If your kind of heaven features soft, pillowy lobster rolls and floating clouds of peanut butter parfait, then you'll be happy to know that Andrew McConnell's long-awaited Supernormal (aka the only version of the afterlife we want to know about) is finally here. After the success of the restaurant's three month-long Fitzroy pop-up, Supernormal opens early next week at its brand new Flinders Lane site. A follow-up to McConnell's Golden Fields, which recently closed up shop in St Kilda to make way for the CBD venture, Supernormal will see a whole new McConnell-esque modern Asian fusion menu while keeping a few cult Golden Fields dishes (PB parfait included, phew). According to Good Food, you can expect to be chowing down on all the important (and on-trend) food groups, including pork belly, kimchi and steaming bowls of ramen. Supernormal makes it restaurant number five for McConnell, who already operates Cumulus Inc, Cutler & Co, The Builders Arms Hotel and the soon-to-be Luxembourg, which will take the place of Golden Fields on Fitzroy Street. Opening today in the dining epicentre of Flinders Lane, the restaurant looks decidedly more fun (and a little cheeky) with the use of super kawaii Pacman-like figures in their branding and the inclusion of karaoke — I repeat, karaoke — in their private dining room. Lobster rolls with a rendition of 'Wannabe'? Yes please. Meanwhile, the pre-opening pop-up seems to be a trend such among hyped venues. Chris Lucas's Kong has popped up at the city's Rue & Co ahead of its actual opening. Update 1 May: This article originally stated that Supernormal was opening April 30. That occasion has now been pushed back to early next week.
There are plenty of ways to see out one year and welcome in the next. There are plenty of music festivals that offer that experience, too. But Woodford Folk Festival truly is an event like no other. When it sets up shop in southeast Queensland, it turns a patch of the Moreton Bay region into a thriving and heaving arts, music and culture village — and it's finally back to do it all again to farewell 2022 and greet 2023. Back in May, the festival announced that it would indeed return this year, hosting its first fest since 2019. And, it revealed its dates: Tuesday, December 27, 2022–Sunday, January 1, 2023. Now, it has also just locked in who'll be in the bill. It's an enormous lineup, as it always is — but it starts with Boy and Bear, Jaguar Jonze, Dani Im, John Butler and Electric Fields. Also on the program: The Black Seeds, The Black Sorrows, Gabriella Cohen, Spinifex Gum and Urthboy. Given that there's always around 2000 artists putting on 1600-plus shows across the festival's 25 stages, in venues that range from a 25,000-seat amphitheatre to chilled-out hangout spots, the list truly does go on. Whoever piques your interest, or even if you're just keen on a Woodford experience — for the first time, tenth or more — prepare to catch a heap of bands, wander between arts performances and get a little muddy, all around 90 minutes north of Brisbane. The festival will once again take over its Woodfordia parklands base, which now boasts a lake. And, as always, the fest's lineup spans everything from music, art, circus and cabaret to yoga, dance and comedy, plus spoken word, comedy, workshops, bars, cafes and restaurants. Tickets are already on sale, whether you'll be slumbering at one of the fest's multiple campgrounds or just heading along for the day. Whichever fits, you'll have company — more than 120,000 people attended and participated each year in pre-pandemic times. Find highlights from the 2022–23 lineup below, and check out the full list of acts and activities on the Woodford website. WOODFORD 2022–23 LINEUP HIGHLIGHTS: Alysha Brilla Andrew Small Anna Smyrk Ashley Watkins Band of Frequencies The Black Seeds The Black Sorrows Boy & Bear Catherine Britt Coterie Dami Im Dya Singh Electric Fields Electrik Lemonade Emma Donovan & The Putbacks Emily Lubitz Eric Bogle Fred Smith Gabriella Cohen Grace Petrie with Ben Moss Greg Sheehan Hello Tut Tut Hollow Coves Hot Potato Band Inn Echo Jacob Jolliff Band Jaguar Jonze The Jellyman's Daughter John Butler Keyim Ba Lior & Domini Liz Stringer Mama Kin Spender Marlon x Rulla Mia Wray The Monks of Tibet The Moving Stills Neil Murray Parvyn The Paul McKenna Band Rachel Bailman Rich Davies & The Low Road Sorong Samarai The Spooky Men's Chorale Spinifex Gum The Steele Syndicate Super Massive Tenzin Choegyal William Barton Urthboy Yirrmal The 2022–23 Woodford Folk Festival will run from Tuesday, December 27, 2022–Sunday, January 1, 2023 at Woodfordia on the Sunshine Coast. For more information, head to woodfordfolkfestival.com Images: Woodford Folk Festival via Flickr.
Through an outsider's eye, Melbourne might be known for its stunning museums, the historic Flinders Street Station, delicious coffee and killer nightlife. And while all that is true, there's more to this diverse city than you might think. International tourists and out-of-towners typically gravitate towards exploring the CBD, where most of our city's big-ticket attractions are conveniently located. With that being said, the inner south is where the action is at. If you want to go beyond the free-tram zone, we've partnered with the City of Port Phillip to curate a guide to the city's breathtaking inner south. 7AM: MORNING SWIM AT ST KILDA SEA BATHS Beat the summer heat by taking a morning dip at St Kilda Sea Baths. Filled with natural seawater — which provides healing properties like relieving muscle soreness, injuries and skin ailments, as well as restoring energy — the 25-metre pool is an ideal place get your laps in as well as your cardio kick for the day. For something more laidback, the beachside establishment also features a hydrotherapy spa pool, a unisex aromatherapy steam room and a lounge area that boasts stunning views of the bay. [caption id="attachment_699200" align="alignnone" width="1920"] Simon Shiff[/caption] 9AM: BRUNCH AT LENNY, ALBERT PARK After getting your morning endorphins, head on over to Lenny in Albert Park and refuel with a hearty brunch. You obviously can't go wrong with a classic smashed avo toast or eggs benedict; however, if you're feeling adventurous, do try out the banoffee pie french toast or the prawn omelette. For a boozy brunch experience, opt for a mimosa, Aperol spritz or a gin and orange Mediterranean-style tonic. Keeping it low key? Lenny's list of coffee, tea and smoothie offerings are a fab way to complete your meal. [caption id="attachment_703883" align="alignnone" width="1920"] Simon Shiff[/caption] 10AM: EXPLORE ARTISAN WARES AT SOUTH MELBOURNE MARKET Tourists might flock to the Queen Victoria Market, but Melbourne locals know that the South Melbourne Market is where it's really at. Open from 8am every Wednesday, Friday, Saturday and Sunday, the expansive indoor market boasts a slew of stalls housing everything from butchers, fishmongers and fresh produce to secondhand books, delis and homewares. The artisan wares in particular are worthy of attention and come in different shapes, forms and colours. While you're here, don't miss out on one of the city's best croissants from Agathé. A recent favourite has been the pandan croissant, which sells out pretty quickly. Be warned, there can be quite a queue — but it is certainly worth the wait. 12PM: HAVE LUNCH AT THE LEFT-HANDED CHEF The Left-Handed Chef is just a short stroll from South Melbourne Market and a great spot to try out Jerusalem-style street food. You can dine al fresco or enjoy the rustic interior of the restaurant as you devour popular dishes like lamb cigars served with tahini, harissa and schug, the mushroom kibbeh, chatzilim hummus served with fried eggplant slices and chraime and barramundi fillets cooked in Moroccan red sauce. Don't forget dessert — the Nutella malawach comes with a flaky fried pastry topped with Nutella and icing sugar. 3PM: REFUEL WITH AN ARVO COFFEE AT ST ALI At this time of the day you're probably feeling a little worn out. So, now's your chance to refuel and grab a cup of coffee from the legendary St Ali. You can play it safe and order a flat white, batch brew or pourover. But you could also try the café's signature creations such as the Espresso Shake, made of St Ali espresso, Jock's vanilla ice cream and milk, or the Tonic Sunrise, a mix of Strangelove tonic and Feels Good double espresso served over ice. 5:30PM: HAVE A PRE-DINNER TIPPLE AT STARWARD The time is now drink-o-clock, so head to Port Melbourne's award-winning Starward Whisky Distillery. The Tasting Flights section of the menu includes five options, each of which allows to try either try some of Starward's house-distilled whiskeys or classic cocktails. You could also try one of the inventive cocktails like the Rosella Spritz (featuring Starward's Two-Fold Double Grain Whiskey, mint, amaro, soda and red wine) or Trinity Sour (a mix of Starward's Fortis single malt, bitters, sour orange, clove and cardamom orgeat). Pair your drink with bites like a cheese board, pulled pork toastie or beetroot-cure salmon. 7PM: TAKE A SUNSET STROLL FROM PORT MELBOURNE TO ST KILDA Soak up the last rays of the day with a beachside stroll from Port Melbourne to St Kilda. It might be a bit of a walk, but the views of Port Phillip Bay more than make up for it. Once you get to St Kilda, pay Pink Flake a visit and treat yourself to some of the city's best fish and chips. [caption id="attachment_758267" align="alignnone" width="1920"] Kristoffer Paulsen[/caption] 9PM: DRINKS AT THE PRINCE PUBLIC BAR End your day with a stylish nightcap at The Prince Public Bar. This legendary Fitzroy Street spot offers 30 beers on tap as well as a fine selection of wine and classic cocktails. If you're still looking for some grub, bar snacks are served all day — the woodfired pumpkin hummus, chicken liver parfait, grass-fed beef tartare and mozzarella and spring onion croquettes are perfect pairings for your drink. To discover more ways to experience the southside, head to What's On: St Kilda and Surrounds.
In rather epic chocolate news, the Great Ocean Road has scored a 15-acre chocolate and ice cream wonderland. As if you needed another reason to take a holiday, the Great Ocean Road Chocolaterie & Ice Creamery is located in Bellbrae, just next to Torquay (which is, just FYI, just over an hour from Melbourne). The chocolaterie is spearheaded by Leeanne and Ian Neeland, who also own the Yarra Valley Chocolaterie — that is, the guys who throw those epic hot chocolate, ice cream and rocky road festivals each year. The new coastal venue features a showroom filled with thousands of chocolates (including a cabinet filled with 7000 truffles) and free chocolate and ice cream tastings. An international team of six chocolatiers are on board to perform demonstrations throughout the day as they craft different chocolates and churn seasonal ice cream and sorbet. There's also be an on-site café that'll serve up grub made with produce from the grounds. So it's pretty much an adult version of Willy Wonka's Chocolate Factory (but you're less like to be carried away by Oompa Loompas here). And after you've gorged to satiation in the showroom (and maybe have a bit of a sugar buzz on), you can take a wander through the surrounds — 15 acres of lush native garden and orchards. There's even a lavender maze to get lost in. Unsurprisingly, this whole free-tastings-and-abundant-nature formula is one that works, as the Neelands discovered when they opened their Yarra Valley venue in 2012. So if you, like us, are the type of person who makes all your life decisions based on chocolate, you might want to go book some time off work and check the air pressure in your tyres so that, come the weekend, you'll be running through a lavender maze covered in chocolate and blissing out. The Great Ocean Road Chocolaterie & Ice Creamery is now open at 1200 Great Ocean Road, Bellbrae. For more info, visit gorci.com.au. Updated: August 29, 2016.
Right now (in case you haven't been hanging on every tweet), the Consumer Technology Association is holding a huge conference in Las Vegas — CES 2017 — and while that might sound kind of abstract, it's an internationally-watched event with reams of huge new product announcements that are relevant to the everyday tech user (that's you!). The Consumer Technology Association (acronymed to CES, not CTA, for unfathomable reasons) is a trade union that promotes and standardises widely used technology, meaning high-end tech gets into your life sooner. This year has already been pretty epic. Here's a breakdown of some of the best tech reveals (so far), coming soon to a smart household near you. A SMART COLLAR FOR YOUR POOCH Now, this is a nifty little device for lucky, lucky pet owners. Whistle 3 is a new pet tracking collar that lets you monitor your puppo's or catto's daily activity levels and track them on your smartphone. It's the third iteration of the product and reports from CES indicate this time they've nailed it. Whistle 3 is compact, waterproof, clips to your pet's collar and syncs to an app on your phone. At the moment, it's only available in the US but we'll keep you updated on developments. In the meantime, remember to get your precious furbabies microchipped. AN AI-FITTED TOYOTA What business Toyota has building an AI, we don't know. But they have. Its name is Yui (pronounced you-ee) and, yes, we expect it will allow us to become best friends with our car like Shia Lebeouf and Bumblebee. No, but really. AI in a car is about risk assessment and will work in tandem with what they called 'human driving'. So it's not exactly automated but it will allow certain elements of automation when it's safe to do so. Yui warns the driver about potential hazards and can automate corrections to prevent them. But most importantly, it's super-duper cute and futuristic. A RELATIVELY FAST SCOOTER THAT CAN CHARGE YOUR DEVICES The URB-E might look a little goofy (like its Segway and Hoverboard brothers) but this compact little electric scooter could be the future of travel. Give up any dreams of your kids buying their first banged up Holden Commodore, the next generation will be driving these 30-pound scooties to school. Three years ago, the URB-E was debuted at CES. This year, they've revealed four new, updated models and a range of accessories. To fill you in, the URB-E is a foldable scooter/bicycle hybrid out of America. The cheapest, the URB-E Sport, retails for US$899 and can reach a top speed of 22 kilometres. A fully-charged URB-E Sport can travel up to 25 kilometres before needing a recharge. And you can charge your phone off it too. Damn. These iterations of the URB-E are more affordable and more powerful than ever, so you might as well embrace these tiny, goofy scooters because they ain't leaving anytime soon. A CASUALLY POWERFUL, 92-MEGAPIXEL, VR-SUPPORTING PHONE While we're not sold on the name ZenFone (imagine the roundtable on that decision), the newest phone out of the Asus camp is exciting for multiple reasons. First, it's built to support virtual and augmented reality technology (the future is here!) which means it's packing a considerable amount of processing power for such a little thing. Its three cameras (the most powerful of which takes 92-megapixel images and 4K videos) enables 3D mapping technology. Yeah. Your selfie game just jumped up a level. It's expected for release midway through this year. UH... A SMART HAIRBRUSH? Yeah, so L'Oreal has designed a smart hairbrush. Rejoice for now every part of your daily routine will be watched over by machines. The Keratase Hair Coach uses sensors, an accelerometer, a gyroscope, and a microphone to spy on you and determine a) how healthy your hair is b) whether your hair is wet or dry c) whether you're brushing too hard or too much and d) how many Keratase products you need in your life right now. Guive Balooch, the vice president of L'Oreal's Technology Incubator, said to Fortune the brush will also try to smooth your hair. All of this for under $200? Woah. The future really is stupid. Via IB Times, The Verge and Gizmodo.
Sure, going back to the office has its perks — you get to catch up with your work pals and help yourself to the free coffee. But, for some, it can also be a bit of a drag. After all, we've just spent months gussying up our WFH offices, spending more time with our pets and, let's face it, not having to commute was pretty dreamy. And sometimes you just want to be living your best working life in track pants, we get it. To help get you excited about being back in the physical rat race, we've teamed up with Australian Cocktail Month to bring you seven after-work activities that'll get you through the nine to five. From knock-off drinks to cheese-making workshops and letting lose in a dance class, these are sure to beat any back-to-office blues. SIP A-CLASS TIPPLES Enjoy a well-earned drink after work? Then head to the inaugural Australian Cocktail Month to support local bartenders and bars who've had it pretty rough over the past year. Running throughout May, the event is taking over 72 bars across Melbourne, Sydney, Brisbane and Adelaide — you can find out your locals over here. Australian Cocktail Month is partnering with liquor brands to serve up speciality cocktails for $14 a pop, plus non-alcoholic drinks for a tenner. But first you must get yourself a $20 ticket, which unlocks the entire month of offers. Then, head on down to a participating bar and show your ticket. After that? Well, bottoms up and cheers to Australia's hospitality industry. [caption id="attachment_791359" align="alignnone" width="1920"] Omnom[/caption] LIVE OUT YOUR WILDEST CHEESE DREAMS WITH A CHEESE-MAKING CLASS If you're a hardcore cheese lover, no doubt you've tucked in to a wheel of brie or stinky gorgonzola after a hard day's work. Instead of simply buying — and eating — your one true cheesy love, why not book yourself in to a cheese-making workshop? With help from experts, you'll get your hands into the dairy and learn the basics, such as how to prepare and curdle the milk, cut the curd and salt the cheese. In Sydney, Rosebery's Omnom hosts regular classes on making ricotta, haloumi and a standout burrata and bocconcini one. The aptly named Cheesemaking offers intensive workshops around the country and will show you how to make various gourmet dairy delights. And, in Melbourne, CERES runs a heap of workshops throughout the year, including classes where you'll make vegan, cheddar and blue cheese. [caption id="attachment_723106" align="alignnone" width="1920"] MYST Escape[/caption] BOND WITH YOUR COWORKERS IN AN ESCAPE ROOM What could bring coworkers closer together than solving puzzles to escape to your freedom? These interactive experiences will transport you through films, history, space and time — and it's up to your team to make it back to reality. So, we'd say it's a pretty good bonding experience. If you're a Sydneysider, you can check out our top nine picks here or make a beeline to Glebe's MYST Escape, which claims to be 'Australia's largest escape room complex'. In Brisbane, the CBD's Fox in a Box is home to themed rooms like prison cells, war bunkers and zombie labs. Or, you can become a spy, pirate or detective at Escape Hunt Brisbane. For Melburnians, head to TRAPT Bar & Escape Rooms to find your way back to Kansas in a Wizard of Oz game, or enter the school of magic at the Harry Potter-inspired Mystery Rooms, with locations in Fitzroy and Collingwood. [caption id="attachment_689129" align="alignnone" width="1920"] Cork & Chroma[/caption] CHANNEL YOUR INNER ARTIST AT A PAINT AND SIP SESSION Yes, we've seen the trend of painting while sipping wine grow in the past few years — and it looks like it's here to stay. After all, who doesn't want to channel their inner Picasso? Plus, it's a great way to unwind and forget about the day that's been. Cork & Chroma has locations across Sydney, Brisbane and Melbourne and is one of the more popular studios around. Or, attempt your own rendition of Gogh's 'The Starry Night' at Life with Paint, which also has studio spaces across Sydney, Brisbane and Melbourne. [caption id="attachment_785738" align="alignnone" width="1920"] Crossover Dance[/caption] SHAKE OFF THE WORK WOES BY DANCING Make like Taylor Swift and shake off any work stresses by heading to an after-work dance class. Not only will you cut some serious shapes, but you'll also get some sweet endorphins from all that moving and shaking. If you'd rather bust moves in your own home, we recommend 80s-themed online dance workouts from Retrosweat — just be sure to put on your leotard and leg warmers. Sydneysiders are lucky enough to be able to attend Retrosweat's IRL classes, too. Or, you can head over to inner city K-pop studio Crossover Dance. In Brisbane, get your hips moving in a 50-minute class at Rio Rhythmics or give ballet a go at Mad Dance House. Melburnians can get down with a casual jazz or hip hop class at the Dance Factory or try some burlesque at Bottoms Up studio. HAVE A SUNSET PICNIC For those who like the great outdoors, picnics are no doubt a favourite pastime. And, in our opinion, there's no better time to have one than at twilight. So pack the snacks and a few cold ones, grab your mates and head to a picturesque spot to watch the sun go down — just be sure to bring some cosy clothes. There are plenty of good picnic spots no matter what city you live in. In fact, we've rounded up our go-to spots in Sydney, Melbourne and Brisbane, should you need any inspiration. CATCH A LOCAL COMEDY SHOW They say laughter is the best medicine, so why not catch a local comedy show? Whether you're a fan of watching live comedy or dabble in stand-up yourself, it's likely to cure those back-to-office woes. In Sydney, you can check out Underground Comedy Club at queer-friendly pub The Imperial Hotel, or hit up comedy-centric theatre Giant Dwarf at its new Surry Hills digs. In Brisbane, catch regular improv and sketch comedy nights at Big Fork Theatre or head to Sit Down Comedy Club to see some big names in the stand-up game. And Melburnians can catch some late-night laughs at Spleen Bar, stand-up at Lido Comedy or comedic quizzes at Comedy Republic. Australian Cocktail Month is taking over top bars across the Australia from May 1–31. To buy your ticket, and for the full list of participating bars, head here. Top image: Double Deuce Lounge, Kimberley Low
Slumbering surrounded by red kangaroos, emus, echidnas and koalas just got cosier, and more targeted to couples keen on an animal-filled getaway without their mates in tow. Up at Australia Zoo, the Queensland tourist attraction has been welcoming overnight guests to Beerwah since 2022, launching The Crocodile Hunter Lodge with two-bedroom cabins. Now, it's expanded its accommodation options to include one-bedroom spaces, adding four new rustic lodges. If you're keeping count, that gives Australia Zoo 12 cabins in total now, all tailored for memorable and unique holidays. Here, patrons can visit the zoo, check out all creatures great and small, then stay the evening. There's even a wild group of eastern grey kangaroos that are seen hopping around the place each day. The four new one-bedroom 'Red Kangaroo' cabins come complete with wraparound decks that peer out over the site's bushland surroundings, as well as the wildlife within it. Expect to spy microbats, owls, kookaburras, possums and parrots, too, with nest boxes placed around the lodges to create homes for each. Also included: king-size beds, kitchens in each cabin, heated floors, smart TVs in the lounge, private carports and stone bathtubs for post-zoo soaks. Plus, guests all get access to The Billabong, the Crocodile Hunter Lodge's 25-metre infinity pool, which also looks out over the native wildlife. "We're delighted to introduce four wonderful one-bedroom cabins for guests, which will help us cater to groups of different sizes," said Terri Irwin. "The Lodge offers a unique and immersive experience that not only reflects on our conservation work, but honours Steve's important dream to connect people with wildlife and encourage them to become true conservationists." Whichever size cabin you stay in, your visit comes with unlimited Australia Zoo entry, where more than 1200 animals await — and a peek inside the Australia Zoo Wildlife Hospital. Getaways here still don't come cheap, though, with prices starting at around $949 for an overnight visit for two adults. For larger groups planning a visit, three-bedroom cabins will also join the site in 2023, with an exact opening date yet to be revealed. When it first opened its doors, The Crocodile Hunter Lodge launched alongside the zoo's Warrior Restaurant & Bar, if you're looking for somewhere to grab a bite during your trip. Boasting a focus on Aussie cuisine, locally sourced ingredients, and paying homage to Indigenous Australians and the plants that have long been part of First Nations diets, it welcomes in lodge guests and general punters for breakfast, lunch or dinner, and also for group bookings in its private dining room. The Crocodile Hunter Lodge's grounds also spans more than 3000 native trees and shrubs, including greenery that provides food for species such as the endangered glossy black cockatoo, with sustainability and conservation is a big focus. Find The Crocodile Hunter Lodge at 88 Irwin Road, Beerwah, Queensland. For further information, or to make a booking, visit the venue's website.
Tucked away within the fairly hard-to-find Next Hotel in Melbourne's CBD is La Madonna, a contemporary Italian and Chinese-inspired restaurant and bar. The bar gives off old-school cigar room vibes, with a long marble-topped bar, brown leather Chesterfield couches and a barrel room where the crew ages their own whisky and negronis. As the bar is fairly hidden (you'll only find it if you're looking for it), La Madonna is a quiet space with mostly hotel guests and city workers sipping on cocktails. It's where you go to chill with some mates after work and properly hear each other. You can either grab some small bites — think fried polenta with white anchovies, salt and vinegar zucchini fritto and grazing platters aplenty — or head into the main restaurant for a proper feed. Paul Turner (ex-Cutler & Co) is running the kitchen here, pumping out eats described as Milan meets Beijing. We'd say there's more Milan on the menu, but the dishes where Chinese flavours feature are where La Madonna really shines. The best example of this is the famed duck crown that's been aged on-site and covered in an Aperol glaze. The juicy aged meat is perfectly balanced by the crunchy skin and sticky glaze. It's the best duck we've had in a very long time. Other top eats include house-made gnocchi tossed in kimchi, broccoli and fresh curds, grilled miso eggplant and the john dory fillet served with braised cos, seaweed and mousseline. Surprisingly, even though it's a fine-diner, La Madonna is incredibly generous with the portions — like any good Italian restaurant should be. It's a proper hidden gem in the city, rising well above most hotel restaurants and bars you tend to find in Melbourne.
The National Gallery of Victoria isn't just good for art — it's also good for a bit of wining and dining, with cafes across all three levels and the Garden Restaurant on the ground level, too. The gallery's Tea Room on level one is good for you if you've brought your mum along and she's mentioned she'd love a cup of tea five times so far, or for you, if you just want to treat yourself to something a bit fancy. The high tea option puts fresh finger sandwiches on the table (poached chicken, leg ham, free-range eggs and cold smoked Tasmanian salmon) as well as homemade croquettes and mini quiches. As far as sweets go, there are scones, as well as pistachio macarons and yuzu meringue tarts. The high tea is served with a glass of bubbly and a pot of tea or coffee. It's a surefire way to make even a routine trip to the gallery a little bit special. [caption id="attachment_671242" align="alignnone" width="1920"] Visit Victoria[/caption]
One of the greats of the Aussie comedy industry, Josh Thomas, has graced our eyes and ears with his two television series Please Like Me and Everything's Gonna Be Okay, his podcast Josh Thomas and Friend and his standout standup career. Said standup career is returning to our lives with his newly announced 2024 national tour Let's Tidy Up. In this show, Josh tidies up, which isn't usually particularly gripping entertainment. Unless it's difficult, and for Josh, it's supposedly impossible, akin to defying gravity and reversing the tides. But he also promises more topics — like gardening, gophers and a love story. The tour starts in Sydney at the Sydney Opera House from Wednesday, January 31 to Sunday, February 18. Then Josh will move on to visit Canberra, Hobart and Newcastle for one-night-only shows in late February. He'll set up shop at Adelaide Fringe Festival from March 5—10, then hit Cairns and Perth for one-night-only shows in March and April. There'll be several shows at Melbourne Comedy Festival from April 9—21, a one-night-only show in Toowoomba on Wednesday, May 1 and finally the Brisbane Comedy Festival from May 2—5. And as a special offer for you, dear reader, you can get 20% off your tickets with this limited time offer to select shows in Sydney, Melbourne and Brisbane. 'Let's Tidy Up' is playing at the Sydney Opera House from Wednesday, January 31 to Sunday, February 18. For more information or to get tickets, visit the website.
Historically, 'beautiful' is probably not the first word you'd pick to describe your local butcher shop. But then again, Victor Churchill isn't your average meat store. For Sydneysiders, the name is a familiar one, with the butcher's OG Woollahra site an eastern suburbs staple since opening in 2009. Anthony Bourdain famously once called it 'the most beautiful butcher in the world'. And now, it's Melbourne's turn, as the Victor Churchill stable expands to include a new southern flagship on Armadale's High Street. Opened this month in a former bank, the new store will more than 'meat' your expectations of a butcher, boasting a specialty charcuterie counter, wine bar, grocery corner, retail booze offering and lunch counter, along with its premium curation of meat products. It's an undeniably dapper space, too, all warm timber, green marble floors and chic copper accents, with dry-ageing meat hung theatrically as if in a gallery. [caption id="attachment_832900" align="alignnone" width="1920"] Pete Dillon[/caption] The brand is a family affair, founded and run by Anthony Puharich and his fourth-generation butcher father, Victor. And together they've built some serious pedigree, with their wholesale business Vic's Premium Quality Meat a longtime supplier of top Melbourne restaurants including Attica, Flower Drum and Grossi Florentino. Here at the new Armadale outpost, Victor Churchill is continuing its legacy of serving top-quality protein sourced from leading Aussie producers. As with its sibling, the store also does away with the traditional physical butcher's counter, in an effort to make the shopping experience more inviting and personal. The aforementioned wine bar is an intimate, 12-seat space at the back of the venue, where you can settle in for a glass of vino, a cocktail and — from next year — dinner. Here, a Josper charcoal-fuelled rotisserie, charcoal oven and basque grill will guide a menu filled with top-notch meat, charcuterie and seafood. Think, steak tartare, prawn cocktail and lobster pulled fresh from the tank. [caption id="attachment_832905" align="alignnone" width="1920"] Pete Dillon[/caption] Meanwhile, your future picnicking endeavours will be well serviced by the bumper charcuterie counter, which is stocked with an ever-evolving selection of house-made patés, terrines and snags, plus savoury goodies whipped up by the house pastry chefs. While you're there, you can shop a considered retail curation of seasonal produce, pantry staples and wine. And you probably shouldn't leave without grabbing one of the signature lunchtime rolls, loaded with rotisserie chicken or hot roast beef. Find Victor Churchill's new Melbourne flagship at 953 High Street, Armadale. The store is open 9am–6pm weekdays, 8am–6pm Saturdays and 9am–5pm Sundays, while the bar is open 12–6pm Mondays–Saturday and 12–5pm Sundays. Images: Pete Dillon, Paul Gosney (interiors)
If you only managed to watch a handful of 2021's best new TV shows, odds are that you still saw one knockout newbie starring Jean Smart. The veteran actor turned in two stellar performances in two exceptional television series last year, starting with murder-mystery drama Mare of Easttown, then following it up with comedian-centric comedy Hacks. Clever, hilarious and insightful, the latter earned her both an Emmy and a Golden Globe, too, and deservedly so. And, if the about-to-drop season season of Hacks proves anywhere near as great, she might just repeat both feats in the next 12 months. It's obviously impossible — and also flat-out ridiculous — to pick whether someone will nab a shiny trophy for their work based on a trailer alone. Smart was that phenomenal in Hacks' first season, though, so it's a fair prediction even without seeing any upcoming footage. In the just-released full sneak peek for season two, she's once again playing seasoned Las Vegas comic Deborah Vance, of course, who viewers saw notch up 2500 shows in last year's episodes. Now, after taking stock of her career, the character is headed out on the road. Still by the acerbic Deborah's side: Ava Daniels (Hannah Einbinder, North Hollywood), who started as her assistant last time around. As the first season charted, the chalk-and-cheese pair hardly got along. Deborah is a comedy legend, while Ava is a 25-year-old who made the move to Hollywood, has been living out her dream as a comedy writer, but found her career plummeting after a tweet crashed and burned. That said, the series is far, far more than just an odd-couple comedy. Season two's eight episodes will follow the duo as they workshop Deborah's new standup set around the US — and will start dropping Down Under on Friday, May 13 via Stan. They'll arrive the same day as they air in America, in fact, which means that you'll be watching two episodes per week rather than binging on all of Hacks' next season in one go. Also returning: Broad City's Paul W Downs as Deborah and Ava's mutual manager Jimmy, Megan Stalter (The Megan Stalter Show) as his clueless assistant Kayla, It's Always Sunny in Philadelphia's Kaitlin Olson as Deborah's daughter DJ, Carl Clemons-Hopkins (The Chi) as Deborah's Chief Operating Officer Marcus and Christopher McDonald (Ballers) as casino owner Marty. They'll be joined by Hacks newcomers Laurie Metcalf (Lady Bird), Martha Kelly (Euphoria), Ming-Na Wen (The Book of Boba Fett) and Susie Essman (Curb Your Enthusiasm), as well as guest stars Margaret Cho (The Flight Attendant) and Devon Sawa (Chucky). And if you're wondering why Hacks has proved so ace so far — other than Smart and her co-stars — it was created by three of the talents behind Broad City: writer Jen Statsky; writer/director Lucia Aniello; and Downs, who does double duty in front of and behind the lens. Check out the trailer for Hacks season two below: Season two of Hacks will start streaming via Stan from Friday, May 13. Season one is available to stream now. Read our full review of season one.
After its inaugural take in 2017, Pitch Music & Arts Festival is coming back in 2019, this time with an even bigger lineup of electronic acts and visual art on display. The four-day event will again take over Mafeking — about three hours northwest of Melbourne — from Friday, March 8 to Monday, March 11. The BYO camping festival is brought to you by the team behind Beyond the Valley, who will set up a satellite community out in the bush and invite festival-goers to pitch a tent — with glamping setups on offer — then fully immerse themselves in the weekend's festivities. Those festivities primarily centre around the live music offering, with 45 acts already announced (up from 30 in 2017) and more to follow. The 2019 international lineup features UK techno trendsetter Daniel Avery, the State's emerging techno heavy hitter Avalon Emerson and live electronica by Germany's David August. Denmark's DJ Courtesy, UK dance king Denis Sulta and warehouse techno DJ Eclair Fifi also make the docket, alongside local Aussie acts like Toni Yotzi, Banoffee and 30/70 live. You can check out the full lineup here. On the arts side of things, you can expect CGI, spacial design and light installations from a host of Australian artists and creative companies, all of which are arranged to interact with the festival at large. Pitch Music & Arts Festival will run from March 8–11, 2019, in Mafeking, Victoria. You can register for pre-sale tickets here — they go on sale at midday on Tuesday, October 30.
Whether you think that David Brent was awful, awkward or a bit of both, Britain doesn't have a monopoly on cringeworthy bosses. Accordingly, after the original UK version of The Office proved a huge hit two decades ago, more versions of the workplace comedy were always going to follow around the world. The American series became even more popular, and everywhere from Canada, France and Germany to Israel, India and Poland have similarly given the idea a go. Next stop: Down Under, thanks to the just-announced The Office Australia. This'll be the 13th international take on the show, and it's coming to Prime Video sometime in 2024. Yes, the fact that it has Australia in the title is already a bit clumsy. Clearly, the Aussie spinoff gets the brief. Move over Brent, and also Michael Scott — it's now Hannah Howard's turn to become the manager no one wants but everyone has worked for. Played by actor and comedian Felicity Ward (Wakefield), she'll oversee a packaging company called Flinley Craddick. And, when she receives news that head office is shutting down her branch — with everyone working from home instead — she's determined to keep her team together. Obviously, that won't go smoothly, or there'd be no sitcom antics to be had in The Office Australia. Joining Ward is a hefty cast spanning Edith Poor (The Lord of the Rings: The Rings of Power), Steen Raskopoulos (The Duchess), Shari Sebbens (Preppers), Josh Thomson (Young Rock), Jonny Brugh (What We Do in the Shadows), Pallavi Sharda (The Twelve), Susan Ling Young (Barons), Raj Labade (Back of the Net), Lucy Schmit and Firass Dirani (House Husbands). The Office Australia's eight-episode first season will shoot in Sydney from June, then stream globally next year, with an exact launch date yet to be revealed. Whenever it arrives, surely a stapler is going in some jelly again. This'll mark the first woman-led version of the franchise, with The Office Australia also featuring an impressive roster of female talent off-camera, including lead setup director and executive producer Jackie van Beek (The Breaker Upperers), plus head writer and executive producer Julie De Fina (Aftertaste). There's no trailer yet for The Office Australia, but you can check out clips from the UK and US versions below: The Office Australia will stream via Prime Video sometime in 2024 — we'll update you with an exact launch date when one is announced.
Waiting in line at the game for a measly beer has driven many a tormented, forward-shuffling queuer to madness. Sweating brows, heavy tsking and dancing tip toes are the marks of those desperate to balance missing chunks of team victory and avoiding sobriety. But those purveyors of everything fast and novelty, the US, have solved that pesky problem of waiting in line for your frosty beverage. Concessionaire Delaware North and Anheuser-Busch have created Draftserv, a self-serve beer vending machine because BASEBALL. Although regular beer vending machines have been a Thing for some time now, this one's a draft pourer. The slightly gaudy machines appeared at a Minnesota Twins baseball game on the weekend and caused spontaneous jigs and raised eyebrows across the joint. You pay by the ounce (per 28 grams) and the machine cuts you off if it knows you've chugged too much. Bonafide genius. Thirsty beer lovers flash their ID and buy a preloaded $10, $20 or $50 card, then head on over to the Draftserv and scan it for frothy goodness via touchscreen. The machines serve Bud and Bud Light for 38 cents an ounce (about US$4.50), which is almost, almost, almost considered beer but quintessential for sportswatching. Fancy beer drinkers can up it to 40 cents an ounce for Shock Top Lemon Shandy and Goose Island 312 Pale Ale (just under US$5). You can even order half beers. But if you try to pass that 48-ounces-every-15-minutes limit you'll be cut off, because The Machine Knows. "It's a way to engage with the customer and allows the fan to have greater control of what they're drinking," said Jerry Jacobs Jr., principal of Delaware North. "There's obviously some novelty value to this, but it also allows people to pour what they want. If they want half of a cup, that's all they will pay for." Whether or not the machines will make it to Australia remains to be seen, we'll just have to chug a few self-serve beer slushies while we're waiting in line. Via ESPN and Gizmodo.
Music is used in every given scenario: weddings, birthdays, parties. Now, thanks to a pair of intuitive electrical engineering students, the power of bass can be used in a more practical way - dousing flames. Seth Robertson and Viet Tran from George Mason University in Virginia have invented a fire extinguisher that uses low-frequency sound waves to engulf a blaze. Instead of an air tank spewing out foam, water and chemicals, the device uses has a loudspeaker the size of subwoofer to pump out sound waves. It produces a low hum like a regular blast of air, that when pointed in the right direction, will make flames vanish. As well as of being an everyday utility, the extinguisher has the potential to be used in outerspace, where sound waves can be directed without gravity, in comparison to normal extinguishers that would spread chemicals in a disorderly fashion and possibly damage equipment. Despite initial doubt from classmates and professors, the pair now have a preliminary patent application and backing from the university.
Talented pooches have been barking their way to big-screen stardom since the birth of the medium, and Cannes Film Festival even gives out awards for ace pupper performances. In Australia for a few years now, we also celebrate the intersection of canines and cinema — via our very own dog-themed movie showcase. At the Top Dog Film Festival, doggos and puppers cement their status as humanity's favourite film stars in a touring program of pooch-centric shorts. For a couple of hours, dogs will leap across screens in a curated selection of heartwarming flicks about humanity's best friend. Over the last few years, the lineup has included films about dog-powered sports, dogs in space, dogs hiking through the desert, senior dogs and more — and also dolphin-spotting dogs, animal actors and mountain pups. In 2025, the festival hits Melbourne's Astor Theatre at 7pm on Tuesday, August 26 — and rushing after tickets the way your best four-legged friend rushes after a frisbee is recommended. Given how much we all love watching dog videos online, not to mention attending pupper-centric shindigs in general, this event is certain to be popular. You'd be barking mad to miss it, obviously.
Seeing the Great Barrier Reef sits on every Australian's bucket list, especially given that the thriving underwater expanse is under threat from climate change. And while most of us have been content to simply swim, snorkel or sail through it — or stay in the Whitsundays and gaze out at it from a sandy beach — visitors to Queensland's far north can now spend a night underwater. Get ready to sleep under the sea at Reefsuites, the Great Barrier Reef's very own underwater hotel. It's not the first space of its type around the world — a resort in the Maldives, submerged villas in Dubai and a room at an African hotel all boast similar experiences — but it is the first at this Aussie natural wonder, and in Australia in general. Launching on Sunday, December 1 as part of a new floating pontoon called Reefword — which is moored at Hardy Reef, around 40 nautical miles from Airlie Beach — Reefsuites features two underwater rooms that can sleep four in total. Guests can choose betweeen king double or twin single options, and each room comes with floor-to-ceiling views of the Great Barrier Reef and its marine life. Those underwater vistas are a highlight not only in the bedrooms, but in the attached private ensuites A stay onsite includes all meals, most beverages (beer and wine are part of the package, but cocktails will cost you extra), a night dining experience under the stars, a guided snorkelling tour and a semi-submarine tour, and access to the underwater observatory. Naturally, it doesn't come cheap. Enjoying all of the above will start from $799 per night per person for a double booking (two people in a room), or $1199 for a single — and that covers a stay from 4.30pm on the day of arrival until 2.30pm the next day. As for the $8 million Reefworld pontoon itself, it's a partnership between Cruise Whitsundays and the Queensland Government, and has the capacity to host 300 visitors per day. Measuring 12 metres by 45 metres, it's designed as a hub for diving and snorkelling — as well as a place to stay — and also offers guests access semi-submersible vessels. Announcing the project back in August, Queensland Tourism Industry Development Minister Kate Jones noted that Reefworld and Reefsuites will add something new and unique to the popular tourist hotspot. "This will give more people the chance to see the Great Barrier Reef and will allow tourists to experience this natural wonder in new ways." The aim, of course, is to ramp up tourism, with an extra 60,000 visitors per year expected thanks to the new attraction. For more information about Reefsuites, or to book a stay, visit the Cruise Whitsundays website. Images: Cruise Whitsundays.
When Bong Joon-ho makes a new movie, the world takes notice. It has never paid quite as much attention as it has to Parasite, though. Since premiering at the 2019 Cannes Film Festival, the twisty Korean thriller has picked up the Palme d'Or, the Sydney Film Festival Prize, a Golden Globe, plenty more awards and nominations, rave reviews and an enormous cult following. And rightly so. It's best movie of the past year — a call we don't make lightly. It seems that no one can get enough of this dark and devious film, its class war between rich and struggling families, and the scathing mayhem that follows. Case in point: more than six months after the film first released in Australian cinemas, it's still showing on big screens around the country. And in the near future, Parasite will be flickering across small screens, too — not just via DVD or streaming, but adapted into a new limited TV series for HBO. As revealed by The Hollywood Reporter, the US network is set to join forces with Bong to turn Parasite into a television show, winning the rights over Netflix. Bong will adapt and executive produce alongside Adam McKay — the director of Anchorman: The Legend of Ron Burgundy, its sequel and a heap of other Will Ferrell-starring comedies, who then made the jump to more political and topical fare with The Big Short, Vice and TV's Golden Globe-winning Succession. The final deal on HBO's iteration of Parasite hasn't been done as yet, so there's no word on whether it'll be an English-language remake or a Korean-language follow-up to the film. Casting and timing haven't been revealed either. Parasite marks the second of Bong's stellar flicks to earn a small-screen version, with an American TV show-based Snowpiercer due to hit screens this year — although Bong himself isn't involved with that adaptation. Need a reminder of Parasite's greatness? Check out the film's trailer below or go see it in cinemas. https://www.youtube.com/watch?v=SEUXfv87Wpk Via The Hollywood Reporter.
If heaving steins of frothy, golden beers paired with generously proportioned, hearty schnitzels or freshly baked pretzels are your idea of a good time, you're probably a big fan of Oktoberfest. The German folk festival has been adopted worldwide, bringing its music, food and drinks aplenty to the masses. Melbourne's unofficial home of the festival is Hofbräuhaus, where the celebrations are returning for the 56th year in 2024. The special offering will run from Saturday, September 21, to Saturday, October 26. That's six weeks of celebrations, kicking off with an opening night party. The activities run most of the day, and you'll get the most action from 6.30pm from Thursday to Sunday, but the party starts as early as 12.30 on Saturdays, with imported German Biers poured (and tapped directly from the keg) and crumbed-to-order schnitzels plated to live music. If the bands are in full swing, guests can also take part in Stein-carrying competitions. The prize? A year of free beer, of course. Those activities and menu items will be available on a varying schedule for the entire six-week period, with more competitions (yodelling, anyone?) and over 16 exclusive German Biers imported for the event, singalongs in English and German and the promise of a fully immersive Oktoberfest experience. Prost! Oktoberfest celebrations will run at Hofbräuhaus from Saturday, September 21, to October 26. For more information, visit the website.
One of 2024's cinema trends has a very specific number in mind: 45. It was four-and-a-half decades ago that the Mad Max franchise first rolled onto the big screen, with creator/writer/director George Miller bringing it back this year for its fifth instalment via Furiosa: A Mad Max Story. It was also 45 years ago that no one could hear you scream in space, as Ridley Scott's OG Alien advised — and it too has a new movie reaching silver screens in 2024. The latter: Alien: Romulus. While watching both the initial teaser and just-dropped full trailer for the latest entry in the franchise, can anyone hear your shouts? The answer to that question depends on where you are and who you're with, of course — we're presuming that you're not in space — but the sneak peeks themselves firmly aim to unsettle. Across the two glimpses, there's an eerie derelict space station, dark hallways aplenty, screaming and a heap of blood. There's also plenty of facehuggers, chestbursters and xenomorphs. Behind the lens, albeit producing rather than directing, Scott (Napoleon) remains involved. The seventh Alien film, and the ninth including the Alien vs Predator movies, Alien: Romulus arrives in August seven years since Alien: Covenant gave the seriesf its last entry. While Scott originated the space-thriller saga back in 1979, then returned to it with 2012's Prometheus and 2017's Alien: Covenant, now Evil Dead, Don't Breathe and The Girl in the Spider's Web filmmaker Fede Álvarez is on helming duties — clearly taking his cues from Scott's work, though, right down to specific mirrored shots. The setup: when space colonisers go a-scavenging through an abandoned space station, they get more than they bargained for. Given Álvarez's background in horror, it comes as no surprise that he's tapping into the genre for his Alien effort, just as Scott did with his. Álvarez also wrote the screenplay, reteaming with Rodo Sayagues, who he worked with on Evil Dead and Don't Breathe — and who directed Don't Breathe 2. Priscilla and Civil War's Cailee Spaeny leads the group of folks doing battle with vicious extra-terrestrials, starring alongside David Jonsson (Rye Lane), Archie Renaux (Shadow and Bone), Isabela Merced (Madame Web), Spike Fearn (Aftersun) and feature first-timer Aileen Wu. Separate to Alien: Romulus, the Alien franchise is also expanding to TV, with a new series from Fargo's Noah Hawley in the works, as set three decades before the events of the first film. Featuring Sydney Chandler (Don't Worry Darling), Alex Lawther (Andor), Essie Davis (One Day) and Timothy Olyphant (Justified: City Primeval), it isn't expected until 2025. With all things Alien set to stalk across both the big and small screens over the next couple of years, staying away from this saga isn't in anyone's futures. Check out the full trailer for Alien: Romulus below: Alien: Romulus releases in cinemas Down Under on Thursday, August 15, 2024. Images: courtesy of 20th Century Studios. © 2024 20th Century Studios. All Rights Reserved.
Moon Dog recently shared its detailed plans to build a new 800-person wild west-themed Footscray brewery bar, but it has also quietly announced two additional locations that are in the works. Doglands, an enormous 1,500-person bar, will be coming to the Marvel Stadium concourse sometime soon, hopefully breathing some life into the oft-forgotten Docklands. [caption id="attachment_844719" align="alignnone" width="1920"] Sam Schultz[/caption] We are yet to know the theme and exact layout of the new brewery bar, but if it is anything like Moon Dog World or Moon Dog Wild West, it will be big, fun and full of beer. Also on the cards, is a waterside site in Frankston. For this new venture, we have no information yet other than the fact it will be in Franga but you can guarantee the team will be pouring a heap of their award-winning beers and much-loved seltzers from each spot. [caption id="attachment_850486" align="alignnone" width="1920"] Moon Dog World in Preston[/caption] For more information about Moon Dog's upcoming bar openings, keep an eye out on the venue's website. Top image: Moon Dog World by Kate Shanasy and construction at the new Moon Dog Wild West site by Sam Schultz.
It could've been stickier than a marmalade sandwich. After directing the first two Paddington movies so delightfully, and either writing or co-writing both 2014's Paddington and 2017's Paddington 2 as well, filmmaker Paul King opted to dance with another beloved pop-culture character instead of making a third date with a certain adored Peruvian-in-Britain bear. Wonka, starring Timothée Chalamet (A Complete Unknown), as the chocolatier, was also a gem. With Dougal Wilson making his feature helming debut, Paddington in Peru has turned out charmingly as well. Wilson has been behind the lens for decades on music videos, short films and advertisements. If you've seen the clips for 'Fit But You Know It' by The Streets, 'Take Me Back to Your House' by Basement Jaxx, Dizzee Rascal's 'Dream', Jarvis Cocker's 'Don't Let Him Waste Your Time', 'Psyche' by Massive Attack, Goldfrapp's 'Happiness' and 'Life in Technicolor II' from Coldplay — among other vids — then you've seen his work. He's received Grammy, MTV Europe Music Awards and UK Music Video Awards nominations for his efforts, but taking over a big bear hug of a cinema franchise that's adored by audiences of all ages (and, in The Unbearable Weight of Massive Talent, by the one and only Nicolas Cage) is quite a task. Was it daunting? How did Wilson approach it, knowing how much viewers have warmed to all things Paddington on the silver screen over the last decade — and knowing, of course, the character's history on the page, where the Michael Bond-created critter first popped up in 1958, too? "You try not to make the pressure make you have a nervous breakdown, really," he tells Concrete Playground with a laugh. While he was new to the series, he was "surrounded by a very good team who all worked on the previous films", which assisted. "I had the same cinematographer, Erik Wilson [who also lensed Better Man], as the first two films. Same producer, Rosie Alison [Wonka], who is fantastic. Mark Burton [an Aardman Animations veteran, including Wallace & Gromit: Vengeance Most Fowl] was one of the writers who worked on the first two films. And James and Jon, two of the other writers, Jon Foster and James Lamont [the creators of animated series The Adventures of Paddington], they'd also contributed to some of the writers' rooms on the first two films. Then I had the director of animation Pablo Grillo [The Little Mermaid], who was a huge part the first two films." "So I had a really good team to help me, who could, if not reassure me — because it's not something you should be reassuring yourself, but it's hard to work on that, and you just have to chip away and keep working and craft it as best you can — but they had been there before, so they were a great team to work with," Wilson continues. For the franchise's third instalment, Wilson, his veteran Paddington colleagues, plus a cast still led by Ben Whishaw (Black Doves) turning in a lovely and lively vocal performance, all have new terrain to traverse. Although Paddington hails from Peru, he's one of London's most-famous animal residents, and so the first two movies largely set their narratives in the UK. With a roster of actors that's added Emily Mortimer (The New Look) as Mrs Brown, taking over from Sally Hawkins (The Lost King) in the first two pictures, and also enlisted Olivia Colman (Wicked Little Letters) as the singing Reverend Mother at the Home for Retired Bears and Antonio Banderas (Babygirl) as riverboat captain Hunter Cabot, the third film unfurls as an adventure in the South American jungle. Paddington and the Browns (including The Agency's Hugh Bonneville, Houdini and Doyle's Samuel Joslin and Man Down's Madeleine Harris) arrive to visit Aunt Lucy (Imelda Staunton, Chicken Run: Dawn of the Nugget), then find themselves searching for her — and El Dorado. The job for Wilson, then, wasn't just stepping into a heartwarming saga that King had established and then furthered so wonderfully — it was also upping the stakes, playing with a new location, taking inspiration from Buster Keaton and Werner Herzog, and more. We also chatted with the filmmaker about how he came to make his feature directorial debut with a Paddington flick, what excited him most about the job, balancing the slapstick and emotionally resonant elements of the movie (and others), the importance of Whishaw's voicework, the cast's new big names, how his music-video background assisted and more. On How Wilson Came to Make His Feature Directorial Debut with a Paddington Movie "Well, I was quite happy doing short things. They're great fun and they're very distracting. I had made various attempts to start on a longer-form thing, but I'd always haver about whether I got the story right or get paranoid that it wasn't. And then another short thing would come along and it would be more of a delay before the long thing ever got made. But I was working on another thing — a much-smaller long thing. Then this opportunity came up and I thought 'well, unlike other attempts I was making with features, I knew this would definitely happen' — because they really wanted to make a third film. And while it wasn't what I anticipated the first thing I would maybe try to do in long-form, I realised it was a great opportunity, and as did lots of my friends. They said 'oh, it's Paddington, you've got to do that'. Also I really admired what Paul had done on the first two films. Paul was off doing Wonka, so wasn't going to do the third one. And I really admired the style. I thought the way he told those stories, the way he coordinated the world and created the character Paddington himself, and the tone of the scriptwriting was so good. And that the humour was great. It had this lovely, quite unique modern-British comedic sense. And, despite being a family franchise, he'd really made it quite smart, and you could be any age to enjoy it. So I admired all these things and I thought 'well, I should probably take this opportunity'. But I was really scared because the first two films are really cherished and really good — and very well done. And I was under no illusion that this would be easy. We had to work on the script quite a lot with the writers as well, and develop that. And then it's a real technical challenge — and we were taking Paddington out of the environment in the first two films and taking him somewhere completely new, where he'd only been fleetingly in the first two films. So yeah, it was terrifying. But I felt I had to try." On What Excited Wilson the Most About Diving Into Paddington's World "I find the first two films really funny, but also quite emotionally powerful, and I was excited to try — I guess, as well as being terrified, I was excited to try to create something that if it was at least half as good as those two films, then I felt like I would have been really happy. So that was exciting knowing that we were aspiring to make something that could be good. Specifically, I was very excited by the mixed-media approach that Paul had started in the first two films. Using animation for some parts, I loved that in my short-form work. I was really excited about how intricately and brilliantly the action sequences were done in the first two films. I was keen to get my teeth into the slapstick sequences in this film. I was very excited by the approach to the design of the cinematography and the heightened style which we were going to try to continue. It's challenging because we were in London, and London is a big character in those first two films. And it does really, the locations and buildings in London really contribute to the style. But we are obviously in a natural environment in Peru. So it was a challenge, but I was also excited to try to continue the style of the first two films in an environment that was novel to them. We tried to that by setting it within an Incan labyrinth that sort of became our stand-in for how the National History Museum works in the first film, or Hunter's riverboat becomes the same as the train in the second film. It was just trying to find proscenium arches for certain scenes that continued he style of the first two films in a way that was as fun and as intricate as they did." On the Juggling Required to Make a Warmhearted, Globe-Crossing, Treasure-Hunting Mystery Adventure That's Also About Identity, Acceptance and Kindness "If you don't have both, then it will feel quite one-dimensional. So while Paddington will always mess things up or get himself in quite serious spots of bother, it's all because he means well and it's all because he's trying to do the right thing. So that does guide you in the script-development process. Also, we were completing the circle of the trilogy, which was basically the story of an immigrant who's looking for a home, who's trying to find their home — and then in the second film, someone who becomes part of a wider community but loses that place and has to fight to get it again, and in doing so finds out finds out a bit more about himself. And in the third film, it's about the experience of an immigrant who has to ask themselves where their home really is and what home means. So there was a deeper theme lying behind all the fun and the action, and we had to bear that in mind the whole time. And it obviously comes into focus towards the end of the film where Paddington finds out something about how he ended up in that river in Paddington 2 and where he might really be from. So there was always the undercurrent of that guiding us, and Paddington's outlook on life guides us. Even in the smallest details, like there's a scene where he tries to drive the boat and ends up — spoiler alert — ends up sinking the boat by accident, and that's all just because he wants to help. He wants to do the right thing. And so it often steers you, his outlook on life. It's not gags for the sake of gags. It's gags because he's trying to do the right thing at that moment." On the Scene in Paddington in Peru, Amid the Film's Many Visually Imaginative Sequences, That Wilson Is Most Pleased About "There's a few, but the one I thought was very ambitious but hopefully we carried it off was the finale chase at the end of act three — where Paddington's being pursued by the character Hunter, played by Antonio Banderas, around an Incan labyrinth by an Incan citadel, which is very inspired by Machu Picchu. During the research and location-scouting phase of the project, I went to South America for two months and I saw a lot of Incan architecture. And I went to Machu Picchu twice and explored those ruins, and I realised that would be a great place for a chase and for all sorts of interesting physical comedic moments to develop. In the same way as Paul drew on Chaplin in Paddington 2, I'm an enormous fan of Buster Keaton, and we worked in some Buster Keaton — there's a literal homage to the famous moment where the wall falls on Buster Keaton in Steamboat Bill, Jr within this chase. Then there's references to Raiders of the Lost of the Ark. There's nods to Aguirre, Wrath of God and Fitzcarraldo. But that particular chase around the Incan ruins, that was really fun to do because we had to work out a sequence of comedic moments within a chase that we could then apply to an Incan citadel, and it just felt like a very good expression and condensation of the idea of Paddington in Peru. It's like, let's take Peru and put Paddington inside and hopefully fun will ensue." On Not Really Needing to Guide Ben Whishaw's Vocal Performance — or Imelda Staunton's as Aunt Lucy "They're somewhat old hands at this now, because they've both done two films already. And they're also just brilliant actors. So I often don't really have to tell them really much to do. I just, we get the first few performances, we might develop it, get some options — because sometimes you also don't quite know in the recording session with them exactly what will feel right within the edit, until you get the recordings back to the edit suites and then play those performances off against the other cast or the particular cut you have. But no, they really inhabit those characters. Ben is the heart and soul of Paddington. And when you hear his voice — because we didn't have his voice right at the start, we started just with scratch dialogue. You do a read-through with stand-ins. And often in the edit, it's sometimes my voice doing Paddington's voice, just because we needed Paddington to say something in particular we don't happen to have as a recording. So in the later stages of the edit, we start doing the voice sessions with Ben and with Imelda, and then those voices go in. And also, you don't have Paddington's animation to begin with. You just might have some — again, sometimes it's my incredibly crude drawings, which my editor Úna Ní Dhonghaíle [Young Woman and the Sea] had to up with. She had to do chase sequences where it's just this frozen awful drawing of Paddington. But then when you put Ben's voice on it, somehow it absolutely comes alive and the emotion sings through. And the same with Imelda. I think we got her voice quite late in the day and suddenly the scene just came alive when we put it on. I don't have to tell them to do very much. It's very, very easy with those actors because they are just so expert." On How Crucial Whishaw's Voice Is as Paddington, Especially Given That Colin Firth Was Initially Cast for the First Film "There's a magic to Ben's performance and it just shows you that it's very difficult to put your finger exactly on what it is that that really works when you see that animation combined with that voice. And I think it was very hard thing to predict. He wasn't originally the voice of Paddington, and it was switched during the editing of the first film, I believe — and then once you hear it, you think 'well, how could that ever have been a different choice?'. I think the fact that it maybe wasn't obvious when Paul and his team were making the first film, who Paddington's voice should be, is part of the magic of why Ben works. And it's quite hard to articulate why he works. He just has this — there's an element of wisdom to his voice, but there's also an element of childish innocence to his voice. It's a lovely, subtle, slightly contradictory combination. And there's a real intimacy to his performance. And also you really believe the character and you believe he cares. That's just something interwoven in the fabric of Ben's performance. What exactly, how exactly he does that, I don't know. That's the magic." On Adding Olivia Colman and Antonio Banderas to the Cast "We needed an amusing British nun who just felt like she was in a Paddington film. And as soon as someone mentioned Olivia Colman, we couldn't really think of anyone else, so that just seemed to click together. Then we sent her the script and asked if she wanted to do it, and within the same day we got a response: 'love to, I'm already learning the guitar'. So that was it. It was pretty simple. Antonio was equally keen on the project. We needed a charming Spanish riverboat captain who was quite swashbuckling, and of course your mind immediately turns to Antonio Banderas. So they just seemed the right, obvious choices for two archetypal roles. And luckily, they were very, very into it." On the Sense of Responsibility That Comes with Making a Heartwarming, Joyous Film That Offers Viewers an Escape — But Also Have Some Darkness in It "It's a big responsibility. And it's lovely to see the reactions of people who've seen the film and have found joy in it and found their spirits lifted by it. That's a wonderful thing to do. Obviously they're joyful, but you have to have the dark moments as well in order for the joy to work. And also you can't slap the joy on in too saccharine a manner, otherwise they won't feel authentic. But yes, they have a very positive outlook on the world and that all just emanates from Paddington's character, which he has an optimistic view of the world. He always looks for the good in people, and he always believes that if we are kind and polite, the world will be right. So the joy from the films, I think it all emanates from Paddington's worldview and his ability to change people. He often doesn't change that much himself, but he can change other people for the better. He'll find the good in people and change them." On Why the Paddington Films Have Struck Such a Chord with Audiences "I think basically because Paul got it right. He managed to get the character right, managed to get the tone of the humour right and managed to get the execution right. It could have been done differently, but it was just very, very smartly done. And again, you mentioned Ben Whishaw — Ben Whishaw just inhabits Paddington. And then the animation, the director of animation on all the films has been a brilliant guy called Pablo Grillo, and the combination of the way Paddington is designed and moves and animates and emotes with Ben's voice is just something, there's something magical there, and it was to the credit of all the team on the first two films that they just managed to make that resonate. So, I can't take the credit for that myself. I think that's just something that I inherited and I did my best to continue." On How Wilson's Background in Music Videos Helped with Directing His First Feature "That format of filmmaking, short-form, especially short-form set to music, is — well, the way I've done it, is there's a lot of attention to detail because you only get a short amount of time to show stuff. I also try to put stories into these pieces of videos. And I love it when the pieces are as packed as possible and as intricate as possible. So I really enjoyed applying that to the sequences in Paddington. I also thought, for the first two films, they do feel very carefully crafted and every moment seems to count. So it didn't seem too different a style for this film. Although, story is king and the story comes from the script, so I very much had to respect the scenes where the actors have to deliver a story — but I love trying to entwine that with style and design, and how it was directed and how the shots slotted together. Then it really came into its own when I was doing an action sequence or a slapstick sequence, or even a musical sequence, obviously when the Reverend Mother sings a song. So it really helped, but it was also a good new experience to do long scenes with actors performing and delivering great performances. That was maybe something that I hadn't experienced as much when I did short-form of stuff, but I really enjoyed it. I really enjoyed attacking that sort of scene as well." Paddington in Peru released in Australian and New Zealand cinemas on Wednesday, January 1, 2025.
A holiday at a luxurious resort in Thailand is usually relaxing. For Walton Goggins (Fallout), Carrie Coon (Ghostbusters: Frozen Empire), Jason Isaacs (The Crowded Room), Michelle Monaghan (MaXXXine), Leslie Bibb (Palm Royale), Parker Posey (Mr & Mrs Smith) and more in The White Lotus season three, however, getaway bliss might prove elusive. In 2025, TV viewers will find out what the hit anthology series has in store for its latest batch of travellers. Fancy a sneak peek now? HBO has dropped a new teaser trailer for its upcoming slate. The latest glimpse at what the US network has on the way covers a heap of series, so The White Lotus season three only features briefly. But Goggins peers at the sights, Bibb and Monaghan mosey through a crowd, and Posey and returning cast member Natasha Rothwell (How to Die Alone) also pop up, while Lisa from BLACKPINK welcomes guests. Exactly when The White Lotus returns hasn't been revealed as yet, other than sometime in 2025. Also arriving next year, and also debuting never-before-seen footage in the clip: IT prequel series Welcome to Derry, season four of Hacks, season two of The Rehearsal, a new show led by Bottoms and Saturday Night's Rachel Sennott, two-part documentary Pee-Wee as Himself, The Righteous Gemstones season four, Peacemaker season two, The Pitt with ER veteran Noah Wyle, Mark Ruffalo (Poor Things)-led FBI series Task and Tim Robinson (I Think You Should Leave with Tim Robinson) comedy The Chair Company. The second season of The Last of Us, new Game of Thrones prequel A Knight of the Seven Kingdoms, season three of And Just Like That... and season three of The Gilded Age also feature in the trailer, albeit without any new material, with each series joining the list for 2025. You can spot scenes from Dune: Prophecy, season three of The Sex Lives of College Girls, the animated Creature Commandos and limited series Get Millie Black, too, each of which are 2024 releases. From 2025's lineup, newcomer Duster with Lost's Josh Holloway and season two of Conan O'Brien Must Go score a look as well. Where Australians will be watching all of the above is yet to be revealed, however, given that HBO has confirmed that its own streaming service Max will launch here sometime in the first half of 2025. Watch HBO's new 2024–25 roundup trailer below: The shows highlighted in HBO's new trailer will arrive across the end of 2024 and in 2025. At present, the bulk of the network's programs stream via Binge in Australia and on Neon in New Zealand. Images: HBO.
Rooftop season has arrived and with it comes a brand-new sky-high drinking spot, complete with views across both the bay and the city. This one (sunny, openair space) sits atop the newly revamped Hobsons Bay Hotel — the latest venture from the mind behind Rustica Sourdough, Brenton Lang. Along with partners Drew Gibbs and Matt Cook, Land has transformed the former site of George Calombaris' Hellenic Hotel into a three-storey neighbourhood pub for the bayside suburb of Williamstown. Inside, a dapper fit-out by Fiona Drago gives a warm, elegant nod to the building's past, fusing custom-made tartan carpets, tan leather banquettes and splashes of green. A lofty ground-floor dining room centres around the open kitchen, while one level up, you'll find a private dining space and wraparound balcony overlooking the street. Venture further for the crowning glory: a roomy rooftop deck complete with its own bar and space for up to 100 people. With Head Chef Ben Pigott (formerly Supernormal, Cumulus Inc and Stokehouse) heading up the kitchen, you can expect big things from the venue's offering of polished Aussie pub classics. Heroing an impressive woodfire grill and rotisserie, the kitchen is plating up both a brasserie-style menu and a selection of more casual public bar eats. Hit either for elegant snacks and shares, like the crisp fried artichokes ($12) teamed with celery salt and romesco sauce, fish finger sandwiches ($10) and, of course, some Rustica sourdough ($6) served with cultured butter. [caption id="attachment_794162" align="alignnone" width="1920"] Kate Shanasy[/caption] In the dining room, you'll find yourself sitting down to the likes of a half rotisserie chicken ($32) with salsa verde and roast chook sauce, a side of charred heirloom zucchini ($14) finished with stracciatella, or one of three premium steak options ($36–90). That rotisserie is turning out more meaty delights come the weekend — porchetta on Saturdays and roast beef on Sundays (both market price_ — and for dessert, expects treats like the house-made doughnuts ($12) with rum custard and pineapple jam. Otherwise, keep it casual and pair a few pints with the likes of a cheeseburger ($21), hot chook roll ($16), or dukkah-roasted cauliflower steak ($19) with smoked hummus and fried capers. Brews from Balter and Cricketers Arms star throughout the 11-strong tap list, backed by an expansive selection of vino. Up on the roof, however, it's all about the tap wines and cocktails, including espresso martinis and margaritas to enjoy alongside the view. Images: Kate Shanasy
Brimming with all things meat, cheese and deep-fried, say hello to YOMG's newest edition. Expanding their ever-growing fro-yo empire to Glen Waverley, Yo My Goodness has launched their first savoury menu, which features burgers, wings and loaded fries. Yes, you heard right: a frozen yoghurt joint is doing burgers. And yes, they're good. "We wanted to try something different with the brand," co-owner Ryan Bova says. "The burgers complement our frozen yogurt, so customers come in for dinner and stay for dessert." And it appears that Bova is correct; opening in the middle of Melbourne's frostiest winter hasn't deterred dedicated fro-yo lovers one bit. But it's not the frozen desserts, but the burgers that have Melburnians migrating east. The menu is divided into burgers, fries and chicken wings, which Ryan jokes were a last minute addition. His passing brainwave more than pleases; the honey soy sesame wings ($10) are sticky sweet and moist enough by any standard. Pair them with YOMG's feta fetish fries ($7) — which are exactly as crispy and herbed as they sound — and you're off to a good start. Burgers are a slightly more complicated affair, with a combination of grass-fed Angus beef, pulled pork and tender chicken making welcomed appearances on the menu. There are gluten free, vegan and vegetarian options too, just to make things all-inclusive. If it's your first visit, go with the crowd favourite, the Kingsway burger ($13). With 600 grams of Angus beef, double cheese and caramelised onion between a slathering of secret sauces, you'll have to be exceptionally motivated to fit in room for fro-yo afterwards. At 180 square meters, the Kingsway branch is noticeably larger than YOMG's six other Australian stores. But with perforated pale timber and distinct gold lining, it's unmistakably Yo My Goodness. An inviting open kitchen centres the diner, with their famed frozen yoghurt lined up on clean white walls. Upside down pot plants dip low to provide soft lighting for diners. Compared to the burger-giants lurking in Melbourne's inner suburbs, you may need to pull out a few extra dollies for YOMG's greasy goodies. But for the patty-deprived eastern suburbs of Melbourne, Glen Waverley's newest burger-slash-frozen yoghurt joint more than delivers. And when there's sticky wings and salted caramel frozen yogurt involved, who are we to argue?
If your resolutions for 2023 involve being your best self in the kitchen, this year keeps bringing folks Australia's way who can definitely help. First, Israeli chef Yotam Ottolenghi made his way around the country on a speaking tour. In May, Britain's Marco Pierre White is doing the same. And, also the same month, the one and only Nigella Lawson will enjoy her latest visit Down Under. Dubbed An Evening with Nigella Lawson, this tour will see the television and cookbook favourite chat through her culinary secrets — and food in general, her life and career, and more. If you're the kind of person who starts plotting your next meal before you've even finished the last, or loves eating more than anything else, Lawson's visit will help get right to the guts of your food obsession. And, the Melbourne event at Hamer Hall from 7.30pm on Friday, May 19 will also feature a Q&A component so that you can ask Lawson whatever you've always wanted to yourself. Even when she isn't answering audience questions, Lawson will have plenty to cover — she has a hefty pile of cookbooks to her name, starting with 1998's How to Eat: Pleasures and Principles of Good Food and including 2020's Nigella's Cook, Eat, Repeat. When she hasn't been filling our bookshelves with recipes, she's been whipping through them on TV, too, on everything from Nigella Bites, Nigella Feasts, Nigella Kitchen and Nigellissima through to Simply Nigella and Nigella: At My Table. And, she's been popping up on Top Chef, MasterChef Australia and My Kitchen Rules as well.
Best known to most as the long-running antiques haven Young's Auction House, the historic site at 227–229 Camberwell Road has swapped the furniture and vintage treasures for vino and Mediterranean fare, stepping into its new role as Young's Wine Rooms. Imagined as a multifaceted wine bar and dining destination, it's the latest venture from the Klapanis family, who also brought us Hawthorn East's contemporary southeast asian hit, St Cloud Eating House. Step through the door into a space that respectfully blends old and new, with brick walls and exposed beams now married with natural tones and contemporary textures. A diverse collection of spaces makes this a spot for all occasions, from tapas and wine sessions in the Champagne and cocktail bar, to lazy lunches in the sun-drenched internal courtyard. Classic southern European flavours combine with traditional French technique for a menu that's generous and lively. You'll find a strong lineup of snacks — perhaps manchego and jamón croquettes ($6 each), harissa octopus ($14) with potato and parsley or fresh burrata ($15) teamed with basil and grilled peach. Meanwhile, the raw bar is plating up creations like a wagyu beef tartare ($17) with marash pepper and cos, and a selection of larger plates includes the likes of calamari ($27) with sultanas and radicchio and duck ($36) with carrot purée. Can't choose? A Feed Me menu is available for a very reasonably $65 a head. To match, you'll find a considered and well-travelled wine collection, with bottles from Greece and Croatia starring alongside approachable drops from both Europe and closer to home.
Rose Street Market is the famed Melbourne gem — running every weekend in Fitzroy. But the market is packing up once a month — from Saturday, February 15–Saturday, July 19 — and setting up shop at Kensington's newly developed Younghusband precinct. From 10am–3pm, over 60 stallholders will be selling a curated mix of handmade art, ceramics, fashion, jewellery, and artisan goods like distilled gin and boutique pantry items. Kensington folks are in for a real treat with this huge pop-up artisan market, which has become somewhat of a Melbourne institution over in Fitzroy. It's a sign that this oft-forgotten suburb is finally getting the attention it deserves. Just make sure you get the dates right — February 15, March 15, April 19, May 17, June 14 and July 19.
If you've never been interested in silent films, this Spanish production might change your mind — and if they are your taste, you'll be pleasantly surprised. Blancanieves, which translates to 'Snow White', is a unique interpretation of the classic Grimm Brothers fantasy. Set in Andalusia, Spain during the early 1900s when bull fighting, flamenco and romance were at their best, the film expresses all the gusto and passion of Spanish culture — even without those sultry words. The protagonist of the story is Carmen (Macarena García), the daughter of famed matador Antonio Villalta (Daniel Giménez Cacho). On the same fateful day, Antonio is injured in a bullfight and Carmen's mother dies whilst giving birth to her. Carmen, who is raised by her grandmother until her death, goes to live with the paralysed Antonio, and his nurse-turned-wife, Encarna (Maribel Verdú). As her evocative name implicates, Encarna runs a house of horrors, treating her husband and stepdaughter with cruelty while masking her own bizarre fetishes. According to the traditional story, the stepmother is insanely jealous of the budding beauty and tries to do away her. Of course, our heroine survives (with a little amnesia) and is taken in by a group of travelling dwarves who nickname her 'Blancanieves'. By accident, it is discovered that Carmen has her father's knack for bullfighting. They travel around Spain as she stares down bulls in a gladiatorial yet glamorous fashion, most notably in an emotive last torero. Dubbed "a love letter to European silent cinema", by director Pablo Berger, Blancanieves had been in his heart for quite some time. Inspired by a photograph of bullfighting dwarves, Berger started on the project in 2003. Eight years later, he got wind that The Artist, another black-and white silent film, had premiered at the 2011 Cannes Film Festival. "I almost threw my phone against the wall," he told the Guardian. The high concept was gone." If he worried that Blancanieves would look like a copycat of the Oscar winning Artist, I disagree. As do copious others; the film received ten Goya awards (the equivalent of the Spanish Oscars). Blancanieves has all the qualities of a classic silent film but with a fresh twist that keeps our modern minds guessing. By incorporating Hitchcock-type cinematography, Berger crafts a beguiling version of the traditional story that is in turns melancholy, eerie and erotic. His cast of devastatingly beautiful Spanish beauties, such as Verdú (from Y Tu Mamá Tambien and Pan's Labyrinth), makes us swoon with every lash bat and tear roll. The roles of the dwarves are also unexpected — possibilities for betrayal and even romance can be found. So if you're looking forward to a debonair don of a prince charming in this story, forget it. But with a fantastically ambiguous ending that will have you wanting more, his is a part that's hardly missed. https://youtube.com/watch?v=HanTDiiZLpg
In today's unpredictable world of infighting, internets and readily available guitar tabs, it's more probable than ever before that the biggest fan of a band will end up actually in the band. Ron Wood joining the Rolling Stones, Robert Trujillo joining Metallica, and now Jon Davison joining English progressive rock legends Yes (that's right, Yes) as their latest vocalist. "I'm still a Yes fan," he says from somewhere in Los Angeles. "I can't help it, these things happen. In instrumental sections where I'm holding back, I get caught up in thinking 'wow, here are these amazing musicians I've always admired just a few feet away from me — and I have a better view that anyone in the audience!'" With the sprightly American as frontman, the 50-million selling princes of prog are heading to Australia to perform their two finest releases, Fragile and Close to the Edge, from start to finish. I've played with bands for which these albums were like holy texts, and Davison doesn't dispute it. "Close to the Edge is, I think, based on the teachings of Siddhartha — a soul's journey through many lifetimes. It's very beautiful but there's a lament in it, about what the soul must endure, the challenges and the hard lessons we face as we go on. That's how I interpret it." There has been a "touch of the metaphysical" in most of Yes' output, and Davison still decodes their evocative and often cryptic lyrics from the stage. "It's not always a clear meaning. I approach the lyrics more emotionally I guess, but there are parts of songs that I very much relate to. 'And You And I' is heart-expanding, and I love 'Starship Trooper'. Those uplifting ones." Dotted throughout Fragile, meanwhile, are tracks focused on individual band members, the vocal showcase being 'We Have Heaven' — a gloriously overdubby affair. "I'm working on my own version of it now actually, in my home studio. I won't do any of [founding member of Yes] Jon Anderson's tracks, but I'll loop my voice a lot, and possibly Steve and Chris will do some other vocals too. We're going to make it as much of a live track as it can be." Anderson was an expectedly huge influence for Davison while he was finding his own voice, though they haven't become acquainted at any Yes parties yet. "I haven't had the privilege of actually meeting him, but a few who know him quite well say we would be good friends. I hope it happens eventually." The upcoming album will be the band's first with Davison, and they're champing at the bit to keep being, well, progressive. "I was very much encouraged by the others not to try to reference anything in the past, because then you compare and end up restricting yourself creatively. We've been aiming to only move forward and break new ground. Even in their heyday the band were making mindblowingly distinct albums, and we're aiming for that now. There's a real freshness to it; it moves in a new direction and accurately reflects this five-member line-up, just as it should." Despite being the lone American in a band comprised of people old enough to be his English dads, Davison is unfazed. "It's surreal but I seemed to fit in right away. They're very accommodating. What we share in common, of course, is the music — we both speak that language, despite our ages." And in a perfect world, would he sing in any other of his favourite bands? "I'd love to be a part of early Genesis. I wouldn't mind being Freddie Mercury for a day either, that would be pretty exciting." https://youtube.com/watch?v=_RJYxDfsvdg
If you find that your temptation to play World of Warcraft greatly outweighs any need to talk to friends, eat food or breathe fresh air, you may be suffering from an addiction to the internet. And now the detrimental effects of spending hours online may be solidified in the American Psychiatric Association's "Diagnostic and Statistical Manual of Mental Disorders," a widely-cited guide for medical practitioners and others in the field. There are proposals for internet addiction to be classified as a substance-related disorder in the manual, which is due to be published again in mid-2013. This proposal is hardly surprising, given that a recent survey of 250 people in the journal Psychological Studies found that people had a greater urge to check Facebook than have a cigarette or alcoholic beverage. So how can we do we classify somebody as a certified internet addict? Many of us use the internet for hours on end, either for leisure or employment purposes. Dr. Jerald L. Block stated in the American Journal of Psychiatry that symptoms include "excessive use... withdrawal... and negative repercussions, including arguments, lying, poor achievement, social isolation, and fatigue." Oh no. Sounds like me on weekdays. If internet addiction is indeed classified as a mental illness, it will be interesting to see how this affects the community at large. Will more people begin to blame their crimes and failures on the crippling need to get a fix of Facebook? If so, how will the legal system respond to this new-found mental illness? Furthermore, it will be interesting to see how one gets cured of internet addiction. Maybe a healthy dose of television will do the trick.
True to its name, this bar is located at the edge of some water – the waters of Hobsons Bay to be exact. Situated on the Southbank Promenade, this bar and grill has a relaxed yet elegant feel and features stunning views of the water under the compelling city lights. The waterside theme continues in the menu, with a selection of oysters and seafood on offer. Put on your fancy pants, slurp down some slippery seafood and enjoy the stunning views with a drink in hand.
Hidden behind the expensive bars and high fashion boutiques of one of Melbourne's most famous shopping strips, there's an entire world frozen in time. One of our city's longest-running vintage stores, Chapel Street Bazaar offers kooky old furniture, collectables and the best dress-up costumes you'll ever find. These goodies are lined up along labyrinthine pathways, stacked on shelves and left bustling up against one another in forgotten little side rooms and attics. It may look like junk to some, but to the discerning eye this stuff is all treasure. Images: Parker Blain.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from October's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL CATHERINE CALLED BIRDY When you've catapulted to fame as a fierce child queen in the biggest fantasy TV series of the past two decades, and you're next about to play perhaps the best-known teenage girl from a video-game franchise across the same period — so, when you're in-between starring in Game of Thrones and the television adaptation of the The Last of Us, that is — how do you fill the time? You make a magnificent medieval comedy that's also a coming-of-age film, a frank but irreverent look at history's treatment of women, and the third feature directed by Lena Dunham. That's the path that Bella Ramsey has charted, and she's as much of a delight in the marvellous Catherine Called Birdy as she was in the role that made sure everyone with a screen to stare at knows who she is. The energy that made such an impact as GoT's Lyanna Mormont bursts through here, too, albeit in a cheekier, scampier, bawdier and more humorous mode. That's what this version of Karen Cushman's 1994 novel calls for, and gets — and the end result is an utter charmer. The eponymous Lady Catherine, who prefers to be called Birdy, is the 14-year-old daughter of Lord Rollo (Andrew Scott, The Pursuit of Love) and Lady Aislinn (Billie Piper, I Hate Suzie), and is accustomed to spending her days inciting mischief around their Lincolnshire manor — much to her nurse Morwenna's (Lesley Sharp, Fate: The Winx Saga) dismay. But the family is now broke thanks to Rollo's poor handling of their finances, and only marrying off the reluctant Birdy looms as a solution to their money troubles. It's the done thing in the 13th century, but Dunham directs this tale with a firmly 21st-century mindset and spirit as her titular character does whatever she can to avoid basically being sold off to whichever gentleman of means has the most lucrative offer. The movie's thoroughly modern vibe and outlook doesn't just come through in its narrative, themes and lively lead performance, or its witty narration and all-round attitude, but with smatterings of pop songs on the soundtrack — Piper's own 'Honey to the Bee' included. If Girls was set eight centuries back, was about a teen, and also featured Joe Alwyn (Conversations with Friends) as a favourite uncle, this'd be the dream end result. Catherine Called Birdy streams via Prime Video. GUILLERMO DEL TORO'S CABINET OF CURIOSITIES Whether he's dallying with vampires, haunted houses, creepy carnivals, eerie orphanages, rampaging kaiju or romantic amphibious creatures, Guillermo del Toro has thoroughly proven himself an avid collector. You don't amass a resume like his without actively endeavouring to curate an on-screen compendium — with his movies stuffed full of ideas, themes, motifs and images that just keep fascinating the acclaimed filmmaker. So far, the proof has beamed into theatres for cinema-goers to revel in; however, new TV horror anthology Guillermo del Toro's Cabinet of Curiosities is a natural addition to his filmography. Across eight chapters helmed by eight other directors — including The Babadook and The Nightingale's Jennifer Kent, Mandy's Panos Cosmatos, A Girl Walks Home Alone at Night and Mona Lisa and the Blood Moon's Ana Lily Amirpour, and Cube's Vincenzo Natali — del Toro keeps compiling, curating and and dissecting the unsettling, unnerving, mysterious and curious, whether Cabinet of Curiosities is getting grim and cautionary, stomach-churningly gory and grotesque, sporting soulful restraint, unleashing a stunning display of phantasmagoria or delighting in being off-kilter. Boasting a cast spanning everyone from Harry Potter's Rupert Grint and I'm Your Man's Dan Stevens to Mythic Quest and Moon Knight's F Murray Abraham and RoboCop's Peter Weller, there are no disappointing drawers in this Alfred Hitchcock Presents-meets-The Twilight Zone series; the tone varies, but del Toro and his colleagues are committed to contemplating what scares us and why. In Lot 36 by Guillermo Navarro, cinematographer on six of del Toro's features, that means a dark rumination on xenophobia — and while Amirpour's The Outside is noticeably lighter than its counterparts, squeezing out a satirical, The Stuff-esque, Christmas-set satire on consumerism, conformity and beauty, it too is sinister and disquieting. Other standouts include the show's two most grisly episodes: Natali's Graveyard Rats and David Prior's (The Empty Man) The Autopsy, both of which have descriptive titles. Or, there's Cosmatos's The Viewing, a wild, dazzling, synth-scored trip in the best possible way — and Kent's The Murmuring, reuniting her with The Babadook's Essie Davis for another stirring and striking haunted-house tale about grief and motherhood. Guillermo del Toro's Cabinet of Curiosities is available to stream via Netflix. Read our full review. THE FIRE WITHIN: A REQUIEM FOR KATIA AND MAURICE KRAFFT The twin film phenomenon strikes again — so if The Fire Within: A Requiem for Katia and Maurice Krafft gives you a hefty dose of déjà vu, there's a reason for that. You may indeed have seen a movie about the French volcanologists already this year, and with a similar title, all courtesy of big-screen release Fire of Love. If you did catch that also-stunning flick, then you've glimpsed plenty of the imagery showcased here as well. Keep it all coming, please. However many documentaries that however many filmmakers want to craft about the Kraffts, their lives, work and impact — and using their sublime footage from decades spent surveying lofty and dangerous peaks, too — audiences should lap each and every one up. Of course, this particular doco hails from the great Werner Herzog (Fireball: Visitors from Darker Worlds), who already showed Katia and Maurice ample love in 2016's Into the Inferno, so it was always going to be a must-see. Narrated with his distinctive tones and inimitable perspective on existence, The Fire Within: A Requiem for Katia and Maurice Krafft truly feels like the movie that the iconic German director (and one-time Parks and Recreation star) was born to create. Whether undulating hypnotically with red lava flows or inciting gut-wrenching terror with towering, billowing grey explosions projecting into the heavens, the imagery captured by Katia and Maurice is mesmerising, revealing and astonishing — no matter how many times you watch it. It's little wonder, then, that Herzog states from the outset that his aim with The Fire Within isn't to give the world another Krafft biography (because plenty of those already exist) but to do justice and pay tribute to their recorded materials. His voiceover still provides the necessary basic details for first-timers to the pair's story, however, including beginning with visuals from the 1991 Mount Unzen eruption in Japan that claimed their lives. But Herzog knows what anyone who's ever come across the Kraffts before knows, and everyone watching this movie quickly learns: that their otherworldly footage makes a helluva impact all by itself, including inspiring thoughts about nature, humanity, how humbled the latter is by the former, the earth's longevity, life's oh-so-brief run, passion and the importance of doing something you love. Herzog's own observations are a fantastic bonus, though. The Fire Within: A Requiem for Katia and Maurice Krafft streams via Docplay. THE MIDNIGHT CLUB New year, new spooky season, new Mike Flanagan series. Yes, that's as great a tradition as any. It hasn't quite happened every 12 months since 2018's The Haunting of Hill House — 2019 is the outlier — but 2020's The Haunting of Bly Manor, 2021's Midnight Mass and now 2022's The Midnight Club have kept the trend going, serving up a fresh dose of frights from the filmmaker also behind Oculus, Hush, Ouija: Origin of Evil, Gerald's Game and Doctor Sleep. Co-created with Bly Manor alum Leah Fong, The Midnight Club offers a bit of a departure, however, this time going down the teen-centric route. Happily nodding to The Breakfast Club but shifting to a decade later and an evening hour, the series hails from the books by author Christopher Pike, and takes its name from a group of cancer patients getting treatment at a fancy hospice centre. After dark, they secretly meet to share spooky stories, and try to freak each other out. But there's another caveat attached to their tale-telling: whichever one of the terminally ill teens passes away first, they have to promise to try to contact the rest of the cohort from the other side to let them know what it's like. While The Midnight Club's moniker directs its focus away from its setting, another eerie abode is at the heart of the show — so, yes, it's classic Flanagan. Also thoroughly in the writer/director's wheelhouse: pairing chills, thrills, bumps and jumps with fleshed-out characters, and musing on the power of horror, the terrors of mortality and the inevitably of death in tandem. The cast should all use the series as a launchpad, too, especially Iman Benson (#BlackAF, Alexa & Katie) as Ilonka, the newest arrival at Brightcliffe Home. After being diagnosed with thyroid cancer just as she's preparing to go to college, the bright student finds the hospice online, researches its past and is determined to use it as a path to actually having a living future. If the narrative was that straightforward, there wouldn't be a series, though — and if you're hanging out for Flanagan's 2023 effort The Fall of the House of Usher, this'll fill the gap nicely. The Midnight Club streams via Netflix. WEREWOLF BY NIGHT Running for 53 minutes, Werewolf by Night is more a standalone Marvel Cinematic Universe special than a movie. It's the first release of its type for the sprawling comic book-to-screen behemoth, and it makes the case for more like it. In fact, if you've been feeling fatigued by average big-screen MCU releases lately, it also makes the case for more variety and experimentation in the Marvel blockbuster realm in general — because when the usual mould gets tinkered with in a significant way, and not just with a goofy vibe like Thor: Love and Thunder, something special like this can result. The mood is all horror, in a glorious throwback way, complete with gorgeous black-and-white cinematography. The focus: hunting for monsters, which does, yes, involve bringing together a crew of new characters with special traits. Thankfully, that concept never feels formulaic because of how much creepy fun that Werewolf by Night is having, and how much love it splashes towards classic creature features. That monochrome look, and the shadowy lighting that comes with it, clearly nods to the ace monster flicks of the 1930s and 1940s; composer-turned-director Michael Giacchino (who provided Thor: Love and Thunder's score, in fact), must be a fan, as we all should be. His filmmaking contribution to the MCU takes its name from comic-book character Werewolf by Night, which dates back to the 70s on the page — but if you don't know that story, let the same-titled flick surprise you. The plot begins with five experienced monster hunters being summoned to Bloodstone Manor following the death of Ulysses Bloodstone, and told to get a-hunting around the grounds to work out who'll be the new leader (and also gain control of a powerful gem called the Bloodstone). That includes Jack Russell (Gael Garcia Bernal, Station Eleven), plus Ulysses' estranged daughter Elsa (Laura Donnelly, The Nevers). Everything that happens from there — and before that — instantly makes for pulpy and entertaining viewing. Werewolf by Night streams via Disney+. HELLRAISER Horror remakes and sequels are a bit like Halloween itself: even if you're not a fan, they always keep coming. First, a key rule about giving beloved old flicks a do-over or a years-later followup: the originals always still exist, no matter how the new movies turn out. Now, a crucial point about Hellraiser circa 2022: it's never going to be the OG picture, but it's still visually impressive, eager to get gory in bold and inventive ways, well cast and also happy to muse thoughtfully on addiction. And yes, there's a note of warning included in that above assessment of a film that arrives 35 years after Clive Barker's first stab at the series, and following nine other sequels. Directed by The Night House helmer David Bruckner, the new Hellraiser is stylish with its violent, bloody imagery, but it also still loves ripping flesh apart — and serving up a grisly nightmare. For newcomers to the Hellraiser fold, beware of puzzles. The moving box here is oh-so-enticing — that's how it gets its victims — but it's also a portal to a hellish realm. That's where demonic, frightening-looking beings called Cenobites dwell, and they're eager to haunt and terrorise the living. (Yes, that includes the ghoulish Pinhead, whose aesthetic really is all there in the name.) Accordingly, this Hellraiser movie kicks off with millionaire Roland Voight (Goran Visnjic, The Boys) obsessed with the box, and his lawyer Menaker (Hiam Abbass, Ramy) luring in new people to get torn to pieces. Then, six years later, recovering drug addict Riley (Odessa A'zion, Good Girl Jane) and her boyfriend Trevor (Drew Starkey, The Terminal List) find the cube in their possession. When it claims the former's brother Matt (Brandon Flynn, Ratched), she's determined to work out what's going on — and, while never full of narrative surprises, the brutal imagery sears itself into viewers' memories. Hellraiser streams via Binge. MASS Two couples, one church, six years of baggage and two absent children. That's one of the equations at the heart of Mass. Here's another: four phenomenal performances, one smart and affecting script that tackles a difficult subject in a candid and thoughtful way, and one powerful directorial debut by actor-turned-filmmaker Fran Kranz. Best known for on-screen roles in Dollhouse, The Cabin in the Woods, Homecoming and Julia, the latter guides gripping portrayals out of Reed Birney (Home Before Dark), Ann Dowd (The Handmaid's Tale), Jason Isaacs (Operation Mincemeat) and Martha Plimpton (Generation) — and crafts a harrowing yet cathartic drama out of the aftermath of a far-too-familiar tragedy, too. The reason that Richard (Birney), Linda (Dowd), Jay (Isaacs) and Gail (Plimpton) are in the back room at a place of worship, discussing their kids with heartbreak etched across their faces? Richard and Linda's son Hayden was a school shooter, killing Jay and Gail's son Evan in his spree, then turning the gun on himself. What can anyone say in that situation? Kranz, who both writes and directs, keeps his screenplay simple — but as loaded with emotion as the scenario obviously requires. He keeps his filmmaking flourishes just as restrained as well; that's a craft in itself, but the cast rather than the technique is the focus here. At first, they utter loaded lines with weighty awkwardness, aka the kind that fills and silences a room. Then, each in their own way, they unleash the hurt, anger, regret, sorrow, misery and more that's festering inside their characters, and that no amount of talking can ever completely capture. Mass is a musing on that very fact, too: that even the most spirited of dialogues, slinging about both carefully chosen and heatedly spur-of-the-money words, can't fix, explain or do justice to the pain that Richard, Linda, Jay and Gail are going through. The end result would make an exceptional, albeit unshakeably distressing, double with We Need to Talk About Kevin, The Fallout or Vox Lux, or even Elephant or Polytechnique as well. Mass streams via Stan. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK THE WHITE LOTUS Lives of extravagant luxury. Globe-hopping getaways. Whiling away cocktail-soaked days in gorgeous beachy locales. Throw in the level of wealth and comfort needed to make those three things an easy, breezy everyday reality, and the world's sweetest dreams are supposedly made of this. On TV since 2021, HBO's hit dramedy The White Lotus has been, too. Indeed, in its Emmy-winning first season, the series was a phenomenon of a biting satire, scorching the one percent, colonialism and class divides in a twisty, astute, savage and hilarious fashion. It struck such a chord, in fact, that what was meant to be a one-and-done limited season was renewed for a second go-around, sparking an anthology. That Sicily-set second effort once again examines sex, status, staring head-on at mortality and accepting the unshakeable fact that life is short for everyone but truly sweet for oh-so-few regardless of bank balance — and with writer/director/creator Mike White (Brad's Status) still overseeing proceedings, the several suitcase loads of smart, scathing, sunnily shot chaos that The White Lotus brings to screens this time around are well worth unpacking again. Here, another group of well-off holidaymakers slip into another splashy, flashy White Lotus property and work through their jumbled existences. Another death lingers over their trip, with The White Lotus again starting with an unnamed body — bodies, actually — then jumping back seven days to tell its tale from the beginning. Running the Taormina outpost of the high-end resort chain, Valentina (Sabrina Impacciatore, Across the River and Into the Trees) is barely surprised by the corpse that kicks off season two. She's barely surprised about much beforehand, either. That includes her dealings with the returning Tanya McQuoid-Hunt (Jennifer Coolidge, The Watcher), her husband Greg (Jon Gries, Dream Corp LLC) and assistant Portia (Haley Lu Richardson, After Yang); three generations of Di Grasso men, aka Bert (F Murray Abraham, Guillermo del Toro's Cabinet of Curiosities), Hollywood hotshot Dominic (Michael Imperioli, The Many Saints of Newark) and the Stanford-educated Albie (Adam DiMarco, The Order); and tech whiz Ethan (Will Sharpe, Defending the Guilty) and his wife Harper (Aubrey Plaza, Best Sellers), plus his finance-bro college roommate Cameron (Theo James, The Time Traveller's Wife) and his stay-at-home wife Daphne (Meghann Fahy, The Bold Type). The White Lotus streams via Binge. Read our full review of season two. THE PERIPHERAL For four seasons on Westworld so far, viewers have been asked to ponder humanity's potential future with robots and simulations. A key question driving the hit film-to-TV HBO series: how might the years to come unfurl if people use mechanics, artificial intelligence and elaborately fabricated worlds as playthings and playgrounds? In The Peripheral, a similar query arises, also musing and hypothesising on what lies ahead — and how flesh, machines, the real and the digital might coexist. The latest question, in another twisty series, as fronted by Chloë Grace Moretz (Mother/Android): what happens if robots and virtual reality become humanity's conduit through time? Bringing Westworld to the small screen and now executive producing The Peripheral, Jonathan Nolan and Lisa Joy clearly have a niche. Indeed, if you didn't know that the latter series comes from the same minds as the former — adapting a 2014 book of the same name by cyberpunk pioneer William Gibson, and with Scott B Smith (The Burnt Orange Heresy, A Simple Plan) as its showrunner — you'd easily guess while watching this new tech-, robot-, avatar- and dystopia-obsessed effort. When storytellers speculate on what the upcoming years might hold, they theorise about choices and ramifications. The Peripheral has many to ruminate upon. In the process, it also serves up two visions of the future for the price of one, both riffing on aspects of life circa 2022 that could easily evolve as predicted. When the series begins in 2032, 3D print shop worker Flynne Fisher (Moretz) simply decides to assist her military-veteran brother Burton (Jack Reynor, Midsommar) by slipping into his avatar to make cash in a VR game — which she's better at than him, but sexism in the industry still reigns supreme. Then, when he's tasked by a Colombian company with testing a new virtual-reality headset that looks lower-tech, doesn't come with a glasses-like screen but exceeds the competition in its realism, she does the honours again. Flynne hasn't just plugged into a better simulation, though. Via data transfer, her consciousness is time-travelling to the future — to 2099, and to London — and inhabiting the robot body that gives the series its title while on an industrial-espionage quest. The Peripheral streams via Prime Video. Read our full review. INTERVIEW WITH THE VAMPIRE When Louis de Pointe du Lac met Lestat de Lioncourt, his life forever changed. His death did, too. That's the story that Interview with the Vampire tells and, by committing it to the page in 1976, Anne Rice's existence was altered for eternity as well — although not quite in the same way, naturally. The author has been known for her Vampire Chronicles series ever since, and its debut entry was adapted into a Brad Pitt- and Tom Cruise-starring 1994 movie before getting a do-over now as a television series. Obviously, the late Rice doesn't share her characters' lust for blood, or their ability to thwart ageing and time. Still, her famed works keep enticing in both readers and viewers — and this latest novel-to-screen version is a gothic series worth sinking your teeth into, especially thanks to its willingness to take on race, to embrace queer themes, to get playful and humorous, and to splash a sweepingly rich iteration of its now well-known tale across streaming queues. If you've seen the film, you'll know Interview with the Vampire's basic gist, although there has been some tweaking. Nonetheless, Louis (Jacob Anderson, aka Game of Thrones' Grey Worm) and Lestat (Sam Reid, The Drover's Wife The Legend of Molly Johnson) meet in New Orleans, where they're both drawn to each other — and soon the former joins the latter in sleeping in coffins, avoiding daylight and (reluctantly) feeding on people. The series has the titular chatting happen in today's times, however, as a continuation of the movie's first conversation. Yes, this version of Daniel Molloy (Eric Bogosian, Succession) has been there and done this before. That didn't turn out so well for him, so he's reluctant about a repeat discussion, this time in Dubai. But Louis still has quite the story to unfurl, including covering been a Black man trying to make his way in the bayou at the turn of the 20th century, what it's meant to join the undead, his complicated relationship with Lestat, and the arrival of Claudia (Bailey Bass, Psycho Sweet 16) as part of their bloodthirsty family. Interview with the Vampire streams via AMC+. 2022 CINEMA HIGHLIGHTS WORTH CATCHING UP WITH AT HOME RED ROCKET It might sound crazy, but it ain't no lie: Red Rocket's *NSYNC needle drops, the cost of which likely almost eclipsed the rest of the film's budget, provide a sensational mix of movie music moments in an all-round sensational picture. A portrait of an ex-porn star's knotty homecoming to the oil-and-gas hub that is Texas City, the feature only actually includes one song by the Justin Timberlake-fronted late-90s/early-00s boyband, but it makes the most of it. That tune is 'Bye Bye Bye', and it's a doozy. With its instantly recognisable blend of synth and violins, it first kicks in as the film itself does, and as the bruised face of Mikey Saber (Simon Rex, Scary Movie 3, 4 and 5) peers out of a bus window en route from Los Angeles. Its lyrics — "I'm doing this tonight, you're probably gonna start a fight, I know this can't be right" — couldn't fit the situation better. The infectiously catchy vibe couldn't be more perfect as well, and nor could the contrast that all those upbeat sounds have always had with the track's words. As he demonstrates with every film, Red Rocket writer/director/editor Sean Baker is one of the best and shrewdest filmmakers working today — one of the most perceptive helmers taking slice-of-life looks at American existence on the margins, too. His latest movie joins Starlet, Tangerine and The Florida Project on a resume that just keeps impressing, but there's an edge here born of open recognition that Mikey is no one's hero. He's a narcissist, sociopath and self-aggrandiser who knows how to talk his way into anything, claim success from anyone else's wins and blame the world for all his own woes. He's someone that everyone in his orbit can't take no more and wants to see out that door, as if *NSYNC's now-22-year-old lyrics were specifically penned about him. He's also a charismatic charmer who draws people in like a whirlwind. He's the beat and the words of 'Bye Bye Bye' come to life, in fact, even if the song wasn't originally in Red Rocket's script. Red Rocket streams via Binge and Prime Video. Read our full review. AMBULANCE Following a high-stakes Los Angeles bank robbery that goes south swiftly, forcing two perpetrators to hijack an EMT vehicle — while a paramedic tries to save a shot cop's life as the van flees the LAPD and the FBI, too — Ambulance is characteristically ridiculous. Although based on the 2005 Danish film Ambulancen, it's a Michael Bay from go to whoa; screenwriter and feature newcomer Chris Fedak (TV's Chuck, Prodigal Son) even references his director's past movies in the dialogue. The first time, when The Rock is mentioned, it's done in a matter-of-fact way that's as brazen as anything Bay has ever achieved when his flicks defy the laws of physics. In the second instance mere minutes later, it's perhaps the most hilarious thing he's put in his movies. It's worth remembering that Divinyls' 'I Touch Myself' was one of his music-clip jobs; Bay sure does love what only he can thrust onto screens, and he wants audiences to know it while adoring it as well. Ambulance's key duo, brothers Will (Yahya Abdul-Mateen II, The Matrix Resurrections) and Danny Sharp (Jake Gyllenhaal, The Guilty), are a former Marine and ostensible luxury-car dealer/actual career criminal with hugely different reasons for attempting to pilfer a $32-million payday. For the unemployed Will, it's about the cash needed to pay for his wife Amy's (Moses Ingram, The Tragedy of Macbeth) experimental surgery, which his veteran's health insurance won't cover — but his sibling just wants money. Will is reluctant but desperate, Danny couldn't be more eager, and both race through a mess of a day. Naturally, it gets more hectic when they're hurtling along as the hotshot Cam (Eiza González, Godzilla vs Kong) works on wounded rookie police officer Zach (Jackson White, The Space Between), arm-deep in his guts at one point, while Captain Monroe (Garrett Dillahunt, Army of the Dead), Agent Anson Clark (Keir O'Donnell, The Dry) and their forces are in hot pursuit. Ambulance streams via Binge and Prime Video. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August and September this year. You can also check out our running list of standout must-stream 2022 shows so far as well — and our best 15 new shows from the first half of this year, top 15 returning shows over the same period and best 15 straight-to-streaming movies up until June.
It's been three and a half years since Lûmé first crashed into our food scene, with head chef and co-owner Shaun Quade's wildly inventive fare quickly making a name for the South Melbourne fine diner. Now, as Quade gears up to kick-start his next culinary venture, he's given the whole place a spruce-up and handed over the all-important kitchen reins to mentee and celebrated young gun John Rivera. He recently won the San Pellegrino Young Chef of the Year, as well as the Gault & Millau Young Talent of the Year in 2017. The first thing he's done is make the menu smaller; Lûmé's signature $210 14-course degustation has been replaced with the option of three slightly more approachable offerings: three courses for $100, five courses for $140 and seven courses for $170). To that end, you can expect an all-new menu, delivering Rivera's interpretation of modern Australian fare — but still with that Lûmé edge. Dive into thoughtful and unexpected creations like the calamari matched to coconut, cucumber and chrysanthemum; melaleuca-smoked duck with leatherwood honey and cherries; and shiitakes with oyster and charred kombu. [caption id="attachment_705023" align="alignnone" width="1920"] The 'snacks' at Lûmé.[/caption] Each menu comes with four clever snacks that promise to be just as good as the main event. Onion doughnuts come with fresh sea succulents, dainty smoked tomato tarts feature burnt barley and "salted egg", while black banana makes an appearance as an unlikely glaze for the barbecue pork bites. Lûmé's penchant for great wine holds strong, the list championing big names alongside new and interesting drops. If you've got extra cash to splash, opt for one of the expert beverage pairings ($60–130) to see the team's booze prowess at its best. One to add to your must-visit restaurants of 2019 list. Find the new-era Lûmé at 226 Coventry Street, South Melbourne. Food images: Shaun Quade.
Some people wind down by watching Nicolas Cage movies. Others prefer getting whimsical with Wes Anderson, indulging in Studio Ghibli's animated delights or rustling up a few laughs. Or, there's the group of folks that finds nothing more relaxing than binging movies and TV shows about architecture, design, sustainability and outdoor living. If the latter applies to you — especially in a year that's seen us all spend far more time in our homes — soon there'll be a new streaming service for that. Joining the ever-growing online viewing ranks (and giving Netflix even more company than it already has), Shelter will launch on Friday, July 31 with a lineup focused on design-centric content. Think documentaries such as Tiny, which steps inside six super-small homes; Art House, about the abodes of 11 creatives and the way they reflect their craft in their surroundings; and Homo Sapiens, which gets philosophical about the impact — and fragility — of human existence. Or, you can explore the work of architects such as Eileen Gray, Kevin Roche, Harry Seidler and Tadao Ando via separate docos. Home-centric series Dream Build and Charlie Luxton's Homes by the Sea are also on Shelter's launch lineup — as is the six-part Inspired Architecture series, which explores six Australian structures. The platform is also teaming up with global publications like Design Anthology and Green Magazine to host and present new content. And, it'll be expanding its range with fresh additions each month. When it goes live at the end of July, Shelter will be available online and via iOS and Android apps — costing AU$7.99/NZ$8.99 per month, with a 14-day free trial period on offer, too. And, it's partnering with Eden Reforestation Projects to do more than merely serve up something new for design aficionados to watch. For each paid subscriber Shelter has each month, it'll plant a native tree via the not-for-profit reforestation organisation — which works to plant millions of trees annually in impoverished and environmentally devastated areas of the globe. Shelter launches in Australia and New Zealand on Friday, July 31 — visit the streaming platform's website to sign-up for updates.
Fresh off expanding Supernormal to Brisbane and opening new concept Bar Miette in the same building, Andrew McConnell (Cumulus Inc, Cutler & Co, Supernormal, Builders Arms and Marion) has returned to Melbourne to sign a lease on an all-new venture in the CBD. There's no details yet on what he'll be cooking or who will be joining him in the kitchen, but the new restaurant will take over the former Becco site. This old-school Italian diner has been serving city workers and visitors since 1996, and before that was home to Pellegrini's Tavola Freddo Cantina. For decades, this Crossley Street site has played an important role in the city's food scene, and McConnell and his business partner Jo McGann have been sure to recognise this. [caption id="attachment_860199" align="alignnone" width="1920"] Gimlet by Earl Carter[/caption] "This is one of the most important heritage restaurant sites in the city. The dining room has a beautiful soul that reflects its history and the incredible hospitality that has been offered here for over 70 years," shares McConnell. "We are excited to preserve and continue this legacy whilst bringing new energy to the space." To revamp the space, McConnell and McGann will once again collaborate with Sydney-based design studio ACME (Gimlet and Apollo Inn). However, we won't get to see what they've dreamt up until it opens in late 2025. Until then, the duo will run a temporary outpost of Morning Market — the Euro-centric grocer and cafe that McConnell and McGann opened during the pandemic. [caption id="attachment_867912" align="alignnone" width="1920"] Supernormal Nikki To.[/caption] McConnell and McGann's new restaurant is slated to open in late 2025, and will be found at 25 Crossley Street, Melbourne. For more information, you can visit the restaurant group's website. Image: Andrew McConnell by Shelley Horan for Melbourne Food & Wine Festival.
Next time you have a great idea while making a cup of coffee, it could spark a hit comedy flick. That's what happened to Jackie van Beek, New Zealand comedian and one half of the writing/directing/acting duo behind The Breaker Upperers. "I was literally just wandering aimlessly around my kitchen, and I was just thinking about all those conversations that we've all had with friends about that horrible moment when you realise that you have to break up with your partner, and that feeling of dread," she explains. "And I just thought, "gosh, how much money would somebody pay to not have to do that themselves?". And I thought it'd be quite a lot of money, and I know a lot of people that would pay to get out of that responsibility." To answer the obvious question, van Beek never considered setting up a business to end other people's relationships for cash. Instead, she called fellow NZ comedian and actress Madeline Sami, and they started working on what would become 2018's best comedy. That was back in 2013. The script took years to perfect between other jobs, and the film shot across 22 days in 2017, with a cast that included Boy's James Rolleston and Rosehaven's Celia Pacquola. This year, The Breaker Upperers premiered its tale of best friends Jen (van Beek) and Mel (Sami), their love-busting business, their various life woes and their Celine Dion karaoke singalong at SXSW, and then opened the Sydney Film Festival. "It has been a whirlwind few months," Sami observes. "I didn't really have any expectations on how it would do. You spend so long editing the film, making it, and then you're just kind of relieved to have finished it. Then it comes out, and then all of these other people see it and take it into their hearts, and it's just overwhelmingly lovely." Indeed, while The Breaker Upperers is all about helping others when love has faded, there's plenty of love blossoming for this smart, funny film, with audiences both overseas, in New Zealand and in Australia reacting warmly. With the movie now releasing around Australia, we sat down with van Beek and Sami to chat about real-life break-ups, smashing rom-com conventions and working collaboratively in a Kiwi comedy scene that also includes the film's executive producer, Taika Waititi. https://www.youtube.com/watch?v=-phMlkRiWIg ON CREATING ROLES FOR THEMSELVES THAT DIDN'T EXIST OTHERWISE Sami: "We wanted to write characters that were fucked up women in their thirties, and that didn't have to settle down. That was the big, big point for us. Otherwise it's so unrealistic and so much pressure for women, and I hate that." van Beek: "And so exclusive. We've of course got so many friends that are single, in their early forties and are not going to have a baby now. What about happy endings for those guys? So it was very important that — we love rom-coms, but it was very important for us that we buck the convention and that we didn't end with a double church wedding with two women and two men tying the knot and talking about children." Sami: "We definitely thought about it in drafts and played with the idea, and it just never sat right. And we were just like, this is really a story about being okay with who they are, and accepting that and not having to bow to society's expectations — and the movies' expectations — of what your life should be like. It's really the movies. The movies tell us that we need to have all this shit together, especially for women. I think the pressure on women in movies — just the damsel in distress thing, it goes right back to Snow White. Or in all the Disney stuff. There's a princess who's stuck in a tower or she's in a coma, which is fucking dark, and she needs to be saved. And that same thing is in rom-coms today — a woman who's…" van Beek: "All befuddled." Sami: "And needs to be saved. And it's like, no we don't. We're cool. Just chill." van Beek: "We can figure out our own mess. It doesn't have to involve a man." Sami: "And also, a happy ending doesn't have to be what we've always been told what a happy ending is. It doesn't always have to be that conventional, settle down thing. It can just be 'well you're just not as dark and fucked up as you were at the beginning of the movie'." ON DECIDING TO NOT ONLY WRITE AND STAR IN THE BREAKER UPPERERS, BUT TO DIRECT IT, TOO van Beek: "It was always on the table." Sami: "We were scared." van Beek: "Were we scared? I wasn't scared." Sami: "There was a fear that it would take the fun away from the acting, which is what the whole reason we wanted to do it. It wasn't like scared to do it — it was just whether we were going to give ourselves too much of a workload." van Beek: "Yeah that's right. We knew that if we got too stressed, and we're on screen doing improvised comedy, it's just not going to be fun for us or the audience — so the stakes were quite high in making that decision." Sami: "And then we just like, we can't think of anyone who could fulfil this vision for us that we are planning in our own heads, so why don't we just do it? Take the gamble, and make sure we surround ourselves with really talented, experienced people so that we're supported. And that's what we did." van Beek: "People who are confident at improvisation, so we could all get there. And Taika was helpful." Sami: "Taika, we've worked with a lot — and he would've been a wonderful director for this film. But we knew that we were never going to get Taika because he was on Thor and was committed to that for years. But he shares our sensibility, we've worked with him — he directed the first series of a TV show that I'd made in New Zealand called Super City, and we had a lovely time when we worked together in that way. And he'd definitely get it. But he wasn't available, so we were the ones." van Beek: "But we got Jemaine Clement, who is an old friend of ours as well, he came up for three or four days of pre-production when we wanted to stand up and start exploring the characters ourselves. He'd come into the rehearsal room, and we'd do rewrites with him, and so it was all really..." Sami: "Collaborative." van Beek: "Supportive." Sami: "We've got so much amazing talent around us in New Zealand. There's so many amazing comedians coming up, and writers, that it was just really important for us to be energised by them. So we'd just keep them around us all the time, just everyone 'come in, add a joke in here if you want, yeah that's a good idea.' Just keep it fresh for ourselves, especially because we'd been writing for four-five years, so at a lot of points in that time, when you're right in it — especially towards the end, towards pre-production — you can't see. You're really close to it." ON SEEING NEW ZEALAND COMEDY FINALLY GET RECOGNITION OVERSEAS van Beek: "With Taika's films, and Flight of the Conchords and Rhys Darby having done so well internationally — we were over at SXSW with our film, and people were saying after the screening 'that's New Zealand' humour. They were identifying it. 'We love New Zealand humour! We love you guys.' It was quite exciting that people identify it, and many thanks to Taika who brought that New Zealand comedy voice into the mainstream with Thor." Sami: "When there's a bunch of people, and when there's support — the New Zealand Film Commission have really made an effort to get in behind New Zealand comedy over the last ten years probably. And because we've had success internationally, then there's more support back home. And it's kind of like with the Danish thrillers. All of a sudden the world loves Danish thrillers, and it's just the people making them are making them really well. I guess coming out of New Zealand right now, we've got a lot of great comedy, and it's just a time where it's just being recognised for what it is." van Beek: "Long may it last." Sami: "It's exciting. It's really just, I think, the world getting to know that New Zealand comedy a bit — and it started with Flight of the Conchords. There's an awkwardness to the comedy we make. So yeah, who knows how long that will last. But it's exciting that we don't have to explain our accent any more. People can start to tell the difference a little bit [between Australian and New Zealand accents]. We'll see Americanss try to do a Kiwi accent rather than just going 'oh, I can do a Kiwi accent — g'day mate'." van Beek: "Now they do Flight of the Conchords." Sami: "Yeah, 'Brett'. Or they do, 'oh hi, I'm Korg,' [from Thor: Ragnarok] or stuff like that. They're showing that they know the difference." van Beek: "By mocking us in a different way." Sami: "I loved being mocked." ON FINDING INSPIRATION FOR THE FILM'S MANY BREAK-UP SCENES Sami: "I've never been two-timed by someone, and then found out that... aah, I think I have." van Beek: "You have?" Sami: "Maybe I have." van Beek: "There's always going to be a bit of crossover." Sami: "There's just a bit of subconscious stuff — for me, the break up scenarios, everything you see in the film, nothing is specific to anything but everything is influenced by stories we've heard or things we've experienced. But there's no one like, 'yeah, I had this terrible breakup and this is exactly how the story went'." van Beek: "Or 'yeah, my boyfriend pretended to be in a coma and then died.' That all came from our imagination, but it was more like — definitely I've been through phases in my life when I've been a bit more like Jen, and just been in denial. I've been heartbroken and not wanting to grow up." Sami: "We did have a lot more scenarios and they got a lot more extreme. Obviously some were cut for time, and we didn't shoot all of them — a lot of them we just weren't going to be able to. To shoot someone falling off a speedboat in the middle of Auckland of harbour and taking an underwater scuba to an island and then sailing off, that would've been the whole budget of our film probably, just for that one day." van Beek: "We spent a bit of time writing it though." Sami: "It was a lot of fun writing and thinking out the ways people might choose to break up with each other." The Breaker Upperers is now screening in Australian cinemas.
Both Bret McKenzie and Jemaine Clement will be present when Flight of the Conchords make a long-awaited, eagerly anticipated return to television — as part of a one-off live special filmed during the duo's recent sold-out tour. Announced earlier in 2018, Flight of the Conchords: Live at the London Apollo now not only has a US airdate but also an Australian one. The special will screen on HBO in America on Saturday, October 6, and on The Comedy Channel in Australia on Tuesday, October 9 at 8.30pm. As the name really does makes plain, it was recorded in the UK, where Flight of Conchords took their show on the road in March and then returned in late June and early July, following a forced break after McKenzie broke his hand. Yes, it'll be business time, Bowie will be in space and no one will have hurt feelings. Fans can expect to hear the classic tracks that everyone has had stuck in their heads since the folk parody pair's TV series aired between 2007 and 2009, of course, as well as a few new songs. It's also a case of Conchords almost coming full circle, with nabbing a spot on HBO's One Night Stand in the mid-00s one of their big breaks. Foxtel Now subscribers can stream the special live when it airs, but whether it'll be available on demand afterwards has yet to be revealed. In the interim, check out the trailer, as well as the initial HBO date announcement video featuring McKenzie and Clement: https://www.youtube.com/watch?list=PLZQfnFyelTBOQ15kmHSgEbdjzLMWzZpL7&v=xz_-9PlcouE
Drones: if filmmakers aren't deploying them to capture bird's-eye sights, they're making thrillers about their use and impact. Expect plenty of the former at Drone Film Festival Australia + New Zealand, as lofty visuals get their time to shine — and swoop, soar, float, glide and more. Touring Australia throughout September and October, the fest showcases 36 unique short drone films, stories and documentaries from around the world, including those made by filmmakers, production companies and everyday drone hobby enthusiasts. It's the kind of cinematic package those not so fond of heights mightn't be eager to see, so consider yourself warned. For the rest of us, however, it's a chance to look at the world from a whole new vantage. Last year's highlights included superhero-like tales, jaunts through natural and urban spaces, and even a beer odyssey, as filmmaking took to the skies thanks to the latest unmanned aerial technology. Expect a whole new crop when the festival comes to Cinema Nova on October 5 for a one-night-only stopover.
Small and independent Melbourne breweries never stop dreaming up new beers. Brewers at these joints are given the freedom to play — they're not just asked to keep bashing out the same lager over and over. To shine a light on all this creativity, Brunswick's Co-Conspirators Brewpub is hosting a one-off winter beer festival with eight other Victorian breweries on Saturday, July 6. Expect to find brewers from Noodledoof Beer, Stomping Ground Brewing Co, Sailors Grave Brewing Co and Bright Brewery, among others. Expect to find heavier brews at this winter festival, from stouts and spiced-up numbers to extra hoppy IPAs and barrel-aged beers. During the two sessions (1pm and 4pm), each of the breweries will be giving out tasters of their special winter releases, with Beard Street BBQ on-site to serve up American-style barbecue eats. The $35 tickets include a 150ml taster from each of the eight visiting breweries, as well as a sample of Co-Conspirators' 2024 The Don Barrel-Aged Imperial Stout. You can also purchase other samples and merch for an additional fee. Images: Libby Curran.
Eating out has always been central to Melbourne life, but the way people are doing it is starting to look a little different. Despite cost-of-living pressures, diners are still heading out — they're just being more selective, more value-focused, and a lot savvier about when and where they go. According to industry operators and booking data, here's how the city's dining habits are evolving. Smarter Deals, Not Just Discounts Commune Group — behind venues including Studio Amaro, Moonhouse, New Quarter, Tokyo Tina and Firebird — has seen this shift first-hand. Over more than a decade, the group has weathered everything from the pandemic to seasonal downturns. But in the past year, it's doubled down on clever ways to entice people into restaurants. "There's a certain cohort in Melbourne at the moment that are looking for deals and specials throughout the week," says Managing Director Rob Gringlas. "I think that hasn't always existed — or maybe it has, but we weren't aware of it." Instead of blanket discounts, the team has leaned into value-driven activations that still feel special. At New Quarter, the "High Tide" weekend special features an impressive selection of raw seafood, banana-leaf steamed snapper, salads, condiments and rice or vermicelli — a spread you won't find on the standard menu. Unlimited drinks are also included but Gringlas says that's a value-add, not the full story. "Instead of just saying, 'here's a set menu and we are offering bottomless booze', we're trying to create bespoke menus that are things you can't otherwise get," Gringlas says. This is just one of several specials being offered across the group, from Moonhouse's Fish Night (a $30 midweek deal built around the market catch of the day) to Firebird's Chicken Night (a $25 Wednesday exclusive of woodfired chook and two sides). Gringlas says they're not meant to last forever — they'll typically run three to six months — and while they've managed to draw in younger crowds chasing specials, they also give loyal regulars a reason to come back. Value Plays From High-End Operators While the seasonal set menu at Gimlet will set you back $160 a head before drinks, its sibling bar Apollo Inn offers the same considered service and ambience that Trader House is known for at a more approachable price point. Its current collaboration with Grey Goose — a flight of three mini martinis for $45 — removes the barrier to entry, giving cost-conscious consumers a chance to experience the brand without blowing their budget or committing to a multi-course meal. This shift is something operators across the city are leaning into. Grant Smillie, owner of Marmont, says he's "never seen more operators putting forward offers and value-driven initiatives — often venues that historically never touched discounting." He suggests that at the moment, diners are being more strategic than ever about when and where to visit in order to maximise the value of their experience. So it pays for operators to lean in — something that Smillie is unafraid to do. At Marmont, a $35 wagyu-and-fries combo every Wednesday has become a mid-week staple, letting diners enjoy the full venue experience at a fraction of the price. They're also serving mini martinis for $14 a pop and snacks from $15 — offerings that Smillie says appeal to those seeking small luxuries in the face of cost-of-living pressures, the so-called "lipstick effect." Across Melbourne more broadly, the same pattern is playing out. Diners are swapping big-ticket dinners for smaller indulgences — from sweets to inventive drinks. Non-alcoholic beverages are a big part of this shift too, with people happily spending $10 on a specialty tea or coffee as an everyday luxury, even if they're holding back on bigger-ticket purchases. Hotel Restaurants on the Rise Another cost-of-living twist? The resurgence of hotel restaurants. According to OpenTable, Australians are increasingly treating hotel dining as an attraction in itself — a sense of escape and indulgence without leaving town. 40 percent of diners surveyed say hotel restaurants beat independents on atmosphere, underscoring the growing pull of hotel dining. Casual dining still rules (74 percent prefer it when eating at hotels), but rooftops and buffets are hot contenders — and often a destination in their own right. In Melbourne, that's driving fresh interest in spots like North & Common at Adina Coburg, Lona Misa at the Ovolo South Yarra, Salted Egg at the Quincy Hotel and Fleet Rooftop Bar at the Vibe Hotel Melbourne, set on the 22nd floor with sweeping views and a fitout that feels more like a destination bar than a hotel restaurant. Luci at Hilton Melbourne is also leaning into value-adds, having resurrected its BYO offer with no corkage — a rare five-star incentive for those chasing luxe nights out for less. Cheap-and-cheerful dining still has its place, but the trends suggest Melbourne diners want something special — they just can't invest as much as they used to. They're doing it smarter, stretching their dollars further, and chasing small luxuries that feel worth the spend. Looking for some cheap eats in Melbourne? Here are our fave meals under $20. Images: Supplied
Much-loved Frankston burger joint Southside Social is heading for the big smoke, set to open the doors to a second store closer to the city at the end of this month. The owners have pegged the burgeoning foodie hub of Windsor as the location for their first inner city venue. They've knocked up the 34 Chapel Street space, which will have 14 floor-to-ceiling street artworks on the wall when they open next Friday, April 28. While Southside Central borrows from its coastal counterpart in terms of styling and energy, this one's a two-level affair, with a restaurant space downstairs, a lounge area up top, and — wait for it — an openair rooftop. The plan is for a space that slips easily from daytime diner to after-dark hangout, with a relaxed vibe and DJs spinning old-school vinyl tunes each weekend. Fans of the original will be chuffed to learn they're pulling over the same menu of decadent dude food, even beefing it up with a few added extras. Meaning, for better or worse (just kidding, it's definitely for better), it'll soon be a whole lot easier to get your hands on some fancy fries and the Fatty 5-0, with its double beef, triple bacon, mac 'n' cheese, American cheddar, and sour cream mayo. There's also the Harlem Burger, which sees spicy fried chicken and maple mayo sandwiched between sugar-dusted buttermilk waffles. Of course, there'll be crisp beers, a swag of signature cocktails, and Southside's boozy shakes to wash it all down and send you out into the night. Southside Central will open at 34 Chapel Street, Windsor on Friday, April 28. Keep an eye on the Facebook page for more info.
There's nothing like a splash of gin to make your day feel a little fancier, summer or otherwise. But if you're after something a little less boozy than a mid-arvo martini, clear some space in your fridge for this nifty line of alcohol-infused condiments. The Amsterdam-born Gin Mayo — and its recently released sibling Gin Chup — are here to help liven up your lunch. Starting life in 2017 as a house-made condiment on the menu at Amsterdam seafood restaurant Mossel & Gin, the boozy mayo quickly became a cult pantry staple, with the brand taking on a life of its own. Packaged in a squeeze-friendly tube, the gluten free sauce is crafted on creamy Zaanse mayonnaise, which is made to a recipe from the 1950s. It's then elevated with a hit of Bobby's Gin, which is distilled in the Dutch city of Schiedam and boasts a base of eight different botanicals. Clocking in at two percent alcohol per tube, the Gin Mayo supposedly is a solid match to some seafood or fried chicken, but also brings a little something extra to that sandwich or burger. Recently, the brand has added to its line of products with a zesty gin-infused ketchup, or Gin Chup, which creators say works a treat when accompanying the likes of a triple-cheese toastie. Like its mayonnaise sibling, it also boasts two percent alcohol per tube — though you can expect that to translate to a festive flavour punch, rather than any overpowering boozy aftertaste. Steadily growing in popularity here on Aussie shores, the gin condiments are now available online and at select specialty food retailers across the country. That includes Sydney's Darlo General and Sorry Thanks I Love You, and Melbourne's St Ali, Blackhearts & Sparrows and Meatsmith. To find out all the spots stocking Gin Mayo and Gin Chup locally, or to buy them online, head to the St Ali website. You can grab a 170-millilitre tube for RRP $15.
After an impressive 12-year stint as Trunk Bar & Restaurant, the site at 275 Exhibition Street has had a big makeover. Off the back of a month-long research trip to the Big Apple, Owner Nick Kutcher has brought some long-held ambitions to fruition and transformed the space into Italo-American hot-spot, Pepe's Italian & Liquor. Taking its cues from New York in the 1930s and 1940s (think, The Godfather), the reimagined venue has burgundy banquettes, red-and-white chequered floors and a sprawling 13-metre zinc-topped bar. A mural splashed across the back wall comes courtesy of Belgian artist Jan Van Der Veken. Pull up a seat and trip back in time, digging into time-honoured favourites prepared by Head Chef Orazio Cutuli. Expect baked buffalo ricotta matched with a pesto crostino, pork and veal polpette in napoli sauce, and Casino Clams done with garlic butter, guanciale and pangrattato. A solid spread of pasta features the likes of a mushroom fettuccini with parmesan, garlic and thyme, and a spicy vodka rigatoni, as well as a cheesy baked gnocchi. [caption id="attachment_742024" align="alignnone" width="1920"] Gareth Sobey[/caption] There's also a lineup of pizza (of course) — with pies topped with the likes of meatballs, eggplant, 'nduja and prosciutto — along with a veal parmigiana and a 12-hour lamb shoulder. For dessert, we suggest the extravagant two-person sundae, toped with Nutella, nougat, black cherry wafer and chocolate fudge. Classics reign supreme at the bar, too, including an entire page of martinis. Plenty of Italian flavours feature across sips like the American Rose, starring gin from Melbourne Gin Company, eau de rose and grapefruit. And if it's vino you're after, the wine list heroes Australian and Italian varietals, always with 80 labels clocking in at under $100. And it's business as usual next door at Trunk Diner, which continues to serve up burgers, fries and doughnuts. Find Pepe's Italian & Liquor at 275 Exhibition Street, Melbourne. It's open from Monday– Friday midday–midnight and Saturday–Sunday 3pm–midnight. Images: Gareth Sobey
There's no shortage of quality wineries in the Upper Yarra, but one that's quietly been going about its business for the last 25 years is Payne's Rise. Established by Tim and Narelle Cullen in 1999, the Seville-based operation has grown from early plantings of cabernet sauvignon into a focused, site-driven vineyard producing small-batch pinot noir, chardonnay, shiraz and cabernet. Now the business is celebrating its quarter-century anniversary with the launch of a new hospitality experience. Relaxed and welcoming in equal measure, a new wine-tasting area invites guests to sit, connect and reflect on the bounty in their glass. Another new space, the Elm Room, features sweeping Valley views and the chance to indulge in casual drinking and dining. Meanwhile, the existing function room, The Deck, has been expanded to house a larger kitchen and upgraded amenities to make gatherings and private functions even more special. Leading this new kitchen is Head Chef Yohan Kahandagama, who brings a global culinary perspective while keeping with the venue's dedicated approach to seasonal and local produce. Born in Sri Lanka and trained in Japan, Kahandagama has shaped a flavourful menu designed to pair with the estate's easygoing ambience and wine. Focused on slow food, expect dishes like lamb ragu gnocchi, rigatoni carbonara and seafood carpaccio. Complementing the cool-climate wines, this refreshed direction will help Payne's Rise build upon its reputation as one of the region's most respected family-run wineries. Named the Best Small Producer at the 2024 Yarra Valley Wine Show, the estate has also long held a 5-star rating from James Halliday, and received a respected nod by being included in The Real Review's Top Wineries of Australia 2024 list. This success hasn't happened overnight. According to Tim Cullen, it's been shaped by decades of careful vineyard management, an unwavering belief in minimal intervention and a steadfast connection to the local community. "Our vineyard has a clear voice now," says Tim. "And our winemaking is all about capturing that purity with honesty." With slow and thoughtful food joining its lineup of refined wines, Payne's Rise is finding ways to blend its rustic charm with a modern sophistication. The estate's acclaimed cellar door is integrated into the original 1860s homestead, while the winery continues to work alongside celebrated local winemaker Franco D'Anna. He puts the estate's success simply: "Winemaking is simple when the vineyard produces great fruit." Payne's Rise Wines is open Thursday–Sunday from 11am–5pm at 10 Paynes Road, Seville. Head to the website for more information. Images: Alex Jovanovic.
Back in 2019, the City of Melbourne and Lord Mayor Sally Capp announced a plan to help make the CBD friendlier to pedestrians and cyclists, as part of an attempt to reduce city congestion. If folks have more incentive to hit the pavement, the roads won't be as clogged — with that idea driving the Draft Transport Strategy 2030. Wondering what that looks like in reality? Around 17 inner-city blocks, it's about to look particularly vibrant, actually. The City of Melbourne has just announced that it's stencilling a heap of CBD streets with Indigenous flora and fauna designs, with makeover works in Little Collins Street kicking off before Christmas. By the end of December, Flinders Lane, Little Bourke Street and Little Lonsdale Street will also start getting a revamp — and each area will have a theme inspired by Melbourne's pre-colonial landscape. So, via stencils from Indigenous graphic designer Marcus Lee, you'll see grasses in Little Collins Street, herbs on Flinders Lane, shrubs for Little Bourke and trees throughout Little Lonsdale. Every block will boast its own individual details, too. And, varying colours will be used to show the different types of vegetation that was prevalent in each area before European settlement, with purples in the west, deep reds in the east and pinks in the middle. "Creating this artwork pattern provided an incredible opportunity to gain an insight into the natural environment of the Indigenous flora and fauna that existed in these local areas," Lee explains. "In pre-colonial times, traditional Aboriginal cultural practices would have effectively utilised these varying woodlands to provide an abundance of food sources and resources. In depicting the nature of these vegetation classes, my approach to the design integrated elements of their unique characteristics while also balancing a simplified and bold style to enable the patterns to transfer effectively to the amazing Little Streets of Melbourne." If that doesn't make you want to stroll along the CBD's streets, then a number of other measures might — including adding signs marking shared zones, to make such areas safer for pedestrians; reducing the speed limits in Little Streets to 20 kilometres per hour; and adding speed bumps and planter boxes to also slow down traffic. For further information, head to the City of Melbourne website.
With its latest movie-fuelled event, Underground Cinema is hoping that you've never felt like this before — and that you love Patrick Swayze and Jennifer Grey dancing up a storm in a much-loved 1987 romantic drama. As part of the outfit's new Immersive Cinema spin-off, it's promising to plunge cinephiles into the world of Dirty Dancing. And give you the time of your life, presumably. Hitting outdoor venues for three nights in each Sydney and Melbourne in March 2019, Dirty Dancing: The Immersive Cinema Experience won't just screen one of Swayze's biggest film roles, but will recreate the world of the popular film. That means that attendees will travel back to 1963 in spirit, check into Kellerman's Mountain House in the Catskills, and enjoy a day of painting classes, volleyball, croquet and — of course — dance lessons. You can probably also expect a stint of carrying watermelons, as well as a talent show. It all ends with a sunset screening of Dirty Dancing on the big screen. You'd be just a fool to believe that's all that's on the agenda. Actors and dancers will roam around like the wind, and, food and drink-wise, Americana-style eats and several pop-up bars slinging summery cocktails are on offer for those with hungry eyes (and stomachs). You'll also be able to wander through recreations of Kellerman's famous fictional spaces, from the staff quarters where Francis 'Baby' Houseman gets her first taste of dirty dancing, to the studios where she learns all the steps from and starts swooning over Johnny Castle, to the restaurant where nobody puts Baby in a corner. Like the film version of Kellerman's, the event is also an all-ages affair — Underground Cinema's first that'll welcome families and kids along. And everyone is encouraged to dress up like it's the 60s, although appropriate footwear for dancing is a must. Tickets are available in two tiers, with the $89.90 'Kellerman's Guest Experience' giving you access to all of the above, and the $129.90 'Time of My Life Package' (naturally) also letting you sashay in via express entry, nab a premium elevated viewing spot, explore secret spaces and take a group dance class with one of Kellerman's dance instructors. Dirty Dancing: The Immersive Cinema Experience will take over The Domain in Sydney on March 15–17, and Flemington Race Course in Melbourne on March 22–24, 2019. Tickets for members go on sale at midday on Thursday, November 15, with general public tickets available from 10am on Monday, November 19.
