A certain global pandemic might have limited Melbourne's creativity fix last year, but come May, the city more than make up for that artistic dry spell. Launching with the total lunar eclipse on Wednesday, May 26, the city is set to welcome Rising, a brand new festival of arts and culture and an ambitious celebration of place. Running for 12 nights and descending on venues and public spaces all across the city, it's set to deliver a huge 133 different projects and events involving more than 750 Victorian artists. Expect a large-scale celebration of music, art and performance, in what organisers are pushing to become the major cultural event for the entire Asia-Pacific region. After being forced to postpone its planned 2020 debut, Rising is now more than two years in the making. Its expansive program has been very much steered by the artists involved, with an impressive 36 specially commissioned works set to make their world premiere during the event. "We went to the artists of Victoria and asked them for bold and ambitious ideas of what a festival can now be," Co-Artistic Director Hannah Fox explained to Concrete Playground. "So that's really informed how we've programmed it. It's as much the vision of the artists of Victoria and Melbourne as it is ours. And they really were well ahead of us in understanding how to make work for a post-COVID world." Taking place across five distinct districts within the city, Rising will serve up a broad-ranging mix of music, large-scale public art, grand installations and site-specific performances, intertwined with a healthy sprinkling of food and wine. As Fox says, it's "very much about creating an experience in Melbourne that's completely unique to this place." [caption id="attachment_805136" align="aligncenter" width="1920"] Patricia Piccinini by Pete Tarasiuk[/caption] And there truly is something in this lineup for everyone to sink their teeth into. Excitingly, renowned Aussie artist Patricia Piccinini returns with her first major Melbourne project in almost two decades, with A Miracle Constantly Repeated unveiling a multi-sensory art experience housed within the rarely spied spaces on the top floor of Flinders Street Station. The festival's Chinatown precinct will play host to everything from a naked disco called Club Purple to technology-driven laneway art takeovers and soaring visual projections. At its heart, the Golden Square car park building will be transformed into a multi-faceted pop-up gallery, showcasing new works from the likes of Reko Rennie, Parallel Park, Lucy Bleach and more. Over at the Sidney Myer Music Bowl, it'll become a supernatural forest for The Wilds, complete with light shows, supersized sculptures, mirrored illusions and a pop-up ice-skating rink. The Capitol Theatre will play host to a performance lecture by Emmy-winning filmmaker Lynette Wallworth — and, at the Comedy Theatre, you'll catch a series of collaborations and special performances to tempt music fans of all persuasions, featuring New Zealand's Marlon Williams, Julia Jacklin, The Saints founder Ed Kuepper and loads more. Also embedded firmly throughout the Rising program is a focus on the city's connection to First Peoples' culture. "One thing that we wanted to be really clear on and committed to was about our place, and really thinking about Melbourne's history in terms of deepening the understanding of First Nations stories and living culture," Fox says. Accordingly, there'll be no shortage of opportunities to dig in deep, including works like storytelling sound pavilion Blak Box and The Lantern Company's community-made Wandering Stars — a 200-metre-long glowing eel undulating its way along the Yarra, to be enjoyed by audiences on the riverbank as they share First Peoples' knowledge of the space. Or, there's Tjanabi, one of the diverse food and wine experiences happening within the Melbourne Town Hall's Mess Hall pop-up precinct. Led by N'arweet Dr Carolyn Briggs AM, the event will see diners connecting with First Peoples' food culture as they feast their way through a multi-course dinner built around long-held techniques and much-honoured ingredients. "It's about the community coming back together again in a really major way, taking advantage of the freedom that we have and bringing the city back to life after being the hardest hit city in Australia," explains Fox. "It's a very significant kind of moment... and we feel very fortunate to be launching this now. I think audiences are absolutely ready." Rising runs from Wednesday, May 26–Sunday, June 6 at various locations around Melbourne. Head to the festival's website to check out the full program and grab tickets. Images: Wandering Stars; Blak Box, 2019, photographed by Teresa Tan.
When it comes to sun, surf and sand, Australia's prowess is widely recognised. But, as any wine lover is well aware, we have something else to be just as proud of. Made in sprawling vineyards around the country — including in Victoria — our local vinos are simply top-notch. And, they're worth championing and celebrating at every possible opportunity. This isn't news to Victorians, of course. Mornington Peninsula, the Pyrenees and the Yarra Valley's wineries have strong reputations, as do others across the rest of the state. Indeed, we're betting their tipples already rank highly on your must-drink list. When such excellent wines are made so close to home, there's nothing better than to pair one with dinner, a cheese platter or a seafood lunch, obviously. In case you need a few extra suggestions, are looking for a couple of other local drops to try, or you could just use a reminder about brands you adore, we've teamed up with our pals at BWS to highlight five Victorian-based winemakers that you should definitely know and support. You might already love their tipples. You may have heard of them, but never had the pleasure of trying their wares. Either way, these wines will help you drink local.
Can a dream ever exist for more than a fleeting moment? That isn't just a question for oneirology, the field of psychology focused on studying the involuntary visions of our slumbers, but also applies whenever tales of motorcycle clubs rev across the screen. Stories of hitting the open road on two wheels, finding camaraderie and community in a group of likeminded outsiders, and perhaps discovering a purpose along the way are stories of chasing dreams — of freedom, of belonging, of mattering, of meaning in a world seemingly so devoid of it if you don't fit in the traditional sense. So it was in TV series Sons of Anarchy and in Australian film 1%, two titles set within the roar and rush of biker gangs in recent years. So it was in The Wild One, 1953's Marlon Brando-starring classic that immortalised the query "what are you rebelling against?" and the reply "whaddaya got?". Now, so it equally proves in The Bikeriders, about a 60s and 70s leather- and denim-wearing, motorbike-riding crew formed after infatuation got motors runnin' when founder Johnny (Tom Hardy, Venom: Let There Be Carnage) saw The Wild One on TV. A family man, Johnny has a dream for the Vandals MC out of America's midwest — and so does Benny (Austin Butler, Dune: Part Two), the closest thing that the club has to a spirit animal. The latter is introduced alone at a bar wearing his colours, refusing to take them off even when violence springs at the hands of unwelcoming patrons. He won't be tamed, the sixth feature from writer/director Jeff Nichols after Shotgun Stories, Take Shelter, Mud, Midnight Special and Loving establishes early. He won't be anyone but his smouldering, swaggering, rebel-without-a-cause self, either. Courtesy of the Vandals, he not only has the space to stand firm, but the assurance. He's a lone wolf-type, but knows that he has the devoted backing of the pack anyway. Johnny has fashioned the gang as a tribe and a place to call home for those who can't locate it elsewhere, and is open about how his fellow bikers need Benny — and how he does as well — to look up to. The Bikeriders is the story of Johnny and Benny, and also of the Illinois-accented Kathy (Jodie Comer, Killing Eve), whose outsider-upon-outsider perspective comprises the movie's narration (and gives it a Martin Scorsese-esque, Goodfellas-style angle). She's wary when on her debut encounter with the Vandals, also at a bar. Still, the way that Nichols and his regular cinematographer Adam Stone (Waco: American Apocalypse) shoot it, Kathy has no choice but to fall for the brooding Benny from the instant that she locks eyes on him at the pool table that night. Moments after she leaves the watering hole, she's clutching him close as they thunder off on his bike. Five weeks later, they're married. As she talks through the tumultuous and absorbing details to Danny (Mike Faist, Challengers) — Lyon, that is, the IRL photojournalist with the 1968 book that shares The Bikeriders' name, inspired the film and provides its basis sometimes on an image-by-image level — what springs from there is a love triangle of sorts, as Johnny and Kathy both see different routes for Benny, and for their respective dreams and futures. Making a much-appreciated return to filmmaking eight years after Loving — in-between, an Alien Nation remake didn't come to fruition, and he dropped out of helming A Quiet Place: Day One — Nichols fictionalises fact with The Bikeriders. Lyon snapped and spent time with Chicago's Outlaws Motorcycle Club. Its name doesn't remain in the feature, but the monikers of plenty of folks in its orbit, including Kathy, Benny and Johnny, plus other Vandals members Cal (Boyd Holbrook, Justified: City Primeval), Cockroach (Emory Cohen, Blue Bayou) and Zipco (Michael Shannon, The Flash), all do. The vibe as The Bikeriders hums is of a picture and the team bringing it to life each stepping into history, into photos that immortalised it and into a mood just as firmly, then spinning the results into a movie. That's a pivotal and purposeful sensation when the line between dreams and reality is being examined. While actuality rarely feels illusory when you're in it, the ultimate that anyone is ever pursuing — rebellion, authenticity and acceptance here, for example — so often proves ephemeral. Little in the way of surprises might fuel The Bikeriders' narrative, especially if you've watched past biker fare — Lyon's book predates Easy Rider by a year — but twists and turns are never the point. Instead, the anticipated cycles keep turning as Nichols prods whether the dream that he's capturing, as his photographer inspiration did before him, was ever destined for more than transience. Johnny's version of the club — and the solace that someone such as the scruffy Zipco, who gives voice to securing a niche he isn't otherwise afforded in a speech about being turned down for Vietnam enlistment, is seeking — withers as the Vandals grows. Rides and hangouts erupt in scuffles and fights over power. Attitudes among newcomers make the OG crew seem positively gentle. Benny struggles, too, caught between two sets of the last thing that he wants from anyone: expectations. As it gets the wind ruffling Butler's hair and the bouffant of Comer's locks defying gravity, Nichols has crafted a film that plays so eagerly like a throwback with such a lived-in atmosphere, but also with probing intentions pumping through every second. It presents. It unpacks. It motors along with the throbbing and the cruisiness alike of an engine letting rip on long Sunday-afternoon drive, digging into this slice of countercultural Americana and the hopes it stands for in the process. As its director did with Shotgun Stories almost two decades ago now, The Bikeriders also has tortured masculinity in its sights, another realm where visions of perfection are fated to crash. And as Nichols constantly returns to in his filmography, how desperately someone — everyone — attempts to hold onto what they love and dream about also slicks this intimate flick like oil. The longer that The Bikeriders goes on, the heartier that the initial Vandals tussle with their expanding roster, as more and more faces and agendas join its ranks. The feature itself has no such regrets, including when Norman Reedus (The Walking Dead: Daryl Dixon), Karl Glusman (Civil War), Toby Wallace (The Royal Hotel) and Damon Herriman (The Artful Dodger) help flesh out the cast. Mirroring the club with Benny, the movie benefits from having Butler at its heart, though. In a strong on-screen year to rival 2022's Elvis whirlwind, which nabbed him a BAFTA and a Golden Globe, plus an Oscar nomination, he follows Dune: Part Two and Masters of the Air with a magnetic, layered, revealing and committed performance while so frequently uttering little aloud. The also-exceptional Comer and ever-commanding Hardy aren't stuck in their co-star's shadow, as their characters happily are with Benny, but this film about the allure of the ideal knows how to make that exact notion its vista. Unlike everything that the Vandals aspires to encapsulate, however, Butler never falters.
With a (hopefully) balmy few months of summer stretched out ahead of us, Melbourne's just scored a blissful new spot for those sun-drenched brunch sessions and pre-picnic pit-stops. Or at least, a new 'old' spot. Darling Group (Higher Ground, Kettle Black, Stringers) has been busy transforming the Royal Botanic Gardens' iconic lakeside venue into their latest project, the Terrace Cafe — and it officially opens its doors this Saturday, December 17. Surrounded by greenery, the team's all-day cafe and adjoining event space have been designed in a nod to their lush outlook, with interiors by Technē featuring plenty of botanical references throughout. The 234-seat Terrace Cafe sports a palette of natural hues, with terrazzo-topped benches and an idyllic al fresco area spilling out amongst the gardens. Elevated classics drive the conservatory-inspired cafe's food offering, starring produce-led options like Turkish eggs with roast chorizo, tahini yoghurt and an aleppo pepper dressing; an avocado tartine (French-style open sandwich) and sumac-dressed fattoush salad with toasted pita. You can aim a little less green with likes of the cheeseburger and fries, and chilli-scrambled eggs atop house-made ciabatta. Or perhaps the homemade scones — a nod to a much-loved offering from the site's previous life. Meanwhile, Darling Group's signature coffee blend will star on the cafe's broad-ranging drinks list, with two coffee carts soon set to take up residence at Gates A and D of the Gardens for customers on the go. Of course, this is prime picnic turf and the Terrace Cafe's expansive grab-and-go lineup makes for an enviable rug set-up. Choose from the likes of loaded baguettes, pinsa romana (a style of fermented-dough pizza) and pastries, or a Terrace-To-Go box containing your choice of sandwich or salad, a juice and a sweet treat. Then, there's function venue The Terrace, where Technē's vision of gold detailing and polished concrete will play the backdrop to private shindigs and soirees of up to 300 guests (or 150 seated), overlooking the Ornamental Lake. It's an impressive space, complete with huge central skylight, a 10-metre-long bar of two-toned marble and a similarly leafy outlook to its next-door sibling. Find the Terrace Cafe and The Terrace at Royal Botanic Gardens, Alexandra Avenue and Anderson Street, Melbourne (best entry is via Gate A). The cafe will open daily from 8am–4pm. Images: Griffin Simm
This Halloween, the sound of chainsaws will echo through the Palais Theatre — plus plenty of screaming, demonic spirits and unhinged mayhem, too. To celebrate every horror fan's favourite occasion, the St Kilda venue is playing host to a ghoulish movie-and-music combination like no other. Not only will Sam Raimi's 1981 splatter classic The Evil Dead hit the big screen, but an ensemble of musicians from the Melbourne Symphony Orchestra will play a reimagined version of the scary flick's score. The latest in the MSO's growing series of film-focused live performances, this show is extra special, with the score's original composer Joe LoDuca also making an appearance. Nearly four decades since he first whipped up the perfect soundtrack for a chilling vacation in the woods, he'll hit the keyboards to revisit the movie that first brought him to fame — and helped make stars out of Raimi, actor Bruce Campbell and then-assistant editor Joel Coen (yes, one of the Coen brothers) as well. The Evil Dead has spawned two Raimi-directed sequels, a 2013 remake and Campbell-starring TV series Ash vs Evil Dead, because it really is impossible to destroy the Necronomicon — even when you're toting a trusty boomstick. But the original film remains an absolute horror delight in its own right, as does its tale of five holidaying college kids who head up to a secluded cabin, only to find themselves unexpectedly facing off against evil. Relive the carnage from 8pm on Thursday, October 31, with tickets on sale now.
In showbusiness, nepotism is as inescapable as movies about movies. Both are accounted for in The Souvenir: Part II. But when talents as transcendent as Honor Swinton Byrne, her mother Tilda Swinton and writer/director Joanna Hogg are involved — with the latter working with the elder Swinton since her first short, her graduation piece Caprice, back in 1986 before Honor was even born — neither family ties nor filmmaking navel-gazing feel like something routine. Why this isn't a surprise with this trio is right there in the movie's name, after the initial The Souvenir proved such a devastatingly astute gem in 2019. It was also simply devastating, following an aspiring director's romance with a charismatic older man through to its traumatic end. Both in its masterful narrative and its profound impact, Part II firmly picks up where its predecessor left off. In just her third film role — first working with her mum in 2009's I Am Love before The Souvenir and now this — Swinton Byrne again plays 80s-era filmmaking student Julie Harte. But there's now a numbness to the wannabe helmer after her boyfriend Anthony's (Tom Burke, Mank) death, plus soul-wearying shock after discovering the double life he'd been living that her comfortable and cosy worldview hadn't conditioned her to ever expect. Decamping to the Norfolk countryside, to her family home and to the warm but entirely upper-middle-class, stiff-upper-lip embrace of her well-to-do parents Rosalind (Swinton, The French Dispatch) and William (James Spencer Ashworth) is only a short-term solution, however. Julie's thesis film still needs to be made — yearns to pour onto celluloid, in fact — but that's hardly a straightforward task. As the initial movie was, The Souvenir: Part II is another semi-autobiographical affair from Hogg, with Swinton Byrne slipping back into her on-screen shoes. This time, the director doesn't just dive into her formative years four decades back, but also excavates what it means to mine your own life for cinematic inspiration — aka the very thing she's been doing with this superb duo of features. That's what Julie does as well as she works on the film's film-within-a-film, sections of which play out during The Souvenir: Part II's running time and are basically The Souvenir. Accordingly, viewers have now spent two pictures watching Hogg's protagonist lives the experiences she'll then find a way to face through her art, all while Hogg moulds her two exceptional — and exceptionally intimate and thoughtful — movies out of that exact process. Julie's graduation project is also an escape, given it's patently obvious that the kindly, well-meaning but somehow both doting and reserved Rosalind and William have been pushed out of their comfort zone by her current crisis. Helping their daughter cope with her heroin-addicted lover's passing isn't something either would've considered might occur, so they natter away about Rosalind's new penchant for crafting Etruscan-style pottery instead — using small talk to connect without addressing the obvious, as all families lean on at some point or another. They provide financing for Julie's film, too, in what proves the easiest part of her concerted efforts to hop back behind the lens and lose herself in her work. Elsewhere, an array of doubt and questions spring from her all-male film-school professors, and the assistance she receives from her classmates is quickly steeped in rivalries, envy and second-guessing. More than once, queries arise about why Julie makes particular choices — and seeing how Swinton Byrne responds under Hogg's meticulous direction is one of the key reasons that The Souvenir: Part II is as powerful and compelling as it is. Like everything in the film, it's a revelation in layers, which unpeel far deeper than merely asking Swinton Byrne to be her director's on-screen surrogate. An introvert, Julie is visibly unaccustomed to the scrutiny that comes with her ambitious project, and with needing to handle her inner hurt under a spotlight. Swinton Byrne makes that plain quietly but repeatedly, all while conveying how Julie's self-hesitation slowly dissipates the longer she goes on, the more she struggles with, and the more mistakes she makes and solves. How this process echoes through her work, shaping both it and Julie herself, ripples through to a disarmingly intense degree — and with crucial aid from cinematographer David Raedeker (Swimming with Men) and production designer Stéphane Collonge (God's Own Country). There's no shaking the grief of it all, of course. As a musing on mourning, plus a perceptive glimpse at how the bereaved are expected to soldier on despite placating words offered otherwise, The Souvenir: Part II is shattering. Amid movie-within-movie sequences that'd owe thanks to David Lynch and Charlie Kaufman if they weren't so clearly diffused through Hogg's own lens — and after the other glimpse at the industry that comes via Richard Ayoade's (The Electrical Life of Louis Wain) returning Patrick, now successful, pompous AF, helming a huge movie musical and an enormous scene-stealer — the all-encompassing chaos that loss begets is laid bare. It's what drives Julie into bed with one of Patrick's stars (Charlie Heaton, Stranger Things), and sees her place perhaps too much on her own film's leading man (Harris Dickinson, The King's Man). In another of the feature's standout moments, it's also what causes her to misunderstand the sympathies of her editor (Joe Alwyn, Mary Queen of Scots) when support becomes hard to find. The Souvenir was a fated romantic tragedy. It was a vehicle for its director to work through her memories, too, and immortalise what she's now decided to keep; yes, that title is oh-so-telling. The Souvenir: Part II is a meditation upon loss, heartbreak and life's worst existential and inevitable woes, and also a way for Hogg to sift through her memories about all those memories, not to mention the new ones she conjured up when she first turned them into a movie a few years back. It's as smart, sensitive and stacked as an immensely personal piece of cinema can be, and it's also thrillingly savvy about how subjective everything it shows and interrogates needs to be by necessity. Cinema isn't short on memoirs, many of them wonderful — recent Oscar-winners Roma and Belfast, for example — but The Souvenir and its just-as-phenomenal sequel are in a bold and brilliant realm all of their own.
If you're like us, you've probably excitedly hummed along to the theme song at the start of every Game of Thrones episode (yep, all 73 of them). Now, you can do just that again, but you'll be joined by a live orchestra, a choir and tens of thousands of other spectators when the internationally renowned Game of Thrones Live Concert Experience finally hits Australia. Having toured North America and Europe, the grandiose musical show will head to Brisbane, Sydney, Melbourne, Perth and Adelaide in early 2020. The immersive show sees Emmy Award-winning composer Ramin Djawadi's emotive scores — from all eight seasons of the HBO show — brought to life with an international cast of soloists, an orchestra and a choir, and accompanied by the equally dramatic footage. Over in the States, according to MTV, the show featured 360-degree stages (designed to replicate locations throughout the Seven Kingdoms), 800 feet of video wall, an 80-piece orchestra and custom-made instruments, such as a 12-food Wildling horn. Expect things to be equally large and OTT Down Under, too. Expect, also, to relive some of the season's most dramatic moments — SPOILERS (if you somehow haven't watched it already) — such as Hodor's sacrifice, Arya's conquering of the Night King, Joffrey's (brilliant) death, the Battle of Winterfell, the Red Wedding and so much more. Pack the tissues, folks. What's more, the show will coincide with a series of 'VIP experiences' that we can definitely get around. These include a pre-show medieval banquet (hopefully without any Freys), the chance to sit on a Iron Throne and a dedicated butler, who'll deliver food (hopefully pies) and drinks (hopefully wine in goblets) to your seat. While you're waiting for the show to arrive next summer, you can re-listen to all eight seasons' scores on Spotify — including the nine-minute epic that is 'The Night King Theme' (we've handily embedded that below). If that's not enough to fill your time, you can also listen to some of Djawadi's other scores. He has created the music for Westworld, Prison Break, Pacific Rim and Iron Man, too. Get ready, winter is coming (back) to Aus. GAME OF THRONES LIVE CONCERT EXPERIENCE 2020 DATES Brisbane — Brisbane Entertainment Centre, February 7 Sydney — ICC, February 9 Melbourne — Rod Laver Arena, February 12 Adelaide — AEC Theatre, February 15 Perth — RAC Arena, February 17 Game of Thrones Live Concert Experience pre-sale tickets are available from 9am on Tuesday, August 13 with general sale starting at midday on Friday, August 16 via Live Nation. Images: Ralph Larmann
Starting any business is a risky venture, and establishing a hospo business — let alone one that endures and succeeds in the industry — can be an especially challenging endeavour. But don't let that scare you off — there's lots of help at hand, from the community of your team and other business-owners to tech-driven business solutions like Square, who have helped countless companies expand. If you're keen to get your idea off the ground but can't wrap your mind around how and where to start, we've partnered with Square to uncover some advice for new business-owners from the teams behind two longstanding Aussie venues, Melbourne's American Doughnut Kitchen and Sydney's Terminus Hotel. Respect for Legacy and History One of the city's oldest pubs, the Terminus Hotel in Pyrmont dates back to the 1840s and was recently revived by David Mathlin and Binu Katari in 2018. Meanwhile, American Doughnut Kitchen (ADK) has been a fixture of Melbourne's Queen Victoria Market since 1950, slinging fluffy, jam-filled doughnuts for almost seventy-five years. Belinda Donaghey now co-owns ADK's two outlets with Justin Donaghey, after her grandfather Arnold Bridges took over the business 30 years ago. [caption id="attachment_772352" align="alignnone" width="1920"] American Doughnut Kitchen[/caption] When asked about the one thing they would have wanted to know before starting their respective businesses, both Belinda Donaghey and David Mathlin underscored the significance of asking questions about the establishment's history. "As the third generation to be running the business, I wish I had asked my grandfather many questions before he passed," said Donaghey. "Looking back now, I wish I'd asked him about his vision, the challenges he overcame, his approach to business, and so much more." Technology and Simple Systems After stepping in full-time management of the business in 2020 and then ownership in 2023, Donaghey attributes the success of the business to "our strong, established team, our loyal customer base, and the technology that supported our new way of working." She continued, "Just before the pandemic, I introduced EFTPOS through Square Terminals, which turned out to be a critical move as we rapidly shifted to cashless transactions. Card payments quickly became the norm, with cash usage dropping to as low as 10%." Mathlin's saving grace when they first opened the refurbished Terminus Hotel was "training before opening, and a great team." Similarly, Donaghey's advice for what new businesses should focus on before they open is "Systems, and comprehensive training of the team on how to use the systems." She adds, "Keep it simple. There is beauty in simplicity and it is easier to scale when the foundations are strong and simplified." When asked what she would have done differently if opening her business today, Donaghey shared, "We would have invested earlier in software, technology and equipment that was perhaps a little bigger than we needed at the time, so we had space to grow into them without having to change too often as the business needs grew." She adds, "We have done that now, but it took a long time to step into that space and embrace new ways of thinking and working because there was a lot of history of doing things a certain way that didn't involve technology." Community Support Donaghey and Mathlin both emphasised the integral role that the community plays in shaping and growing a business. Mathlin's thoughts on what most new businesses overlook is that "They forget to put the community and customers first." When asked to recall the moment he knew his business was working, Mathlin's response again focused on the people, "We saw good reviews and saw people having a great time at functions." [caption id="attachment_978216" align="alignnone" width="1920"] Leigh Griffiths[/caption] Donaghey shared a similar sentiment, "By the time I started working in the business full-time, we were already well-established, with over 60 years behind us. The true test came during the pandemic, when we realised just how special our business was because of the people who continued to support us." She continued, "The messages we received during that time were incredibly heartwarming. Customers shared beautiful memories and it was clear we were bringing joy to people who were isolated from family and friends and disconnected from the world." ADK's success is reflected in their popularity, which is still going strong. "Our weekend queues have become famous — not because our team is slow, but because our popularity has grown so much that people are willing to give us their most precious resource: time. They happily stand in line to get their bag of joy: our hot jam doughnuts. Our business model works. It's simple, it brings people joy, and it's the perfect snack to enjoy while exploring the market." Find out how Square can kickstart your business at squareup.com.
Lumen People recently joined a growing trend in the Melbourne cafe scene, deciding to transform into a wine bar a few nights a week. This is a big win for North Melbourne locals who have plenty of neighbourhood pubs to choose from, but a much smaller number of wine bars. And even though it already has a banging evening menu, Lumen People's decided to switch things up a little this June by inviting some of the city's most creative food and wine talents to take over the menu for a three-night event series. The first, running on Friday, June 14, sees Love Shack Brewery's Joe Baylon (ex-Aru and The Moon) running the pass from 6pm. Baylon will be serving up French-inspired eats that Foreign Fruits' Ibrahim Khudeira will pair with a specially-curated list of wines. Then, on the afternoon of Sunday, June 23, Capitano Head Chef Ryan Hodgson (ex-Bar Liberty) will be cooking up some southern soul food. Expect a heap of reimagined Sunday lunch classics that are "vaguely inspired by the Atlantic coast". Matt Kingsley Shaw (ex-MoVida and Ombra) from Portuguese wine importer Tasty Things will be providing the matched drops for this takeover. Rounding out the docket is Dora Mazzeo (ex-Bar Liberty and Hope St Radio), who has most recently been overseeing kitchen takeovers at Rathdowne Street fave Florian. She'll be slinging creative eats on Friday, June 28, alongside a curated wine list by Max Helsing from wine importer and distributor Halle aux Vins. These three food and wine takeovers are a great excuse to check out Lumen People's transformation into a wine bar, and to treat yourself to a little winter warmer. Images: Hugh McDonnell.
As far as crowd-pleasing music goes, it's hard to top a Fleetwood Mac playlist. Formed in the late 60s, the British American rock band cemented itself in musical history with now-classic tunes like 'Little Lies', 'The Chain', 'Dreams' and more. Sadly, the band members themselves have hung up their guitars, but that doesn't mean we can't continue to enjoy their hits live. Thanks is due to Concerts By Candlelight, the event series you've no doubt heard about on social media. The concert group is rolling out the 2025 event program and the first item on the agenda is The Music of Fleetwood Mac By Candlelight. With a live band and a cast of West End singers performing all the hits (and selling out shows in the UK), the tour is hitting Australia and New Zealand throughout February and March. After a series of shows across the ditch, The Music of Fleetwood Mac By Candlelight will kick off an Australia-wide tour. First up is QLD, with the concert hitting the Gold Coast and The Star Theatre on Friday, February 28. Then, on Friday, March 7, it's Sydney's turn at Darling Harbour Theatre — followed by a stop at Melbourne Town Hall on Tuesday, March 11. Later that week, it crosses the country to PCEC Perth for a show on Friday, March 14, before finishing at Her Majesty's Theatre for an Adelaide performance on Friday, March 28. The Music of Fleetwood Mac By Candlelight will tour across cities in Australia and New Zealand from Friday, February 14 to Friday, March 28. For more information or to book tickets, visit the website.
Admittedly, raw chocolate is not the first thing most people reach for when they're looking for a treat. But Pana Barbounis, founder and chocolate maker at Pana Chocolate is trying to change that — and he's doing a pretty darn good job. Available Australia-wide and in some international countries, Pana is taking his love of slow-cooked, raw foods and health-conscious sweet treats to the masses. It's all about making that indulgent moment a guilt-free one for both your body and the planet — the packaging is 100 percent Australian made and recyclable. Pana Chocolate has been selling its chocolate bars for a while now, mostly into health food stores and some supermarkets. Think flavours like vanilla and sour cherry, mint, orange, and cinnamon. Now, they've taken their raw chocolate secrets and opened a beautiful space on Chapel Street in Richmond, acting as a shopfront for their kitchen where all the Pana Chocolate is made. The space is small, but has a few seats in the window for those who want to linger and enjoy their cacao treats on gorgeous pale blue plates. If you're on the run, get your goodies to go and enjoy them back at the office or as an after-dinner dessert. What makes Pana so special is that the entire range is raw and plant-based, free of gluten, dairy, and refined sugar. Their ingredients are sourced from all over the world, including cacao beans from the Amazon, coconut oil from the Philippines and dark agave nectar from Mexico. An international treat. Speaking of treats, you can indulge in one of the many dainty delights that sit erect on display. They range from individual chocolates, 'cheesecake' pops, raw cakes, and individual creations like the Vespa Wheel: a buckwheat wafer biscuit with coconut marshmallow, raspberry chia jam and raw cacao. The cakes rotate, but can be anything from raspberry, rosem and pistachio, white choc berry, caramel fig, mandarin pistachio, kiwi mint lime, strawberry vanilla or choc fudge. Single chocolates and fudges are also on display, making the raw line-up a very impressive one indeed. And you can sip on a cacao almond milk hot chocolate, just in case you haven't quite met your sweet quota for the day. This is not a drill folks, this is raw chocolate that tastes as good — if not better — than the real thing.
In the last few years, Melbourne has experienced what can only be described as an explosion of vegetarian options. Suddenly, it's not just about piecing together a meal from the sides; now, establishments have dedicated veggie sub-sections on their menus and countless eateries cook entirely with plant-based products. There's never been a better time to be meat-free. The other wonderful thing about veggie dining in Melbourne is that you don't have to be a strict vegetarian or vegan to get in on the spoils. Even if you're only going meat-free on Mondays, you'll still find plenty of casual mid-week options, from veggie-driven fine dining, sans-meat Mexican to vegan lunch break options. No matter what you're craving, there's an eggplant option for you. To help you form this healthy habit, we've teamed up with American Express to find Melbourne's best restaurants that make eating vegetarian deliciously simple. Really, it's not hard to do — when you live in Melbourne, it's as easy as a swipe of your American Express® Card. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
It was a small step for man and a giant leap for mankind. But what if the moon landing didn't actually happen? As far as conspiracy theories go, that line of thinking is up there with Elvis surviving his last date with his bathroom. Now, after decades of wondering, we finally have the incriminating vision. Okay, so not exactly. After toying with the found footage genre in their debut film The Dirties, writer-director-actor Matt Johnson and his regular co-star Owen Williams bring the same faux-documentary approach to the world of outlandish government coverups in Operation Avalanche. Playing fictionalised versions of themselves several decades before they were actually born, Johnson and Williams make the leap from college whiz kids to new CIA recruits to undercover operatives at NASA. Remarkably, that's the easy part. Once they've talked their way through the door of the space agency, pretending to be a documentary film crew but actually looking for a Russian spy, they discover that the space agency can't make it to earth's natural satellite as planned. And so a new secret scheme is hatched, drawing upon their background as filmmakers. But it also attracts some unwanted attention. Operation Avalanche unfolds as a movie within a movie — with the added bonus of yet another movie within that movie, too. In essence, the filmmakers are making a film about pretending to make a film, while at the same time recreating the historic footage of the actual lunar landing. Grainy images ensure that the movie fits its '60s setting to a tee, while shooting the whole thing in handheld style, often through windows or from various other unlikely hiding spots, helps sell the underlying premise. Sounds like a bit of cheeky fun, right? Seesawing between comedy and edge-of-your-seat thrills, that's exactly what Operation Avalanche delivers. At the same time, this paranoia-riddled satire couldn't feel more timely, despite the fact that it first premiered at the Sundance Film Festival a full year ago. Not being able to believe everything you see in the media isn't exactly a new sentiment, nor is thinking twice before trusting the words spoken by those in power. Still, imagining a modern version of this story given the current global political climate certainly isn't hard. Apart from the initial concept, perhaps Johnson's greatest trick is doing something different with both the found footage medium and the cold war thriller genre. This isn't the kind of shaky horror flick you've seen countless times before, or the type of USA versus USSR effort that has been pumped out since the 1960s. That's great news if you're a film buff, for whom Operation Avalanche feels tailor made. Indeed, with one of the most common moon landing conspiracies centred around 2001: A Space Odyssey director Stanley Kubrick, it shouldn't come as a surprise that one of the greatest filmmakers in history earns more than a couple of mentions.
Following months (and months) of lockdown, the Immigration Museum is finally able to exhibit the work of South Sudanese-born, Melbourne-based artist Atong Atem. Running through January 31, 2021, Atong Atem: To be real showcases the photographer's work as part of the Photo 2021 International Festival of Photography. Revealing a new series of large-scale photographic works, Atem captures moments that verge on the surreal and hyper-real. The artist uses bright tones and textural outfits to explore themes of mythology and fantasy — as well as examine her own identity and sense of belonging in contemporary Australian life. While entry is free, booking ahead is a must. Head here to grab your ticket. Top image: Bigoa with Fan (2020) by Atong Atem
Once you've tried a Turkish-style ice cream sandwich, you may never go back to a "regular" one. Using stretchy Maras ice cream (the stuff can be eaten with a knife and fork) Northcote cafe Cuppa Turca serves the icy treat between two slices of crispy hand-rolled baklava. It's then topped with hot pink Persian fairy floss. For those who are after something a little less extra, there's a more tame version served between two thin wafers. Or you can just have a scoop on its own. Whatever you pick, order it with a cup of coffee made on hot sand.
UPDATE, January 7, 2021: Pieces of a Woman screens in Melbourne cinemas from Wednesday, December 30, and will be available to stream via Netflix from Thursday, January 7. Everyone has heard the claim that women forget the pain of childbirth, with hormones and maternal stirrings washing away the agony of labour once a mother meets their bundle of joy. How true that proves is the subject of debate, but if you've only seen life brought into the world via on-screen depictions, you can be forgiven for subscribing to such a school of thought. Childbirth, like sex, is usually sanitised for cinema. Courtesy of thrusts, groans, screams and part-exhilarated, part-exhausted smiles, films typically convey the gist, rather than the nitty gritty. The visceral reality rarely exists in a fictionalised world of convenient meet-cutes, perfect make-up adorned faces and zero signs of sweat; however, thanks to a tense and harrowing 23-minute delivery scene that plays out in one continuous take, Pieces of a Woman doesn't shy away from the mess and chaos. It doesn't evade the devastation when a planned home birth not only experiences hiccups, but leaves Boston-based expectant mother Martha (Vanessa Kirby, Fast & Furious: Hobbs and Shaw) struggling to cope, either. Martha won't forget what occurred when her water broke, her husband Sean (Shia LaBeouf, Honey Boy) remained by her side and midwife Eva (Molly Parker, Words on Bathroom Walls), a fill-in rather than the couple's first choice, delivered her baby. Neither will viewers of this daringly intimate drama from White God and Jupiter's Moon director-writer duo Kornél Mundruczó and Kata Wéber. The unbroken birthing scene isn't the movie's first, but it does precede its title card — with the filmmakers making it plain that, after getting a front-row seat to Martha's trauma, the audience will now witness her attempts to stitch herself back together. That's Pieces of a Woman's storyline. Shattered instead of feeling ecstatic and complete, as she had anticipated, the feature's protagonist tries to work out how to go on. But her marriage has lost its lustre, her overbearing mother Elizabeth (Ellen Burstyn, House of Cards) won't stop giving her two cents — and trying to throw around piles of money to help a problem that can't be fixed by cash — and, at Sean and Elizabeth's urging, there's also a court case to deal with. Pieces of a Woman doesn't lack narrative developments, involving both Martha and those in her bereaved orbit. Ex-alcoholic Sean also endeavours to process the situation, including falling back on old habits. His relationship with Elizabeth flips from bickering to conspiratorial, too; he's a construction worker, and his mother-in-law has always disapproved of his and Martha's class differences, but now they agree on what's best moving forward. Also having an impact: the involvement of Martha's lawyer cousin Suzanne (Sarah Snook, Succession), and the attention that comes from pursuing legal proceedings. Martha can't escape any of the above, but they're the film's scaffolding, rather than the main attraction. These external ups and downs will all pass, while Martha's maelstrom of despair and anger will remain. Accordingly, after stepping through her life-changing moment in realistic detail, the movie makes the bold choice to explore its protagonist's emotional and mental state. The Crown brought Kirby to broader fame and acclaim, earning her awards for her on-screen work after years of receiving them for her stage career — but, as stellar as she is in the regal drama, Pieces of a Woman is a career-best performance. She's tasked with weathering an ordeal rarely laid bare with such candour, and doing so via a dynamic and lived-in portrayal. She's asked to convey the torrential torment that Martha endures in every second after pushing through the contractions in Sean's embrace, holding their child in hers, and then suffering the worst type of absence. In the birth scene, she's primal and unfiltered in a way that's never seen on film. Afterwards, Kirby is glassy with and distant from those around Martha in a manner that rarely resonates as authentically as it does here. Pieces of a Woman is well-cast, and its star is ably matched — by Burstyn especially, particularly in one big monologue that rides a remarkable rollercoaster — but the intensity in Kirby as Martha crumples, yet remains resolute about her right to fracture and fray however she needs to, is near-overwhelming. Mundruczó and Wéber tackle an array of weighty notions through Martha, and through Kirby's performance, the ravenous monster that is grief being one. Pieces of a Woman is heartbreakingly unrestrained in showing how it feels to navigate loss, specifically the kind that isn't often addressed in society let alone in cinema. It does so with disarming potency, as if everything within its frames has been ripped from truth by the filmmakers. Just as effectively, the movie also unpacks how women are constantly expected to stick to set roles, even when tackling what might be the most distressing thing that'll ever happen to a mother. That's where all the struggles with Sean, Elizabeth and the court case really strike a chord — because, no matter what's going on, Martha is always supposed to fit a type dictated by long-held ideas about being a woman, and her husband, mum and anyone else with an opinion can't quite accept her refusal to adhere to convention. If Pieces of a Woman wasn't so deeply moving, some of its overt symbolism might've fallen flat, including repeated shots of a bridge being built by Sean, plus Martha's obsession with apples. And yet honesty reverberates from both, reflecting how easy it is to cling to anything and everything when life isn't progressing as planned. This excellent movie does spend its 126 minutes as intended, of course. From its attention-grabbing early sequence and intricate emotional landscape to its astonishing lead performance and its masterful direction — and its fittingly solemn score by Howard Shore (a two-time Oscar-winner for The Lord of the Rings) and roaming yet lingering visuals lensed by Benjamin Loeb (Mandy), too — it plunges viewers headfirst into Martha's experience. Nothing has been sanitised for anyone's comfort or protection here, either by the filmmakers or by their unforgettably real and raw central character. https://www.youtube.com/watch?v=1zLKbMAZNGI Top image: Benjamin Loeb / Netflix.
Restrictions and lockdowns have meant many Melbourne art galleries have spent more time closed than open in 2020. But it seems the culture gods have smiled down and cut us a little slack when it comes to one of the biggest, most anticipated art events to hit the city in three years. With art galleries now able to begin reopening, the NGV Triennial is set to return for its blockbuster second iteration this summer, taking over NGV International from Saturday, December 19. Held every three years, the Triennial made its huge debut in 2017, pulling a hefty 1.23 million visitors and remaining the NGV's most visited exhibition even today. Triennial 2020 looks set to follow suit, as artists from over 30 different countries share a diverse spread of works reflecting on a truly unique time in our world's history. Melbourne art lovers will be overwhelmed by the free large-scale exhibition of international contemporary art, design and architecture, showcasing 86 projects by more than 100 artists, designers and collectives. Expect to see US artist Jeff Koons pay homage to the goddess of love Venus with a towering mirror-finished sculptural piece, while renowned interior designer Faye Toogood reimagines a series of gallery spaces with commissioned furniture, tapestries, lighting, sculpture and scenography. Turkey's Refik Anadol has put together a video work, capturing digitised memories of nature with help from artificial intelligence and machine learning. Meanwhile, a showcase by Yolngu woman Dhambit Mununggurr is replete with her trademark blue hues, including a set of 15 large-scale bark paintings. Lauded Japanese architect Kengo Kuma joins forces with Melbourne-based artist Geoffrey Nees, using timber from trees that died during the Millennium Drought at Melbourne's Royal Botanic Gardens to construct a pavilion. The structure will then feature as part of a multi-sensory walkway delivering audiences to a new piece by South Korean artist Lee Ufan. If ever there was an exhibition worthy of your post-lockdown gallery-hopping debut, it's this. [caption id="attachment_795361" align="alignnone" width="1920"] Installation view of Refik Anadol Quantum Memories 2020 © Refik Anadol Photo: Tom Ross[/caption] Top image: Installation view of Porky Hefer, 'Plastocene – Marine Mutants from a disposable world' 2020, courtesy Southern Guild, Cape Town. Photo by Tom Ross.
Before Dolly Parton's own musical about her life makes its theatre debut, premiering on Broadway in 2026, always loving the music icon on stage is easy thanks to Here You Come Again. Telling the story of a massive fan of the legend and their imagined version of a star like no other, this fellow song-fuelled production is filled with Parton's tunes. It has her stamp of approval, too, and it's playing Melbourne in 2025. Here You Come Again will enjoy a stint at Comedy Theatre from Saturday, July 12–Sunday July 20. Get ready to hear 'Jolene', '9 to 5', 'Islands in the Stream' and 'I Will Always Love You', among other tracks, as the show's protagonist navigates the ups and downs of life with his own fantasy of Dolly by his side. Playing the pivotal Parton part, so slipping into the rhinestones and blonde hair, is Here You Come Again co-creator Tricia Paoluccio — and yes, she's also a lifelong Dolly fan. In the US and UK, Here You Come Again has played soldout seasons — and expect it to prove popular Down Under, too. Alongside Paoluccio, Australian Dash Kruck (Little Shop of Horrors, Jesus Christ Superstar) stars, with the local run also featuring an all-Australian ensemble, plus a live band helping to bring Parton's music to life. And if you can't make it in July, the show will be back in the Victorian capital from Thursday, October 23–Sunday, November 2. Images: UK production, Hugo Glendinning.
Whether you're the kind of fan who has a lightsaber on your shelf and a Jedi robe in your cupboard, or you prefer simply watching and rewatching every last second of the space-themed science fiction franchise, it has never been easier to indulge your love for Star Wars. We've just seen five new films hit big screens over the latter half of the past decade, The Mandalorian keeps bringing new tales to streaming and, pre-pandemic, an event devoted to the series was never too far away no matter where Down Under you reside. When 2021 rolls around, though, you'll be able to live, breathe and sleep the saga by staying not only in a themed hotel, but onboard a Star Wars spaceship. Yes, in the very near future, in this very galaxy, you can set your sights on Walt Disney World's immersive 360 vacation concept in Orlando. Disney first announced this addition to its growing theme park realm back in 2017, and dropped specific details for all those wannabe Jedis clamouring for a unique holiday back in 2019 — but now it has released a sneak peek of what its new hotel, called Star Wars: Galactic Starcruiser, will look like. When you're getting some shuteye, expect grey and orange tones combined with white surfaces, and an industrial look and feel as well. Fancy climbing up a ladder to kick back in a space built into an alcove — yes, as seen in oh-so-many space-set flicks? Well, based on the initial mockup imagery, that's in store. To answer the obvious question: no, you won't actually be going into space (although that idea isn't as out-of-this-world as it may sound). You will have a blast pretending that you're headed to a galaxy far, far, away, though. We're happy to report that the resort is taking the immersive part very seriously, with Star Wars: Galactic Starcruiser allowing patrons to embark upon a two-day, two-night adventure on the starcruiser Halycon. First step: leave your real life at the door. Upon check-in, guests become a citizen of the galaxy — which means that, every minute of every day of your stay, you're a part of the Star Wars story happening around you. You'll hang out in the Atrium, where crew and passengers gather; operate the Halycon's navigation and defence systems, with plenty of guidance; and learn how to use a lightsaber, because an interactive Star Wars-themed stay wouldn't be complete without wielding a glowing weapon. You'll also sleep in the aforementioned spaceship cabins, drink in the passenger lounge and try to sneak into the crew-only engineering rooms. https://www.youtube.com/watch?v=iOGH5fpqStE&feature=emb_logo Star Wars: Galactic Starcruiser will form part of Star Wars: Galaxy's Edge, Walt Disney World's new sprawling zone dedicated to the space-set franchise — which opened at the Orlando site, and at Disneyland in California as well, in 2019. For now, the hotel doesn't have an exact 2021 opening date given the current state of the world at the moment; however, you can sign up to register your interest. If you're keen to give it a whirl once it opens (and once international travel gets back to normal, too), you'll have to be committed to the experience. The "every minute of every day" comment may well include sleeping hours — the dark side never sleeps, after all. For more information about Star Wars: Galactic Starcruiser, which is due to open sometime in 2021, head to Walt Disney World's website. Image: Disney/Lucasfilm via Disney Parks Blog.
What do Parks and Recreation, Wellington Paranormal and Ted Lasso all have in common? They're all stellar examples of kind-hearted TV comedies that are an utter delight to watch, especially in chaotic times. Like a balm for frazzled nerves, these types of sitcoms focus on nice and caring people doing nice and caring things, even while their characters navigate all manner of ups and downs. Michael Schur-created favourite Brooklyn Nine-Nine also fits the category, because it too celebrates people who support each other, are always there for each other and form heartwarming bonds as a result. That's what these instantly likeable programs perfect again and again — and do so to not just an entertaining but to a soul-replenishing degree. By now, three of the aforementioned shows have already established a legion of fans, and deservedly so. Ted Lasso, the fourth series named above — and a 2020 newcomer — definitely belongs in the same company even just based on its ten-episode first season, plus the first two instalments of its second season so far. Starring a gloriously optimistic, already Golden Globe-winning Jason Sudeikis, the comedy first introduces its titular character during a period of transition. A college-level American football coach, Ted is hired by struggling English soccer team AFC Richmond, despite having zero knowledge of the sport. Ted is recruited for the role by the club's new owner, Rebecca Welton (Hannah Waddingham, Game of Thrones), who received the organisation in her divorce settlement and is determined to tank it to spite her slimy ex (Buffy the Vampire Slayer's Anthony Stewart Head). And, she knows that her new hire will face more than a few issues in his unlikely job. The ravenous British media write Ted off instantly, the club is in a spot on on-field bother, and veteran champion Roy Kent (Brett Goldstein, Uncle) and current hotshot Jamie Tartt (Phil Dunster, Judy) just can't get along. And yet, this American in London's upbeat attitude does wonders — as aided by his laconic offsider and long-time friend Coach Beard (Brendan Hunt, Bless This Mess), and the team's kit man-turned-assistant coach Nathan Shelley (Nick Mohammed, Intelligence). For much of his career, Sudeikis has excelled at playing thorny, jerkish characters (see: the terrific Colossal) who initially appear otherwise. He's exceptional at showing how arrogance can lurk behind a nice-guy demeanour, and he's proven that multiple times. Ted Lasso is never mean-spirited, however — and that applies to both the series and its main figure. Sudeikis is fantastic here as the genuinely caring coach just trying to do his best, and attempting to bring out the best in others. Yes, the series he's in is just as spot-on, as are his impressive cast members. In Ted Lasso's second season, which has just started streaming on Apple TV+, Ted faces a new challenge. The team has just added psychologist Dr Sharon Fieldstone (Sarah Niles, I May Destroy You) to its ranks and, while Ted may be all positivity, all the time, he's not fond of Dr Fieldstone's profession — and finds her an unsettling presence. This is a series about working through those kind of roadblocks, though. It's one where Rebecca has moved on from just trying to use the club to annoy her ex, and is now thoroughly invested in its fortunes — and where her friendship with model, media darling, Jamie's ex-girlfriend and Roy's current partner Keeley Jones (Juno Temple, Maleficent: Mistress of Evil) is never framed as competitive, as would likely be the case elsewhere. Consequently, exploring this storyline in a meaningful and positive way just adds to Ted Lasso's strengths. Viewers definitely don't need to love soccer or even sport to fall for this show's ongoing charms, to adore its determination to value banding together and looking on the bright side, and to love its depiction of both male tenderness and supportive female friendships. Those traits keep building episode by episode, as does fondness for its underdog team both on and off the pitch, and its ability to make Roy's love of swearing constantly both smart and hilarious. It's no wonder that Ted Lasso picked up a whopping 20 Emmy nominations this year, for its first season alone, including acting nods for pretty much every main actor involved in the show. In fact, this is the best sitcom currently in production. Check out the trailer for Ted Lasso's second season below: The first two episodes of Ted Lasso's second season are available to stream via Apple TV+, with new episodes dropping weekly — and all of the show's first season is also available via the streaming service.
If you've wandered around South Melbourne Market, Preston Market or Queen Vic Market lately, you've likely seen long lines of folks hunting down Cannoleria's ricotta-filled pastry shells. Its Sicilian-style cannolis are no joke, made with That's Amore ricotta and delicately crunchy pastry. But wherever you've bee getting your fix so far, it's been a purely takeaway affair — you either have to rush home before the cannoli start getting soggy, get the filling sold separately so you can pipe them later, or scoff the cannoli right after ordering. That is until now, as the team is bringing its first dine-in venue to town — and it'll be opening soon on Lygon Street, no less. While we're still awaiting details about an opening date, what we do know is that come late July or early August, Cannoleria will be setting up shop on the unofficial home of Melbourne's Italian dining and cultural scene, which has hosted countless Italian restaurants and gelato joints for generations. The new site will seat 18 cannoli lovers, allowing them to take their time savouring these sweet Sicilian treats. Moka Pot St Remio coffee and other hot and cold bevs will also be available. There's no word yet on whether the site will be stocking its epic pistachio spreads, cannoli-scented candles, cannoli cakes and merch, but we're quietly hopeful. To celebrate the new opening, Cannoleria will be giving away 1000 mini cannolis on its launch day, so watch this space for more details once we have them. You'll soon find Cannoleria at 334 Lygon Street, Carlton. For more information, visit the venue's website.
No one makes neon-lit, red-hued, emotion-dripping tales of yearning and loneliness like Wong Kar-Wai, as everyone who has seen 2000's In the Mood for Love knows. It isn't the Chungking Express, Happy Together, 2046, Ashes of Time: Redux and The Grandmaster filmmaker's only masterpiece, but the 1960s Hong Kong-set romantic drama is utterly unforgettable as it unfolds its love story against a backdrop of festering societal tension. Viewers have fallen for the film for almost a quarter of a century now. Sydney Opera House clearly feels the same way. Back in 2020, it hosted and livestreamed dreamy song cycle In the Mood — A Love Letter to Wong Kar-Wai & Hong Kong, which delivered exactly what its title promised. Come 2025, the venue will also welcome in the Australian premiere of In the Mood for Love in Concert. As everything from Batman, Back to the Future, Home Alone and Spider-Man: Into the Spider-Verse to The Lion King, The Princess Bride, Black Panther and Star Wars films has in the past — and plenty more — the iconic movie will return to the big screen while an orchestra brings its score to life. In this case, the film will flicker across Sydney Opera House's HD silver screen as conductor Guy Rundle leads a 39-piece group of musicians playing live. Ready to get audiences swooning, In the Mood for Love in Concert has locked in two shows on the one date, at 2pm and 7pm on Saturday, March 22. The BAFTA-nominated and César-winning film — which also picked up two awards at Cannes, including Best Actor — stars the great Tony Leung (Hidden Blade) and Maggie Chen (Better Life) as Chow Mo-wan and Su Li-zhen. In a complicated time and place, the two neighbours are drawn together when they begin to suspect that their partners are not only being unfaithful, but that they're having an affair with each other. While In the Mood for Love is rightly acclaimed for its affecting performances and evocative direction, as well as its gorgeously lush cinematography, its score is just as exceptional. Indeed, the filmmaker has called it "a poem itself". This is a stellar opportunity to find out why — and to discover why this movie, and Wong Kar-Wai, keep proving so influential. Check out the trailer for In the Mood for Love below: In the Mood for Love in Concert plays Sydney Opera House's Concert Hall at 2pm and 7pm on Saturday, March 22, 2025, with ticket presales from Tuesday, November 5, 2024 and general sales from Thursday, November 7, 2024 — head to the Sydney Opera House website for more details.
Brunch is the pinnacle of a good weekend — but hosting your own brunch party can feel like a huge effort. However, gathering your friends for a tasty start to the weekend is well worth it when you get to pick out the best pastries from your favourite local bakery, purchase top-shelf booze for fancy bloody marys and spin your favourite tunes. It'll impress even the most hungover of your besties. Here to help you deliver an elevated brunch party, we've partnered with premium French vodka Grey Goose to give you five simple tips that'll turn your weekend get-together into an elegant affair. [caption id="attachment_704266" align="alignnone" width="1920"] Kitti Gould[/caption] SET UP AN INTERACTIVE BAR Let's be real, the most important part of brunch is not the food but the drinks, and anyone who tells you otherwise obviously hasn't experienced the healing powers of a good bloody mary before noon, and that's their loss. So getting the booze portion of the morning right is a must. To turn a slow party into one with a purpose, set up an interactive bar for people to experiment with their drinks and get creative. Ensure you've stocked the best liquor — and keep it simple. Purchase a bottle of Grey Goose vodka as a premium base for a mood-lifting spritz, and, of course, the humble bloody mary. Having a French themed do? Order the limited-edition Maison La Biche bottle for a chic upgrade. PAIR YOUR FOOD AND DRINK FOR PERFECT HARMONY The symphony of food and booze is all you need for a really great brunch, so it's worth thinking about what cocktails go with which breakfast foods. For what it's worth, we reckon the classic bacon and eggs fry up with a bloody mary is always a winner, but if you really want to win at brunch, try making a Morning Mule (Grey Goose vodka, orange juice, ginger beer) with buttermilk pancakes, or a Breakfast Martini (Grey Goose vodka, orange marmalade, cointreau and lemon juice) with freshly baked pastries. And for the health-conscious, opt for a Provence Spritz (Grey Goose vodka, French rose and pink grapefruit juice), always fantastic with an açaí bowl. Experiment a little! It'll elevate the whole party, plus you get to drink while doing 'research'. [caption id="attachment_752451" align="alignnone" width="1920"] Flickr/Creative Commons[/caption] OPT FOR AN EASY SELF-SERVE SET-UP Who amongst us isn't a little particular about our brekkie? Given it's often the first meal of the day, and one with the power to make-or-break your weekend, even the most relaxed guests can be fussy when it comes to breakfast food. So, in the spirit of diplomacy — and let's be honest, convenience — design a help-yourself table with grab plates and bowls and mountains of brunch staples (such as fresh fruit, yogurt, granola and juice) and plop them on the table. You're done with the serving part of the morning before it's even begun, plus it makes catering to dietary needs a breeze. [caption id="attachment_735735" align="alignnone" width="1920"] Visit Victoria/Josie Withers[/caption] SPLURGE ON THE GOOD STUFF Don't be afraid to spend a little on the best produce you can afford. Good produce means less work for you, and brunch is the most decadent meal of the day so it's worth sourcing fruit and veggies from the farmers' markets, or forking out for some really fancy orange juice from the supermarket. Be comforted by the fact that a good artisan bakery haul can save any meal and you can top it off with premium spirits for those cocktails, it makes all the difference when you're catering at home. [embed]https://open.spotify.com/playlist/1x0bE4Gh2POCIMIpzP4dot[/embed] DON'T FORGET THE TUNES A good soundtrack can elevate your brunch party from a casual affair to an all-out party for the ages. Spend a bit of time ahead of the event thinking about your playlist of laidback tunes and singalong anthems (nostalgia is a quick pick-me-up in any occasion). Hit play and, with a healthy serving of hangover-busting cocktails, your guests are sure to find themselves dancing around the living room. Special shoutout to the likes of Angus and Julia Stone for chilled vibes, Jack Johnson for a retro feel, Nina Simone if it's THAT kind of morning, San Cisco for some light-hearted fun or any of the peppy indie supergroups from the last ten years. Feeling uninspired? Check out the Brunch Playlist above. It's your party, so pick whatever you feel will turn your brunch into an arvo dance party. Upgrade your brunch by choosing premium vodka Grey Goose. Each bottle is distilled in France, and the high quality vodka has a 100-percent traceable production process, from crop to cork.
The past two months have been big for Melburnians, and for Victoria as a whole as well. The state has now clocked up 23 consecutive days without any new COVID-19 cases, and restrictions keep relaxing — with even more set to ease tonight, Sunday, November 22. When Premier Daniel Andrews announced the last coronavirus roadmap changes back on Sunday, November 8, he also outlined plans for the next stage, which comes into effect at 11.59pm this evening. Of particular interest: rules around venues and gatherings, so prepare to spend some more time in more places with more people. In the hospitality sector, bigger venues will be able to welcome in up to 100 people indoors and 200 outside (with one person per four square metres), up to a cap of 300 in total. Smaller venues, under 200 square metres of floor space, will be have up to 50 people at once (with a less-strict density cap of one person per two square metres). And, regardless of size, all venues will need to use QR codes to track patrons. Both seated and non-seated entertainment venues (such as cinemas and galleries) will be able to welcome in up to 150 people per space. For larger sites, such as the National Gallery of Victoria, they'll be able to operate at a density up to 25-percent of their capacity. Drive-in cinemas won't have any caps, and community venues and libraries will be allowed 150 people inside and 300 people outside. Public outdoor gatherings will increase to 50 and private gatherings — so, folks coming over to your house — will increase to 15 from any number of other households. The latter is a daily limit, however, so you can only have 15 people over across one whole day, even if they come at different times in various-sized groups. Also, travel-wise, you'll be able to head out of town in line with the private gathering cap (so in groups of 15 people from any number of other households). https://twitter.com/DanielAndrewsMP/status/1330294526653685760 Gyms and fitness studios will increase to a maximum of 150 people per venue in groups of 20 people, with one person per four square metres. Indoor pools can have 150 people, while outdoor pools can host 300 people. And religious gatherings will be able to have 150 people indoors and 300 outdoors. Weddings will also be able to have 150 people in attendance. Regarding masks, the rules are changing there as well. You'll need to keep wearing them indoors and on public transport, and also where you're unable to maintain social distancing. Otherwise, if you're outdoors and you can keep a safe distance, masks will no longer be compulsory. Premier Andrews also announced a few future dates of importance — and revealed what's in store on each date. The first, on Monday, November 30, is when office staff can start heading back to working onsite. That's capped at 25 percent of workers, and only applies to the private sector, with public sector employees continuing to work from home. On Sunday, December 6, the next stage of eased restrictions will be unveiled, getting the state closer to the step it's calling 'COVID-normal'. But it has already been revealed that, from 11.59pm on Sunday, December 13, Victorians will be able to host more people in their homes. Yes, it's timed for Christmas gatherings — and the cap will go up from 15 to 30. Again, that's a daily limit, so you can only have 30 people over across one whole day, even if they come at different times. Running through all of the above, Premier Andrews noted the enormous change in Victoria's COVID-19 situation in the past few months. "Three months ago, Victoria had 4293 active cases. Today we have one. It's an incredible achievement. And the clearest evidence there is of our determination to not only get on top of this virus – but to squash it." For more information about the status of COVID-19 and the current restrictions, head over to the Department of Health and Human Services website — and for further details about Victoria's steps for reopening, head to the roadmap itself. Top image: Kate Shanasy.
By their very nature, festivals are a choose-your-own-adventure experience. Event organisers carefully curate their top picks, audiences head along to whatever suits them best and few folks follow the exact same fest path. South by Southwest embraces the concept a little heartier than most, however. When you're putting on not just one festival, but several within that broader festival, audiences can hop between them, mix and match here and there, or choose the one that aligns with their favourite interests. Making its debut in October, SXSW Sydney is keeping the format that's served the event so well in its OG Austin home, where it has always been held — and only been held — until now. That's been clear from the lineup announcements so far, including in its first batch of speakers and musicians back in February, more music highlights and must-attend parties in May, details of its gaming strand in June, then two more rounds of speakers in July. Up now: the first nine movies that'll be playing at SXSW Sydney's Screen Festival. [caption id="attachment_911084" align="alignnone" width="1920"] Jane Greer[/caption] Among its recent news, SXSW's Down Under premiere revealed that Queer Eye star Tan France would be among its speakers, plus Indigenous filmmakers Leah Purcell (The Drover's Wife The Legend of Molly Johnson), Kodie Bedford (Mystery Road: Origin) and Jub Clerc (Sweet As). They fall into under Screen Festival, too. Also included: Osher Günsberg, who'll be on the SXSW Sydney bill recording an episode of his podcast Better Than Yesterday with a yet-to-be-announced special guest; Gone Girl, The Nightingale, The Dry, Big Little Lies and Nine Perfect Strangers producer Bruna Papandrea; and Binge's Executive Director Alison Hurbert-Burns. Film lovers love watching films, though. The SXSW Sydney Screen Festival isn't just about big-screen fare, covering both movies and TV — but its first round of titles are all features. In a varied bunch, one stars an Indonesian rapper, another is about Tokyo Uber Eats rider and yet another features viral Chinese dance crazes. American film Jamojaya is the flick led by Indonesian rap star Brian Imanuel, aka Rich Brian, enlisting him as an up-and-coming musician — and with Blue Bayou's Justin Chon directing. It's obvious what Tokyo Uber Blues is about, with the Japanese documentary's riding being done by a graduate film student with debts to pay. And Gagaland is responsible for that dancing in the street, and on social media feeds, which backdrops a boy-meets-girl tale. Also on the list: doco Anita, focusing on German Italian actor Anita Pallenberg, who was also a muse to The Rolling Stones; Cypher, a pseudo-documentary about rapper Tierra Whack; and The Last Year of Darkness, which dives into China's underground party scene with ample bass and neon. Rounding out the list so far: Japan's Plastic, which sees two teens go in search of psychedelic rock band Exne Kedy; France's Knit's Island, which is shot entirely in the DayZ video game (and from 963 hours spent in it); and Australia's You'll Never Find Me, about a caravan resident, a surprise visitor and a thunderstorm. Most of SXSW Sydney Screen Festival's announced titles have the tick of approval from other fests around the world, whether by screening at Cannes, Sundance, Tribeca, Sheffield DocFest in the UK, International Film Festival Rotterdam in The Netherlands, CPH:DOX in Denmark, Visions du Réel in Switzerland or elsewhere. As well as getting viewers watching movies and TV shows, with more titles to come — including First Nations Screen Festival programming by Winda Film Festival founder Pauline Clague — the SXSW Sydney Screen Festival will feature red-carpet premieres; digital and social content; an XR showcase; Q&As and panel discussions; parties and mentoring; and a screen market for industry deals. Free outdoor screenings are also slated, alongside indoor sessions at The ICC's Darling Theatre, Palace Cinemas Central and other yet-to-be-revealed venues. SXSW Sydney will run from Sunday, October 15–Sunday, October 22 at various Sydney venues, with the SXSW Sydney Screen Festival running from Sunday, October 15–Saturday, October 21 at The ICC's Darling Theatre, Palace Cinemas Central and more venues to be announced. Head to the SXSW Sydney website for further details. If you're keen to make the most of Australia's first SXSW, take advantage of our special reader offer. Purchase your SXSW Sydney 2023 Official Badge via Concrete Playground Trips and you'll score a $150 credit to use on your choice of Sydney accommodation. Book now via the website.
Bread and butter pudding has been a go-to treat for hundreds of years, with some food historians tracing this British classic back to the 11th century. Now, you're invited to experience a brand-new version that even the most imaginative Middle Ager couldn't begin to fathom. Available until Sunday, August 3, the ever-creative team at Pidapipo have teamed up with North Melbourne's Bread Club to create this sweet winter comfort. Think a classic bread and butter recipe made even better with Bread Club's cult-favourite saffron and vanilla scrolls. Featuring a gooey, melt-in-your-mouth centre and topped with crispy, golden edges, this original take on an ancient favourite is finished with a scoop of Pidapipo's silky saffron gelato, created just for the collaboration. "Our saffron and vanilla scrolls have a bit of a cult following, so reimagining them as the heart of a winter bread and butter pudding felt so right — especially with the brilliant team at Pidapipo," says Bread Club co-owner Tim Beylie. Best of all, there are two ways to enjoy this dessert. Family-sized trays, serving up to four, are bundled with a 500ml tub of saffron gelato ($39). Slide the tray into a preheated oven for 30 minutes, finish with gelato, and you're ready to feast. Single-serve portions ($15) are also available exclusively at Pidapipo's Fitzroy Laboratorio for dine-in customers. "Working with Tim and Brice from Bread Club has been a privilege as they are true artisans," says Lisa Valmorbida, Pidapipo co-owner. "Bread and butter pudding is one of my favourite desserts and just what winter needs." Pidapipo and Bread Club's bread and butter pudding is on offer until Sunday, August 3. Family take-home portions are available at all Pidapipo locations, while single-serve dine-in portions are served exclusively at Fitzroy Laboratorio. Head to the website for more information.
The shock of unkempt hair, the Irish brogue, the misanthropic attitude: there's no mistaking Dylan Moran for anyone else. It was true in beloved British sitcom Black Books, when his on-screen alter ego abhorred mornings, ate coasters and claimed that his oven could cook anything (even belts). And it's definitely true of the comedian's acerbically hilarious live shows. Moran is no stranger to Australia, and last headed our way in 2019. Whether you've guffawed at his bleak wit live or you've always wanted to, you'll be able to see him on Saturday, May 8, too — thanks to a streamed version of his Brisbane show from his last visit. Expect the kind of deadpan gags, wine-soaked insights and blisteringly sharp one-liners that've kept him in the spotlight since 1996, when he became the youngest-ever winner of the Edinburgh Fringe's Perrier Award. Dr Cosmos once again features Moran's grumpily lyrical musings on love, politics, misery and the everyday absurdities of life, which you can watch for $18 from your couch. https://www.youtube.com/watch?v=FMfRpM5PJRw
Bottle shops. You know the drill; hovering wistfully in front of an arsenal of bottles, hand stroking chin, staring at the labels and hoping the one with the nice font is a surefire winner. But as soon as your cluelessly-picked vino makes its way to the glass, that shit's way too woody man. Too dry. Too fruity. High damn acidity. It's all wrong. You know what you like, when you get it, but you can never quite pick it. Luckily, a brand new app is about to hook you up with your perfect match — using science. Next Glass is a brand new app which acts as a 'matchmaker' between humans, wine and beer, hoping to Cupid you straight to your favourite new drop according to your tastes. Ditch the wine diary, these guys are using science. The Next Glass team have analysed ingredients from microbreweries and vineyards across the globe — and even taste-tested them, in what sounds like the most applauseworthy 'research' excuse for throwing back bucketloads of drank we've heard yet. App developers George Taylor and Stephen Pond have been analysing up to 200 bottles of beer a day through a project called The Beer Census, attempting to hoard every beer in America and rate their chemical makeup in the lead-up to Next Glass's release. Party at George and Stephen's lab y'all. So how do you use it? To start with, users build a profile by finding wines and beers they already like through the app and give them a rating out of four. Kind of like Spotify for booze, the app gives better recommendations the longer you use it and the more flags you raise on what you like and don't. Then, when you find a shiny new Pinot Noir to try, all you have to do is scan the bottle and the wine's profile will be matched to your preferences. You'll be given a percentage rate of how the wine fits in with your tastes and if the score's over 90 you've got a pretty great match. Like all apps nowadays, users can share their findings and connect with other Next Glassers (as well as giving vital stats to beer and wine distributors, always). Plus, if you and your buds all scan the same bottle you can get a few more scores to see how you all compare — Max might be a Savvy-B type of guy, while Lisa might get all up in Riesling, but this cheeky wine might suit them both. And if trying out an app is excuse enough to 'scan' multiple bottles of wine among friends, we're in. While the app's only available in the US so far, fingers crossed for an Australian taste-testing team call-out. Next Glass is available for free on the App Store and Google Play — but only works in the US so far. Via Springwise and Grub Street. Image credit: djwtwo via photopin cc.
'Based on real events'. It's been an incredibly popular theme of late, with an almost unceasing run of biopics and historical dramas coming our way every year for the past decade or so. Those four simple words imbue a movie with an immediate sheen of credibility, commanding the audience's attention and respect in equal measure. The thing is, it's also particularly sneaky. 'Based on real events' doesn't mean 'happened'. Instead, it provides filmmakers with a sizeable caveat upon which almost almost any fact can be supplanted by something far more exciting, or more moving or…whatever the movie needs, really. Hacksaw Ridge, Mel Gibson's first directorial offering in over a decade, stands apart on this front for two distinct reasons. Firstly, it opts for the far more concrete 'A True Story' at its opening. Secondly, it takes the almost unprecedented step of underselling the feats of its protagonist, American war hero Desmond Doss (Andrew Garfield). In real life, as in the film, the famous WWII conscientious objector refused to carry a weapon because of his religious beliefs as a Seventh Day Adventist, yet still earned himself the Congressional Medal of Honour when he single-handedly carried 75 wounded men on his back during the battle for Hacksaw Ridge, lowering them one-by-one down a cliff face to safety while under constant fire from the enemy. Doss' real world battlefield valour, however, extended far beyond this feat, with his citation referencing numerous other instances of extraordinary heroism that fail to even rate a mention in the film. Perhaps it was cut for time, or perhaps Gibson and his team concluded that Doss' actions were already so unbelievable, to detail all of them would challenge even the most faithful historian. Either way, it's refreshing to see an already humble hero presented without the need to over-emphasise, over-sell and over-indulge. Filmed in Australia with a predominantly local supporting cast, Hacksaw Ridge offers a surprisingly conventional first half for a director of Gibson's talent. The flashbacks to Doss' childhood and his troubled parents (Rachel Griffiths and Hugo Weaving), the romance with his sweetheart (Teresa Palmer) and his initiation into the military (under the supervision of Vince Vaughn and Sam Worthington) all play dangerously close to melodrama, saved only by the quality of the actors' performances. The sole purpose of this first phase is to establish with none too subtle a touch Doss' fervent religious conviction, cataloguing each and every instance of persecution, bullying and even the court martial that threatened to see him imprisoned for the duration of the war. But Gibson has made a career out of terrifyingly visceral combat scenes (see also: Braveheart and Apocalypto), and from the moment the first bullet tears through the air and into the flesh of the soldier it finds, Hacksaw Ridge sheds its corniness and transforms into a brutal, confronting and violent recreation of one of WWII's bloodiest battles. Neither as involved as Saving Private Ryan, nor as haunting as The Thin Red Line, Hacksaw Ridge nonetheless delivers a truly frenetic sense of warfare, at times seeming closer to the clashing armies of the middle ages than the modern combat of the last century. The film is unashamedly unilateral in purpose, and the closing shot of Doss essentially ascending to Heaven is rather on the nose. Still, as a tribute to a genuinely extraordinary man and a return to form by Gibson, both are as welcome as they are overdue. https://www.youtube.com/watch?v=s2-1hz1juBI
Walk past the serious black brick facade that belongs to Code Black and you'll be guided by a more welcoming, heritage-listed red brick building (previously the Toby's Estate coffee warehouse). Signposted by Brunswick locals milling on the pavement and, of course, a few bikes chained up out the front, Brunswick Foodstore is filled with both locals and bike owners getting their weekend fill of eggs, smashed avocado and single origin coffee. Thanks to the Lebanese backgrounds of owners Rich and Suzy Pavlov, the menu at the Brunswick Foodstore holds a distinctly Middle Eastern vibe, with the likes of sucuk (Turkish sausage), zaatar and labne making multiple appearances. The smashed avocado with grilled pork sausage, poached eggs, feta and rocket ($17.50) is a great way to start the day, the brioche French toast with pear mascarpone, crispy bacon, rosewater syrup and walnuts ($16.90) a pure treat, and the breakfast mezze with fried eggs, labne, grilled sucuk, feta, olives and pita bread ($18.50) is an interesting take on breakfast. Onto lunch and the menu's direction is consistent, with mezze plates, kofta wraps and falafel providing the foundations for a rather solid offering. As you sit in this expansive warehouse space that feels pleasantly warm and welcoming, you'll find plenty of things to look at. In one corner is the food store, with its rows and rows of interesting, colourful produce; from tins of tea and bags of coffee, to jars of spices and chilled deli goods as well as freshly baked bread, there is a strong local focus and everything stocked seems to have been very carefully considered. In another corner lies the kitchen and bar, decorated with geometric drawings and a wall mural of coffee machine mechanics, serving as just one piece of evidence that the coffee here (made with Toby's Estate beans, no less) is taken very seriously. But perhaps the best thing about Brunswick Foodstore is that, due to its sheer size, you're likely to nab a table when all other Brunswick cafes will make you wait. And, if you do face a small wait, perusing the food store can make for a delightful way to pass the time.
Rinaldo 'Ronnie' Di Stasio and his namesake restaurants are major players in the Melbourne hospitality industry, and they have been for almost four decades. Now, their future existence hinges on whether Ronnie's (and business partner Mallory Wall's) companies can settle the outstanding debts allegedly owing to the Australian Taxation Office — and it appears they have just days to do so. As reported by The Age, two of Di Stasio's companies, Di Stasio Pty Ltd and Di Stasio Citta Pty Ltd, were recently served winding-up applications and given 21 days to settle tax debts totalling just shy of $1 million. The debts of $200,000 and $710,000, respectively, relate to Cafe Di Stasio in St Kilda and Di Stasio Citta in the CBD. The brand's Carlton outpost (where a pizza could set you back a casual $54) is not impugned in the Federal Court action. If the debts are not settled on time, the companies could be deemed insolvent, with a liquidator appointed. The winding-up applications are set down for hearing by the Federal Court on October 31 and November 7. At the time of publishing, it appears that the restaurants continue to trade as usual. Images: Kate Shanasy. Check out the best Italian restaurants in Melbourne now.
If you’re familiar with Cat Power (aka Chan Marshall), then you know how badass she is. Her singer-songwriter meets rock star persona sets her apart as one of the more unique musicians out there. Those who saw her at Golden Plains this past March know what we’re talking about. Don’t fret if you missed her then, because you’ll soon have another chance. Cat Power is crossing the pond again for an Australian tour this summer. Cat Power’s ten-show tour will kick off this January at the Sydney Festival. It was just announced that she would be a guest performer at the festival’s Big Star tribute show alongside Jody Stephens, Mike Mills (R.E.M.), Ken Stringfellow (The Posies), Chris Stamey (The dB’s), Mitch Easter (Let’s Active), Edwyn Collins and Kurt Vile. Power’s Sydney shows will continue the day after at the Circus Ronaldo Tent with a matinee and midnight show. After, she’ll continue down the coast, performing in Milton, Canberra, Melbourne, Menniyan and concluding in Perth. So if you haven’t heard Cat Power in a while, it’ll be worth hitting up one of her shows. Her newish album, Sun, is freshly awesome and and her blonde coif is shocking, but that’s why we love Cat. She always keeps you coming back for more.
UPDATE, June 28, 2022: RRR is available to stream via Netflix. The letters in RRR's title are short for Rise Roar Revolt. They could also stand for riveting, rollicking and relentless. They link in with the Indian action movie's three main forces, too — writer/director SS Rajamouli (Baahubali: The Beginning), plus stars NT Rama Rao Jr (Aravinda Sametha Veera Raghava) and Ram Charan (Vinaya Vidheya Rama) — and could describe the sound of some of its standout moments. What noise echoes when a motorcycle is used in a bridge-jumping rescue plot, as aided by a horse and the Indian flag, amid a crashing train? Or when a truck full of wild animals is driven into a decadent British colonialist shindig and its caged menagerie unleashed? What racket resounds when a motorbike figures again, this time tossed around by hand (yes, really) to knock out those imperialists, and then an arrow is kicked through a tree into someone's head? Or, when the movie's two leads fight, shoot, leap over walls and get acrobatic, all while one is sat on the other's shoulders? RRR isn't subtle. Instead, it's big, bright, boisterous, boldly energetic, and brazenly unapologetic about how OTT and hyperactive it is. The 187-minute Tollywood action epic — complete with huge musical numbers, of course — is also a vastly captivating pleasure to watch. Narrative-wise, it follows the impact of the British Raj (aka England's rule over the subcontinent between 1858–1947), especially upon two men. In the 1920s, Bheem (Jr NTR, as Rao is known) is determined to rescue young fellow villager Malli (first-timer Twinkle Sharma), after she's forcibly taken by Governor Scott Buxton (Ray Stevenson, Vikings) and his wife Catherine (Alison Doody, Beaver Falls) for no reason but they're powerful and they can. Officer Raju (Charan) is tasked by the crown with making sure Bheem doesn't succeed in rescuing the girl, and also keeping India's population in their place because their oppressors couldn't be more prejudiced. There's more to both men's stories because there's so much more to RRR's story; to fill the movie's lengthy running time, Rajamouli hasn't skimped on plot. Indeed, there's such a wealth of things going on that the film is at once a kidnapping melodrama, a staunch missive against colonialism, a political drama, a rom-com and a culture-clash comedy — involving Bheem's affection for the sole kindly Brit, Jenny (Olivia Morris, Hotel Portofino) — and a war movie. It's a buddy comedy as well, starting when Bheem and Raja join forces for that aforementioned bridge rescue, yet don't realise they're on opposite sides in the battle over Malli. It's also as spectacular an action flick as has graced cinema screens, and as gleefully overblown. Plus, it's an infectiously mesmerising musical. One dazzling dance-off centrepiece doubles as a rebuff against British rule, racism and classism, in fact, and it's also nothing short of phenomenal to look at, too. Spectacle is emphatically the word for RRR — not quite from its scene-setting opening, where Malli is ripped from her family, but from the second that Raju shows how well he can handle himself. That involves taking on a hefty horde of protesters single-handedly with just a stick as a weapon, because extravagance and excess is baked into every second of the feature. Super-sized is another term that clearly fits, because little holds back even for a second. And a third word, if the film bumped up its moniker to the next letter in the alphabet? That'd be sincere. An enormous reason that everything that's larger than life about RRR — which is absolutely everything — works, even when it's also often silly and cheesy, is because it's so earnest about how determined it is to entertain. You don't use that amount of slow-motion shots if you don't know you're being corny at times, unashamedly so. If the whole friends-but-enemies dynamic between Bheem and Raja sounds like The Departed and Infernal Affairs, that's just part of RRR's exuberant melange of influences — just like genres. Its protagonists Komaram Bheem and Alluri Sitarama Raju are actually ripped from reality, with each revolutionaries, although their tales didn't ever intertwine. (No, nothing IRL in history has ever resembled this). The Harder They Fall did the same thing, fictionalising the past to make a statement and craft barnstorming cinema, but in America, in the Old West and with Black characters. Imagine the same idea given the Michael Bay treatment in India and that's almost the wavelength that RRR runs on. Imagine the right kind of Bayhem, though — Pain and Gain, for instance — or just think of his penchant for shamelessly go-for-broke action scenes and ignore everything he usually stuffs around them. When a filmmaker is helming an action onslaught, just as when they're overseeing musical scenes, choreography is always key. That's another crucial factor in making RRR so engaging. Rajamouli's staging of both, and the way that the frays and song-and-dance numbers alike are shot by cinematographer KK Senthil Kumar (Vijetha) and edited by A Sreekar Prasad (Good Luck Sakhi), is a visual wonder. On one side, the Fast and Furious movies would be envious. On the other, Lin-Manuel Miranda might be. Again, RRR is often chaotically ridiculous, but it's also so well-made — so audaciously as well — that it's exhilarating. The films of John Woo come to mind at times, as do The Raid and The Raid: Redemption, but RRR is also its own beast. It's also easy to predict that Telugu-language cinema stars Jr NTR and Charan could get their moment in Hollywood; if Vin Diesel doesn't come calling, perhaps Quentin Tarantino will when he hops behind the camera next. Jr NTR and Charan are megawatt movie stars, one playing an everyman who becomes a hero, the other the picture of dutiful and skilled authority — and deep-seated conflict — who does the same. They're dynamite together amid the rampant maximalism, the stunts and the CGI-heavy special effects. Yes, that means that RRR is also a bromance. The film's central pair live their lives one anti-colonialist tussle at a time, though. Their characters are also posed as superheroes, never with the term ever mentioned, but in just how super-adept they are. Of course, the usual sprawling caped-crusader franchises typically don't feel this overstimulated, ardent, often-absurd and engagingly alive.
It wasn't just a Twitter thread — it was the Twitter thread. Whether you read Aziah 'Zola' King's viral 148-post stripper saga live as it happened back in October 2015, stumbled across the details afterwards as the internet lost its mind or only heard about it via Zola's buzzy trailer, calling this stranger-than-fiction tale a wild ride will always be an understatement. Its instantly gripping opening words, as also used in Janicza Bravo's (Lemon) savvy, sharp, candy-hued tweet-to-screen adaptation, happen to capture the whole OMG, WTF and OTT vibe perfectly: "you wanna hear a story about how me and this bitch fell out? It's kind of long, but it's full of suspense." In the film, that phrase is uttered aloud by Zola's eponymous Detroit waitress (Taylour Paige, Ma Rainey's Black Bottom). Still, the movie firmly embraces its origins. For those wondering how a filmmaker turns a series of tweets into a feature, Bravo handles the task with flair, energy, enthusiasm and a clear understanding of social media's role in our lives. Much of the phrasing that the real-life Zola used has made its way into the conversational script, which was co-written by playwright Jeremy O Harris. Each time that occurs, the film echoes with tell-tale swooshes, whistles and dings. But those words and alerts are just the starting point; as Zola's chaotic narrative unfurls, it comes to life with a mix of the hyperreal, the loose and the dreamy. It doesn't merely tell a tale taken from the tweetstorm to end all tweetstorms, but also uses every aesthetic choice it can to mirror the always-on, always-posing, always-sharing online realm. The other person that Zola refers to in her initial statement is the cornrow-wearing, blaccent-sporting Stefani (Riley Keough, The Lodge), who she serves at work, then joins on a jaunt to Florida. They immediately hit it off, which is what inspires the invite to head south — a "hoe trip" is how Zola describes it — however, what's meant to be a girls' getaway for a stint of lucrative exotic dancing in Tampa soon gets messy. The drive is long, and Stefani's boyfriend Derreck (Nicholas Braun, Succession) quickly dampens the mood with his awkward, try-hard schtick. Then there's X (Colman Domingo, Candyman), who, while introduced as Stefani's roommate, is actually her pimp. Trafficking Zola into sex work is the real plan of this working holiday, she discovers, but she's ferociously adamant that she won't be "poppin' pussy for pennies". As the woman both relaying and riding Zola's rollercoaster of a story, Paige is fierce and finessed. It's a tricky part; making the dialogue sound authentic, and also like it could've just been rattled off on social media with a mix of emojis and all caps, requires a precise tonal balance, for starters. So does ensuring that Zola always feels like a real person, especially given the tale's ups and downs. That said, Paige is guided by Bravo at every turn, with recognising how things play online and how they pan out in reality — and the frequent disconnection between the two — one of the filmmaker's biggest masterstrokes. That's exactly what a flick that's based on a Twitter thread should offer, rather than just mining posts for punchy content that's already proven popular. Using the platform as source material definitely doesn't equal an endorsement here. Instead, it sparks a brash and bouncy feature that interrogates its inspiration and the mechanism that turned it into a whirlwind, rather than serves up a cinematic retweet. Zola also draws upon David Kushner's Rolling Stone article 'Zola Tells All: The Real Story Behind the Greatest Stripper Saga Ever Tweeted', because 148 tweets can't cover everything. Nonetheless, plenty of the film's success emanates from its almost-surreal 16mm imagery and its airy, eerie-scored atmosphere, too. Its namesake's early words aren't misleading: this is a narrative filled with suspense. The waves it surfs in its mood and stylistic decisions cause just as must jitteriness, though — in a fantastic way. Zola hangs together immaculately, and it constantly feels as if Bravo, cinematographer Ari Wegner (The Power of the Dog), editor Joi McMillon (If Beale Street Could Talk) and composer Mica Levi (Monos) could go anywhere. That's a powerhouse lineup of talent, after all, with the latter trio's resumes spanning some of the killer films of the past decade: Lady Macbeth, In Fabric, True History of the Kelly Gang, Moonlight, Under the Skin and Jackie all included. Alongside Paige, Zola's cast is equally impressive, even if it initially appears as if a few might simply stick to type. Keough could've stepped off of American Honey's set and onto this one, and not just because they're both road-trip movies, yet adds another tricky yet memorable performance to her filmography. Written into her character, and conveyed in her portrayal as well, is a dissection of cultural appropriation. Stefani acts like she's Black in lieu of forming her own identity, is wilfully ignorant of that fact while being openly racist, and provides a pinpoint-precise portrait of oblivious, exploitative, all-devouring whiteness. Similar ideas bubble through Braun's work as the gangly and bungling Derrek — a twist on his acclaimed Cousin Greg persona, but with far less cash — and the concept of adopting a part and facade also lingers in Colman's scarily compelling and icily charming efforts. These are layered performances, befitting the rich and multi-faceted film they're in. Nothing in any movie is ever just one thing, but Zola demonstrates that notion with commitment and command. It's there in the feature's bold approach, including its eagerness to unpack its genesis on several levels. It's there in the film's gleaming yet never glamorous appearance as well, which almost pitches itself into the world of fantasy while steadfastly recognising that nothing about its story is seductive or alluring. And, it echoes in the tiniest of choices. Take an early moment, in a bathroom, where both Zola and her new pal take a leak. Shot from above, this is the smartest peeing scene you're ever likely to see, and expresses so much about its central duo purely by peering at their urine. Turning tweets and piss into a must-see movie? That's cinematic alchemy.
Bringing authentic(ish) Indian food to Gertrude Street, Ish fuses modern and traditional elements of the cuisine. The share menu is split between 'peckish', 'moreish' and 'famished' categories. Smaller plates include free-range chicken tikka with ginger and garlic, Indian scotch eggs with curried onion and pulled confit duck marinated in Indian spices. Also try the home made pan buns with a spiced potato fritter and mint and coriander chutney, a classic on the streets of Mumbai. Bigger plates feature the slow-cooked Kerala beef curry with Malabari paratha (flatbread), Punjabi style tick creamy butter chicken with cashew nuts, an eggplant moiled curry served with turmeric, coconut curry and mustard seeds or the Bengali lamb curry, flavoured with yogurt, cashew paste and poppy seeds. From the sea enjoy the island fish curry or the prawn and eggplant moiled with coconut and turmeric. The fit-out was designed by Melbourne's Studio Round and Indian interior designer Annu Bains, with all of the bespoke furniture imported directly from India, too. Stepping through the doors, you'll feel transported to contemporary India. Spread over two floors, the restaurant features leather banquettes, timber high tables and exposed brick walls downstairs, while upstairs boasts forest green accents, round tables and brass and leather seating. Grab a seat, get comfy and prepare to feast on all manners of tasty Indian treats. Images: Rhiannon Taylor.
Hunting for the most obscure bar in Melbourne is a sport. Those who can climb the most stairs, brave the most alleyways or withstand the longest queues are glorified gurus of cool amongst their circle of friends. Dansk Bar, tucked away high up on Little Bourke, should therefore be the most discreet jewel in any punters black book. Located within the little known Denmark House, Dansk Bar is the most delightful surprise ever to be found at the top of an elevator. The interior design is, not surprisingly, very Danish with exposed beams in the ceiling, well-considered chairs (Borge Mogensen designed the sofas) and light fixtures that create an atmosphere of cool intelligence. It's a rare find that couples enormous loft-style windows overlooking the city with reindeer fur rugs on the floorboards, whilst still remaining extremely underrated by the after work crowd. The drink selection is similarly discerning. Danish brews such as Tuborg, Carlsberg and Somersby Cider are imported in, while Scandinavian themed cocktails are a top choice at $16 each — try the Copenhagen or the Danish Mary. Dansk even holds happy hour from 5-6pm on Wednesdays, Thursdays and Fridays with $5 beer and cider, proving not everything about Scandinavia is elusive and expensive. Adjoining Dansk Bar, through the passage of portraits of Crown Prince Frederik (essential to any bar's decor, quite frankly) is Denmark House's restaurant. Serving traditional Danish smørrebrød, offerings include curry herring ($17), gravlax (cured salmon with dill served with a classic mustard sauce; $16) and a prawn salad ($15). It's a taste worth acquiring. No longer restricted only to members, Dansk Bar is the most refined perch to enjoy an evening tipple — serving a taste of Copenhagen cool without the twenty-five hour flight.
If you've ever fantasised about sleeping over in the hallowed grounds of the MCG, get ready to make those dreams a reality. For one night only — and for just two lucky guests — the iconic sports stadium will moonlight as a unique overnight stay. It's all thanks to booking.com, which is transforming one of the MCG's lofty guest boxes into the Unforgettable Legends Lounge — a special private guest suite for two, which is popping up for just one night to coincide with the final match of the ICC Men's T20 World Cup 2022. Two guests will get to experience the stay on Sunday, November 13, enjoying a full VIP package with all the trimmings. That includes return flights to Melbourne, an indulgent pre-game massage in the suite, and a top-shelf food and drink offering courtesy of a personal bartender (making cocktails on demand) and personal chef. Guests will also score a gift pack featuring personalised cricket merchandise for the ultimate memento. The suite itself is a little slice of sophistication, overlooking the ground from on high. It's decked out with a large double bed, a kitchen and a living area with sweeping views across the famed turf below. It's a once-in-a-lifetime opportunity — but of course, you'll have to put up a fight to make it yours. The exclusive stay will go to the first person to jump online and book with their speedy little fingers from 9am AEST on Friday, October 28. So yes, you'll want to be quick — cue the madness. The Unforgettable Legends Lounge and VIP experience is available to book exclusively for one person and their guest, for $30, with reservations opening at 9am AEST on Friday, October 28 at booking.com. 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.
Disney+'s live-action small-screen Star Wars empire started back in 2019 with The Mandalorian. Since then, everything from The Book of Boba Fett and Obi-Wan Kenobi to Ahsoka, The Acolyte and Skeleton Crew have followed, but it's Andor that's proven the best series in the space-set saga in this very galaxy. The good news: season two arrives in April 2025. The other news: you'd best savour it, because this will be the last of the prequel to Rogue One: A Star Wars Story. If you've seen that 2016 movie, you'll know why this the new 12-episode season is not just Andor's second but its final season — because you know where this tale is heading. But audiences being aware of what's coming didn't stop the show's first season from being riveting and thrilling. Based on both the first sneak peek at season two and the just-dropped new trailer, that doesn't look like it's changing from Wednesday, April 23, 2025 Down Under. "I came with you to be part of something". "It's a different kind of mission." "The Empire cannot win." These statements filter through the latest look at Andor's second season. The first trailer offered similar sentiments. "We're in a war. You wanna fight?", it noted, as the show treads the path to rebellion. If you missed the first season, Andor takes a favourite big-screen character and steps back into their story before the events that viewers have already seen — so, like Obi-Wan Kenobi. As its title makes plain, the series focuses on its namesake, Cassian Andor, with Diego Luna (La Máquina) reprising his Rogue One role. Star Wars fans have already seen him as a Rebel captain and intelligence agent, and also watched how his story wraps up, hence the show's need to jump backwards. The focus: following Andor as he discovers how he can play a part in battling the Empire. Indeed, charting the rebellion, and how people and planets joined in, is the series' whole remit. In season two, as the end we all know is coming gets closer, expect higher stakes — and also Ben Mendelsohn (The New Look) as his Rogue One character Orson Krennic, plus Alan Tudyk (Grimsburg) as K-2SO. The first season of Andor saw filmmaker Tony Gilroy (The Bourne Legacy) — who co-wrote the screenplay for Rogue One — rejoin the Star Wars franchise as the series' creator and showrunner. He's back for season two. On-screen, so are Stellan Skarsgård (Dune: Part Two), Genevieve O'Reilly (Tin Star), Denise Gough (Who Is Erin Carter?), Kyle Soller (Bodies), Adria Arjona (Blink Twice), Faye Marsay (Ten Pound Poms) and Forest Whitaker (Emperor of Ocean Park) . You'll be watching along via four chapters comprising of three episodes a piece, with a new chapter hitting your streaming queue each week. Check out the first trailer for Andor season two below: Andor season two streams via Disney+ from Wednesday, April 23, 2025 Down Under. Read our review of season one. Images:© 2025 Lucasfilm Ltd. & TM. All Rights Reserved.
Baywatch. The name alone is insanely evocative, conjuring up images of bronzed bodies, bouncing breasts and David Hasselhoff blasting his way through "some people staaaaand in the darkness, afraid to step intooo the light!" For a time it was one of the most widely syndicated and watched TV program in the entire world – despite its altogether preposterous premise about impossibly attractive lifeguards solving crimes and stopping diamond smugglers with the same regularity that they prevented a casual drowning. The show was ridiculous and it was gratuitous...but it worked, and it was great TV. Fast forward twenty-odd years and Baywatch now finds itself the latest victim of a visionless Hollywood system forever sucking the life out of cinema by simply rehashing old ideas and formats rather then gambling on something new. TV to film has admittedly seen a handful of notable wins (21 Jump Street, for example), but the vast majority of these reboots fall harder and faster than the abysmal jokes they attempt to deliver (think Power Rangers, CHiPS and the disastrous Absolutely Fabulous). The new Baywatch movie is sadly no exception. This is puerile comedy at best, where the laughs are so infrequent they almost feel accidental. It is a film without purpose, failing to even entertain at the most basic level. There's no finesse to be found; no craft on display or subtlety to admire. It's a stupid and pointless movie whose only aim seems to be to rob you of both your time and your money. If that seems unfair, consider that the longest scene in the film centres largely upon Zac Efron's character having to fondle and examine a dead man's flaccid penis and scrotum while his partner laughs and takes photos on his phone. As for the second longest scene? Another man's penis (erect, this time) is wedged in a park bench and needs to be extricated while onlookers laugh and take photos on their phones. In amongst it all is Dwayne 'The Rock' Johnson – and it's a credit to the man's charisma and star power that he almost singlehandedly keeps this stinker afloat. With penetrating eyes and a big beaming grin, Johnson treads that appealing line between physically intimidating and loveably huggable (something we've not really seen since Schwarzenegger's iconic turn in Kindergarten Cop). His onscreen rapport with Efron is not without its appeal, although there's absolutely no plot or script to back it up. As the film's antagonist, Bollywood superstar Priyanka Chopra lends her class and talent to a project that otherwise has none. Meanwhile, the supporting cast grimaces and stumbles their way through scene after scene without any clear idea why they're there or what they're doing. Sometimes self-aware and other times bizarrely serious, Baywatch is a film entirely out of its depth, slipping beneath the waves and in no way worthy of rescue. https://www.youtube.com/watch?v=eyKOgnaf0BU
2023 was the year of the Matildas. Here's hoping that 2024 will be as well. Australia's national women's soccer team made history on the pitch and on TV screens at the 2023 FIFA Women's World Cup, and inspired the word 'Matilda' to be chosen as the Australian National Dictionary Centre's 2023 Word of the Year. The squad's current aim: making it to this year's Paris Olympics, with two matches standing between them and playing at the games. The Tillies competed in three qualifiers in Perth in October and November 2023, winning all three. The next step is a two-match fixture against Uzbekistan, which will determine whether the Aussies score one of the Asian Football Confederation's two places in Paris. First up, on Saturday, February 24, the Steph Catley-led squad will play at Bunyodkor Stadium in Tashkent. Then, they're coming home to take to the pitch at Marvel Stadium in Melbourne on Wednesday, February 28. If you'll be in Melbourne on the second date and you don't already have tickets, you've missed your chance to head along live. But, as always, 10Play and Paramount+ are your destinations — plus Network 10 on regular TV — to watch from home. As for the squad, Sam Kerr won't be playing after injuring her ACL at a training camp for Women's Super League team Chelsea, which is why Catley will wear the captain's armband. Familiar names abound from there, including Mackenzie Arnold, Mary Fowler, Alanna Kennedy, Ellie Carpenter, Caitlin Foord, Kyra Cooney-Cross, Katrina Gorry, Hayley Raso, Emily van Egmond and Tameka Yallop. Cortnee Vine will sit out the games for personal reasons, while Michelle Heyman rejoins the squad for the first time in six years. The Matildas are hoping not only to get through to the Olympics, but to best the 2020 games' fourth placing, which is the team's best result yet. In the qualifiers, Japan will play North Korea in two matches on the same February dates, with the winner securing the other Asian Football Confederation spot. Whatever happens against Uzbekistan, the Tillies will hit the turf again in April, thanks to a friendly against Mexico in San Antonio in the US. Matildas Final Paris Olympics Qualifying Matches vs Uzbekistan: Saturday, February 24 — kickoff at 8pm AEDT / 7pm AEST / 5pm AWST Wednesday, February 28 — kickoff at 8pm AEDT / 7pm AEST / 5pm AWST The Matildas' final Olympic qualifiers take place on Saturday, February 24 and Wednesday, February 28 — and you can watch via 10Play and Paramount+. Images: Tiff Williams.
For this year's Good Beer Week festivities, Taxi Kitchen invites punters to indulge in a little escapism at its sumptuous banquet inspired by a post-hunt feast. Think: long communal tables, merriment in abundance and a menu centred around a giant whole beast. On Wednesday, May 19, the Fed Square restaurant hosts its Good Swill Hunting dinner, celebrating hearty winter fare and some cracking beers from across Australia and New Zealand. Diners will be treated to a grand spread from executive chef Tony Twitchett, running from canapes and terrine, to a whole pig — with crackling — and an apple tart to finish. Each dish will be carefully matched to a tasty beer (or two), with the likes of Brooklyn Brewery's Pulp Art Hazy IPA, Panhead's Sucky Mon Mon Japanese lager and the golden sour ale by White Rabbit just some of those in the lineup. Craft Beer Ambassador Ryan Loft will play MC for the evening's festivities, and brewers from each label will be there to talk you through what you're drinking as you're drinking it. [caption id="attachment_680384" align="alignnone" width="1920"] Giulia Morlando[/caption]
It has been 87 years since Perry Mason first started sleuthing his way across the page, 86 since the defence attorney character initially hit the big screen, 77 since he made the leap to radio serials and 63 since he made his TV debut. In other words, this is a fictional figure with more than a little history — but 2020's version, starring Matthew Rhys, just might be the best yet. Brooding, moody, slinky, and making the most of thematically fitting, visually stunning inky black tones and lingering shadows, the HBO series heads back to 1932, when Los Angeles and the US in general are struggling with the Great Depression. Traumatised from World War I and grappling with a tough divorce, Mason is struggling as well. Then he's hired on a missing-child case as a private detective, and this star-filled series — think: John Lithgow, Robert Patrick and Tatiana Maslany, among others — kicks into quite the compelling gear.
If seasonal change has left you in a dizzy headspin of brand new colours and fabrics and prints and jackets — or if, y'know, you just like some fancy new clothes now and then — you'll be pretty pleased to know that the Big Fashion Sale is coming back to Melbourne for three days this October. The name pretty much says it all. This thing is big. You'll find lush items from past collections, samples and one-offs from over 20 cult Australian and international designers, both well-known and emerging, including Stella McCartney, Missoni, Karla Špetić, Studio Elke, Christopher Kane, Benah, Marni and more. With discounts of up to 80 percent off, this is one way of upping your street cred with designer threads that'll leave your bank balance sitting pretty too. Prices this low tend to inspire a certain level of ruthlessness in all of us, though, so practise that grabbing reflex in advance. This is every man and lady for themselves. The Big Fashion Sale will be open 9am till 7pm Friday, 10am till 6pm Saturday, and 10am till 4pm Sunday.
If your interest in gardening is for the purposes of home-beautification, Mr Kitly in Brunswick is the shop for you. Hidden away in an upstairs studio, it's a mecca for plant people, boasting a large range of rare and reasonable indoor plants alongside darling ceramics, chic plant stands, weird crafts and beautiful artwork. Owner and operator Bree Claffey has even written a book named Indoor Green: Living with Plants (punctuated by beaut photography by Lauren Bamford), so you can trust that the Mr Kitly crew know their stuff.
Clear your mid-week calendars and dust off your scarves, Melbourne — one of the bright sparks of this city's frosty winter has made its way back onto the social calendar. Queen Victoria Market's beloved Winter Night Market is set to return next month, running from June 7 to August 30. From 5pm every Wednesday, the QVM will be transformed into the kind of winter wonderland worth getting excited about, tempting you off the couch with a cosy program of street food, pop-up bars, live entertainment and artisan market stalls. As always, the Winter Night Market is set to serve up a tantalising assortment of street eats each week, with a huge array of food vendors repping dishes from all corners of the world. You can get excited for bowls of cheesy pasta, piping-hot dumplings, barbecued meat dishes and things grilled on sticks, perfectly paired with warming sips like mulled wine, butter beer and spiked milo paired with chilli, maple syrup and whipped cream. Newcomers to the festival include Moonfishh bringing prawn dumpling soup and Japanese katsu curry, Only Mine serving chocolate fondue and hot chocolate, while La Castanae will be roasting up fresh chestnuts. Meanwhile, returning favourites include 400 Gradi, That's Amore Cheese and The Happy Mexican. As you're filling your belly with tasty winter fare, you'll be kept entertained with a rotation of live gigs, roving performers and open fires. Plus, the silent disco is also returning this year, because what better way to warm your cockles and work off a big serve of cacio e pepe, than a cheeky dance floor session? If you're a longtime fan, you'll know market stalls are also a big part of the offering here. This year, expect as vast a lineup as ever, with vendors slinging everything from jewellery and art, to skincare, homewares and books. The Winter Night Market will return to the Queen Victoria Market, corner of Queen and Therry Streets, Melbourne, running Wednesday nights from June 7–August 30.
With Game of Thrones finishing its run a few months back, there's currently a huge fantasy-shaped hole in the TV and streaming landscape. Of course, the beloved show is set to go on thanks to its own prequel; however plenty of networks and platforms are trying their hands at the genre in the interim — and giving television buffs plenty to watch. Amazon is hoping to fill the gap with its forthcoming Lord of the Rings series, although it isn't due until 2021. HBO's next contender has just arrived this month, courtesy of its adaptation of His Dark Materials. And, while Netflix already has its Dark Crystal prequel, which launched back in August, it'll soon drop new series The Witcher as well. In fact, the Henry Cavill-starring show will arrive on Friday, December 20, just in time for some Christmas break binge-viewing. Even better — if you're super-keen for the new series, you now have two seasons to look forward to. As reported by Variety, Netflix seems confident that plenty of folks are eager to see Cavill sporting long blonde locks and fighting monsters, because it has already renewed the show for a second season before the first even drops. You will have to wait for the follow-up batch of eight episodes, though, as it's not slated to shoot until 2020 or hit the streamer until 2021. Perhaps it's the concept that has everyone excited. As seen in both the initial trailer and the recent second sneak peek, the witcher of the title is Geralt of Rivia (Cavill), a monster hunter who prefers to work — aka slay beasts — alone in a realm called The Continent. But life has other plans for the lone wolf, forcing him to cross paths with powerful sorceress Yennefer of Vengerberg (Anya Chalotra, Netflix's Wanderlust) and young princess Ciri (newcomer Freya Allan). The latter harbours a secret, because of course she does, with the series blending plenty of fantasy staples such as magic, royalty, fighting factions, battling hordes, fearsome creatures, a heap of sword-swinging and many a scenic location. After stepping into Superman's shoes and facing off against Tom Cruise in Mission: Impossible — Fallout, The Witcher marks Cavill's return to TV a decade after starring in regal period drama The Tudors. As well as Chalotra and Allan, it also features Jodhi May (Game of Thrones), MyAnna Buring (Kill List), Lars Mikkelsen (House of Cards) and Australian actor Eamon Farren (Twin Peaks). Behind-the-scenes, the show's eight-part first season is created, executive produced and co-scripted by Lauren Schmidt, who has everything from The West Wing, Parenthood and Power to Daredevil, The Defenders and The Umbrella Academy to her name. If the series' name sounds familiar, that's because The Witcher is based on the short stories and novels of writer Andrzej Sapkowski — and, as well as being turned into comics, it was adapted the video game series of the same name. A Polish film and TV show also reached screens back in the early 2000s, although they were poorly received. Check out the latest trailer for Netflix's The Witcher below: https://www.youtube.com/watch?v=ndl1W4ltcmg The Witcher will hit Netflix on Friday, December 20. Image: Katalin Vermes. Via Variety.
In 1977 Andrew found two boxes of books under his parents' house. He sold those books at the Wantirna Trash and Treasure Market for the princely sum of $12. Then in 1981, Andrew opened up his first shop in Ringwood, and two years later he opened this store in Ivanhoe. Now, Andrew's Bookshop is one of few independent booksellers serving Melbourne's northeastern suburbs. So, go say 'g'day', and make sure to ask about the featured author of the week (it's usually a local author).
After spooking participants in Queen Victoria Market in July, the unnerving Séance installation is returning to Melbourne. The big, white container — with dark curtains and black letters splashed across its side — is popping up at the Market for one last (terrifying) hurrah this January. If you're not familiar with the installation, and didn't have the chance to visit early this year, a word of warning: its aim is to mess with your senses. Participants take a seat inside the tiny space, put on a headset and are told to place both hands on the table. The lights go out leaving the container in absolute darkness and, for 15 uneasy minutes, participants are taken on an immersive journey led only by touch and sounds. Expect to feel confused, repulsed and struck with temporary claustrophobia. According to organisers, numerous participants bailed halfway through sittings during the recent Melbourne sessions. You're probably thinking that there's something dark or supernatural about the whole thing — and going by the name, we don't blame you. But the installation's organiser assures us that 'séance' is simply a French word meaning 'session' or 'sitting'. Did we mention that the velvet seats date back to 1913 and were pulled from an abandoned theatre? And so Séance is a sensory experience that looks at the psychology of both sensory deprivation and the dynamics of a group sitting together. It's a scary indicator of how easy it is for confusion, disorientation and information overload to affect our judgment. Artists David Rosenberg and Glen Neath of Darkfield (who have collaborated in other sensory deprivation projects before) are the creative masterminds behind the project, which has been described as 'disorienting' and 'deeply unsettling'. We're serious when we say it's not recommended for the claustrophobic, the easily frightened or those afraid of the dark. Séance will be held on Wednesday, Friday and Saturday nights between 6–8pm.
A venue quite commonly missed — even by those of us who've been strolling by for nearly a decade — is Amelia Shaw. Tucked just inside of Brunswick's Retreat Hotel, and named after the hotel's first 1842 female licensee, Amelia Shaw boasts several upstairs rooms that transport you into the 1920s prohibition era. It's also the perfect place to take any pool shark aficionado. Why? Because it features a wonderfully confusing circular pool table. Patrons can visit this unique cocktail bar and salon on Friday and Saturday evenings. However, the space is regularly booked out for functions, so check its Facebook page before dropping in.
