Why not round out this month with a lively and intimate dining experience as Donde Mama, a mother-daughter duo from Colombia, teams up with Mauritian restaurant Manzé to celebrate Colombian Caribbean culture and food on Sunday, August 31, with their event Flavours at Manzé. Donde Mama, who are known for their catering that showcases the food of their hometown, Cartagena, are teaming up with social enterprise Welcome Merchant for their first sit-down dinner in Melbourne. Welcome Merchant collaborates with refugees, former refugees or asylum seekers by promoting businesses and artists, connecting communities and working to break down cultural barriers. The Manzé team have said "It's [their] privilege to provide a space for [Donde Mama] to share their warmth, culture and amazing food." The evening is set to be a joyful celebration of Colombian traditions and food. The set menu includes dishes that celebrate Colombia such as green plantain mashed with cheese and pork crackers, quail egg arepas, beef roasted in a sweet sauce, black coconut rice with raisins, and cassava cheesecake to finish. There are two sittings available, at 6pm and 8pm. Proceeds from the event will go towards supporting Donde Mama and Welcome Merchant, so grab a ticket for $85, and be quick so you don't miss out. Get your tickets for Donde Mama's pop-up, Flavours at Manzé, now. Images: Supplied.
If you're looking for a one-stop shop for luxury homewares, you need to explore Fenton & Fenton. This store has it all – from quirky monkey lamps (that surprisingly kind of work), to comfy armchairs, sheepskin rugs and beautiful side tables. That's as well as fine art pieces, bed linen and bird light holders. You name it, and Fenton & Fenton probably stocks the best version of it. As such, things don't come cheap here. But even if you're not ready to shell out $1250 for a side table, it's still worth a visit for inspiration. The store is full of colour and pieces will have you ready to start a full home makeover ASAP. In addition to its Collingwood store, Fenton & Fenton also has an outpost in Prahran.
Byron Bay's Bluesfest has lost another name from its 2023 lineup, with acclaimed rapper Sampa the Great pulling out of this year's festival. Just over six weeks out from the Easter long-weekend fest, Bluesfest today announced its playing times for the five-day music program and a revised lineup, both of which were missing Sampa. A member from Sampa's team confirmed to Concrete Playground that Zambian hip hop trailblazer will not be performing at the festival. US supergroup The Soul Rebels & Friends with special guests Talib Kweli, GZA and Big Freedia also appears missing from the set times and revised lineup, however, there's been no confirmation of the group's removal from the lineup. Bluesfest was reached out to for comment on both Sampa and The Soul Rebels, but did not respond before publication. [caption id="attachment_811633" align="alignnone" width="1920"] Sampa the Great, Lucian Coman[/caption] The lineup change follows Monday's announcement that King Gizzard and the Lizard Wizard had also removed themselves from the program. The band's decision to withdraw from the festival was kept reasonably vague but, in a statement, the Melbourne psych-rock group cited the festival's decision to book content that conflicts with their values as the reason they won't be appearing. "As a band and as human beings, we stand against misogyny, racism, transphobia and violence," King Giz's statement reads. "Surprised and saddened to see Bluesfest commit to presenting content that is in complete opposition to these values." "Given this decision by the festival, we have decided to cancel our appearance at Bluesfest," continues the statement. "We are deeply disappointed to be in this position but sometimes you need to be willing to make sacrifices to stand up for your values. This is, unfortunately, one of those moments." Controversy began brewing around this year's Bluesfest after the unveiling of its sixth artist announcement which featured the band Sticky Fingers. The booking of Sticky Fingers received online backlash from others in the music industry including Jaguar Jonze and Camp Cope's Sarah Thompson. Dylan Frost, Sticky Fingers' frontman, has been the subject of serious allegations which include physically threatening First Nations singer Thelma Plum and harassing a transgender woman at a Sydney pub. Frost and bassist Paddy Cornwall were also caught in an alleged brawl with each other in 2019 which saw Cornwall charged with affray. Bluesfest previously faced controversy after festival director Peter Noble compared a Jewish woman to a Nazi for commenting on the gender imbalance present on the first announcement of the festival's 2018 lineup. The festival will continue without King Giz and Sampa the Great from Thursday, April 6 until Monday, April 10 with headliners including Gang of Youths, Paolo Nutini, Tash Sultana, Bonnie Raitt, The Doobie Brothers and Beck. [caption id="attachment_876098" align="alignnone" width="1920"] King Gizzard and the Lizard Wizard, Jason Galea[/caption] Bluesfest 2023 will run from Thursday, April 6–Monday, April 10 at Byron Events Farm, Tyagarah. For the most up-to-date lineup, head to the Bluesfest website. Top image: Jordan Munns.
Your mates grabbed the snags, sauce, bread and all the extra trimmings for a successful Aussie barbecue. There's just one thing missing and it's up to you to supply it: the beer. There's quite a lot of pressure when you're tasked with bringing the booze. Do you go for the safe mainstream beer at the risk of looking painfully boring? Or do you grab the most expensive European craft beer you can find in the hopes you'll seem interesting (and clear out your bank account in the process)? The answer: find something that sits perfectly in the middle. We've teamed up with BWS to showcase a bunch of Aussie craft beers that will have both your VB-loving mates and your spent-two-years-abroad-in-Berlin buddies nodding along in approval. Cheers to being the favourite person at the party. XPA — BALTER Since launching on the Gold Coast in 2016, Balter has cemented itself as one of Australia's most successful craft beer labels. The cans alone will up the aesthetic stakes of any outdoor soiree, but it's what's on the inside that counts. Good thing its flagship brew, XPA, lives up to the hype. Snagging top spot on the GABS Hottest 100 Aussie Beers list for two consecutive years (2017–2018), this fruity extra pale ale is as easy-drinking as they come. You can thank the brand's commitment to quality for that, or you can just say the beer is damn good and get on with it. WATERMELON SMASH SOUR BEER — STOMPING GROUND BREWING CO If you've ever enjoyed the Watermelon Smash Sour Beer at the Stomping Grounds Collingwood brewery, you'll already know how well it goes down on a sunny afternoon. So, chuck some in the esky and bring it to your next outdoor gathering. This one is sure to impress the craft beer snobs — but it's also inoffensive enough to give your mum a taste test without her screwing up her nose and saying "that's different". If your guests are new to the world of sours, the Watermelon Smash is a good way to ease them in. It's a gose-style beer, which means it's both a bit tart and salty but, thanks to being packed with real fruit, it's also refreshingly sweet and bright, too. BIG HEAD NO CARB LAGER — BURLEIGH BREWING CO Craft beer often brings with it high levels of carbs and calories, so it's not a terrible idea to have a lighter option in the esky to help minimise the post-barbecue bloat. Well never fear, 'cause Big Head No Carb is here. This lager may have zero carbs — the first in Australia to do so — but it certainly doesn't lack flavour. This light, clean and dry brew is ideal on a hot day and will go well with any feed — and even your Tooheys-loving dad will like it. PALE ALE — COLONIAL BREWING CO It's not an American Pale Ale and it's not an Australian Pale Ale — it's a little from column A and a little from column B. The team at Colonial brewed this bad boy to celebrate both styles, with a blend of American Tomahawk and Simcoe hops with Galaxy and Astra hops from Australia. The result is a smooth and approachable beer that's golden in colour. The tropical fruit aromas are balanced with a slightly drier, piney quality, so it won't completely overpower the palate — a pretty important consideration when you're pairing it with a huge feed. SINGLE FIN SUMMER ALE — GAGE ROADS BREWING CO Single Fin Summer Ale celebrates Australian summer in a bottle (or can). The beer is brewed near Gage Roads in Western Australia, the strip of ocean between Rottnest Island and Fremantle. So it makes sense that Gage Roads Brewing Co team makes beers with this beautiful and relaxing location in mind. Blow the froth off with this slightly bitter, clean and light-bodied brew at your next barbecue. BEECHWORTH PALE ALE — BRIDGE ROAD BREWERS This American style pale ale is crisp and aromatic. Although part of Bridge Road's core range that's brewed all year round, Beechworth Pale Ale is tweaked from season to season with New Zealand and US hops, so there's no chance of getting bored of it. The team recommends enjoying this one with oily foods — we think juicy burgers would be a stellar pairing. It works well with spicy food, too, if you know the chef has a cheeky habit of going hard on the chilli in their marinade sauce. Update: Due to the current situation, we understand that throwing or attending parties may not be a possibility right now. But there's a silver lining — you can still order all of these drinks online to enjoy at home. Head to the BWS website to browse the full range.
The technological boom of the noughties saw Steve Jobs catapulted to god-like status (RIP) and CDs become basically extinct, making it hard to imagine that 20 or so years ago our enjoyment of recorded music hung largely on the now archaic mix tape. Once upon a time we sat on hard floors, fingers poised above PLAY and REC, waiting to hear and capture that one important song, should we be so lucky that it should serendipitously permeate the airwaves. The cassette tape is just one thing to feel nostalgic about at NGV's newly opened Mix Tape 1980s: Appropriation, Subculture, Critical Style. The exhibition fuses art, music and fashion seamlessly within a broader exploration of national identity to create a complex tapestry showcasing a decade that heralded dynamic change in Australia’s contemporary art and culture landscape. The exhibition is a mix tape — just like a traditional TDK cassette, it is a compilation of the most pressing and progressive issues of the time and for added authenticity the viewer even has to switch from Side A to Side B half way through. To start with Side A would be to walk into the first of the two large exhibition rooms and be met by the young girl in Peter Tyndall’s A Person Looks At A Work Of Art/ someone looks at something. As she stares out at her observer, they become desperately self aware of the very act of artistic reflection. This piece perhaps inadvertently sets the scene for the rest of the collection — the artists of the time were immersed ethically as well as stylistically in their practice, often hyper aware of their medium. The breadth of work within Mix Tape 1980s: Appropriation, Subculture, Critical Style shows no limits in terms of form, conceptualisation and subject matter. Juan Davila’s postmodern Ratman questions censorship, homosexuality and art in culture; Robert MacPherson’s Frog Poems attempts to eradicate the limits of the English language and Imants Tillers’ composite works open up all manner of artistic possibilities. Further mixing creative mediums, the digital music mix tapes by artists such as Jenny Watts and Philip Brophy strewn around the gallery (to listen to through noise-cancelling headphones) contextualise the era in which these artists lived, worked and presumably partied at the discotheque. Side B flips the viewer into a second space — this one darker, showier. The elaborate fashions and nightclub subcultures of the decade are juxtaposed by the bleaker cultural identity crisis that concurrently took place. Both Leigh Bowery’s iconic The Masquerade costume design and Peter Tully’s jewellery explore ideas of gender and homosexuality as influenced by pop culture, highlighting the currency of their work beyond its role as fashion. Deeper into the gallery, introspections of personal and cultural identity are further explored. Many works centre upon identification, Indigenous society, environmentalism, womanhood and feminism. This cultural existentialism present in the drawings, painting, sculpture and photography create a critical and even, at times, Kafka-esque view on the society. Fusing mediums both aurally and visually Mix Tape 1980s: Appropriation, Subculture, Critical Style is not just a kitschy throwback to the colourful music, art and fashion of 1980s Australia, but a deeper homage to a dynamic decade of exploration that continues to permeate and inform the present day. Image Maria Kozic Self Portrait 1987, via ngv.vic.gov.au
If, mid-way through a piece of raw lasagne, you've ever wondered what makes About Life's food so tasty, yet still somehow good for you, you can stop guessing. The wholefoods cafe and supermarket mini-empire — which now has seven stores in Sydney and one in Melbourne — has released a recipe book, titled A Whole New Way to Eat. That's right, nutritionist Vladia Cobrdova — who's responsible for developing About Life's recipes — is throwing a few secrets your way. All in all, there are 135 recipes, covering familiar offerings from the wholefoods institution's cafes and self-serve meal aisles. They're all relatively simple and don't employ heaps of obscure ingredients, meaning they're recipes you're actually likely to make. Coconut turmeric quinoa porridge? That's on page 12. Umeboshi black bean spaghetti salad with sesame toasted broccoli? You'll find that on page 86. A giant lamington with raspberry Kakadu jam? It's in there too (and we've got the recipes for those last two below). There are brekkies, lunches, dinners, salads, soups, sides, drinks and desserts galore. A Whole New Way To Eat will be launched at a series of free events, to be held at various About Life stories during the first couple of weeks of March with Vladia Cobrdova. She'll be chatting, demonstrating and, most importantly, handing out samples. Catch her at in Melbourne on March 7 and at the Crows Nest store in Sydney on March 11. As difficult as it is to believe, About Life started out in Sydney in 1996 as a little juice bar, with just a handful of groceries for sale. Now, with eight stores around the country and somewhat of a cult following, they're expanding into at-home territory, which, as a grocer, makes a lot of sense. A Whole New Way To Eat is published by Murdoch Books and will be available for $39.99. We've managed to nab two of the recipes from the book below to get you started. UMEBOSHI BLACK BEAN SPAGHETTI SALAD WITH SESAME TOASTED BROCCOLI Umeboshi is a paste is made from fermented plums, which gives this recipe a salty yet still plummy taste. It's vegan, gluten- and dairy-free, and will take about 30-40 minutes to prepare. 200 grams broccoli, cut into small florets 1 tablespoon sesame oil 1 tablespoon sesame seeds 200g black bean spaghetti (or brown rice noodles) 150g snow peas, trimmed and halved lengthways 250g green beans, trimmed and cut in half Umeboshi dressing 60ml (¼ cup) sesame oil 1½ tablespoons mirin (rice wine) 2 tablespoons umeboshi paste ¼ cup finely grated fresh ginger 75g (½ cup) sesame seeds 1 tablespoon tamari Preheat the oven to 180°C. Spread the broccoli on a baking tray, add the sesame oil and sesame seeds and toss to combine. Bake for 20 minutes or until lightly roasted but still crunchy. Meanwhile, bring two litres (eight cups) of water to the boil in a large saucepan over high heat. Add the spaghetti and cook for 6-8 minutes until tender. Add the snow peas and green beans for the last minute of cooking to blanch. Drain and rinse under cold water to stop the cooking process. To make the dressing, whisk all the ingredients together in a small bowl with 60ml (¼ cup) of water. Transfer the spaghetti, snow peas and green beans to a serving bowl. Pour in the dressing and toss until well coated. Top with the crunchy broccoli florets and serve. GIANT LAMINGTON WITH RASPBERRY KAKADU JAM This cake-like lamington is gluten-free and vego, and is topped with jam made with native Kakadu plum powder. You'll probably have to go to About Life to buy some — but if you can't get any, you can use the zest of an orange. 6 eggs 11 g (⅓ cup) honey 80ml (⅓ cup) melted coconut oil 1 teaspoon vanilla bean paste 65g (½ cup) coconut flour ½ teaspoon baking powder 100g (1 cup) almond meal 35g (½ cup) shredded coconut Kakadu jam 170g raspberries, fresh or frozen and defrosted 50g (¼ cup) coconut sugar 1 tablespoon Kakadu plum powder, or use the zest of 1 orange 45g (¼ cup) chia seeds 2 tablespoons coconut water Cacao frosting 40g (¼ cup) coconut oil 55g (½ cup) cacao powder 60ml (¼ cup) coconut cream Preheat the oven to 160°C. Lightly grease a 30cm x 12cm x 10cm loaf tin and line it with baking paper, leaving the sides overhanging. Use an electric mixer fitted with the whisk attachment to whisk the eggs and honey for five minutes or until well combined. Add the coconut oil and vanilla bean paste and whisk for another 2-3 minutes until well combined. Combine the coconut flour, baking powder and almond meal in a separate bowl. Gently fold into the egg mixture until just combined, then spoon into the prepared tin and bake for 40 minutes or until a skewer comes out clean. Remove from the oven and allow to cool in the tin. Meanwhile, to make the jam, combine the ingredients in a blender and blend until smooth. Transfer to a small bowl, cover and refrigerate for 15 minutes or until set. To make cacao frosting, put the coconut oil in a frying pan with 60ml (¼ cup) of water and cook over low heat until the oil melts. Add the cacao powder and coconut cream and stir for two minutes or until combined. Remove from the heat and set aside to cool. Transfer the cake to a serving plate. Spread with jam and drizzle with the frosting. Scatter with shredded coconut. Images and recipes from A Whole New Way To Eat by Vladia Cobrdova (Murdoch Books RRP $39.99) photography by Rob Palmer.
When Matt Murdock (Charlie Cox, Kin) and Wilson Fisk (Vincent D'Onofrio, Dumb Money) first sit face to face in the debut episode of Daredevil: Born Again's initial season, they do something that neither has ever been fond of with the other: agree. Daredevil and Kingpin are no more, they both confirm, under threats going both ways should that statement ever stop proving accurate on either's part. Murdock has his legal career to focus on. Fisk is running for mayor of New York City. Murdock will hold Fisk to account, though, if he's anything but above board in his new role running the Big Apple — and Fisk, campaigning with a strong anti-vigilante message, will respond if Murdock slips into Daredevil's red costume again. Murdock and Fisk are back. With the characters dating back more than half a century, so is one of the comic-book realm's greatest rivalries. It's been a decade since the first streaming series to follow their battle on the small screen premiered and also seven years since it wrapped up, with Netflix's Daredevil spanning three seasons from 2015–2018. While that show wasn't part of the Marvel Cinematic Universe, its successor definitely is. Joining Disney+'s small-screen catalogue after WandaVision, The Falcon and the Winter Soldier, two seasons of Loki, Hawkeye, Moon Knight, Ms Marvel, She-Hulk: Attorney at Law, Secret Invasion, Echo and Agatha All Along, Daredevil: Born Again is a new beginning for its namesake and his nemesis, then, but it also honours its television past. Grey areas not only come with the territory in this fierce feud — they aptly apply to its latest TV date. Consider this a fresh start, yes, as well as a sequel. The MCU has been working towards bringing Daredevil and Kingpin's friction into the fold for a few years now, officially announcing Daredevil: Born Again in 2022 much to the delight of fans, then beginning to put that plan into action elsewhere across the franchise. So, viewers have already seen Murdock in Spider-Man: No Way Home and She-Hulk: Attorney at Law, Fisk in Hawkeye, and both in Echo. As those appearances have been popping up and piling up, giving the pair their own series again has journeyed along a winding path due to a creative overhaul partway through. Consider Daredevil: Born Again a show with history, too, in multiple ways in front of and behind the camera. Boasting a connection with Marvel's small-screen tales at Netflix courtesy of The Punisher (which sat alongside not just Daredevil, but Jessica Jones, Luke Cage, Iron Fist and The Defenders), screenwriter and TV producer Dario Scardapane joined Daredevil: Born Again during that shake-up, taking over the reins as showrunner. One of his key tasks: finding the right balance between continuing the story of the Netflix show and taking this new chapter for Murdock and Fisk in its own direction. He was certain that moving forward couldn't mean never looking backwards. He also felt strongly that two more beloved characters needed to be a part of the series. Karen Page (Deborah Ann Woll, Queen of the Ring) and Franklin 'Foggy' Nelson (Elden Henson, Killers of the Flower Moon) weren't originally featured in Daredevil: Born Again — and if that seems unthinkable, that was also the case for the Trauma, The Bridge and Jack Ryan alum now calling the shots. [caption id="attachment_994610" align="alignnone" width="1920"] Photo by Jamie McCarthy/Getty Images for Disney[/caption] Scardapane said he wouldn't take the gig without Karen and Foggy, in fact. "I'm a true Italian in form. I have a tendency to make bold statements that may or may not be 100-percent accurate," he tells Concrete Playground. "The thing is, when I went in and talked to them, those two characters had been missing from the original, the first iteration. And unfortunately, in having them referenced but not seeing them, there was something missing in terms of that bridge between seasons. And then I also think that one of the most-interesting characters in the Marvel world, that has not been given as much room to just rock, is Karen Page. I just think that's a fantastic character. I'm super interested in the relationship she has with Matt Murdock. I'm interested in that family of three that you see, and when there's a loss in the family, what happens. So it was, yeah, it was a little extreme to say 'I'm not going to take it unless I get to do this', but it seemed that it was absolutely integral to telling the tale and bringing us into this new version." "And we wanted to do it," notes Sana Amanat, one of Daredevil: Born Again's executive producer — and not only an MCU veteran thanks to Ms Marvel, but a comic-book editor who co-created Kamala Khan on the page. "I think we realised it as we were watching the material. We're like 'this feels like there's something missing'. The heart of the show was missing, and we were all just very simpatico," she advises. "Dario has this phrase, he says 'yes, and' a lot, which I love — because it makes for such a rich collaboration. We wanted the same thing for this project — very much so," Amanat continues. Adds Scardapane: "and it was funny, I think I wasn't there, but I think probably in that, when you had the opportunity to kind of stop, slow down and take a look, it must have felt like 'oh, somebody's missing'. Like there's an X-factor there." As Daredevil: Born Again's nine-episode first season keeps establishing, Daredevil's past ties couldn't remain more crucial to the series, even in a narrative that sees Murdock confront a new future — and, in what proves an engrossing character study not just of its eponymous figure but of his main adversary, in a show that faces the similarities between Daredevil and Kingpin, and how those commonalities drive their obsessions with each other regardless of whether either will admit it. We also chatted with Scardapane and Amanat about that dynamic, as well as how crucial Cox and D'Onofrio are individually and together, knowing what to build upon from Netflix's Daredevil, how working on The Punisher and Ms Marvel helped them prepare for Daredevil: Born Again, and more. On Finding the Right Balance Between Continuing the Story of the Netflix Show and Shaking Things Up Sana: "I think it was quite important, first of all, for us to pay respect to the material that was there before. We really believed in it and we really loved it. The challenge for us was making sure that it was familiar, yet it was charting a new course. We didn't want people to feel like they needed to watch everything — they needed to be able to step in at the first episode and know everything that you needed to know. And I have to say, really a lot of credit to obviously Dario and our writing team, and Justin and Aaron [directors Justin Benson and Aaron Moorhead, who also worked on Moon Knight and Loki], who told us everything you needed to know in those first 15 to 20 minutes. I think also visually, stylistically, again there is a lot of references pulled from the old show, but we tried to do something new and fresh also to make sure that New York felt real, and that there was also stylistic pops that took into account his sensory experience — Matt Murdock as someone who is blind with heightened senses. So that combination, I think, really made it feel like a Daredevil that was in its new course and new chapter, and hopefully it feels exciting and thrilling and bold for folks coming in. We hope that you guys really see the love that we put into it." Dario: "And then when I came in and saw what they had, it was like 'this stuff is really, really, really cool'." Sana: "Yeah." Dario: "But it needs a bridge. It needs something that takes you from the past, from the end of the Netflix show, into what we're doing now. And that was really a large portion of the job, in terms of giving audiences, — and fans like myself of the old show — a touchstone, and then taking them somewhere new." On How Crucial Charlie Cox and Vincent D'Onofrio Are — Not Just as Daredevil and Kingpin Individually, But in Bringing That Rivalry to the Screen Together Sana: "They're so absolutely pivotal. I feel like they are these mythological figures. They are larger than life. When you see them step on set as Daredevil and as Kingpin, you see the presence that Charlie and Vincent have and what they bring to these roles. So there's no other question for me — I mean, those are those characters. And that diner scene in itself, at the opening of 101, said everything that you needed to know about the entire series, about their prowess as actors — and through Dario's incredible writing, and Justin and Aaron's great, great directing. It's just an amazing combination." Dario: "And you were right when you say that the two of them together are more than the sum of their parts." Sana: "Yeah." Dario: "And that's what's so fun about working with and writing for two characters that have such a rich history. There's the history that the characters in the comic book have. Then there's the history that that Charlie and Vincent have, having done this now for about ten years. So when you get in a room to do a scene or write a scene for them, you have the weight and the joy of all that history, and these two actors who know it so well." Sana: "Yeah, it feels like the years of storytelling is building to an intense character drama about these two characters — and honestly, how similar they are. They might be different, but they're pretty similar, too." On Daredevil: Born Again Being a Character Study That Highlights the Commonalities Between Daredevil and Kingpin — and Why That Makes Them So Obsessed with Each Other Dario: "They're both carrying duality. That's what's funny. You have a character or person that is Matt Murdock and Daredevil. You have a person that is Kingpin and Fisk. And those are constantly interacting and constantly bouncing into each other, and bringing out the worst in each other at times. And this whole saga, for lack of a better word, this is what it's all about: this dance, this fight between Kingpin and Daredevil. What are the ripple effects it has into the world? What are what these two people's obsessive need to bang heads? What does it mean for everybody and everything in a city around them?" Sana and Dario, in unison: "It's hard to come to terms with your violent nature." Sana: "Truly, they both have a very complicated and similar relationship to violence, and that is something that is really intriguing to show." On Deciding Which Elements to Continue From the Netflix Series — and Where to Stand Apart Dario: "It's really funny — that's a great question, and there's kind of a litmus test for all of it. There's so many people. We're all bringing everything we can to being custodians of this character. When something's right, you literally feel it. And when something's off, you feel it. So in the same way, if I write something for Vincent that just doesn't feel right, he's like: 'hold on, try this'. And when we build a storyline that just doesn't feel on-story — we discarded a few for season two that just didn't feel like what we wanted to do. And the thing is, is that we've taken almost everything that was started over the course of those three seasons, because there's so much in those three seasons, and we've just put it into a context of seven, eight years later and a bigger conflict because Fisk is now, he's the system." Sana: "There's also just us as fans being like 'oh my god, we love this from the old show." Dario: "Gotta do it. Gotta do it." Sana: "We've got to do it. So that's our litmus test. Like Bullseye — you know, we love Bullseye." Dario: "You were like, very early on 'so, we've got to do a oner'. I was like 'yes, we do'. There was no, especially with the two of us, there's very little like 'oh, no, that's not the show'." Sana: "100 percent. We're usually on the same page, which is awesome." Dario: "Yeah." On What Scardapane Learned From Making The Punisher and Amanat From Ms Marvel That Helped with Daredevil: Born Again Dario: "Now wouldn't that be a team-up." Sana: "Oh my god, that'd be awesome. It's like The Last of Us — but yeah." Dario: "You go first." [caption id="attachment_994625" align="alignnone" width="1920"] Photo by Jamie McCarthy/Getty Images for Disney[/caption] Sana: "What did I draw on for this? I mean, ultimately the biggest thing for me — obviously the joy of filmmaking and creating and storytelling is just unmatched, and for me, I've been lucky enough to do it at Marvel for so long. It is about the people that you work with, making sure that they feel heard, that they feel like they're bringing their best — and that we're all creating the same thing together, we're all collectively building just this beautiful tapestry of a very hopefully powerful story. And to me that's the same in any genre that you work on. And if you're lucky enough to work with such great collaborators who can help you bring this vision to life, my job really is to help draw the best out of everyone we're working with to be able to tell the best story that we possibly can. And that is the delight, the delight of my job." [caption id="attachment_994626" align="alignnone" width="1920"] Photo by Jamie McCarthy/Getty Images for Disney[/caption] Dario: "The takeaway from The Punisher for me, really — and I will say I had two, for lack of a better word, two great teachers on that job in Jon Bernthal and Steve Lightfoot — was you're writing something that is incredibly dark, incredibly gritty and incredibly violent, but you're always trying to find the humanity inside it. And you're always — when you watch some of Steve's writing, and when you watch some of Jon, what he does with the character — you're always trying to find the heart. And I definitely brought that as best I can to Daredevil. In and amongst all the punching and broken bones and mayhem, you want to find the heart and soul of these characters. You want to really feel." Daredevil: Born Again streams via Disney+. Daredevil: Born Again stills: Giovanni Rufino, courtesy of Marvel Television. © 2024 MARVEL.
Wander down a Melbourne laneway and you'll find a shortcut to Spain in the form of Crossley St Cantina, a late-night tapas restaurant and cocktail bar. The brainchild of Geoff Machirus (Bodega Underground), Crossley St Cantina merges the bustling vibes of Spanish culture with the finest local Australian produce. The kitchen crafts a fully gluten-free sharing menu that features delectable tapas like chicken skin crackling with whipped goat cheese, truffle honey, pomegranate and saltbush, baked scallops with garlic mornay, finger lime and karkalla, and fan favourite crispy brussels sprouts with chilli-maple dressing. If you are after a larger plate, the Basque-style grilled 400g porterhouse steak with roasted bone marrow and pepperberry veal jus is a must. Round out the menu with the classic Basque burnt cheesecake with dulce de leche, housemade honeycomb and berry coulis. The drinks list is equally impressive, with a designated gin tonica menu, vermouth spritzes and an extensive wine list that includes plenty of Spanish varietals (and local drops), including sherry wines — Oloroso and Pedro Ximinez make appearances. Every Friday, Saturday, and Sunday, from 12–5pm, the cantina hosts a Bottomless Brunch. For $79 per person, guests can enjoy 90 minutes of free-flowing G&Ts, sangria, cocktails, beer, and wine, all paired with a curated five-plate selection of the chef's favourite dishes. A vegan-friendly menu is also available, ensuring there's something for everyone.
"Let food be thy medicine and medicine be thy food." They're words famously spoken by Hippocrates, way back when, and lived diligently by so many foodies, even today. They also sum up the concept at the heart of Prahran café Market on Malvern, which opened its doors in October 2016. The brainchild of Dr Anthony Yeuong, who's also behind adjoining health practice Beingwell Healthcare, MOM was dreamt up in response to a growing number of patients with dietary dramas and allergy issues. Dr Yeuong has long been a champion of food that both tastes good and feels good afterwards, and now he's treating the good folk of Melbourne with a bit of pre-emptive edible 'medicine', Hippocrates-style. With an ex-Nobu chef helming the kitchen, MOM's catering to clean eaters and flavour seekers alike; its thoroughly-researched menu is packed full of paleo, vegan, allergen-free, and FODMAP-friendly goodness. Dishes are categorised according to their specific properties and benefits to the body. You might find yourself boosting those energy levels with the caramelised sweet potato and hemp protein hummus, or you might opt for the red rice and miso eggplant, to help soothe any digestive issues. Backing up all those healing food options, there's a slew of juices and smoothies, coffee by Allpress, and a list of caffeine-free lattes that runs from beetroot right through to mushroom.
A tasty new go-to for the hungry and time poor has arrived on Elizabeth Street. Chunky Town is a hole-in-the-wall serving up a cheesy Korean street food favourite inspired by carnivals and childhood memories. The 'Chunky' (as it's called) is a little like the Australian dagwood dog, but cheesier. It's made using a crisp batter and hunks of gooey cheese — and comes in seven different flavours. In Korea, it's served at one of the 200 Chung Chun stores around the country (the chain opened its OG store in Seoul's Gangnam district). In Australia, you'll find it at Chunky Town in Melbourne's CBD. How it works is simple: you pick your Chunky and your cheese filling, sprinkle it with sugar and load it with sauce at the counter. The bestsellers are the original Sausage Chunky with cheddar ($5.50) and the upgraded OG with stretchy mozzarella ($6.50). Other flavours include the Potato Chunky, the Noodle Chunky (which is dipped in crushed noodles), the black Squid Ink Chunky (all $7.50) and a vegetarian version with no sausage and lots of cheese. We suggest adding a side of crunchy waffle fries to your order for a salty hit, too. [caption id="attachment_737291" align="alignnone" width="1920"] Julia Sansone[/caption] To drink, pick up one of the Korean bubble teas. The Thai-style milk tea and mango green tea are our top picks, but there are 21 different flavours to choose from. In the future, it's rumoured that Korean doughnuts (called Chunky Balls) will be added to the menu, too. The doughnuts are drizzled with maple syrup, condensed milk and seeds. It was Adam Ong, one of the four owners — alongside Adam Wang, Charles Park and Derek Lo — who wanted to bring the Korean treat to the Australian market. And, according to the group, there are big plans to expand across the city and country. So, keep an eye on this space for future openings. Find Chunky Town at Shop 1B, 26 Elizabeth Street, Melbourne. It's open from Monday–Thursday 11am–10pm, Friday–Saturday 11am–11pm and Sunday 11am–9pm. Images: Julia Sansone
Finding greatness in Bong Joon-ho's Parasite isn't difficult. The perceptive class-clash and eat-the-rich story, the array of pitch-perfect performances, the acclaimed director's stunning mastery of tone, the insightful and revealing production design: they're all examples in this Oscar- and Cannes-winning South Korean masterpiece. Another instance comes courtesy of composer Jung Jae-il's score, which soundtracks the film with tunes both disquieting and baroque. It's no wonder that accolades came Jung's way, too, including from his homeland's Grand Bell Awards. Hearing Jung's contribution echoing as Parasite screens is the best way to appreciate it, of course — and watching him perform it live in Australia with Orchestra Victoria will dial what's already a spectacular experience up a few notches. For the first time, the composer is heading Down Under, all thanks to 2025's Melbourne International Film Festival. The event's commitment to honouring the art of screen composition via screenings that pair live tunes and movies is continuing, and two Parasite in Concert sessions are set to be among this year's fest highlights. At 2pm and 8pm on Saturday, August 23 at Hamer Hall in the Victorian capital, Jung will take to the keys. He'll also be conducting Orchestra Victoria as he plays. Seeing Parasite on a big screen is already a treat, no matter how many times you've watched it before; however, giving the picture the concert treatment is something extra special. It's only happening in Melbourne, if you're located elsewhere in Australia and needed more motivation — beyond the 26 films the fest has already announced for 2025 — to attend this year's MIFF. Jung isn't just known for Parasite. If you've felt the tension emanating from Squid Game's score across its two seasons so far — with the third arriving before June 2025 is out — then you've also appreciated the composer's efforts. Prior to Parasite, Jung collaborated with Bong on Okja, then did so again afterwards on this year's Mickey 17. The tunes in Hirokazu Kore-eda's Broker hail from him as well, as does the score for MIFF 2025 title Twinless. "Composing the score of Parasite for director Bong Joon Ho was a life-changing experience for me, and it's a work I'm incredibly proud of. I'm so excited to conduct and perform this original score live in concert for the first time in Australia with the talented Orchestra Victoria as part of Melbourne International Film Festival," said Jung about MIFF's Parasite in Concert events. "This isn't just a film with live music, it's something far more rare. To see Jung Jae-il perform and conduct his own score, live, brings an intimacy and immediacy you can't replicate," added Melbourne International Film Festival Artistic Director Al Cossar. "It's exactly the kind of experience that belongs on a festival stage. In collaboration with Orchestra Victoria, we're proud to present something that speaks directly to MIFF's mission to bring audiences the story of the world through unforgettable screen experiences," Cossar continued. Parasite in Concert joins two sessions of almost-100-year-old masterpiece The Passion of Joan of Arc with a new score by Julia Holter on the music-and-movies side of Melbourne International Film Festival's 2025 program so far. As for what else they'll have for company beyond the already-revealed titles, the fest's full lineup is unveiled on Thursday, July 10. Check out the trailer for Parasite below: Parasite Live in Concert takes place on Saturday, August 23, 2025 at Hamer Hall, Arts Centre Melbourne, 100 St Kilda Road, Southbank — with tickets on sale from 11am on Thursday, June 12, 2025 via the venue website. The 2025 Melbourne International Film Festival runs from Thursday, August 7–Sunday, August 24 at a variety of venues around Melbourne; from Friday, August 15–Sunday, August 17 and Friday, August 22–Sunday, August 24 in regional Victoria; and online nationwide from Friday, August 15–Sunday, August 31. For further details, including the full program from Thursday, July 10, visit the MIFF website.
If you've ever found yourself wondering how certain foods and recipes are made, you're not alone. After all, the great Australia vs New Zealand pavlova debate fails to answer the question of who in their right mind thought whipping egg whites was a good idea. Most foods go through several iterations to come to the form we know them in today. Maybe it's because we have too much time on our hands with nearly 12 million of us locked down right now, but we decided to delve into the weird and wonderful history of some of Australia's most-loved food and drinks. From dinner party favourites to footy game snacks, here are a few brief backstories that took these foods to where they are today. PRAWN COCKTAILS Prawn cocktails reigned supreme at dinner parties in the decades leading up to the turn of the century, but the legend of this dinner party delight harkens back to the 19th century. Folklore has it that a worker came to a bar in California and ordered a plate of oysters and a whiskey after a day in the mines. After downing the whiskey, the prospector emptied the oysters into the glass and combined them with ketchup, horseradish, vinegar, Worcestershire sauce, salt and pepper. When asked what he was doing, the worker replied that he had created an 'oyster cocktail'. Somehow the bar owner thought this was a winning idea and begun selling oyster cocktails, launching the seafood cocktail. The dish popped up in Australia around the 1930s. In 1936, Adelaide's The Mail newspaper published a recipe for the seafood cocktail under the title 'Drinks For The Beach'. The recipe featured grilled shellfish in a small glass of sherry with "two dashes Tabasco sauce, a teaspoon lemon juice, two tablespoons tomato sauce or catsup, a teaspoon Worcester sauce, half teaspoon chopped chives" which would be mixed well, served over ice and with brown bread. BANH MI The Vietnamese banh mi's history is tied closely to European colonialism. The French invasion in the 1800s and subsequent global trade brought France's bread and European ingredients including cold cuts into Vietnam. This would eventually lead to the banh mi's crispy bread roll, reminiscent of a French baguette. The first banh mi was a simple sandwich featuring butter, cold cuts and paté. More traditional Vietnamese fillings became popular later, but the butter and paté stayed. The sandwich was most popular in the southern warmer parts of Vietnam as an alternative to Vietnamese staples like pho. Banh mi begun to spread far and wide in the 1960s and 70s following the Vietnam War, arriving in places like Australia where the warm climate mirrored that of south Vietnam. FOUR'N TWENTY PIES In March 2020 the Four'n Twenty pie became the Official Pie of the AFL. The crowning of this humble Australian pie brand had been a long time coming, but it was a long road to get there. The Four'n Twenty was created in Bendigo in 1947 by Les McClure, a dairy farmer who opened the Dad & Dave cafe. The pies were originally named after McClure's cafe before they were, apparently, renamed as a nod to the nursery rhyme 'Sing a Song of Sixpence' and its "four and twenty blackbirds backed in a pie". The pie's ability to be eaten with one hand while you hold a beer in the other no doubt contributed to its popularity as a stadium food, with the Four'n Twenty a frequent supplier to AFL food stands after its purchase by Peters Ice Cream in 1960. The thing that really solidified this particular brand of pies in the minds of footy fans was iconic ads that ran through the 1980s and 90s featuring catchy jingles and AFL stars. ESPRESSO MARTINI While some drinks have been around for centuries, the fun-lovin' espresso martini is fairly new to the bar scene. First created by revolutionary London bartender Dick Bradsell back in the early 80s, the cocktail's birth is attributed to a supermodel asking for a booze-fuelled drink that would simultaneously wake her up. As vodka back then was the spirit a la mode, Bradsell threw a generous shot of it in with a shot of coffee pulled from the barside espresso machine, plus some coffee liqueur (our money's on Kahlúa) and sugar syrup, then shook away before pouring it into a martini glass. It's rumoured that Kate Moss or Naomi Campbell could be the model behind the birth of the espresso martini. Initially, the drink was simply called a vodka espresso, before being known as the Pharmaceutical Stimulant in the late 90s and then the espresso martini. BOMBE ALASKA The bombe Alaska, or baked Alaska as it's known in its country of origin, has a storied past featuring former presidents and the sale of Russian land. Reports date dishes similar to the baked Alaska back to 1800s USA where President Thomas Jefferson dined on ice cream encased in a dried crust at the White House. It was apparently US inventor Sir Benjamin Thompson, the inventor of the kitchen range and a British loyalist in the American Revolutionary War, that was the first to discover meringue could be used as an insulator. The dessert's name comes from Parisian-American chef Charles Ranhofer who created a banana ice cream and walnut spiced cake version of the meal Jefferson had eaten and labeled it the Florida-Alaska. DOUGHNUTS The Smithsonian Magazine claims doughnuts have been around in some form or another for thousands of years, with archaeologists discovering fossils of doughnut-like cakes in prehistoric settlements. References to the doughnut can be found in publications as far back as 1808. A recipe from 1896 combines flour, salt, soda, cream tartar, nutmeg, cinnamon, butter, sugar, egg and sour milk to create its doughnuts. There seem to be two stories surrounding how doughnuts got their famous shape. The first is simply that the dough wouldn't cook all the way through to the middle when they were first being made so they were hollowed out. The second is a much more interesting story, involving adventures of the high seas. A New England ship captain had been given cakes from his mother to eat on a journey across the sea in order to ward off scurvy. When the captain needed to hold the wheel with both hands, he speared one of his mother's cakes onto the wheel, gifting the world the hollowed-out shape of the doughnut. MANGO PANCAKES The story of mango pancakes is one of mystery more than certainty. The bright yellow desserts are such a staple of Australian yum cha, some locals may be surprised to find out they are, for the most part, a uniquely Australian thing. The only other place across the globe that seems to have the same level of deep adoration for these creamy mango delights is Hong Kong. The dish is the signature dessert of Honeymoon Dessert, who have a strong claim to starting the craze in Hong Kong, however Honeymoon was established in 1995 and reports of Mango Pancakes online date back to the early 90s in Australia. This is all anecdotal of course, but, if there are any pancake detectives on the case, reach out as the mystery remains unsolved. Illustrations by asu_ad
Affectionately dubbed "the Persa" by Fitzroy locals, this Brunswick Street pub dates all the way back to 1865. Perseverance is a favourite among the student crowd, and is known for having a consistently heaving dancefloor. Throwback fans will love the 90s-themed music nights, complete with strobe lights, disco balls, and shameful dance moves. After all, there's truly nothing more liberating than busting out the macarena en masse at 2am — you know all the moves, don't deny it. Expect a healthy selection of beers and burgers on the menu, with an impressive collection of cocktails also on offer. Need a little breather after breaking out some enthusiastic dance moves? The tree-lined beer garden is a welcome escape for tired feet, with an enclosed marquee erected in winter to keep things toasty. Perseverance is licensed until late over the weekends, so bookmark this as the perfect kick-on venue. Images: Giulia Morlando.
When it comes to creating smash-hit venues, legendary chef Andrew McConnell knows what's what. He's the mind behind favourites like Cumulus Inc, Cutler & Co, Supernormal and Marion, to name a few. And now, Melbourne is about to score another, with McConnell opening a new cocktail bar and restaurant in the 1920s heritage Cavendish House building at 33 Russell Street in the CBD this July. It'll be his first new project in five years. Sydney-based architecture and design studio Acme is heading up the build, which sees this historic building filled black and gold marble bars, leather booths, geometric tiles and honeycomb chandeliers inspired by famed Italian architect Carlo Scarpa. Considering the studio is responsible for highly Instagrammed venues like The Grounds Of Alexandria, Charlie Parker's and Watsons Bay Boutique Hotel, you can expect it to be very impressive. Split into four spaces — a cocktail bar, an elegant clothed-table restaurant on the upper level, a 12-person private dining area and a more casual space on the lower level — the restaurant feels very elegant French bistro. And the food echoes this. Designed by Andrew McConnell together with Head Chef Allan Doert Eccles (Cutler & Co), the menu makes its way from escargot and and crab toast with sea urchin through to dry-aged duck cooked in a wood oven. But, it's certainly not all French. Flounder comes with pil-pil (a boldly flavoured Basque sauce), potatoes are roasted with taleggio and dessert includes gelati. Eccles says the food is "leaning on Europe and America, a bit of old world mixed with new world sensibility" — and, like the space, it's also a little bit indulgent. Expect caviar, champagne and truffles aplenty. [caption id="attachment_773819" align="alignnone" width="1920"] Sharyn Cairns[/caption] To start, Gimlet is opening for a series of preview events from June 30, with dinner on offer first, followed by lunch from July 3. But, from July 14, the team will be plating up food, pouring wine and playing sauve tunes from midday every weekday, and from 9am for brunch on weekends The building — which was previously a fancy flagship for Bang & Olufsen — is located on the corner of Flinders Lane and Russell Street, only a short walk from McConnell's Supernormal and in the middle of the Flinders Lane dining action. Gimlet at Cavendish House is opening at 33 Russell Street, Melbourne from July 14. It will also be open for a series of preview events, with dinner ($85 set menu) from Tuesday–Sunday from Tuesday, June 30 and lunch ($70 menu) from Friday–Sunday from Friday, July 3. To book, call (03) 9277 9777. Images: Sharyn Cairns
Vivid Cafe and Lounge has been up and running on Glenferrie Road in Hawthorn since March 2023, originally only serving up classic Melbourne cafe fare. But a few months after opening, Chef Nobphadon Kaewkarn (AKA Chef Bird) started slowly introducing more and more Thai eats to the menu — until the lunch offerings were dominated by curries, noodles and spicy seafood dishes. And as of February this year, the team took the leap into becoming an all-day venue, transforming into a Thai restaurant once breakfast is over — and it's now running a booming dinner trade from Wednesday–Sunday. On the menu, you'll find classics like soft-shell crab bao, spicy coconut prawns, fish cakes, roti and chicken satay to start, as well as bigger dishes like hot and spicy tom yum soup, a stack of salads, curries, pad thai, pad kra pow, slow-cooked lamb and a crispy prawn (or crab) omelette. Come weekend lunchtime, Vivid is serving one of the most affordable all-you-can-eat meals in town. For just $29 per person, you'll get 90 minutes of unlimited red, green and massaman curry, plus endless amounts of spring rolls, pad thai, pad see ew, fried rice and roti. And you get to choose what protein goes in each. We're all about bottomless brunch deals, whether it's the luxe Conservatory buffet at Crown or the old Smorgy's offerings (RIP), so this new addition to Melbourne's all-you-can-eat scene is firmly on our radar. And to top it all off, Vivid now has an alcohol license — you've got $10 wines by the glass, plus happy-hour deals on beers and cocktails. Shit's expensive these days. But Vivid is serving up genuinely good eats for so little. Get on it. You'll find Vivid Cafe and Lounge at 616 Glenferrie Road, Hawthorn. It's open for breakfast from Monday–Friday, lunch from Monday– Sunday and dinner from Wednesday–Sunday. For more information, visit the venue's website.
When it comes to pub grub, there aren't too many Melbourne boozers with as broad appeal as The Cornish Arms Hotel. The Brunswick pub's menu is famous for giving just as much love to the classics as to creative vegan alternatives, with plant-based bangers sitting happily alongside favourites like chicken parmas and cheeseburgers. During lockdown, you can get your fix of either lineup each weekend, thanks to the venue's new takeaway pop-up series. Roll past every Friday (2–8pm), Saturday (12–8pm) and Sunday (12–5pm) to find a tasty selection of pub grub, wine, beer and cocktails to-go. Eats range from a classic parma and the fried chicken burger, to a plant-based souva filled with spiced seitan and garlic sauce. If you're lucky, specials might include the likes of the legendary vegan HSP or a loaded lamb souvlaki. Meanwhile, you can bring along your growler to fill with anything from the full range of tap beers, or opt for one of four different spritz varieties. The bar's also pouring a handful of classic cocktails, a couple of bloody mary concoctions, and both frozen and regular margaritas. Just be sure to stick to the current restrictions and social distancing guidelines — the pub's reminding punters to "come hungry, don't linger, be safe".
Happy Valley is appropriately named. Sitting quietly amidst the grubby hustle of Smith Street, this semi-bookshop, semi-homewares store, diverse world of curio is guaranteed to make you smile. Run by Chris Crouch, ex-owner of Polyester Records, Happy Valley is full of hand-chosen items from local designers and makers. We're talking terrariums, quality leather goods, candles, wall art, magazines and ceramics of sad little lions — all of the things you don't really need, but definitely want.
The service industry is something of a crucible for millions of Australians. Ask anyone, and they probably spent some time as a teenager or student working in retail or hospitality. It's mandatory for anyone looking to gain some valuable life lessons while they're learning basic employment skills and saving some cash. Love it or hate it, we've all got to do it at some point. Gruelling as it sometimes is, the service industry is of immense importance. Who else can make the world's coffees, package their orders, cook their dinners — and do it all while putting a smile on the faces of customers? The simple act of good service makes all the difference for any business; it's a key ingredient to building up a customer base and ensuring loyalty and word of mouth to keep that base growing. Maybe what the world needs is a shortlist — a pocket guide, if you will — to the secrets of good service. If you're an aspiring business owner or an existing member of the service industry, you could probably use some tips from the pros on what good service can and should look like. We made a few calls, and we've got your good service guide right here. RULE 1: DON'T OVERCOMPLICATE IT Service, like anything, is easy to overthink and overcomplicate. But at the end of the day, it's all about the basic fundamentals. In hospitality, you might overthink the prioritisation of good food vs good service, but Alex Brawn of Cremorne's Amatrice Rooftop Restaurant and Caffe Amatrice understands that one takes precedence. "The reality is that we need to be nailing both. But going out to a cafe or restaurant is about an 'experience', and we all like to leave feeling good — and that mostly comes down to good service. Looking after our guests, making them feel good, that's what hospitality is about." "It's a common gripe for people where they try a restaurant, and the food and ambience were amazing, but the service was terrible, and they declare "I will never go again". So it goes to show that it doesn't matter how good your food is, or how expensive or beautiful your fit-out is, if you have poor service then you [as a business] just won't be successful long term." RULE 2: DON'T SHY AWAY FROM BEING PERSONAL It's absolutely key to maintain an professional attitude in any line of work, but in the case of service and hospitality, making things personal can go a long way to keeping a customer happy. It's the little things like smiling, remembering a name, or if you're able, going the extra mile in your service. Brawn, who's also a part of the team at the Williamstown waterfront spot, Sebastian Beach Grill & Bar, puts it plainly: "We keep it simple, just focusing on friendly, genuine service that makes people happy. Remembering regulars' names and having a chat about how their day is going — just those little things that make our guests feel a little bit special." "Recently, a family dined at Sebastian to celebrate an 80th birthday. The host of the dinner was telling her family how she remembered being in San Sebastian many years ago and having a special cheesecake. Our team overhead this conversation and arranged for a Basque cheesecake with a candle…looking after our guests and making them feel good is the key to good hospitality." RULE 3: GOOD SERVICE IS A PARACHUTE IF PRODUCTS FAIL The fact of the matter is this: it's hard to crack an original idea these days. If you're planning to open a bar, restaurant or café, you need something memorable. Good food and drinks are newsworthy and get tongues wagging, but if people don't have a good time consuming those products, you're going to burn out before you know it. Slipstream Brewing Co. is one of Queensland's most awarded breweries, so it is safe to say that director Elisa Stanley-Hunt knows all about the balancing act of products and services. "Great service fosters a welcoming atmosphere, encourages repeat customers, and helps build a strong reputation — especially in the early days. Even if the food isn't perfect yet, exceptional service can turn a first-time visitor into a loyal customer. That said, quality food is a close second. Once service is dialled in, focusing on a menu that's consistent, delicious and suits your brand will solidify your success. Ideally, both should go hand in hand, but if you lead with service, your customers will be more forgiving as you refine your offerings." RULE 4: LEARN TO SPOT A TELL We've already established the importance of personal service, but the ability to listen for and spot little details in a customer's preferences, routines and interests can elevate just another meal into a truly memorable experience. You likely know how good it feels to have a regular barista remember your coffee order, for example. For Andrew Garling of Fortitude Valley's Mr Valentine, that attention to detail is paramount. "Good service at Mr Valentine is anticipating a customer's needs from the moment they walk in the door, nothing more, nothing less. When you spend long enough serving people, they give you small cues as to what they need. We try and take those cues and act on them before they ask. These can be as small as taking a to-go box to a table as they are finishing before they ask, making a coffee when you see a regular walking from afar…they're all very simple things that make our customers feel important, and they cost us nothing to provide...the transaction is the last thing we think about." RULE 5: SAVE TIME ON THE TECHNICALITIES What we've learned here is that good service, above all, comes down to authenticity and human interaction. A smile, listening for special occasions, paying attention to what makes your regulars tick. What you don't want to do is take away from precious staff-to-customer contact time by having to fiddle with terminals and tablets, so having a smooth system to take care of the nitty-gritty makes a world of difference; ask any business owner. That's especially true when products like Square make things as easy for the customer as for the operator. Alex Brawn experiences that often; "the simplicity of the Square POS and EFTPOS units means we spend less time looking at a screen and more time looking after our guests." Andrew Garling agrees: "[Square] allows us to do the things we talked about before and leave the transaction as the last thing to worry about…we can tailor the use of software and [the] hardware experience so the customer has the smoothest possible transaction." Find out how Square can kickstart your business at squareup.com.
Melbourne loves rooftops. There’s something about getting above it all, isn’t there? Looking out across the city and being King or Queen of all you survey. So it really doesn’t get any better when you can start your day in a lofty kind of way with breakfast on a rooftop. Santoni’s rooftop, that is. Santoni first opened as a pizza bar in the heart of Hawthorn in 2007. Run by Peter Koutroulis, and sons Michael and Anthony, they started on the ground level and have since worked their way up after securing the entire three-level Victorian terrace building in 2014. First, they opened a modern Italian restaurant; now, a rooftop terrace. Previously only open for lunch and dinner, Santoni is now serving breakfast. And it’s quite a breakfast. Smashed avocado like you’ve never seen it before, served with cucumber tomato salad, brick pastry-wrapped king prawn, Meredith goats' cheese, pistachio dukkah and sourdough ($24). If you’re feeling in need of a sensory adventure, why not try their macaron, sandwiched with chicken liver parfait and served with an apple gel, caramelised walnuts and a scotch egg? It’s hard to imagine, I know, but it’s true — and the sweet and salty nature of the dish has a lot going for it. You can always stick to the familiarity of muesli, which is served with a twist — it's swathed in a little raspberry jelly and lemon balm ($13.50). Larger appetites can be sated with pork belly with agrodolce (an Italian sweet and sour sauce) or a soft shell crab burger, which has just the right mix of chilli jam and aioli to render it eye-closingly delicious ($16). And don’t forget the breakfast pizza. Sant’Antonio Abate is said to be the patron saint of pizza makers, and Santoni proudly operate under his care. Any hangover would quake in the face of the vegetarian or bacon version of this AM pizza ($19.50). Coffee, including their special cold brew, is supplied by Code Black, and Santoni will be one of the first restaurants to have Pressed Juices on their menu. The glowing bottles will have goodness coursing through your veins before you can even Instagram the panoramic views from the roof. Hawthorn locals have been enjoying Santoni for years — so don’t get left behind. Pick a friend, any friend, and pull them up the stairs to the rooftop. Take the credit for the discovery and reap the goods and the glory.
New Zealand chocolatier Whittaker's has released a special Easter treat for folks looking for something other than eggs and bunnies to indulge in in 2024. While it might seem a little early to be planning your Easter egg hunt and lining up Australia's best hot cross bun, it's never not the right time to indulge in Whittaker's chocolate. Whittaker's Choc Cross Bun Block fuses two of the best parts of Easter — hot cross buns and chocolate, of course — into one creamy block. Whittaker's classic milk chocolate is flavoured with raisins, spices and orange oil to capture the sweet citrus flavours of a traditional hot cross bun. Crafted in Porirua, like all Whittaker's chocolate, this limited-edition chocolate block is a great alternative for adults who may not be interested in the admin involved in an Easter egg hunt. It also ties into one of the best Easter trends each and every year: seeing how chocolatiers, restaurants and bars can whip up new and inventive treats for the occasion. You'll only find this one at Coles supermarkets. The Whittaker's Choc Cross Bun Block will be available in Coles stores across Australia while stocks last.
Sydney WorldPride is bringing the party to town. Not only will it see our country's best gay clubs, bars and party spaces come to life but the celebrations will flow throughout galleries and art spaces, museums (hello Pride Shark!), boutiques, public parks, rainbow roads, and the sails of the Opera House. Our editors have picked their favourite Sydney WorldPride events but we've also enlisted a few locals to share some of the less obvious spots to celebrate. Enter Alex Greenwich. The Independent MP is a proud gay man and has used his public platform to push for equality and LGBTQIA+ rights throughout his career. For WorldPride, he's swapped his signature casual suit and shirt for a tuxedo exploding with green tulle in an installation hosted in the hallowed halls of the QVB. Alex is among a lineup of queer Australian legends currently being honoured for their contributions to the LGBTQIA+ community. The retail centre is temporarily changing up its name from the Queen Victoria Building to reflect each of these contemporary queens with a set of fabulous portraits befitting of any royalty on display shot by photographer Dream Syndicator. The queens in focus are trans icon and cabaret star Carlotta, queer activist Ken Davis (a member of the original Mardi Gras 78ers), Indigenous drag queen Felicia Foxx, and Alex along with Janine Middleton who, together, co-chaired Australian Equality and successfully fought for and helped achieve marriage equality in Australia. Who better than MP Greenwich — whose office is literally in the middle of Oxford Street — to give a few tips on where to go during Sydney WorldPride? And if you bump into him in a bar, he'll take a tequila and soda, thanks darl. What do you think about Sydney hosting WorldPride this year? "Sydney hosting WorldPride is such a great opportunity to showcase our city and diverse community to the whole world. During covid Sydney missed the world and the world missed Sydney and Sydney WorldPride is a nice way to welcome back the rest of the world. Sydney has the most beautiful and diverse welcoming LGBTQIA+ community and I'm grateful to be part of that community. I'm also grateful to have the opportunity to represent that community in parliament." If someone spies Alex Greenwich at a club or bar (and WorldPride is bringing to life some of the best), what drink should they buy you? (And what topic should they NEVER bring up?) "If I'm in a club, tequila and soda will probably be the drink of choice. I don't know about a topic that I wouldn't want some to bring up... I'll talk about any topic." What are the best queer venues in Sydney in your opinion? "I think there's such a great variety of queer venues in Sydney. I love Stonewall. The re-opening of ARQ is awesome. POOF DOOF at Kinsella's and smaller venues like Dulcies in the Cross." [caption id="attachment_679716" align="alignnone" width="1920"] The iconic Stonewall on Oxford Street[/caption] What are some of the best spots where an international visitor should go on a first-date during Pride? "There's so many great spots in Sydney to choose from. What I would say is to go to a swimming hole like the new cove in Barangaroo, grab food from a mini deli like Darlinghurst Deli and stop by a bottle shop, and go for a picnic and a swim." Where do you like having a late-night dinner or snack? "Chinatown is always a great destination for a late night dinner." Which local LGBTQIA+ owned businesses do you like to support? The great thing with Sydney is there are so many LGBTQIA+ owned businesses to support. I try to support them all but Claire's Kitchen on Oxford Street is an iconic dinner destination. What events are you most excited about for Mardi Gras and WorldPride? And what are the events you would say are not-to-be-missed? "I'm most excited for the Pride March Harbour Bridge Crossing . It will be historic and an opportunity to send a strong message about supporting LGBTQIA+ rights. I'm also looking forward to the Mardi Gras parade and marching in it again, the First Nations Gala at the Opera House, and the Opening Ceremony." [caption id="attachment_892180" align="alignnone" width="1920"] Miss First Nations perform at the First Nations Gala[/caption] Finally, Alex: how important is Kylie Minogue? "Kylie is obviously an icon of Australia and a strong supporter of the community and it's so wonderful that she is joining us for the celebration." For more inspiration for how to make the most of this once-in-a-lifetime celebration head to our events guide on the best of Sydney WorldPride.
An alpine slice of paradise, a high-altitude escape and a wild, snow-capped land. This isn't some European Alps locale, this is Mt Hotham in our very own Victoria. Situated on the Great Dividing Range, this small village sits atop the mountains. At 1,750 metres above sea level, it's among the highest-altitude villages in Australia. That gets it a spot on the must-visit list year-round, particularly in the winter. Unsurprisingly it's one of the state's most popular skiing destinations and is quite unique in that the village sits above most of the skiing, rather than below. Picture waking up inside a cloud illuminated by the sunrise, and getting onto a run that's right outside your door, it's possible at Mt Hotham. But it can't be all skiing and snowboarding — the human legs can only take so much action. So when you've had your fill of the mountain, come back here to find out how to enjoy your evenings. GET SOME SHUTEYE AT MOUNTAIN DREAMING APARTMENTS Sometimes after a long day on the mountain, all you need and want is to go to bed. There's no shame in that — a long day or difficult conditions can really take it out of you. A popular cosy overnight spot for any visitor is Mountain Dreaming Apartments. These self-contained and self-catered apartments are the perfect pick for experienced snowgoers, with fully stocked kitchens and private balconies overlooking those killer mountain views. The on-site restaurant offers drinks and Aussie pub-style cuisine to recharge your batteries, plus the apartments are a mere 100 metres from the Big D Lift, the less time you need to walk in your boots the better. FEEL AT HOME IN GRAVBROT SKI CLUB Slightly further down the road in Davenport village is a luxe but affordable alternative: Gravbrot Ski Club. An ideal destination for families or larger groups, especially if you don't fancy forking out for meals or bringing your own groceries. A stay here includes the home cooking of the lodge's own chef for every meal. The whole experience is designed to not just accommodate you but to make you feel at home while away from home. You even get assigned an essential role in maintaining the lodge during your stay. The lodge's position in Davenport puts you in close proximity to cross-country trails, so it's perfect if you fancy an adventure through the snow to start or end your day. PUT YOUR FEET UP IN 'THE HEART OF HOTHAM' AT ZIRKY'S Location-wise, Zirky's really is the heart of Mt Hotham, and it has been for over 60 years. Sat in the bustling heart of the village, it offers a serious drawcard as the ideal ski-in-ski-out location for a stay in Hotham. The apartment-style rooms range from one to six bedrooms, perfect for groups big and small. Zirky's boasts multiple options for diners. You can grab a coffee and a quick snack at the cafe before you head out, enjoy a relaxed lunch or après drinks in the bar, or enjoy a refined dining experience in the á la carte restaurant, it's headed up by Chef Stephanie Graham of the St Kilda seafood hit, Donovans. Needless to say, reservations are strongly encouraged. MAKE THE MOST OF APRÈS-SKI WITH DINNER AND DRINKS AT THE GENERAL Holiday towns can suffer a bit on the nightlife front, but locals and visitors of Mt Hotham alike know that's not the case when they spend an evening at The General. This is a classic Aussie pub. It prides itself on being at one of the highest altitudes of its kind and serves hot and hearty pub classics until late. The Genny also maintains a regular live music and entertainment roster, rotating between live DJs and artists to pub trivia and afternoon après happy hour specials. If you're looking for a night out on the mount, this is a prime choice. TAKE IN THE SCENERY ON A SUNSET SNOW KAT TOUR Altitude and killer views go hand in hand, and Hotham is no exception to that rule. But when you're careening down the slopes, staring at the view isn't the safest thing to do. It's easy enough to take a break on The Summit during the day, but you really should try coming back at sunset. The only way to do that is on a Sunset Snow Kat Tour. This deluxe experience starts with bubbles and cheese at The Bird before a heated ride in a snow kat up to the summit to watch the sun go down with hot choccy in hand. It'll be cold, but the views are unbeatable. Legend says that on a clear night, you might see as far as Mt Kosciuszko. SPEND A NIGHT OUTDOORS AT ALPINE NATURE EXPERIENCE Just like the killer views, the lovely ambience of the Victorian Alps is a little tricky to take in when you're moving down a hillside at high speeds. A better choice for a leisurely wander through the high country is cross-country skiing or even snowshoeing. Mt Hotham offers that in large amounts, but a truly special way to do it is the Alpine Nature Experience. This evening tour starts with a 20-minute snowshoe walk through the snow gums, followed by mulled wine, cheese fondue and a three-course dinner in a cosy tipi in the snow. You can also book to stay the night in a luxury heated 'skydome' or authentic igloo, followed by a warm breakfast in the morning. HAVE A QUICK BREAK THEN KEEP SHREDDING AFTER DARK You don't always have to take off your gear for good once the sun goes down. Mt Hotham has a bustling nightlife and a broad list of activities in the village, but the action can continue on the slopes if you pick the right night. If the conditions are good, visitors can return to the mountain with limited access to Big D for night skiing and boarding every Wednesday and Saturday night from 6.30–9.30pm. And in case the floodlights don't illuminate enough of the situation, Wednesday nights also feature fireworks displays that light up Big D, The Summit or the Basin at 6.30pm. Keep an eye on the Mt Hotham app or TV to find out what's happening. All this and more can be found in Mt Hotham, Australia's alpine wonderland. To find out more and start planning your trip, visit the website.
Every December, fans of sparkling sights are gifted a luminous feast for their eyes. No, we're not talking about Christmas lights. Regardless of whether you're bathing in a festive glow or hardly fond of all the merriment, 'tis the season for the Geminids meteor shower to soar through the sky — starting on Monday, December 4 and finishing for 2023 on Wednesday, December 20. Even better: Down Under, it's at its peak on the evening of Thursday, December 14 and the morning of Friday, December 15. If you have a telescope at hand, it's clearly a great time to put it to use. Eager to catch a glimpse, even from just your backyard or balcony? Here's everything you need to know. [caption id="attachment_754955" align="alignnone" width="1920"] A composite of 163 photos taken over 90 minutes during the Geminids by Jeff Smallwood for Flickr.[/caption] WHAT IS IT? Lighting up the end-of-year skies, the Geminids meteor shower is considered the most spectacular meteor shower of the year. Again, Christmas lights aren't the only spectacle worth peering at this month. The Geminids is caused by a stream of debris, left by an asteroid dubbed the 3200 Phaethon, burning up in Earth's atmosphere — and it was first observed in 1862. Some years, you can catch as many as 150 meteors every 60 minutes, so this definitely isn't just any old meteor shower. [caption id="attachment_699423" align="alignnone" width="1920"] NASA, Marshall Space Flight Center, Jeff Dai.[/caption] WHEN TO SEE IT The 2023 shower kicks off on Monday, December 4, running through till Wednesday, December 20. As with every year, it's expected to be at its peak in Australia overnight mid-month — between Thursday, December 14–Friday, December 15, specifically. If you fancy a stint of stargazing, the best time to look up is on Thursday, December 14 from around 9pm in Brisbane, 10pm in Perth, 11pm in Sydney, 11.30pm in Adelaide and 12am in Melbourne. The best time to catch an eyeful will be after midnight, when the moon has set and its light will not interfere, but before sunrise. [caption id="attachment_882304" align="alignnone" width="1920"] ESO/G. Lombardi via Wikimedia Commons[/caption] HOW TO SEE IT For your best chances, it's worth getting as far away from bright lights as possible. This could be a good excuse to head out of the city to a clear-skied camping spot — and pray for no clouds. To see the meteors, you'll need to give your eyes around 15–30 minutes to adapt to the dark (so try to avoid checking your phone) and look to the northeast. The shower's name comes from the constellation from which they appear to come, Gemini. So that's what you'll be looking for in the sky. To locate Gemini, we recommend downloading the Sky Map app — it's the easiest way to navigate the night sky (and is a lot of fun to use even on a non-meteor shower night). If you're more into specifics, Time and Date also has a table that shows the direction and altitude of the Geminids. The Geminids meteor shower runs from Monday, December 4–Wednesday, December 20, and will be at its peak during the night on Thursday, December 14–Friday, December 15. For further details, head to Time and Date. Top image: A composite of 88 photos taken over 60 minutes during the Geminids by Paul Balfe via Flickr.
A long-standing local favourite, Poppyshop is the toyshop that you might remember from your childhood, if you grew up in the area. The store's display of toys, from tiny wooden figurines right up to huge blow-up creatures, is wonderful to wander through — for adults and children alike. As they say, all ages can play! If you're after a gift for someone small, you're likely to find something here. As well as the toys and other objects there is a beautiful range of cards. Images: Parker Blain.
The huge dose of nostalgia that Milan Ring's latest release 'Are Your Friends Alright?' generates is only partially intentional. The Sydney-based artist and producer explains that she drew inspiration from parties she had been to throughout her teens and twenties where gatecrashers or uninvited people brought negative energy. "I was playing with the idea of not allowing that to make your night with your friends a bad vibe." It's an idea that most people could relate to. But, with the very notion of socialising and partying with mates seeming quaint and far away right now, the song strikes an even deeper chord. It's about focusing on the good things and channelling positive energy. Produced in collaboration with Sydney-based artist Blessed, 'Are Your Friends Alright?' is a charged track, packed with sensual vocals, soulful harmonies and a funky bassline. It's a prime example of why Ring was chosen as one of the visionary artists to collaborate with Miller Design Lab, the home of creativity and self-expression built by Australia's leading minds in design, art, technology and fashion. The platform is a celebration of our nightlife and its impact on culture to deliver exceptional moments to you and your home. To that end, we spoke with the Sydney-based talent to talk about life as an artist — from having a flexible process to seeking inspiration from her city and collaborating with some of the best in the biz. Artist is a broad term, but it's an important distinction when referring to someone like Milan Ring — she can't be pigeon-holed into one category. Throughout her teens, she spent time jamming on guitar and experimenting on an analogue drum machine, before getting a diploma in sound engineering and technical production. She started performing professionally in her twenties, first as a guitarist in bands and then progressively as a backup vocalist. Now, not only does she write and compose all of her music, but she also produces and mixes it all — and masters some of it, too. And most of that magic happens in her studio, which she built in a Marrickville warehouse with her best friend two years ago. This loaded skillset affords Ring a lot of flexibility in her creative process. "There are times when I just want to create, do something fresh and improvise. And then there are times I just want to fix things and do all the technical stuff. I listen to myself. Sometimes I go in with the intent to create a new song. I start and I'm like 'I'm not really feeling it', so then I'll pull up a song to finish the mix." Though Ring admits that she mostly works alone, she also places enormous value in teaming up with other artists and producers, including Blessed and American band The Social Experiment (who in turn have worked with Chance the Rapper). "It's down to finding the right collaborators, but you don't know until you try. Every collaboration, even if it doesn't end up with a song that's released — there's something to take away from that and something to learn." And, for Ring, there's a direct relationship between collaborating and customisation. "The way I interpret customisation would be drawing inspiration from something and making it your own. Someone like BLESSED might send me some beats and then I'll use this, change this sound, delete that, move that over here and then record it. Therefore, I've customised, added to and changed his initial concept into something else". The idea of customisation is also evident in the stitching together of Ring's various sources of inspiration. Her music is known for sampling from various genres — she specifically mentions Latin, Afro-Cuban and American-style jazz and soul music, which she spent a lot of time listening to growing up. But when it comes to lyrical content, Ring looks to her community in Sydney's inner west. "I'm definitely inspired by the area I grew up in and different people I know or have met and their stories. Things I've observed or had people tell me their story, I've written about it and taken the essence of the story and then gone off on a tangent." Ring specifically mentions a number of places around her studio in Marrickville that she frequents for inspiration, including cafes like Matinee, West Juliett and Two Chaps, the cluster of craft breweries and a handful of pubs like The Henson, The Vic on the Park and The Marrickville Hotel. And even just going and sitting Enmore Park. "It is nice being surrounded by people even if you're not talking to them. That's one of the things that I've been missing in this time [during lockdown] is just being surrounded by the hustle and bustle of everyone's lives." Speaking to this hiatus period due to COVID-19, which resulted in Ring cancelling her national tour Switch Off, Milan explains, "I haven't been as inspired to go into the studio and hustle. With everything that's going on, I'm not particularly pushing myself — it's a bit of a respite." Instead, she is spending quality time with her dog, cooking and collaborating with a friend on a kids' play-along book. And she's been working her way through a Stevie Wonder songbook on the guitar. "I'm trying to get back into my jazz theory, which I put on the back foot as I've been working on being the best producer and mixer I can be. It's been quite therapeutic for me." But there's no doubt that once lockdown is over, she'll be back out there making the most of Sydney's nightlife. "Being out with friends, going to restaurants, then going to bars and then going to a show — it about being part of culture and the community and feeling connected to all these people. Even though you don't know who they are, you're all there for the same reason." For more, check out Milan Ring's collaboration with Miller Genuine Draft here. For more ways to celebrate your city's nightlife and recreate its energy in your own space, head this way. Images: Reuben Gibbes
For everyone who has ever had a cringeworthy boss, annoying co-worker or soul-crushing office job, one sitcom franchise has understood for more than two decades now. It was back in 2001 that the original UK version of The Office arrived, introducing the world to the literally paper-pushing David Brent. And, in 2005, an American series featuring the also-awkward Michael Scott hit the small screen as well. More international takes on the show have followed, including an in-the-works Australian series that'll mark the 13th iteration beyond Britain to-date. Next, so might a big return, with the US version reportedly set to score a reboot. Might, could, apparently, rumoured, possibly, hopefully: they all fit this news, which Puck dropped in the wake of Hollywood's current writers' strike looking like it is nearing its end. "Greg Daniels is set to do a reboot of The Office," the publication noted in its wrap-up of where things stand now that the Writers Guild of America has reached a provisional deal with the Alliance of Motion Picture and Television Producers. That sentence, naming the US version of The Office's creator (who has also been behind Space Force and Upload), is all there is to go on for now; however, it hails from an outlet that's all about insider conversation in Hollywood, Silicon Valley, Wall Street and Washington. As for how a restocked take on the Dunder Mifflin-set The Office might work, who'd star, if any of the OG cast will return, if it'll still feature Scranton in Pennsylvania, how many desk supplies might get put in jelly and all the other burning questions that everyone has right now, there's no answers as yet. On its first go-around, the American The Office proved one of the rare instances where a TV remake is better than the original. It was also immensely easy to just keep rewatching, as fans have known since the 2005–13 show finished its run. Of course, that's what you get when you round up Steve Carell (Asteroid City), John Krasinski (Tom Clancy's Jack Ryan), Jenna Fischer (Splitting Up Together), Rainn Wilson (Weird: The Al Yankovic Story), Mindy Kaling (Velma), Ed Helms (Rutherford Falls), Ellie Kemper (Happiness for Beginners), Craig Robinson (Killing It) and more in the same show, and let all of them break out their comedic best. As for The Office Australia — which comes after everywhere from Canada, France and Germany to Israel, India and Poland have similarly given the idea a go — it's on its way in 2024 thanks to Prime Video. In the Aussie series, it will be Hannah Howard's turn to become the manager that 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). There's no sneak peek yet at whatever the US reboot of The Office pans out to be, and no trailer yet for The Office Australia, either. But, in the interim, you can check out a couple clips from the US version below: The rumoured reboot of the US version of The Office doesn't have a release date yet — we'll update you with more information when it is announced. The Office Australia will stream via Prime Video sometime in 2024 — we'll update you with an exact launch date when one is announced.
As a kid, did you ever dream about getting to roam around your favourite store after hours? As a fashion-loving adult, would you adore nothing more than being surrounded by your go-to label on an overnight stay? Thanks to House of Sunny, the latter is now becoming a reality — but for just two people for one night only, at its Hackney showroom and to celebrate London Fashion Week. The good news: this collaboration with Airbnb looks like the ultimate fashion fantasy, and it's also free. The trickier news: getting to slumber in a space that's basically House of Sunny's latest collection turned into a pop-up hotel means needing to be in London this week, because the stay is for Friday, September 22. If you've seen news of Airbnb's past one-off listings — think: Barbie's Malibu DreamHouse, the Ted Lasso pub, the Moulin Rouge! windmill, Gwyneth Paltrow's Montecito abode, Hobbiton, the Bluey house, the Paris theatre that inspired The Phantom of the Opera, the Scooby-Doo Mystery Machine, The Godfather mansion, the South Korean estate where BTS filmed In the Soop and the Sanderson sisters' Hocus Pocus cottage and Japan's World Heritage-listed Suganuma Village — then nothing about this situation should come as a surprise. Just like previous extremely short-term themed stays, this one is only up for reservations at a set time, too, with bookings opening at 3am AEST on Wednesday, September 20. With what's been dubbed Sunny's House, you'll kick back at a spot that's been given a stunning makeover — and you'll also get to improve your own style. The digs include an entrance that's all about greenery, taking its cues from the Hockney dress; a red and orange bedroom designed to look like the sundown cardigan; a crimson bathroom that splashes the colour all over the room, this time paying tribute to the La Belle dress; and hanging out in the cloud-adorned "wardrobe of dreams". Sunny Williams will be on hand to give you design tips one on one, and your time in the wardrobe of dreams will involve trying on House of Sunny threads. Also, due to the showroom's location, you'll be able to head beyond Sunny's House for brunch on Broadway Market, visiting the Columbia Road Flower Market and grabbing dinner. "House of Sunny's design and ethos has always been inspired by the intersection of culture, architecture, interior, and our community's love for travel, home and aesthetics. I am excited to welcome you to my house; this immersive Airbnb is unique, crafted and eye-catching, the perfect partnership of fashion and special stays," said Williams. As always, whoever scores the booking is responsible for their own travel, including if they have to get to and from London. Money literally can't buy the overnight stay, however — so best of luck to your busily clicking fingers. For more information about the Sunny's House sleepover on Airbnb, or to book at 3am AEST on Wednesday, September 20 for a stay on Friday, September 22, head to the Airbnb website. Images: Alix McIntosh. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Do you dream of sushi? It's probably safe to say the team at Sushi Jiro does, with the launch of its 30th restaurant at The Glen. However, this is no ordinary opening, as Australia's fastest-growing sushi franchise will see its newest location adorned with Melbourne's longest sushi train, stretching a mind-blowing 67 metres. Impressive as that is, it's not the only innovation making Sushi Jiro a must-visit in the east. The Glen location will also feature Sushi Jiro's first-ever Japanese soft serve station, with all-you-can-eat dessert for $10. Featuring rotating flavours like vanilla and matcha alongside a topping station with 30 options, it's an indulgent way to round out your sushi feast. "We're beyond excited to celebrate our 30th location at The Glen. Not only is this our largest restaurant yet, but it also features Melbourne's longest sushi train, taking the immersive Sushi Jiro experience to new heights. The demand for sushi train dining experiences continues to grow across Australia, and we're thrilled to offer something special here in Melbourne," says Sushi Jiro founder and CEO Anna Kasman. As for the new store's design, Sushi Jiro hasn't missed a beat. Here, the sushi train winds its way through a space lined with sleek timber accents and cosy booth seating. With enough space for 100 guests, catching up with friends or relishing a little solo sushi time is made easy. While this location is stepping things up, the crowd-pleasing dishes remain the same, with soft-shell crab nori tacos, Himalaya Signature Rolls and Nacho Cheese Signature Tuna Rolls bringing a fresh take on this much-loved cuisine. Meanwhile, The Glen store will also serve up Sushi Jiro's Salmon Sensation series, featuring innovations like crunchy tobiko salmon and crispy salmon don. Located in the shopping centre's ground floor dining precinct, this landmark Sushi Jiro store is open daily for your sushi-feasting delight. "The Glen restaurant has been designed to offer a more spacious and immersive experience and is the perfect evolution of the Sushi Jiro brand and offering," said Kasman. Sushi Jiro The Glen is open daily from 11am–9pm at The Glen, 235 Springvale Road, Glen Waverley. Head to the website for more information.
Need an extra sweet escape? To celebrate National Donut Day, held on Friday, June 6, Donut King has teamed up with luxury hotel brand Ovolo Hotels to create the 'Hot Cinni Hotel'. This collaboration is perhaps not what you'd normally expect for such an occasion. However, it quickly becomes obvious that this promotion hasn't cut any corners when it comes to fostering suite dreams. In an immersive hotel takeover, the heritage-listed Ovolo Woolloomooloo will see two of its elegant suites transformed into cinnamon doughnut-filled luxury stays. Decked out with shimmering pink accents, cinnamon-painted walls, colourful pop art and a Donut King-inspired bed adorned with plush fabrics, the 'Hot Cinni Suite' experience is like no other. Yet this doughnut-led experience goes beyond mere design. Guests will also see the suite filled with cinnamon doughnut-inspired scents and services, from aromatic diffusers and bathroom amenities to pink art-deco glassware and deluxe towels. Best of all, an exclusive room service offering means hot cinnamon doughnuts will arrive at your door with just the push of a button. That all sounds a little bonkers, but don't think the hotel is finished yet. Donut King and Ovolo Hotels have extended the fun to other areas of the hotel, with every guest invited to get amongst the celebration. In the lobby, pink and cinnamon lighting pay homage to the humble cinnamon doughnut, while the hotel's resident mixologist has created the Cinnitini — a spice-forward cocktail. Also in the bar, discover special nibbles like Donut King cinnamon doughnuts with dulce de leche; cauliflower bites with cinnamon-laced mayo; and chicken skewers with cinnamon barbecue sauce. As for other guests who happen to book a stay at Ovolo Woolloomooloo during this limited-time activation, they're welcome to order room service doughnuts for free. Just know, bookable stays for the Hot Cinni Hotel are only available from Friday, June 6–Sunday, June 9. "Partnering with Donut King to offer our guests an undeniably exhilarating and unexpected culinary experience during their stay is a sweet deal," says James Clark, General Manager at Ovolo Sydney. "We're constantly exploring new experiences for our guests to enhance their stay, and we believe they will absolutely crave and love this limited yet delightfully sweet addition." Bookings for the Hot Cinni Hotel open from Thursday, May 29 at 9am, with stays available from Friday, June 6–Sunday, June 9. Head to the website for more information.
Christmas brings with it many traditions, from party season as soon as Halloween is over through to turkey and prawns on the big occasion itself (and, obviously, carols, stockings, lights and decorations aplenty, too). The next day has its own routine as well — swapping feasts, drinks, presents and backyard cricket for hitting up your favourite picture palace, ready to gorge your way through the year's biggest movie-going moment. And yes, getting an air-conditioned escape from Australia's summer heat is quite the nice bonus. We're talking about Boxing Day, clearly — and, specifically, Boxing Day's annual haul of new films. 2022's lineup is a little smaller than past years because the hefty blue behemoth that is Avatar: The Way of Water opened in mid-December, but there's still plenty to watch. Wondering what's newly showing? Eager to learn what's truly worth your time, more importantly? We've viewed and reviewed the day's full slate of new titles, including an Oscar frontrunner, a savage satire of privilege, a Whitney Houston biopic and Antonio Banderas voicing a mischievous cat. Here's our rundown — happy viewing! THE BANSHEES OF INISHERIN In The Banshees of Inisherin, the rolling hills and clifftop fields look like they could stretch on forever, even on a fictional small island perched off the Irish mainland. For years, conversation between Padraic Súilleabháin (Colin Farrell, After Yang) and Colm Doherty (Brendan Gleeson, The Tragedy of Macbeth) has been similarly sprawling — and leisurely, too — especially during the pair's daily sojourn to the village pub for chats over pints. But when the latter calls time on their camaraderie suddenly, his demeanour turns brusque and his explanation, only given after much pestering, is curt. Uttered beneath a stern, no-nonsense stare by Gleeson to his In Bruges co-star Farrell, both reuniting with that darkly comic gem's writer/director Martin McDonagh for another black, contemplative and cracking comedy, Colm is as blunt as can be: "I just don't like you no more." In the elder character's defence, he wanted to ghost his pal without hurtful words. Making an Irish exit from a lifelong friendship is a wee bit difficult on a tiny isle, though, as Colm quickly realises. It's even trickier when the mate he's trying to put behind him is understandably upset and confused, there's been no signs of feud or fray beforehand, and anything beyond the norm echoes through the town faster than a folk ballad. So springs McDonagh's smallest-scale and tightest feature since initially leaping from the stage to the screen, and a wonderful companion piece to that first effort. Following the hitman-focused In Bruges, he's gone broader with Seven Psychopaths, then guided Frances McDormand and Sam Rockwell to Oscars with Three Billboards Outside Ebbing, Missouri, but he's at his best when his lens is trained at Farrell and Gleeson as they bicker in close confines. Read our full review. TRIANGLE OF SADNESS Ruben Östlund isn't interested in keeping his viewers comfortable, no matter how cushy their cinema chair. To watch the Swedish filmmaker's features is to feel yourself reacting — emotionally, always, and sometimes physically as well. It was true of 2014's phenomenal Force Majeure, aka as clever and cringe-inducing a portrait of marriage and masculinity as the 21st century has provided. With dropped jaws over a divisive piece of art within a divisive piece of art, it was true of 2018's The Square, the writer/director's first Cannes Film Festival Palme d'Or-winner, too. And, earning him that same prestigious prize again in 2022, it's also wholly accurate of Triangle of Sadness. Make a movie with a shape in its title, score one of the biggest filmmaking awards there is: that's been a nifty formula for Östlund of late. But even if he directs a flick called something like Hexagonal Dreaming soon, or anything else with a geometrical bent, and it too nabs that Cannes gong, beating Triangle of Sadness' vomit sequence is highly unlikely. To remind audiences that responding to films and life alike is an involuntary reflex, Östlund shows plenty of his characters doing just that — to existence, and to a choppy luxury cruise. It makes for simply unforgettable cinema, but it's also just one part of Triangle of Sadness and its sublimely shot unpacking of wealth, privilege and social hierarchies. Appearing to be coasting through perfection is an ongoing quest for Carl (Harris Dickinson, See How They Run) and Yaya (Charlbi Dean, Black Lightning), well-known models-slash-influencers, and the movie's focal point. When they take to the sea among the uber rich, they're still working the requisite angles (and snapping everything for Instagram from every angle). But then, under the captain's (Woody Harrelson, Venom: Let There Be Carnage) watch, being stranded on an island becomes their fate — and the way that Östlund satirically carves into the resulting chaos is equally hilarious and and astute, even when his film is both obvious and hardly subtle. Read our full review. WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY In the decade since her death in 2012, Whitney Houston has proven one of filmmaking's greatest loves of all. No fewer than five movies have told her tale, including documentaries Whitney: Can I Be Me and Whitney — and that's without including a feature about her daughter Bobbi Kristina, a miniseries focused on her ex-husband Bobby Brown and dramas clearly based on her story. All of that attention echoes for obvious reasons. Houston's mezzo-soprano voice, which earned her the nickname "The Voice", soared to stratospheric and literally breathtaking levels. Still holding the record for the most consecutive number-one singles on the Billboard Hot 100, which she took from The Beatles and the Bee Gees, her career zoomed skyward as well. That swift rise from New Jersey church choir member to one of the biggest bestselling music artists ever was matched by tabloid-fodder lows, however, and that tragic, gone-too-soon passing — and Whitney Houston: I Wanna Dance with Somebody charts it all. Taking its name from one of Houston's most exuberant singles isn't just music biopic 101 (see also: Bohemian Rhapsody, also penned by this film's screenwriter Anthony McCarten). Kasi Lemmons' (Harriet) feature follows the standard Wikipedia entry-like genre template, but the filmmaker wants those titular words to reflect how Whitney (Naomi Ackie, Master of None) just wanted to be herself, to be loved as such, and openly be with Robyn Crawford (Nafessa Williams, Black Lightning), the girlfriend-turned-creative director that her gospel singer mother Cissy Houston (Tamara Tunie, Cowboy Bebop) and stern father John (Clarke Peters, The Man Who Fell to Earth) disapprove of. Instead, after being signed to Arista Records at 19 by producer and executive Clive Davis (Stanley Tucci, The King's Man), Whitney becomes America's princess next door. Ackie turns in a commanding, multi-layered performance as the conflicted singer — even while lip-synching, with the movie smartly using Houston's own vocals — in a film that's impassioned, wisely filled with electrifying performance recreations, yet is happy to just hit every expected note. Read our full review. THE LOST KING When King Richard III was killed in battle in the 15th century, did anyone wonder about a public holiday? Given the era and its working conditions, likely not. There's also the hardly minor fact that the monarch was slain by the forces of Henry Tudor, who promptly became England's ruler, so downing tools for a day of mourning probably wasn't a priority. The world has a frame of reference for grieving a British sovereign, though, and recently. When Queen Elizabeth II died in September 2022, pomp and ceremony reigned supreme. Dramatising the discovery of Richard III's remains, The Lost King wasn't made with the queen's passing in mind. Actually, it world-premiered a day afterwards. But the Stephen Frears (Victoria & Abdul)-directed, Steve Coogan- and Jeff Pope (Philomena)-scripted drama benefits from audiences knowing what's done now when whoever wears the crown is farewelled. The Lost King isn't about chasing a parade, pageantry, and a day off work for the masses in Britain and further afield. Charting the true tale of Richard III's location and exhumation 527 years after he breathed his last breath, it follows a quest for recognition and respect. When the film opens, Philippa Langley (Sally Hawkins, The Phantom of the Open) wants it for herself, as a woman over 40 overlooked for a promotion at work in favour of a younger, less-experienced colleague — and as someone with a medical condition, myalgic encephalomyelitis/chronic fatigue syndrome, who's too easily dismissed due to her health. She's also newly separated from her husband John (Coogan, This Time with Alan Partridge), adding to her unappreciated feelings. It's no wonder that Richard III's plight catches her interest thanks to a production of Shakespeare's Richard III, aka one of the reasons that the king was long seen as a hunchbacked villain. More surprising: that the film about all of this, while engaging enough and featuring stellar work by Hawkins, doesn't seem to trust that its real-life story can hold its own. Read our full review. LYLE, LYLE CROCODILE The Paddington movies did it better. That's a general catch-all statement that can apply to almost anything, zero context required, and it's also the prevailing feeling while watching Lyle, Lyle, Crocodile. Instead of a marmalade-coveting bear, a singing crocodile is trying to win hearts — and the similarities don't stop there. The page-to-screen leap from a children's favourite? Tick. An adorable animal winding up in a family of humans who need its unique presence to make their lives complete, bring them together and show them what truly matters? Tick again. The strait-laced dad, creative mum, nasty neighbour and kindly kid? Keep ticking. Also present in both: the titular critter donning human clothing and craving fruity foods, warm colours aplenty, a vintage look and feel to interior spaces, a tense and traumatic capture, and an accomplished star having a whole lot of fun going big, broad and cartoonish (Javier Bardem here, and worlds away from The Good Boss, Dune or Everybody Knows). Bardem's playful turn as magician Hector P Valenti is the best thing about Lyle, Lyle, Crocodile, which is breezily watchable but so indebted to Paddington and its sequel — so desperate to be an American version of the charming English franchise — that orange conserve might as well be smeared across the lens. As directed by Office Christmas Party's Josh Gordon and Will Speck, and scripted by Johnny English Strikes Again's Will Davies (adapting from Bernard Waber's books), the film is also a musical, with the eponymous croc (voiced by Shawn Mendes) able to sing but not speak. Those forgettable songs pad out a slight story, after Valenti discovers Lyle, hopes to get famous as a double act and loses his New York City brownstone when his gambit fails. Then the new residents, the Primm family, find the reptile in the attic, son Josh (Winslow Fegley, Come Play) finds a friend and his parents (Hustlers' Constance Wu and Blonde's Scoot McNairy) find their own reasons to get snapped up in the critter's singing-and-dancing vibe — although Mr Grumps (Brett Gelman, Stranger Things) downstairs obviously lives up to his moniker. PUSS IN BOOTS: THE LAST WISH Since arriving in cinemas in 2001, Shrek has inspired three more ogre-centric flicks, a heap of shorts and TV specials, and a stage musical for the whole family. It's also the reason that green-hued burlesque shows exist, plus all manner of parties and raves — none of the last three of which are appropriate for kids, obviously. But beyond the Mike Myers (The Pentaverate)-voiced titular figure himself, only Puss in Boots has become solo big-screen fodder from among the franchise's array of characters. Like much in this series, the shoe-wearing feline hails from fairy tales, but the reason for its ongoing on-screen popularity is as simple as casting. Who doesn't want to see a kitty swashbuckler voiced by Antonio Banderas (Official Competition), basically making this a moggie Zorro? Based on the 2011 Puss in Boots' $555 million at the box office, that concept is irresistible to plenty of folks — hence, albeit 11 years later, sequel Puss in Boots: The Last Wish. Pairing the right talent to the right animated character doesn't instantly make movie magic, of course; however, The Last Wish, which literally has Puss seeking magic, is among the best films that the broader Shrek saga has conjured up so far. The eponymous cat begins the picture being his usual swaggering self and caring little for the consequences, including his own dwindling lives. One raucous incident sees him realise that he's died eight times already, though, and knowing this ninth go-around is his last according to feline lore suddenly fills him with existential woe. That's a thoughtful premise for an all-ages-friendly flick, and one that's never dampened by the film's plethora of fairy tale nods, high-energy vibe and usually amusing gags. So, Puss, Kitty Softpaws (Salma Hayek, House of Gucci) and their new canine companion Perro (Harvey Guillén, What We Do in the Shadows) attempt to find a famed wishing star that can make avoiding death a reality — but Goldilocks (Florence Pugh, The Wonder) and the three bears (Black Widow's Ray Winstone, Mothering Sunday's Olivia Colman and Our Flag Means Death's Samson Kayo) are also after it, as is a no longer 'little' Jack Horner (John Mulaney, Big Mouth).
Located along Johnston Street in Abbotsford, Kelso's Sandwich Shoppe is a favourite of many locals and for good reason — as the name might suggest, they know how to make a good sanga. The folks here make a ripper bacon sandwich. Dive straight into this protein-filled snack, packed with bacon, two fried eggs, cheese and ketchup, sandwiched between two slices of sourdough. Take a seat at the old-school, loosely American-style diner and order a cup of Coffee Supreme house blend filter. Then consider your next order: the $6 chip butty? The $9 tuckshop sandwich? A round of milkshakes? If you're looking for hair of the dog, they serve up spritzes, bloody marys and G&Ts, too. Images: Tofu Studio Appears in: Where to Find the Best Sandwiches in Melbourne for 2023
Aussies are embracing the no- and low-alcohol movement. When we go out to a bar, bottle shop or even our local supermarket, we are spoiled for choice with options for non-alcoholic wines, beers, mocktails and spirits. One such offering is from premium alcohol-removed winery Edenvale Wines. It has positioned itself as an alternative range of wines for wine lovers if they've decided to go booze-free for whatever reason. We caught up with Edenvale Wines winemaker Aaron Milne to find out how the heck you even get the alcohol out of the wine, and what the future is for the no and low trend. First up, tell us about your background. How did you become involved in the wine world? I started in wine by picking up some work during the holidays working in the cellar door. About 16 or 17 years ago, I took a vintage job with Lindeman's Winery and I really enjoyed it. While I was there, I researched and jumped on a winemaking degree at Charles Sturt University. I was offered to come and work at AVL (Australian Vintage Limited) and they offered to help me with my studies. I did that and I really haven't looked back. It's been hectic! What was it about the wine industry that drew you in? It's just very different. When you're working in a factory or other production facility you do one thing every day, all the time. Whereas with wine, because it's so seasonal, we're doing a different thing at each time of the year and each wine is different and each season is different. So, although you are kind of making the same product every year, there's always something very exciting and challenging about it. So how, and why, did you end up making alcohol-removed wines? It was actually just fate. I was working at AVL and they had a division that had an alcohol-removal facility. They offered me a position to run the place. I was interested in the process, the spinning cone, evaporators, thermo flash extractors and all sorts of different pieces of equipment. Back in those days, there was some scepticism about the concept — "Who is actually going for alcohol-removed wines?" — and then suddenly it just turned around. People became really keen on it and it just grew and grew. AVL is where I met Michael Bright, he was our biggest customer and really championed the alcohol-removed wine category with Edenvale. I worked closely with him to improve and develop products and processes. When Michael asked if I wanted to join Edenvale and help them build a brand-new processing plant, I jumped at the opportunity. Can you bring me through the process of actually making alcohol-removed wines? The basic winemaking process is the same. We harvest the fruit, remove the stems and leaves and then crush the fruit to get all the juice, then add yeast and ferment it. Once fermented, it is clarified to remove impurities and put through cold and heat stabilisation to prevent spoilage. There are other potential steps like ageing in oak barrels and so on. But essentially, you get it to the bottle-ready stage and then we start the process to remove the alcohol. The standard method is with a spinning cone that uses vacuum distillation. This puts wine under a vacuum to reduce the pressure and lower the boiling point of alcohol. Before this method, winemakers would just boil the alcohol out of the wine — cooking out all of the flavours. Now we're able to remove the alcohol at quite low temperatures down around the 30–40-degree range. This first round is called the 'de aroma step' because the alcohol that is removed also includes all the aromas of the wine. We hold the alcohol and aromas to one side and pass the wine through again more slowly to get rid of the rest of the alcohol. What's left is a quite harsh, severe wine that's been concentrated as well. It's honestly undrinkable. So then we restore balance. Alcohol is very sweet. So when you remove the alcohol, you remove a lot of sweetness. We normally put in some grape juice concentrate to replace that. When it's ready, we return a small portion of that aroma that we took out back into the wine — but only a little bit at a time as there's alcohol in the aromas. We're not adding artificial flavours and trying to blend artificial or natural sorts of flavours to recreate wine. We're taking the original flavor and we're returning it to the wine. So, it's almost like you kind of deconstruct the wine and you reconstruct it again? Yes, we essentially pull it apart, get the alcohol out and then try and put it back together. And the alcohol by-product doesn't go to waste either. We sell it to distilleries for further processing and they sell that on to brandy makers. It makes for a good spirit because we use good quality grapes and wines. What's the biggest challenge you'd face when making alcohol-removed wines? It can be challenging, not just because of the flavour, but also trying to make it not look like watery juice. We also have issues with spoilage. As we've removed the alcohol, we've removed the main preservative that stops it from going bad. We have a really short time frame from when we remove the alcohol to trying to get it into a bottle nice and safe in a sealed environment because it really wants to ferment. With regular wines, you can leave it for months or longer before bottling, but we don't have that luxury with alcohol-removed wines. We need to get everything right in one go. Do you think an average wine drinker would be able to tell the difference between alcohol-removed wines and traditional wines? If you don't prime them and just pour wine at dinner and don't mention it, you might get away with it for an average wine drinker. It'll be much harder to detect that there's no alcohol in a sparkling wine than in aromatic whites. We find that sparkling wines are the easiest to make as the bubbles help to fill the palate and lift the flavour so you don't notice the missing alcohol quite so much. Then the next is probably our aromatic white like sauv blanc and riesling because they are fresh and fruity. Then more complex heavier whites like chardonnay. It gets a little bit easier to tell with reds. When we pull that aroma out, what's left is an extremely floral red berry flavour, not the expected complex notes and then there are the tannins. I was going to ask, do you lose any of that tannin structure? No, it actually comes forward really aggressively. The sweetness and mouthfeel of alcohol tend to help soften those tannins. When you take that away, the tannins become really quite harsh. That's why the alcohol-removed wines have grape juice concentrate in them to replace that alcohol sweetness and also to make those tannins a lot less harsh and more drinkable. Our GSM from Fleurieu Peninsula is a more serious de-alcoholised red that stacks up. We've done our best to dry up that wine as much as possible. How would you go about pairing Edenvale Wines? The wines pair excellently with food. You can even cook with them — there's no alcohol to cook off. I would say to pair seafood with our sem sauvignon blanc, canapes with our sparkling and for a big rich fatty steak I'd probably go with our sparkling shiraz. It might seem like an odd choice but it's got a big body and mouthfeel that would help to balance out a nice big steak. Do you see a point in the future where traditional wine is a competitor to your wines? I think right now it's different enough that people are choosing us specifically because we have no alcohol. If it gets to a stage where they're deciding whether or not they feel like alcohol and we're a good alternative, that would be a good place to be. But it's great that punters have the choice now between a mocktail, zero-alcohol beer and zero-alcohol wine. And why do you think there has been such a trend towards non-alcoholic beverages of all kinds? There's definitely an underlying trend in younger people to drink less alcohol and a growing health awareness around the consumption of alcohol. Speaking from my own point of view, if I get a hangover before a weekend when I have plans, that then makes me feel like I've wasted my entire weekend. With these wines, we retain all the good things about the drink, all the good extracts from the grape, just no alcohol. What do you think would be the future for Edenvale Wines and alcohol-removed wines in general? I think right now the focus on this side of the wine world is fantastic. There's a lot more energy in the industry. We're getting a lot more funding into research and I think we may see new developments and new technology to make the process even better. Edenvale Wines is a premium range of alcohol-removed wines that are available to purchase directly from the website or at most major supermarkets and liquor retailers.
If hitting the waves without hopping in the ocean sounds like your idea of a great time, you'll soon have more than a few places to hang ten around southeast Queensland. The Sunshine Coast is due to welcome Kelly Slater's second surf ranch. The Urbnsurf team has its sights set on Brisbane, announcing plans to open a new man-made surf lagoon in the city. And, now the Gold Coast is joining in — with the coastal city getting an Endless Surf wave pool at The Club at Parkwood Village. Parkwood Village has revealed plans for a $200-million new development, which includes a new 200-plus bed hotel, residential apartments, and hospitality, medical and commercial facilities. But giving Gold Coast residents and visitors a place to surf without diving into to the sea is the hefty drawcard. It's hoped that locals and tourists alike will be able to do just that by 2023. Obviously, the Gold Coast is well-known for its beaches. So is Australia in general — but the country has been jumping on the man-made surf pool bandwagon in a big way. Urbnsurf opened Australia's first inland surf park near the Melbourne Airport in 2020, and revealed plans for Sydney and Perth sites, too. And New South Wales' Hawkesbury region is also getting a giant wave pool and luxury resort come 2022. Whether you're a cautious swimmer, you're afraid of sharks or you're just not a beach person, Parkwood's Endless Surf-branded pool will hail from aquatic entertainment provider Whitewater, which has been in the surf pool business since 1989. As the name suggests, the waves are designed to just keep coming. The pool's rolling sets are created by pneumatic technology, and are accessible for surfers of all ages and skill levels, including first-timers. Renders of the proposed surf pool include a sandy man-made beach leading into the waves, plenty of umbrellas providing shady places to sit, big screens showing the surfing action, and places to grab food and drink. Announcing the plan, Parkwood Village Managing Director Luke Altschwager said that "there is nothing more quintessentially Australian than surfing, and this new technology creating customised repeatable man-made waves is going to revolutionise the sport. I want to make sure Parkwood becomes the heart of the sport here on the Gold Coast. Not only is a world class surf pool a perfect fit for our active community, it anchors a whole new level of economic investment in the area". The Endless Surf pool is set to open at The Club at Parkwood Village, 76–122 Napper Road, Parkwood, by 2023. Images: renders of The Club at Parkwood Village's Endless Surf pool.
With cafe pedigrees taking over Melbourne, this new addition comes from one of the best. Building on the success of Coin Laundry and Station Street Trading Co., the team behind Tall Timber has brought a slice of hinterland idyll to a bustling Prahran. Be welcomed by the expansive front room, draped in winter's sun and rustic white decor. Little pots of herbs and preserves highlight your way, snaking along the side of the cafe to reveal a sheltered courtyard; the outdoor seating complements this charming feeling of home. Such a raw, effortless atmosphere makes the hospitality at Tall Timber easygoing, with the service unassuming, attentive and friendly without being pushed to a fault. This sleepy feeling is accented by a menu that is produce focused and inviting. Featuring a host of favourites that shine through careful attention to the little details, the serves are assured to impress. Although a simple concept, the breaky board (one poached egg on sourdough, house cereal with natural yogurt, poached fruit and an OJ cleanser; $16) hits the spot perfectly for both the indecisive and the eager. Such an idea is all too often missing from cafe offerings, but Tall Timber knows how to please. Likewise, the lumberjack's fry up ($19.50) is a hearty selection of breakfast necessities. Coffee is additionally reliable and handled with expertise ($3.50-4.50). From Niccolo, and soon to be roasted in-house, its consistency is sure to only get better. Complement this with a careful selection of sweets ($4-4.50) on display on the crisp cake counter. For its first weekend, Tall Timber exceeded the pressure of expectant crowds to deliver a charming, leisurely experience. It's a local that has the potential to entertain and impress your dearest of friends, while also being a reliable choice for a comfortable, solo retreat. With the team already working together as smooth as a lumberjack's axe, Tall Timber is a standout.
Some kinds of movie magic never get old, and Studio Ghibli's films are exactly that type. Understandably, a whole heap of Melbourne cinemas, indoors and out, have agreed with that idea over the years — and the Japanese animation house's flicks are rarely far from a screen around the Victorian capital. Your latest chance to catch one of the studio's delights comes courtesy of Federation Square, as part of its all-ages programming over the Easter school holidays. From Monday, April 14–Thursday, April 17, 2025, Studio Ghibli's gorgeous features will grace the location's big screen. Yes, you should make like a moving castle to see Howl's Moving Castle. And yes, you'll be palling around with My Neighbour Totoro, too. Other highlights include Spirited Away, Laputa: Castle in the Sky, Pom Poko, Nausicaä of the Valley of the Wind, The Cat Returns and Whisper of the Heart. Two films are playing daily, with the doubles running back to back from 2pm — and heading along is free. If you've missed these pictures in their limited cinema runs or fest appearances in the past, consider this your chance to catch up. Sure, you might've seen everything that Studio Ghibli has made before, but these movies really are something extra special when they're flickering across the silver screen. At Fed Square, you can either sit in deckchairs or BYO camping seat or picnic rug. For choc tops, popcorn and drinks, there's a snack bar near ACMI's entrance. And yes, this does sound like the perfect excuse — magical even — to finish work early.
The team behind South American restaurants San Telmo, Pastuso, Palermo and Asado has switched continents entirely for its latest venture: Robata Japanese Grill. A playful, minimalist space with futuristic elements and neon lights aplenty, the restaurant takes its cues from the streets of Tokyo. It's embracing the art of charcoal grilling as enthusiastically as the rest of its stable, though with Japanese techniques and traditions at the forefront, and a custom-built robatayaki grill taking centre-stage in the kitchen. An izakaya-style menu by former San Telmo Head Chef Stephen Clark is headlined by a slew of yakitori and kushiyaki skewers, cooked over charcoal. Choose from the likes of chicken meatballs with cured yolk and tare sauce ($9), miso-marinated pork belly ($10), and scallops dressed in sweet soy with tobiko ($9). Other snacks run to the likes of various sashimi and a wagyu flank tataki ($25), while bigger bites might include a chargrilled pork cutlet with black sesame glaze and wasabi leaf ($40), and duck matched with salted plum sauce and pickled sansho pepper ($44). Add a side of brussels sprouts elevated with tuna flakes and goma dare (sesame sauce) ($14), and try the miso caramel apple mille-feuille ($14) for dessert. An expertly curated drinks lineup stars an abundance of top-notch drops, ranging from Coedo craft brews to bottles of local chardonnay. The bar's pouring a strong spread of imported sake and Japanese whisky, while cocktails include the likes of an umeshu and yuzu negroni ($22), and the sake and hojicha tea highball ($16). Updated Friday, September 9, 2022. Appears in: The Best Restaurants in Melbourne for 2023
Surrey Hills is no longer the alcoholic 'dry-zone' it was a mere decade ago. If the presence of The Hills Wine Bar — from the team behind Milton Wine Shop and The Alps — isn't enough to prove it, maybe the bar's life-size graphic of Maria von Trapp prancing through the Austrian Hills with a bottle of wine in either hand will. The modest-fronted bar on Union Road opened in 2017, and winds back farther than the passerby would expect. That means it provides plenty of perfect spots to sit and catch up over a bottle of wine — and with 220 varieties choose from, that's no easy task. There's also a trusty list of beers, a few ciders and some staple cocktails to at least keep the front of a balanced drinks menu. As for food, the bar offers up solid pizza options, including the Milk & Honey with prosciutto, pork, gorgonzola, rosemary, and honey. It's also added classic bar snacks and an attractive DIY cheese and charcuterie board selection. In keeping with its wine-centric vibe, The Hills also provides wine experiences for those eager to learn more about what they're drinking. These range from What is Natural Wine ($49) to the Burgundy Masterclass ($390) — and can take place in-house, at the office or even in your home.
It's been 25 years since the first episode, but people are still obsessed with Grand Designs. Sure, the futuristic and downright ridiculous homes are captivating. Yet many of us are tuning in to see how the insanely optimistic budgets, disappearing timelines and inevitable pregnancy announcement resolve themselves. Through it all, host Kevin McCloud is on hand to deliver a supportive quip or dire prophecy. Now you can hear McCloud's infectious energy in person with his old mate and self-confessed architecture nerd, Tim Ross, as the pair tour the country for Live in Interesting Places. On the back of a new podcast series, Tim and Kev's Big Design Adventure, they'll regale audiences with tales of modernist marvels, utopian visions and design-fuelled banter. And, as the name suggests, McCloud and Ross will come together in five architecturally significant venues throughout Australia. [caption id="attachment_1050527" align="alignnone" width="1920"] St George's Performing Arts Centre. Credit: Scott Burrows.[/caption] Presented across multiple dates from Thursday, February 5–Sunday, February 15, 2026, the tour kicks off in Perth at the University of Western Australia's Octagon Theatre. Onwards to Melbourne, Brisbane, Sydney and Canberra, audiences will gather in Brutalist theatres, heritage-listed churches and much-loved public buildings, from St George's Performing Arts Centre to the Lindfield Learning Village, fascinated by the duo's big design ideas. Several years in the making — the pair haven't appeared together since two sold-out Sydney Opera House shows in 2019 — get insight from these great thinkers and perhaps reconsider that intricate building project you had in mind. "These shows are going to be entertaining and edifying," says Kevin. "And full of surprises — you won't believe where our nerdy curiosity will take you," adds Tim. [caption id="attachment_1050526" align="alignnone" width="1920"] Lindfield Learning Village. Credit: Alex Mayes.[/caption]
An emotion-dripping tale of love, loneliness and yearning against a backdrop of festering societal tension — as shot with swoon-worthy red-hued imagery, too — Wong Kar-Wai's In the Mood for Love isn't easily forgotten. And, for the past 20 years, anyone who has seen the 1960s Hong Kong-set romantic drama hasn't wanted to. Based on their new live performance, that includes Rainbow Chan, Eugene Choi and Marcus Whale. With In the Mood — A Love Letter to Wong Kar-Wai & Hong Kong, the trio join forces to pay tribute to this 2000 movie masterpiece — and to take inspiration from it. As streamed live at 9pm AEST on Saturday, September 26 from the Sydney Opera House's Joan Sutherland Theatre, they're serving up a moody, dreamy new song cycle that ponders and responds to In the Mood for Love's parting words: "that era is past, nothing that belonged to it exists anymore". As well as new music by Chan and Whale, plus narration from Choi, this world-premiere performance will feature a set that'll look like it has been plucked from the movie, 60s-style costumes, a bossa nova dance and new renditions of the film's soundtrack — with plenty of sax. And, it'll also pair all of the above with visuals that are meant to ponder what Wong's feature would look like if it was made today. Basically, viewers are set for an ode and a re-interpretation, with the latter firmly relevant to the lockdown era. If you can't watch along live, In the Mood — A Love Letter to Wong Kar-Wai & Hong Kong will also be available to stream on-demand from Saturday, September 26 . [caption id="attachment_783477" align="aligncenter" width="1920"] Daniel Boud[/caption] In the Mood — A Love Letter to Wong Kar-Wai & Hong Kong streams at 9pm AEST on Saturday, September 26 — and will be available to watch on-demand afterwards. Top image: Daniel Boud.
Top-notch restaurants, bars, cafes and wellbeing facilities live side by side at St Kilda's legendary sea baths. The storied history of the beachfront landmark is as colourful as its home suburb, with the current iteration opening in 2001. It was modelled off the Spanish-Moorish design of the 1931 complex that sat on the same site. The Sea Baths are a hive of activity on just about any day of the year, whether punters are unwinding with a drink by the beach at watering holes like Captain Baxter, or getting in laps at the heated, indoor, 25-metre seawater pool. The on-site health club — these are sea baths, after all — also boasts a hydrotherapy spa pool and steam room, while offering club, group or private swimming lessons for all ages. Feeling adventurous? St Kilda Sea Baths is also home to Kite Republic, which offers lessons and equipment hire for stand-up paddleboarding, kiteboarding, windsurfing and hydrofoiling. Images: Julia Sansone
Since being formed in 2001, Melbourne nine-piece The Bamboos have released more than five acclaimed albums, placed songs in TV shows like Grey's Anatomy, Ugly Betty and Underbelly and worked on the soundtrack for a multi-platinum Nintendo game. But frontman and periodic electronic producer Lance Ferguson isn't one to let the band rest on its smooth, funk-born laurels. Over the years he's injected new flavours into the band by collaborating with other artists, fusing elements of hip hop and psych, and constantly shaking up the lineup. In 2012 The Bamboos joined up with Tim Rogers of You Am I for the Triple J-championed track 'I Got Burned'. An addictive combo of the band's rhythmic grooves and the singer's distinctive howl, the track featured on The Bamboos latest album Medicine Man — their biggest release to date. This year they're taking the alliance live with The Rock n Soul Medicine Show. We caught up with Lance before the tour to talk about collaborating, staying current and the frustrations of being pidgeonholed. You guys have been pretty busy over 2012 did you manage to get a break over Christmas? I did, I had a week in Lorne in January, which was really good. It feels like a distant memory now though. You did Falls Festival didn't you? That's right. So how did you come to team up with Tim Rogers for 'Burned'? I first met Tim when I was playing guitar in Washington and we were playing the BDO tour. It was a few years back now, and I met him backstage and we hit it off. Just musical nerd talk of old records and stuff. We seemed to connect on that level, and on a personal level as well, and even at that point we talked about collaborating together — way before anything actually happened. https://youtube.com/watch?v=hZEN_l4j6mY Is collaborating with other artists an important thing for you? You've also got Aloe Blacc and Daniel Merriweather on the album too. Yeah it definitely is, and The Bamboos have often had guests involved with different records. Most of the collaborations have stemmed from some kind of friendship and the whole collaboration evolved organically rather than me on the phone to my manager going, "get me this guy." Most of these things have happened in nice natural and sincere progression. I do prefer that, because getting complete strangers in the studio can be weird if you're trying to connect musically. It is such an intimate thing, writing a song with someone, for me, so I do prefer it to stem from some kind of friendship I guess. https://youtube.com/watch?v=_4G96KbQ4SI What about Syl Johnson? Yeah well we toured with him twice, pretty much as his backing band. Both times were incredibly valuable. The last time unfortunately he had a heart attack when we were playing with him in Brisbane, which was just a terrible turn of events. And then he spent some time in hospital, bounced back and did a show in Melbourne after that, which was incredible. So yeah, such a cool guy actually. Going back to the ARIAS and the recent popularity of acts like Saskwatch and Chet Faker, what do you think it is about soul music now that has people taking notice? Do you think the music has changed or are we just becoming more receptive? Well it's been such a battle with this music, from my perspective. I recently put out a compilation called The Soul Of Melbourne with a friend of mine Chris Gill — a compilation of soulful Melbourne acts — so it was great to put that together, and you can see how the scene has crystallised. But I think what's happened is that there's a younger generation of fans and music lovers who are maybe in their late teens or early twenties now, and who came up through their teens hearing Amy Winehouse and Sharon Jones. I think that has created a sort of hotbed of people who know that music through being exposed to it. So now that they're at the age of going to gigs and going to festivals that music just seems sort of natural to them, like "oh it's a soul music band, we know what that is and we like it." So there's definitely the element of generational acceptance. https://youtube.com/watch?v=pxBnzQtdHdM You made the Triple J Hottest 100, which is a pretty big deal for a funk/soul-driven group. Yeah, I mean as much as that's a cool thing I do sort of battle with The Bamboos to not be such a genre-driven band. [Funk and soul] is definitely where we've come from and where we've started, and it's ostensibly what we do in terms of the sounds we create, but for me I just really don't think of The Bamboos as a band of any genre now. I just try to think of it as, "We're The Bamboos and we're just going to make some music." It could have some psych rock elements, it could be a blues tune, it could be anything — it could incorporate a whole bunch of influences now. So I definitely have tried to break the band out of just being like a soul/funk band. I'm not saying that to have a go at you, by the way! Well that's what's so unique about your music is that it incorporates so many unexpected sounds. Your electronic project, Lanu — do you think that influences The Bamboos music at all? I don't know if it influences but it's another avenue for me as a songwriter. I think anything I write separately from The Bamboos though, even if unconsciously, I reckon it must inform it. Whether it's just different forms or different ways of looking at putting a song together... So yeah, I reckon it does influence our music actually. What about other local acts — anyone in particular you been listening to heavily? My vocalist for The Bamboos, Ella Thompson, has a band called Axolotl, who do this sort of dreamy, electronic, indie stuff. I'm really into them, they supported us on our last national tour. There's another band Hiatus Kaiyote that defies genre labels, and is doing some amazing things internationally as well. They just won the Gilles Peterson Worldwide Awards for Break-Though Act, so they're really being flagged internationally. https://youtube.com/watch?v=Iae6LmWTXPw Obviously live performance is a massive part of The Bamboos appeal, and Melbourne has a very healthy live music scene. Do you think about that when making songs? I look at the studio thing and the live thing as two very separate entities, and we started out as a live act before we ever recorded anything. [The live show] has been something I've tried to improve on and tweak and be progressive with. Now we come out and basically play our songs, which sounds really obvious — but I think the lineup we've had the last year and a half is possibly the strongest, best and most solid lineup in the history of the band. For me it's an exciting time to play live. How do you see the band's sound developing over the next year or so? There were some thing in that album that were real bubblegum pop things, and I think with the next recording that things might become a little more muscular again. A bit darker. That's what I'm feeling at the moment. Is there anything else you want to say about the upcoming tour and what we can expect from it? Not really, just that it's The Bamboos and Tim Rogers rather than The Bamboos featuring Tim Rogers, so I'm really working with Tim on some new originals and we're picking out a bunch of whole new covers. There's going to be a whole new music for the band to play, which is always good for keeping us on our toes. Tim Rogers & The Bamboos Rock 'n' Soul Medicine Show: Saturday 23 Feb - Perth Festival, Perth, WA Thursday 28 Feb - QPAC, Brisbane, QLD Friday 1 March - Melbourne Zoo, Melbourne, VIC Saturday 2 March - Leongatha Memorial Hall, VIC Thursday 7 March - The HiFi, Sydney, NSW Friday 8 March - Cambridge Hotel, Newcastle, NSW Saturday 9 March - Uni Bar, Wollongong, NSW Sunday 10 March - Womadelaide, Adelaide, SA
If you're a woman who loves to network, listen up. Offering a fun way to learn, grow and connect, After Hours is coming to South Yarra on Monday, June 30 and Monday, July 7. Hosted by New Balance and the Style-ish Podcast, the intimate evenings will connect like-minded women across Melbourne. Each night will explore themes like ambition, creativity and personal style, powered by good wine and delicious food. After Hours is free to attend, with limited tickets available. [caption id="attachment_1010771" align="alignnone" width="1920"] Nicole Squelch[/caption] After Hours will also celebrate the upcoming launch of New Balance's 471 sneaker. The versatile silhouette is inspired by a vintage running style and can be worn to early meetings and post-work drinks — no outfit change required. The sneakers are also a perfect match for the venue hosting the two-part series. Taking place at Gracie's Wine Room, the Edwardian building, warm timber and leafy courtyard provide the perfect backdrop for this refreshing alternative to traditional networking. [caption id="attachment_1010773" align="alignnone" width="1920"] Supplied[/caption] On night one, guests can expect an inspiring panel discussion featuring Kelsie Grace (Founder of Gracie's Wine Room), Laura Henshaw (Co-Founder of Kic) and finance expert Melissa Browne. They'll share insights into the daunting realities of starting and scaling a business, navigating the workforce in 2025, and the power of marketing and financial literacy. At the end, there will be an audience Q&A and time to connect over food and drinks. The second instalment is themed around Fashion for the (Style-ish) Working Woman, and will see conversations celebrating Australian fashion, trends and the role of personal style in and outside the workplace. Guests include Nadia Bartel (Founder of Henne), Lucia Hanna (Co-Founder and Creative Director of With Harper Lu) and Melbourne lifestyle influencer and model Annalise Dalins. Like night one, the evening will feature a panel discussion, an audience Q&A and time to catch up after. [caption id="attachment_1010772" align="alignnone" width="1920"] Nicole Squelch[/caption]
When HBO managed to get the cast of Friends back on the same couch and chatting to camera about their time on the hit sitcom, the US cable network clearly found itself a new niche. That'd be big reunion specials that reteam the stars of beloved pop culture favourites to talk about their experiences — so it's going down the same route with the Harry Potter franchise. If you've been chanting "accio more Harry Potter" to yourself for the past decade since the eight-film series wrapped up, it seems that your wishes have finally come true. Like the Friends special, Harry Potter 20th Anniversary: Return to Hogwarts won't feature anyone in-character — but, if you're a fan, spending more time with the movies' stars still promises to be magical. There'd be no point going ahead if Daniel Radcliffe, Rupert Grint and Emma Watson weren't all involved, so they're definitely on the lineup. So is filmmaker Chris Columbus, who directed the franchise's first two movies. Joining them is a huge list of other actors from across the movie series' history, including Helena Bonham Carter, Robbie Coltrane, Ralph Fiennes, Jason Isaacs, Gary Oldman and Tom Felton, plus James Phelps, Oliver Phelps, Mark Williams, Bonnie Wright, Alfred Enoch, Matthew Lewis, Evanna Lynch and Ian Hart. You'll spot some missing names — Maggie Smith and Robert Pattinson, for instance, to name just two — but clearly there'll be a whole lot of HP cast members reminiscing about their time in the wizarding world. As the special's name makes plain, Harry Potter 20th Anniversary: Return to Hogwarts is popping up to celebrate 20 years since Harry Potter and the Philosopher's Stone first reached cinemas back in 2001. That said, whether you're a muggle, a wannabe wizard and witch, or someone who spent far too much of their childhood reading the books and watching the flicks, you'll actually be checking out the new special in 2022. In the US, it'll stream on January 1 on HBO Max. Viewing options Down Under haven't yet been revealed, so there's something to start trying to summon sooner rather than later. Check out the teaser trailer for the Harry Potter 20th Anniversary: Return to Hogwarts special below: HBO's Harry Potter 20th Anniversary: Return to Hogwarts special will be available to stream in the US on January 1, 2022 — we'll update you with viewing details Down Under when they're announced.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures and plenty of people staying home in iso will do that — that's no longer always the case. Maybe you've been under the weather. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are 13 that you can watch right now at home. CRIMES OF THE FUTURE It takes a brave filmmaker to see cancer and climate change, and think of art, evolution and eroticism in a possible future. It takes a bold director to have a character proclaim that "surgery is the new sex", too. David Cronenberg has always been that kind of visionary, even before doing all of the above in his sublime latest release — and having the Scanners, Videodrome and The Fly helmer back on his body-horror bent for the first time in more than two decades is exactly the wild and weird dream that cinephiles want it to be. The Canadian auteur makes his first movie at all since 2014's Maps to the Stars, in fact, and this tale of pleasure and pain is as Cronenbergian as anything can be. He borrows Crimes of the Future's title from his second-ever feature dating back 50-plus years, brings all of his corporeal fascinations to the fore, and moulds a viscerally and cerebrally mesmerising film that it feels like he's always been working towards. Long live the new flesh, again. Long live the old Cronenberg as well. In this portrait of a potential time to come, the human body has undergone two significant changes. Three, perhaps, as glimpsed in a disquieting opening where an eight-year-old called Brecken (debutant Sotiris Siozos) snacks on a plastic bin, and is then murdered by his mother Djuna (Lihi Kornowski, Ballistic). That incident isn't unimportant, but Crimes of the Future has other departures from today's status quo to carve into — and they're equally absorbing. Physical agony has disappeared, creating a trade in "desktop surgery" as performance art. Also, a condition dubbed Accelerated Evolution Syndrome causes some folks, such as artist Saul Tenser (Viggo Mortensen, Thirteen Lives), to grow abnormal organs. These tumours are removed and tattooed in avant-garde shows by his doctor/lover Caprice (Léa Seydoux, No Time to Die), then catalogued by the National Organ Register's Wippit (Don McKellar, reteaming with Cronenberg after eXistenZ) and Timlin (Kristen Stewart, Spencer). Crimes of the Future is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. NOPE Kudos to Jordan Peele for giving his third feature as a writer/director a haters-gonna-hate-hate-hate name: for anyone unimpressed with Nope, the response is right there. Kudos, too, to the Get Out and Us filmmaker for making his third bold, intelligent and supremely entertaining horror movie in a row — a reach-for-the-skies masterpiece that's ambitious and eerie, imaginative and expertly crafted, as savvy about cinema as it is about spectacle, and inspires the exact opposite term to its moniker. Reteaming with Peele after nabbing an Oscar nomination for Get Out, Daniel Kaluuya utters the titular word more than once in Nope. Exclaiming "yep" in your head each time he does is an instant reaction. Everything about the film evokes that same thrilled endorsement, but it comes particularly easily whenever Kaluuya's character surveys the wild and weird events around him. We say yay to his nays because we know we'd respond the same way if confronted by even half the chaos that Peele whooshes through the movie. As played with near-silent weariness by the always-excellent Judas and the Black Messiah Oscar-winner, Haywood's Hollywood Horses trainer OJ doesn't just dismiss the strange thing in the heavens, though. He can't, even if he doesn't realise the full extent of what's happening when his father (Keith David, Love Life) suddenly slumps on his steed on an otherwise ordinary day. Six months later, OJ and his sister Emerald (Keke Palmer, Lightyear) are trying to keep the family business, which dates back to the 1800s, running. The presence lurking above the Haywoods' Agua Dulce property soon requires just as much attention, though. Just as Get Out saw Peele reinterrogate the possession movie and Us did the same with doppelgängers, Nope goes all in on flying saucers. So, Emerald wants the kind of proof that only video footage can offer. She wants her "Oprah shot", as well as a hefty payday. Soon, the brother-sister duo are buying new surveillance equipment — which piques the interest of UFO-obsessed electronics salesman Angel Torres (Brandon Perea, The OA) — and also enlisting renowned cinematographer Antlers Holst (Michael Wincott, Veni Vidi Vici) to capture the lucrative image. Nope is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE BLACK PHONE The Black Phone didn't need to star Ethan Hawke. In a way, it doesn't really. Fresh from Moon Knight and The Northman, Hawke is definitely in this unsettling 1978-set horror film. He's also exceptional in it. But, his top billing springs from his name recognition and acting-veteran status rather than his screen time. Instead, superb up-and-comer Mason Thames gets the bulk of the camera's attention in his first feature role. After him, equally outstanding young talent Madeleine McGraw (Ant-Man and The Wasp) comes next. They spend most of their time worrying about, hearing rumours of, hiding from, battling and/or trying to track down a mask-wearing, van-driving, child-snatching villain — the role that Hawke plays in a firmly supporting part, almost always beneath an eerie disguise. Visibly at least, anyone could've donned the same apparel and proven an on-screen source of menace. There's a difference between popping something creepy over your face and actually being creepy, though. Scary masks can do a lot of heavy lifting, but they're also just a made-to-frighten facade. Accordingly, when it comes to being truly petrifying, Hawke undoubtedly makes The Black Phone. He doesn't literally; his Sinister director Scott Derrickson helms, and also co-wrote the script with that fellow horror flick's C Robert Cargill, adapting a short story by Stephen King's son Joe Hill — and the five-decades-back look and feel, complete with amber and grey hues, plus a nerve-rattling score, are all suitably disquieting stylistic touches. But as the movie's nefarious attacker, who has been terrorising north Denver's suburban streets and soon has 13-year-old Finney Blake (Thames) in his sights, Hawke is unnervingly excellent, and also almost preternaturally unnerving in every moment. Whenever he opens his mouth, his voice couldn't echo from anyone else; however, it's the nervy, ominous and bone-weary physicality that he brings to the character that couldn't be more pitch-perfect. The Black Phone is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. OFFICIAL COMPETITION Every actor has one, albeit in various shades, lengths and textures, but sometimes one single hairstyle says everything about a film. Wildly careening in whichever direction it seems to feel like at any point, yet also strikingly sculptural, the towering reddish stack of curly locks atop Penélope Cruz's head in Official Competition is one such statement-making coiffure. It's a stunning sight, with full credit to the movie's hairstylists. These tremendous tresses are both unruly and immaculate; they draw the eye in immediately, demanding the utmost attention. And, yes, Cruz's crowning glory shares those traits with this delightful Spanish Argentine farce about filmmaking — a picture directed and co-written by Mariano Cohn and Gastуn Duprat (The Distinguished Citizen), and also starring Antonio Banderas (Uncharted) and Oscar Martínez (Wild Tales), that it's simply impossible to look away from. Phenomenal hair is just the beginning for Cruz here. Playing filmmaker Lola Cuevas — a Palme d'Or-winning arthouse darling helming an ego-stroking prestige picture for rich octogenarian businessman Humberto Suárez (José Luis Gómez, Truman) — she's downright exceptional as well. Humberto decides to throw some cash into making a movie in the hope of leaving a legacy that lasts, and enlisting Lola to work her magic with a Nobel Prize-winning novel called Rivalry is quite the coup. So is securing the talents of flashy global star Félix Rivero (Banderas) and serious theatre actor Iván Torres (Martínez), a chalk-and-cheese pair who'll work together for the first time, stepping into the shoes of feuding brothers. But before the feature can cement its backer's name in history, its three key creatives have to survive an exacting rehearsal process. Lola believes in rigorous preparation, and in testing and stretching her leading men, with each technique she springs on them more outlandish and stressful than the last. Official Competition is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THREE THOUSAND YEARS OF LONGING No one should need to cleanse their palates between Mad Max movies — well, maybe after Mad Max: Beyond Thunderdome, depending on your mileage with it — but if anyone does, George Miller shouldn't be one of them. The Australian auteur gifted the world the hit dystopian franchise, has helmed and penned each and every chapter, and made Mad Max: Fury Road an astonishing piece of cinema that's one of the very best in every filmic category that applies. Still, between that kinetic, frenetic, rightly Oscar-winning movie and upcoming prequel Furiosa, Miller has opted to swish around romantic fantasy Three Thousand Years of Longing. He does love heightened drama and also myths, including in the series he's synonymous with. He adores chronicling yearnings and hearts' desires, too, whether surveying vengeance and survival, the motivations behind farm animals gone a-wandering in Babe: Pig in the City, the dreams of dancing penguins in Happy Feet, or love, happiness and connection here. In other words, although adapted from AS Byatt's short story The Djinn in the Nightingale's Eye, Three Thousand Years of Longing is unshakeably and inescapably a Miller movie — and it's as alive with his flair for the fantastical as most of his resume. It's a wonder for a range of reasons, one of which is simple: the last time that the writer/director made a movie that didn't connect to the Mad Max, Babe or Happy Feet franchises was three decades back. With that in mind, it comes as no surprise that this tale about a narratologist (Tilda Swinton, Memoria) and the Djinn (Idris Elba, Beast) she uncorks from a bottle, and the chats they have about their histories as the latter tries to ensure the former makes her three wishes to truly set him free, is told with playfulness, inventiveness, flamboyance and a deep heart. Much of Miller's filmography is, but there's a sense with Three Thousand Years of Longing that he's been released, too — even if he loves his usual confines, as audiences do as well. Three Thousand Years of Longing is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BULLET TRAIN Buy the ticket, take the ride, strap in for an onslaught of frenetic locomotive-bound fights: that's high-octane action-comedy Bullet Train on- and off-screen. Set on a shinkansen hurtling from Tokyo to Kyoto, in as stylised a vision of Japan that anyone not named Quentin Tarantino has ever thought of, this neon-lit adaptation of Kōtarō Isaka's 2010 page-turner Maria Beetle couldn't be more onboard with its central concept. That premise isn't snakes on a plane, but rather assassins on a train — plus one snake, one of nature's hitmen, actually. Cramming all those killers onto a single engine sparks mayhem, banter and bodies, not to mention chaotic frays in the quiet car and almost every other space. And when it works, with John Wick and Atomic Blonde's David Leitch steering the show, Tarantino and Guy Ritchie alum Brad Pitt as his main passenger, and a lifetime's worth of references to Thomas the Tank Engine slotted in, Bullet Train is as OTT and entertaining as it overtly wants to be. It doesn't always completely work, however; every journey, zipping along on a high-speed train or not, has its dips. Still, there are plenty of moving parts trying to keep the movie in motion — and plenty of plot, for better and for worse in both instances. In his second 2022 action-comedy after The Lost City, Pitt plays Ladybug, who is back riding the hired-gun rails after a zen break packed with new-age self-help platitudes. That's what he spouts to his handler (Sandra Bullock, The Unforgivable) by phone, in-between rueing his bad luck, as he tries to carry out what's supposed to be an easy job. All that Ladybug needs to do is take a briefcase, then disembark at the next station. But that piece of luggage is being transported by British assassin double-act Tangerine (Aaron Taylor-Johnson, The King's Man) and Lemon (Brian Tyree Henry, Atlanta), as they escort a Russian mobster's son (Logan Lerman, Hunters) home. To up the hitman ante, the shinkansen is also carrying The Prince (Joey King, The Princess) and Kimura (Andrew Koji, Snake Eyes: GI Joe Origins), who have their own beef, as well as the revenge-seeking Wolf (Benito A Martínez Ocasio aka Bad Bunny, Fast and Furious 9). Bullet Train is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BEAST Idris Elba fights a lion. That's it, that's Beast, as far as film pitches go at least. This South Africa-set thriller's one-sentence summary is up there with 'Jason Statham battles a giant shark' and 'Liam Neeson stares down wolves' — straightforward and irresistible, obviously, in enticing audiences into cinemas. That said, the latest addition to the animals-attack genre isn't as ridiculous as The Meg, and isn't a resonant existential musing like The Grey. What this creature feature wants to be, and is, is a lean, edge-of-your-seat, humanity-versus-nature nerve-shredder. Director Baltasar Kormákur (Adrift) knows that a famous face, a relentless critter as a foe, and life-or-death terror aplenty can be the stuff that cinema dreams and hits are made of. His movie isn't completely the former, but it does do exactly what it promises. If it proves a box office success, it'll be because it dangles an easy drawcard and delivers it. There is slightly more to Beast than Idris Elba brawling with the king of the jungle, of course — or running from it, trying to hide from it in a jeep, attempting to outsmart it and praying it'll tire of seeing him as prey. But this tussle with an apex predator is firmly at its best when it really is that simple, that primal and, with no qualms about gore and jump scares, that visceral. Elba (The Harder They Fall) plays recently widowed American doctor Nate Samuels, who is meant to be relaxing, reconnecting with his teenage daughters Mare (Iyana Halley, Licorice Pizza) and Norah (Leah Jeffries, Rel), and finding solace in a pilgrimage to his wife's homeland. But Beast wouldn't be called Beast if the Samuels crew's time with old family friend Martin (Sharlto Copley, Russian Doll), a wildlife biologist who oversees the nature reserve, was all placid safaris and sunsets. Beast is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THOR: LOVE AND THUNDER What do you call a movie filled with giant screaming goats, magic weapons vying for attention like romantic rivals, a naked Chris Hemsworth and a phenomenally creepy Christian Bale? Oh, and with no fewer than four Guns N' Roses needle drops, 80s nostalgia in droves, and a case of tonal whiplash as big as the God of Thunder's biceps? You call it Thor: Love and Thunder, and also a mixed bag. The fourth film in the Marvel Cinematic Universe to focus on the now 29-title saga's favourite space Viking, and the second Thor flick directed by Taika Waititi after Thor: Ragnarok, it welcomely boasts the New Zealand filmmaker's playful and irreverent sense of humour — and the dead-serious days of the series-within-a-series' first two outings, 2011's Thor and 2013's Thor: The Dark World, have definitely been banished. But Love and Thunder is equally mischievous and jumbled. It's chaotic in both fun and messy ways. Out in the cosmos, no one can swim, but movies about galaxy-saving superheroes can tread water. Thor Odinson (Hemsworth, Spiderhead) has been doing a bit of that himself — not literally, but emotionally and professionally. Narrated in a storybook fashion by rock alien Korg (also Waititi, Lightyear), Love and Thunder first fills in the gaps since the last time the Asgardian deity graced screens in Avengers: Endgame. Ditching his dad bod for his ultra-buff god bod earns a mention. So does biding his time with the Guardians of the Galaxy crew (with Chris Pratt, Dave Bautista, Karen Gillan, Bradley Cooper and company popping up briefly). Then, a distress call from an old friend gives Thor a new purpose. Fellow warrior Sif (Jaimie Alexander, Last Seen Alive) has been fighting galactic killer Gorr the God Butcher (Bale, Ford v Ferrari), who's on a mission to do exactly what his name promises due to a crisis of faith — which puts not only Thor himself but also New Asgard, the Norwegian village populated by survivors from his home planet, at grave risk. It also puts Thor on a collision course with his ex-flame Dr Jane Foster (Natalie Portman, Vox Lux), who's changed dramatically since last they crossed paths. Thor: Love and Thunder is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. ORPHAN: FIRST KILL What's more believable — and plot twists follow: a pre-teen playing a 33-year-old woman pretending to be a nine-year-old orphan, with a hormone disorder explaining the character's eerily youthful appearance; or an adult playing a 31-year-old woman pretending to be a lost child returned at age nine, again with that medical condition making everyone else oblivious? For viewers of 2009's Orphan and its 13-years-later follow-up Orphan: First Kill, which is a prequel, neither are particularly credible to witness. But the first film delivered its age trickery as an off-kilter final-act reveal, as paired with a phenomenal performance by then 12-year-old Isabelle Fuhrman in the pivotal role. Audiences bought the big shift — or remembered it, at least — because Fuhrman was so creepy and so committed to the bit, and because it suited the OTT horror-thriller. This time, that wild revelation is old news, but that doesn't stop Orphan: First Kill from leaning on the same two key pillars: an out-there turn of events and fervent portrayals. Yes, a big twist is again one of the movie's best elements. Fuhrman (The Novice) returns as Esther, the Estonian adult who posed as a parentless Russian girl in the initial feature. In Orphan: First Kill, she's introduced as Leena Klammer, the most dangerous resident at the Saarne Institute mental hospital. The prequel's first sighted kill comes early, as a means of escape. The second follows swiftly, because the film needs to get its central figure to the US. Fans of the previous picture will recall that Esther already had a troubled history when she was adopted and started wreaking the movie's main havoc, involving the family that brought her to America — and her time with that brood, aka wealthy Connecticut-based artist Allen Albright (Rossif Sutherland, Possessor), his gala-hosting wife Tricia (Julia Stiles, Hustlers) and their teen son Gunnar (Matthew Finlan, My Fake Boyfriend), is filmmaker William Brent Bell (The Boy and Brahms: The Boy II) and screenwriter David Coggeshall's (Scream: The TV Series) new focus. Orphan: First Kill is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE FORGIVEN Patience is somewhat of a virtue with The Forgiven. It would be in it, too, if any of its wealthy white characters hedonistically holidaying in Morocco were willing to display the trait for even a second. Another addition to the getaways-gone-wrong genre, this thorny satirical drama gleefully savages the well-to-do, proving as eager to eat the rich as can be, and also lays bare the despicable coveting of exoticism that the moneyed think is an acceptable way to splash plentiful wads of cash. There's patently plenty going on in this latest release from writer/director John Michael McDonagh, as there typically is in features by the filmmaker behind The Guard, Calvary and War on Everyone. Here, he adapts Lawrence Osborne's 2012 novel, but the movie that results takes time to build and cohere, and even then seems only partially interested in both. Still, that patience is rewarded by The Forgiven's stellar lead performance by Ralph Fiennes, playing one of his most entitled and repugnant characters yet. Sympathies aren't meant to flow David Henninger's (Fiennes, The King's Man) way, or towards his wife Jo (Jessica Chastain, The Eyes of Tammy Faye). Together, the spiky Londoners abroad bicker like it's a sport — and the only thing fuelling their marriage. Cruelty taints their words: "why am I thinking harpy?", "why am I thinking shrill?" are among his, while she counters "why am I thinking high-functioning alcoholic?". He's a drunken surgeon, she's a bored children's author, and they're venturing past the Atlas Mountains to frolic in debauchery at the village their decadent pal Richard (Matt Smith, Morbius) and his own barbed American spouse Dally (Caleb Landry Jones, Nitram) have turned into a holiday home. Sympathy isn't designed to head that pair's way, either; "we couldn't have done it without our little Moroccan friends," Richard announces to kick off their weekend-long housewarming party. But when the Hennigers arrive late after tragically hitting a local boy, Driss (Omar Ghazaoui, American Odyssey), en route, the mood shifts — but also doesn't. The Forgiven is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. WHERE THE CRAWDADS SING Timing is everything in Where the Crawdads Sing, the murder-mystery melodrama set in America's Deep South that raced up bestseller lists in 2018, and now reaches cinemas a mere four years later. Its entire narrative hinges upon a simple question: did North Carolina outcast and recluse Kya Clark (Daisy Edgar-Jones, Fresh), cruelly nicknamed "the marsh girl" by locals, have time to speed home from an out-of-town stay to push star quarterback Chase Andrews (Harris Dickinson, The King's Man) from a fire tower, then resume her trip without anyone noticing? On the page, that query helped propel Delia Owens' literary sensation to success, to Reese Witherspoon's book club — she's a producer here — and to a swift film adaptation. But no timing would likely have ever been right for the movie's release, given that Owens and her husband are wanted for questioning in a real-life murder case in Zambia. Unlike the film, those off-screen details aren't new, but they were always bound to attract attention again as soon as this feature arrived. One of the reasons they're inescapable: the purposeful parallels between Owens' debut novel and her existence. Like Kya, Owens is a naturalist. The also southern-born author spent years preferring the company of plants and animals, crusading for conservation causes in Africa. Where the Crawdads Sing is timed to coincide with Owens' own life as well; it's set in the 50s and 60s and, as a child (played by Jojo Regina, The Chosen) and a teenager, Kya is around the same age that Owens would've been then. Another reason that the ways that art might link with reality can't be shaken, lingering like a sultry, squelchy day: what ends up on-screen is as poised, pristine and polished as a swampy southern gothic tale can be, and anyone in one. There's still a scandal, but forget dirt, sweat and anything but lush, vivid wilderness courtesy of filmmaker Olivia Newman (First Match), plus a rustic hut that wouldn't look out of place on Airbnb. Where the Crawdads Sing is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MURDER PARTY If Amelie and Knives Out combined, the end result would look like Murder Party. If Wes Anderson and Agatha Christie joined forces, the outcome would be the same. It's highly unlikely that first-time feature writer/director Nicolas Pleskof and his co-scribe Elsa Marpeau (Prof T) were ever going to call this feature Murder in the Game-Filled Mansion or Death While Rolling the Dice, but that's the overwhelming vibe. There's an escape room element, too — thankfully, though, nodding towards the Escape Room franchise isn't on the agenda. Murder Party's characters get stuck in intricately designed locked spaces and forced to piece together clues to secure their freedom, and are only permitted to remain breathing by keeping their wits about them, but no one's in a horror movie here. The feature starts with a killer setup: an eccentric crew of relatives, their brightly hued home on a sprawling country estate, an usual task given to a newcomer and, naturally, a sudden passing. Architect Jeanne Chardon-Spitzer (Alice Pol, Labor Day) is asked to pitch a big renovation project to the Daguerre family, transforming their impressive abode so that living there always feels like playing a game (or several). Patriarch César (Eddy Mitchell, The Middleman) already encourages his brood to enjoy their daily existence with that in mind anyway, including dedicating entire days to letting loose and walking, talking and breathing gameplay. But he's looking for a particularly bold next step. He's unimpressed by Jeanne's routine proposal, in fact. Then he drops dead, the property's doors slam shut and a voice over the intercom tells the architect, plus everyone else onsite, to undertake a series of challenges to ascertain the culprit among them — or be murdered themselves. Murder Party is available to stream via Google Play, YouTube Movies and iTunes. Read our full review. THE PHANTOM OF THE OPEN If The Phantom of the Open was part of a game of golf, rather than a movie about the club-flinging, ball-hitting, bunker-avoiding sport, it wouldn't be a hole in one. It couldn't be; perfection doesn't suit the story that director Craig Roberts (Eternal Beauty) and screenwriter Simon Farnaby (Paddington 2) are telling, which is as real and as shaggy — as so-strange-it-can-only-be-true, too — as they can possibly come. That other key factor in spiriting dimpled orbs from the tee to the cup in a single stroke, aka luck, is definitely pertinent to this feel-good, crowd-pleasing, happily whimsical British comedy, however. Plenty of it helped Maurice Flitcroft, the man at its centre, as he managed to enter the 1976 British Open despite never having set foot on a course or played a full round of golf before. It isn't quite good fortune that makes this high-spirited movie about him work, of course, but it always feels like a feature that might've ended up in the cinematic long grass if it wasn't so warmly pieced together. When Maurice (Mark Rylance, Don't Look Up) debuts on the green at the high-profile Open Championship, it doesn't take long for gap between his skills and the professionals he's playing with to stand out. In the words of The Dude from The Big Lebowski, obviously he's not a golfer — although what makes a golfer, and whether any sport should be the domain of well-to-do gatekeepers who reserve large swathes of land for the use of the privileged few, falls into The Phantom of the Open's view. So does a breezily formulaic yet drawn-from-fact account of a man who was born in Manchester, later settled in the port town of Barrow-in-Furness in Cumbria and spent much of his life as a shipyard crane operator, providing for his wife Jean (Sally Hawkins, Spencer), her son Michael (Jake Davies, Artemis Fowl), and the pair's twins Gene (Christian Lees, Pistol) and James (Jonah Lees, The Letter for the King). Maurice had never chased his own dreams, until he decided to give golfing glory a swing. The Phantom of the Open is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and our best new TV shows, returning TV shows and straight-to-streaming movies from the first half of 2022. Or, check out the movies that were fast-tracked to digital in January, February, March, April, May, June, July and August.
Carlton's John Curtin Hotel — mostly known as simply The Curtin — is a stalwart in Melbourne's live music scene. It hosts gigs all through the week — international bands (Girlpool and The Libertines have recently graced the stage) fill in the schedule along with Melbourne faves and up-and-comers launching EPs. Plus, there's some great pub grub. Sonny's Fried Chicken & Burgers currently has a residency in the pub's kitchen, matching its loaded gig lineup with an offering of American-style chicken. The signature bird is brined for 24 hours, then pressure fried for a perfectly crisp finish. It's a true connoisseur's menu with a fix for any sort of chicken craving, from a two-piece feed of dark or white meat, to a full bird divvied up into "eight pieces of awesome". There are also more sides than you can poke a drumstick at, including Southern-style classics like smokey slow-cooked beans, a zesty bean salad and creamy mash drenched in house gravy.
The Melbourne Food and Wine Festival (MFWF) has announced its program for 2017 — and, well, we hope you're hungry. Come March 31, the festival will take over the city for ten days of delicious dinners, long lunches, wine weekends, parties, masterclasses and more. And while it's their 25th year, they haven't just rolled out a program of the same old thing. For the first time ever, MFWF will have their own House of Food and Wine, a more concrete answer to the pop-up hub they've had down at Queensbridge Square in the past. When they call it a house, they mean that very literally — the CBD space will be styled to feel like a home, featuring a dining room (the main event space), a lounge room (the bar) and garden in the laneway. Deviating slightly from your average house, it will also feature a gallery of illustrations by Anna Vu (from Good Food Crap Drawing) of some of the city's favourite MFWF dishes from the last 25 years. The lounge room bar will be open every day of the festival and feature a curated list of artisan Victorian wines, while the dining room will play host to a number of special events. Spend opening night (Friday, March 31) at an Italian disco and dining party and closing night (Sunday, April 9) at the Burger Block Party, which will bring together Australia's best burger-makers — think Marys from Sydney, Short Order Burger Company from Perth, and Rockwell & Sons and Beatbox Kitchen from Melbourne. There's also a whole host of exciting events happening outside the House. This year MFWF will coincide with the World's 50 Best Restaurant Awards, which are being hosted by Melbourne for the very first time. They've managed to nab some of the world's best chefs to run some masterclasses at the festival — which is a pretty big deal. Among them will be classes from sensory chef Grant Achatz from Chicago restaurant Alinea (ranked #15), Jorge Vallego from Mexico City's Quintonil (ranked #12) and Australia's David Thompson, who runs Bangkok's Nahm (ranked #37) and is set to open Long Chim in Melbourne next year. On Friday, March 31 the Bank of Melbourne is hosting the annual world's longest lunch on Melbourne's iconic Lygon Street. 1600 diners will sit along a 580-metre tables to enjoy an autumnal Italian menu from Antonio Carluccio. Unfortunately it's already sold out, but if you still want to enjoy a long lunch and don't mind spending it in a vineyard or along a riverbank, there are another 20 happening in regional Victoria. On Saturday, April 8, get armed with a myki and take tram route 72, which will become Melbourne's answer to Burgundy's Route Nationale 74 for the day. It will take you on a tram-crawl of three of the southeast's best wine bars: Milton in Malvern, Toorak Cellars in Armadale and The Alps in Prahran. On Friday, April 7, they're also hosting a culinary tour of the Melbourne General Cemetery. With many of Melbourne's best chefs and wine makers and merchants buried here, chef Allan Koh — from Springvale Botanical Cemetery's cafe-flower shop hybrid Cafe Vita et Flores — will recreate the deceased's signature dishes for guests to sample at notable grave sites. The festival will also host usual favourites like their Crawl 'n' Bite food tours, lunch specials, wine tastings and masterclasses. You can check out — and buy tickets for — the full program here. The Melbourne Food and Wine Festival will run from March 31 to April 9, 2017. For more information, visit melbournefoodandwine.com.au.
It's set in Canada. It pays tribute to iconic Iranian filmmaking. It took home Cannes Directors' Fortnight's inaugural Audience Award. It's now the recipient of the Melbourne International Film Festival's Bright Horizons accolade, too. The movie to put on your must-see list if you haven't already caught it at MIFF 2024: Matthew Rankin's Universal Language, the picture chosen by the event's 2024 jury as the pick of the fest's competition titles. It was back in 2022 that the Victorian film festival, which is Australia's oldest, revealed that it was introducing a prize for standout new filmmaking talents. The Bright Horizons Award heroes both first-time and sophomore directors — and gives each year's winner a cool $140,000 for their troubles. Nabbed by Afrofuturist musical Neptune Frost in its initial year and Senegalese-French love story Banel & Adama in 2023, that hefty amount of prize money makes the gong one of the richest film fest awards in the world. Debuting at Cannes, and also set to make its North American premiere on home soil at this year's Toronto International Film Festival, Universal Language explores a vision of Winnipeg that resembles Iran in the 80s — and where Farsi as well as French are the official tongues. Alongside helming his second feature after 2019's The Twentieth Century, Rankin also appears in one of the movie's stories, as he spins absurdist tales about two kids on an adventure started by a random banknote, an unhappy teacher and a filmmaker. "Our task as jury was joyful, invigorating and inspiring. It was also incredibly arduous, heartbreaking and some might even say cruel, because how could anyone choose a favourite or pick a winner from such an incredible lineup of films, all worthy of accolades in their own ways, all testaments to the fact that the future of cinema is bright indeed?" said 2024's MIFF Bright Horizons jury, which was led by Australian filmmaker Ivan Sen (Limbo). "One movie represented all of the facets of the Bright Horizons Award: a film whose cultural specificity transcends borders; whose cinematic playfulness is matched equally by its sensitivity; and whose very form is in conversation with cinema past, present and future. This is why the Bright Horizons Award goes to Universal Language by Matthew Rankin," continued the group's statement, with director David Lowery (Peter Pan & Wendy), producer Yulia Evina Bhara (Tiger Stripes), costume designer Deborah L Scott (Avatar: The Way of Water) and actor Jillian Nguyen (White Fever) joining Sen. The quintet also gave a Special Jury Award to Flow, an animation about animals on a boat, when selecting Universal Language from a packed pool of contenders. Other films in the running included Janet Planet, the debut movie from Pulitzer Prize-winning playwright Annie Baker; Inside, a prison drama with Guy Pearce (The Clearing), Cosmo Jarvis (Shōgun) and Toby Wallace (The Bikeriders) that's directed by Charles Williams, who won the 2018 short film Palme d'Or for All These Creatures; and The Village Next to Paradise, the first-ever Somali film play Cannes. Also since 2022, MIFF's lineup of prizes spans the Blackmagic Design Australian Innovation Award as well, which recognises an outstanding Australian creative from one of the festival's movies. 2024's recipient to the tune of $70,000: Jaydon Martin for Flathead. "We were captivated and affected by Jaydon Martin's visually arresting and very moving portrait of individuals often forgotten about in society — in this case, the real people of small town Bundaberg," advised the jury. "Flathead's seamless merging of realities and fiction, both so raw yet so cinematic, had a profound effect on our jury. We hope all of you have a chance to watch this brilliant, sensitive examination of survival, of humanity and of mortality, which will stay with you for days to come." In 2023, MIFF launched its First Nations Film Creative Award, which is now named the Uncle Jack Charles Award — with April Phillips winning for XR piece kajoo yannaga (come on let's walk together) in 2024. As chosen by festival attendees having their say as they're spending all of their spare time in a cinema, 2024's MIFF Audience Award went to two Australian movies: documentaries Voice and Left Write Hook, with the first about seeking support across the country for the Indigenous Voice referendum, and the second stepping into a boxing and creative writing program for survivors of childhood sexual abuse. The 2024 Melbourne International Film Festival runs from Thursday, August 8–Sunday, August 25. For more information, visit the MIFF website.
Do you have a whole shrine filled with gin? A shelf? A decent section of your liquor cabinet? If so, it's likely that many of those bottles hail from Australia's own Four Pillars. And, thanks to the gin-making superstars' next two tipples, you might be about to add to them. The latest additions to the award-winning brand's range both play with its original gin — and one that has quite the following. So, if you've sipped Four Pillars' Rare Dry Gin, you'll want to try its new Rarer Dry Gin and Rarest Dry Gin. The first is made with yuzu, the second features bergamot, and obviously no one stretched themselves too much thinking of these gins' names. Still citrus-heavy like the OG tipple, Rarer Dry Gin and Rarest Dry Gin came about after the Four Pillars' team discovered some locally grown yellow yuzu and green bergamot — and then started tinkering. Where the Rare Dry Gin uses nine botanicals in the pot and oranges in the vapour basket that sits above the pot, these two newbies swap in their different types of citrus. That's it, that's the change. While Four Pillars still recommends that you drink the original in G&Ts, it's suggesting that these two newcomers also suit the cocktail — or you can add the Rarer Dry Gin to a gin and soda highball if you're after something different. Rarer Dry Gin and Rarest Dry Gin will be available from Saturday, September 11 from the distillery's website, costing $75 each per bottle. And, because Four Pillars likes to put the bi-products from the distillation process to good use, this time it has whipped up a Made from Gin Yuzu & Bergamot Shred Marmalade that'll be available for $12 for a 160-gram jar. For more information about Four Pillars' Rarer Dry Gin and Rarest Dry Gin, or to buy them from Saturday, September 11, head to the distillery's website.
