transformers all finding the right balance between the three key ingredients. When it goes the other way, however, usually on account of too much emphasis on 'the big' at the expense of 'the fun', these films quickly become joyless affairs that achieve little more than wasting your time and money. Think Batman vs Superman, Suicide Squad or Independence Day: Resurgence. In the seventies-set Kong: Skull Island, we're happy to say, that balance is back. Obviously it's a BIG movie – afterall, this is King Kong were talking about. It's also undeniably dumb. The dialogue is consistently bogged down in exposition, there's not a great deal of plot to speak of, and the characters make some pretty bizarre choices throughout. I'm no helicopter pilot, but if I suddenly discovered a high-rise sized gorilla and watched it hurl seven other choppers to their fiery death, I'd probably get the hell out of there, not fly directly towards it. Most importantly, though, this is a fun film. The action is well-paced and easy to follow despite director Jordan Vogt-Roberts' heavy reliance upon special effects. The one-liners, meanwhile, are solid enough, and John C. Reilly's downed WWII pilot, who never escaped the eponymous island, steals every scene in which he appears. It is, in short, an old-school monster movie complete with heroes, heroines, clowns and grizzly old soldiers. Then, of course, there's the big guy himself, although in truth the word 'big' doesn't really do him justice. In stark contrast to the original film, there's no caging this fella. He's a sixty-story silverback with a menacing glare and a mean right hook. When Kong battles the island's many monsters, it's like a street fighter up against ninjas: brute strength and stamina versus speed, stealth and agility. The humans, by comparison, are rendered little more than spectators. Of those humans, Kong: Skull Island boasts an impressive cast including Brie Larson, Tom Hiddleston, John Goodman and Samuel L. Jackson, all of whom lend their considerable weight to a script that probably deserved less. Interestingly, it also features Chinese star Jing Tian, who recently appeared in another film by the same production house: The Great Wall. Tian's inclusion, while only minor, allows Chinese distributors to smack her image on all their posters and, potentially, open up a giant market that might otherwise be inaccessible to a US blockbuster such as this. One suspects this trend will see a rapid surge in the coming 12 months. Hopefully they develop a more nuanced means of including international cast members than the awkward crow-barring that occurred here. https://www.youtube.com/watch?v=YAbI4w95cTE
Into every generation, a slayer is born — and into What We Do in the Shadows, too. The TV series based on Jemaine Clement and Taika Waititi's 2014 vampire sharehouse mockumentary of the same name has spent two seasons so far pondering the dynamics of its Staten Island household; however, it has also slowly started to explore an existential threat to its bloodsucking protagonists: a vampire killer in their midst. That's where the US television show's third season promises to pick up, all while still mining its concept for as many laughs as possible. So, Nandor (Kayvan Novak, Four Lions), Laszlo (Matt Berry, Toast of London) and Nadja (Natasia Demetriou, Eurovision Song Contest: The Story of Fire Saga) once again navigate the usual undead housemate tussles, including with energy vampire Colin Robinson (Mark Proksch, The Office). And, they endeavour to live with the knowledge that Nandor's familiar Guillermo (Harvey Guillen, Werewolves Within) has a very particular family history. Also part of this upcoming season: power struggles within the key group of vampires, after they've ascended to the head of the Vampiric Council. Another promising batch of episodes in a fantastically funny horror-comedy sitcom will hopefully be the result — based on the just-dropped full trailer for the third season and an earlier teaser trailer, at least. When the original film hit cinemas, viewers instantly yearned for more, which this American spinoff has been delivering in just as smart, silly and hilarious a fashion as its big-screen predecessor. Thankfully, spending time in this supernatural realm isn't going to end any time soon, either — with US network FX, which screens the show in America, announcing that What We Do in the Shadows has been renewed for a fourth season before its third even airs. What We Do in the Shadows is the second TV series in this specific on-screen universe, after the New Zealand-made Wellington Paranormal — which follows the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural. It proved a hit as well, and has already returned for both a second and third season. Back with the vamps, What We Do in the Shadows' new episodes are due to start streaming in Australia via Binge from Friday, September 3 — which is at the same time as the US. Check out the full season three trailer below: It's a game of...throne. Watch the official Season 3 trailer for #ShadowsFX, returning Thursday, Sept. 2nd on FX. Next Day #FXonHulu pic.twitter.com/cRRJLEXaLq — What We Do In The Shadows (@theshadowsfx) August 13, 2021 What We Do in the Shadows' third season starts streaming in Australia via Binge from Friday, September 3.
Our phones have a lot of uses these days. While they were once merely a means of communication, they are now a great way to fill time or catch up on current events as well as the perfect crutch in an awkward situation. Need to fill an unbearably long silence or look like you're doing something while alone at a party? Just whip out an iPhone. But all of these new uses seem to defeat the original purpose of the device. With a smartphone glued to the palm of our hand, can we still maintain any meaningful communication face-to-face? A new photo series entitled 'The Death of Conversation' suggests not. Picturing friends, couples and dinner dates entranced with the screens of their phones but ignoring each other, these works by London photographer Babycakes Romero are all too familiar. It's something you see everyday. Don't feel too embarrassed. We're all guilty of it. This is what inspired the photographer to create the series. "I saw that smartphones were becoming a barrier to communication in person," he told Buzzfeed. "I saw how people used it as a social prop to hide their awkwardness, to fill the silence, but as I continued to observe and document this modern phenomenon I felt that the devices were actually causing the awkwardness and the silence." There's been a growing awareness of this problem over the past few years especially. Many musicians including the Yeah Yeah Yeahs and Prince now ask their audiences to put their phones away and "be in the moment"; some restaurants even ban their customers from taking photos of their food. "[Using your phone] is a form of rejection and lowers the self-worth of the person superseded for a device," said the artist. "I have nothing against technology at all but I feel it is starting to affect social cohesion, and we need to know when to switch it off or we will become permanently switched off from each other." Though this behaviour is now common all over the world, it may not be as bad as it first appears. Many theorists think this kind of criticism is unfounded. With this kind of constant digital companionship, aren't we in fact being more social than ever? It's for you to decide. But, at first glance, the evidence is pretty damning. Via Buzzfeed. All photos via Babycakes Romero.
In the just-dropped trailer for Only Murders in the Building season five, Charles-Haden Savage (Steve Martin, It's Complicated) gives the apartment complex that he calls home — as do his friends and fellow podcasters Mabel Mora (Selena Gomez, Emilia Pérez) and Oliver Putnam (Martin Short, Grimsburg) — a fitting description: "the most-murderous building in New York". Another run for this mystery-comedy delight does indeed mean another suspicious death that needs investigating. This time, the show's central trio are looking into the demise of the Arconia's beloved doorman Lester (Teddy Coluca, The Blacklist), although the police rule it as accidental. Of course, Charles, Mabel and Oliver aren't convinced with that explanation — and, as the first sneak peek at season five shows, their latest round of sleuthing brings a few colourful new characters into their orbit. Mobsters and billionaires are part of Only Murders in the Building's plot this time around, which is where new co-stars Bobby Cannavale (Unstoppable), Renée Zellweger (Bridget Jones: Mad About the Boy), Logan Lerman (We Were the Lucky Ones) and Christoph Waltz (Old Guy) fit in. [caption id="attachment_1014462" align="alignnone" width="1920"] Disney/Patrick Harbron[/caption] By now, audiences know that lives don't just thrive in NYC towers like the Arconia. Sometimes — frequently in this abode — they end, too. Folks connected to the fictional structure haven't been having a good run, but Charles, Mabel and Oliver looking into their untimely passings, and talking about it, has proven this series' premise since 2021's first season. A severed finger, The Godfather references, mafia meetings, "three of the richest people in the world sniffing around a murder scene", the Mayor, gambling, examining a body at a funeral: that's all in store in season five, as seen in the trailer. You'll next be viewing the trio's antics from spring Down Under, with Only Murders in the Building locked in for a Tuesday, September 9, 2025 premiere date for its fifth season. Michael Cyril Creighton (American Horror Stories) is back among the cast as well, as are Meryl Streep (Extrapolations), Da'Vine Joy Randolph (Bride Hard), Richard Kind (Poker Face) and Nathan Lane (The Gilded Age). Alongside Cannavale, Zellweger,Lerman and Waltz, season five also features Téa Leoni (Death of a Unicorn), Keegan-Michael Key (Dear Santa), Beanie Feldstein (Drive-Away Dolls), Dianne Wiest (Apartment 7A) and Jermaine Fowler (Sting). Check out the trailer for Only Murders in the Building season five below: Only Murders in the Building streams Down Under via Disney+, with season five premiering on Tuesday, September 9, 2025. Read our reviews of season one, season two and season three. Images: Disney/Patrick Harbron.
Earlier this year, we wrote about how Elon Musk's high-speed vacuum tube transport system could be a reality by 2018. Well, because it's Elon Musk, the whole thing looks like it's actually running on schedule — and potentially coming to Australia. What, here? Where everything comes last? Yep. According to The Australian, Los Angeles-based firm Hyperloop One — who Musk has given the task of bringing this thing to life — are looking for a place to test the technology, and they have the Sydney to Melbourne corridor firmly on their radar. "We're very keen to explore the potential for doing proof of operations in Australia and the reason for that is there's a clear long-term need for ultra-fast transport on the Australian east coast," Hyperloop One's vice president of global business development Alan James told The Australian. "So we would be looking, either in NSW or Victoria, or possibly in ACT, to develop the first section of that route, to prove the operation of Hyperloop, to get regulatory approval." Described by Musk as a "cross between a Concorde and a railgun and an air hockey table" the proposed Hyperloop system — which is almost cartoonish in design — would consist of a long route of elevated vacuum-sealed steel tubes, through which pressurised capsules ride cushions of air at speeds of up to 1220 kilometres per hour. Hyperloop One claims it can have you travelling from inner-city Melbourne to inner-city Sydney in only 55 minutes. 55 minutes. (Do you hear that? It's the sound of Tiger and Jetstar quaking in their boots.) To drive between Melbourne and Sydney would set you back about nine hours; currently, to get the train, it takes 11.5 hours. Australia — and particularly the Sydney-Melbourne corridor — is the perfect candidate for high speed rail transport because the track could slip nicely along the Hume Highway. There has, of course, been much talk and debate over a high-speed rail system connecting the two cities, but so far no government has been willing to commit to the project. The Hyperloop One team seem to have made rapid progress since they started testing in LA last year. They recently revealed the first prototype will be up and running in the Nevada desert early in 2017 before (potentially, hopefully) kicking off the large scale trial in Australia in 2018. Can it be the future already? For too long we've been at the mercy of Tiger's delays, expensive terrible airport coffee and the drive down the Hume with only Maccas to break up the monotony. We, for one, welcome Musk and his terrifying pneumatic tubes. Via The Australian.
James Bond might famously prefer his martinis shaken, not stirred, but No Time to Die doesn't quite take that advice. While the enterprising spy hasn't changed his drink order, the latest film he's in — the 25th official feature in the franchise across six decades, and the fifth and last that'll star Daniel Craig — gives its regular ingredients both a mix and a jiggle. The action is dazzlingly choreographed, a menacing criminal has an evil scheme and the world is in peril, naturally. Still, there's more weight in Craig's performance, more emotion all round, and a greater willingness to contemplate the stakes and repercussions that come with Bond's globe-trotting, bed-hopping, villain-dispensing existence. There's also an eagerness to shake up parts of the character and Bond template that rarely get a nudge. Together, even following a 19-month pandemic delay, it all makes for a satisfying blockbuster cocktail. For Craig, the actor who first gave Bond a 21st-century flavour back in 2006's Casino Royale (something Pierce Brosnan couldn't manage in 2002's Die Another Day), No Time to Die also provides a fulfilling swansong. That wasn't assured; as much as he's made the tuxedo, gadgets and espionage intrigue his own, the Knives Out and Logan Lucky actor's tenure has charted a seesawing trajectory. His first stint in the role was stellar and franchise-redefining, but 2008's Quantum of Solace made it look like a one-off. Then Skyfall triumphed spectacularly in 2012, before Spectre proved all too standard in 2015. Ups and downs have long been part of this franchise, depending on who's in the suit, who's behind the lens, the era and how far the tone skews towards comedy — but at its best, Craig's run has felt like it's building new levels rather than traipsing through the same old framework. In No Time to Die, Bond does need to look backwards, though — to loves lost, choices made and lingering enemies. Before Billie Eilish's theme song echoes over eye-catching opening credits, the film fills its first scenes with the past, starting with returning psychiatrist Madeleine Swan's (Léa Seydoux, Kursk) links to new mask-wearing villain Lyutsifer Safin (Rami Malek, The Little Things). There's patience and visual poetry to these early minutes amid Norway's snowy climes, even while littered with violence. No Time to Die is a lengthy yet never slow feature, and Bond first-timer Cary Joji Fukunaga doesn't begin with the pace he means to continue; however, the director behind True Detective's stunning first season establishes a sense of meticulousness, an eye for detail and an inclination to let moments last — and a striking look — that serves him exceptionally moving forward. Back in post-Spectre times, Bond and Swan enjoy an Italian holiday that's cut short by bomb blasts, bridge shootouts and other attempts on 007's life — and Fukunaga is quickly two for two in the action camp. No Time to Die segues commandingly from slow-building and foreboding to fast, frenetic and breathtaking in its two big opening sequences, setting itself a high bar. At this point, the narrative hasn't even properly kicked into gear yet. That happens five years later, when Bond is alone and retired in Jamaica (in a nice nod to where author Ian Fleming wrote his Bond stories). His old CIA pal Felix Leiter (Jeffrey Wright, Westworld) comes knocking, new politically appointed offsider Logan Ash (Billy Magnussen, The Many Saints of Newark) in tow, asking for the now ex-MI6 agent's help to foil the latest nefarious plan — involving a DNA-targeting virus fuelled by nanobots, of course — that's been hatched by terrorist organisation Spectre. No Time to Die has plenty of time for other magnificent action scenes, albeit fewer than might be expected; a lengthy list of characters, both new and recognisable; and the type of beats that allow Bond ruminate over his accumulated baggage, even when a few routine inclusions also pepper the script. Spectre, the film, gave 007 enough woes from the past — and actually making him grapple with it all, rather than merely throw fists, explode watches and unleash machine-gun fire from his Aston Martin's headlights as though he doesn't have a history, gives this follow-up palpable heft and resonance. In Craig's hands, Bond has become a person first and a suave action figure second. The character still falls into the second category, unsurprisingly, because that's still the gig. But in this iteration, the franchise has evolved past the kind of flicks that gave rise to Austin Powers, Johnny English and their fellow parodies — welcomely so. Indeed, the best sequence in the film takes a stock-standard Bond setup, gives it a firm update and offers Craig's Knives Out co-star Ana de Armas a killer introduction. There are no bikinis involved as per past series instalments, or double-entendre names. Instead, this team-up between Bond and fledgling CIA operative Paloma takes them to a Spectre party in Havana, lets her steal every second with devastating high kicks, fabulous timing and witty dialogue, and shows the fingerprints of Fleabag's Phoebe Waller-Bridge — one of No Time to Die's four co-screenwriters. Paloma definitely isn't a stereotypical 60s–90s-style Bond girl, either, and neither are Swan, Moneypenny (the returning Naomie Harris, The Third Day) and replacement 007 Nomi (Captain Marvel standout Lashana Lynch). Everyone is human here, not just Bond himself. In a cast anchored by Craig and his blend of gravitas, pathos, sensitivity, duty and calm, there's barely a weak link. As M and Q, Ralph Fiennes (The Dig) and Ben Whishaw (Little Joe) only pop up briefly, but leave an imprint. Malek isn't a Bond baddie for the ages, yet he makes a chilly demeanour go a long way and easily one-ups Christoph Waltz (Alita: Battle Angel). So much of what makes No Time to Die such a thrill stems from Fukunaga's perceptive choices, however — with ample help from Hans Zimmer's (Wonder Woman 1984) urgent and pulsating score, plus Linus Sandgren's (an Oscar-winner for La La Land) gorgeous globe-hopping cinematography and penchant for long takes (and one particular and glorious upside-down shot). Franchise familiarity bubbles away in the film's veins, expectedly, but Fukunaga knows what to shake, stir, change and challenge, and what makes a moving, ambitious and entertaining farewell.
Thought meditation retreats were all about early wake-up calls and lots of serious silences? Well, not anymore. Say hello to Soundscape, a new three-day sensory experience to be held in NSW's Southern Highlands this March. A wellness getaway that breaks the mould, this one's focused on music, food and great company. It's the brainchild of the team at Surry Hills mindfulness studio The Indigo Project, a progressive practice that runs naptime and mindful pasta-making classes, and relatable courses like Get Your Shit Together. And it's being helmed by a trio that describes themselves as "an experimental chef, a rebel psychologist and an electronic music producer". Over one weekend at Highball House, they'll guide guests through an exploration of sound, designed to help recharge, connect and unravel all that stress. Forget about any 'hippy' stuff — here, you'll take meditative walks through the forest, feel inspired during guided creativity sessions and experience fun sound immersion sessions based around The Indigo Project's popular Listen Up workshops. And with Love Supreme chef Harry Bourne helping to run the show, boring food is definitely not part of the agenda. Instead, enjoy gourmet eats at every meal and have your mind blown wide open during a series of curated food and music experiences. "We felt that it was time to re-imagine your typical meditation retreat format," says The Indigo Project founder and head psychologist Mary Hoang. "People are in for a colourful, deep, creative journey into their minds." If this sounds like your bag, you'll probably be interested in Yoga Cucina, a yoga, wine and pasta-filled retreat that takes place a couple of times a year also in the Southern Highlands. Soundscape will run from March 16–18, at Highball House, Bundanoon in NSW's Southern Highlands. Places cost between $595 and $1390 for the weekend. To book or for more info, visit theindigoproject.com.au.
Clear your calendars, art lovers. Melbourne's largest queer arts and culture bash, the Midsumma Festival has showcased the talents of local creatives from within the city's LGBTIQ community every year since 1988 — and its 2016 program is due to kick off this Sunday, January 17. Running for three straight weeks, the festival will be spread across more than 80 different venues, and will cover everything from visual art and performance to community events and parties. As has become tradition, the festival's centrepiece event will be the annual Pride March along Fitzroy Street in St Kilda. This year, the march will put an emphasis on the fight for marriage equality. Other flagship events include the Midsumma Carnival and T Dance, which will once again kick off the festival with a five-hour lineup of free live music and entertainment in Alexandra Gardens. But there are many more events to get your art-loving self to during Midsumma 2016. Here are our top picks.
It is said that the Lord Krishna opened his mouth and revealed the entire universe inside. Want to wear the entire solar system on your wrist, orbiting in real time? Try the Midnight Planetarium, which may well be the most beautiful watch ever made. Leading watchmakers went head to head at a private trade fair in Geneva, showing off their latest designs and being incredibly punctual. All manner of elegant and unusual timepieces debut at this convention, putting your plastic Swatches and iPhone clocks to shame. At the 2014 Salon International de la Haute Horlogerie, Van Cleff & Arpels unveiled a watch like no other, a watch so original, finely crafted and whimsical that its US$245,000 price tag almost seems reasonable: the exquisitely named Complication Poetique Midnight Planetarium. So what's the deal with this thing? How do you even read the time? The watchface contains tiny globes representing the planets visible from earth, from Mr. Sun to Saturn. Made of precious and semi-precious gemstones like red jasper, blue agate, turquoise, serpentine and more, our celestial neighbours are encased on their orbit inside an 18 carat rose gold mount, with a black alligator strap to hold your personal planetarium in place. They rotate on a glittering starscape, accurately mimicking the movement of the planets IRL — yes, that means the Mercury gem will rotate fully in three months, and Saturn? Twenty-nine and a half years. Such a meticulous and gradual rate of motion is truly a feat of fine engineering. The process of painstakingly assembling the 396 components must have required nothing less than a Pacific Ocean of Red Bull. As for clocking regular Earth hours, a tiny shooting star along the outer rim of the watchface indicates the hour. There's also a cute bonus in the form of a whimsical 'Lucky Star' which you can set to appear over the Earth on an appointed day, casting luck on all your doings. The Midnight Planetarium is one of a series of Complication Poetique watches which explore time in its poetic as well as literal dimensions. They're all worth checking out here. As for our little stargazer, watch the video below for more angles on this artistic marvel.
Winter is coming — and, now that international travel is starting to return to normal and New Zealand has reopened to Australian tourists, so are trips across the ditch for a snowy getaway. After two years of border restrictions, itching to spend winter on skis, zipping down a mountain and seeing somewhere far away from your own backyard is completely understandable. And, to help make that frosty dream a reality, Qantas has just upped its flights from Australia to New Zealand. Effective Monday, May 23, four routes went back into service — with a fifth joining them on Tuesday, May 24. So, if you're keen to fly from Sydney to either Queenstown or Wellington, from Melbourne to Christchurch or Wellington, and from Brisbane to Christchurch, that's now back on the agenda. Qantas' routes to Queenstown are particularly significant — marking the first international flights into the airport in 330 days. If a snowy jaunt was part of your plans last year, too, you might remember that NZ reopened to Australia briefly from April till June 2021, only to close again when the Delta COVID-19 wave hit. Qantas now plans to run up to 20 weekly services to Queenstown from Australia, and it expects it to be busy — unsurprisingly — as Aussies make the trip to enjoy the South Island slopes. If you're eager to head to Queenstown from Melbourne and Brisbane, those routes will resume on Saturday, June 18. When they take off again, Qantas' full range of pre-pandemic trans-Tasman flights will be back in effect. For more information about Qantas' flights from Australia to New Zealand, head to the airline's website.
