It's that time again, gelato fiends: time to kick off 2024 with Messina's first decadent special for the year, and time to start thinking about Valentine's Day as well. The cult-favourite dessert brand is taking care of both will one brand-new OTT creation: a hot tub version of its Mr Messina flavour. If you haven't tried this coveted scoop as a regular Messina gelato variety as yet, it features fior di latte gelato with baked cheesecake smashed in, as well as pretzel fudge and a pretzel crust. Now, think that but as one of Messina's hot tubs, aka the chain's extra-special, always limited-edition, online-order-only treats. No, the word 'hot' doesn't reflect the required temperature. Indeed, in this case, the tub comes with layers of fior di latte gelato, pretzel fudge and pretzel clusters, plus baked cheesecake and cheesecake mousse, all to be eaten cold. On top: red chocolate crack and piped vanilla chantilly. While the dessert is timed for the supposedly most romantic day of the year, who you share it and your Messina love with is up to you. Grab a spoon with your significant other, go all in for Galentine's Day instead, or treat yo'self to multiple days of red-topped gelato — the choice is obviously yours. Tubs cost $45 each, and you'll need to place your order online on Wednesday, January 24. Because Messina's specials always prove popular, the brand staggers its on-sale times. So, folks in Queensland, the ACT and Western Australia are able to purchase at 12pm AEDT / 11am AEST / 9am AWST — and Victorians at 12.15pm AEDT. New South Wales customers are split across three times depending on the store (with tubs from Bondi, Circular Quay, Miranda, Randwick and Surry Hills on sale at 12.30pm AEDT; Darlinghurst, Brighton Le Sands, Manly, Parramatta, Tramsheds and Marrickville at 12.45pm AEDT; and Darling Square, Newtown, Norwest, Rosebery and Penrith at 1pm AEDT). Wherever you live, you can then pick up the Mr Messina hot tubs between Monday, February 12–Wednesday, February 14. Fans of Messina will know that the gelato brand is quite fond of making these kinds of indulgent — and supremely tasty — specials, after previously serving up everything from mango Iced Vovo tubs and the Neapolitan Messinetta (aka its take on the Viennetta) to a hazelnut-heavy tub topped with rocher crack and honey joy sticky scrolls. Gelato Messina's Mr Messina hot tub will be available to order from on Wednesday, January 24 from 12pm AEDT, with times varying per state and store — head to the Messina website for more information.
In the sleepy suburb of Lower Plenty, a chef with Michelin-star pedigree has quietly opened a refined bistro and diner. Head chef and owner Paul Cooper snagged the venue earlier this year, which is tucked into a leafy block on a Lower Plenty hillside. Stix Restaurant and Bar embraces the art of charcoal grilling, with a custom-built woodfired grill for smoking vegetables, seafood and meat. The Euro-leaning offering is a nod to Cooper's culinary exploits, spanning London's modern French restaurant Pied à Terre, Barcelona's contemporary hotspot Àbac and Paris' Bras. "I'm very passionate about woodfired cooking. It's very romantic to cook over wood and coals. There's a primitive element in using something so old to create something so beautiful — to me it's a wonderful thing," Cooper says. Hyper-local produce selection at Stix Restaurant and Bar sits alongside a mindful approach to nose-to-tail cooking. Broccoli stalks might be tossed on the grill and lathered in kasundi, or ethically-sourced pork may be smoked and served up throughout the week, then reimagined as croquettes. A recent favourite featuring cheesecake with beer jelly also made clever use of excess beer from the bar. Alongside rotating specials, there's an all-day menu featuring handmade pasta, woodfired steak and bistro classic including a chicken parma and a pan-fried barramundi number, served with red pepper piperade and salsa verde. An expertly curated cocktail menu and elegant wine lineup also means you can wash down your feed with some top-notch drops. "It's a place where people come and enjoy themselves— where we can produce a product that we're so proud of in a little suburban restaurant. I'm pretty excited that we can showcase this food at the price point it is," Cooper says. Stix Restaurant and Bar is now open at 410 Main Rd, Lower Plenty. It's open from 12–9pm Wednesdays–Thursdays, 12–10pm Fridays–Saturdays, and from 12–9pm Sundays. Images: supplied.
Calling all girls who want to longboard: Melbourne longboarding community Sunset Skate Sessions is hosting a free lesson for beginners. The Sunset Skate Sessions are free and run every weekend, but this is a series aimed specifically at women new to the sport. It's never too late to learn — Jesslyn, creator of the events, started skating when she turned 30. "I never, ever thought I would skate as I didn't grow up with the culture or have friends who skated. So when I got my longboard in the USA, I was determined to convert my friends to skate with me and have a more active lifestyle," she says. For some more femme power inspiration, check out icons like Hyojoo Ko in South Korea and Parisienne Cassandra Lemoine tearing up the longboard game. For the next session, bring your own board and meet at the entrance of Luna Park in St Kilda on March 4 from 4pm.
When you're after some live comedy in Melbourne, you don't have to wait for the Melbourne International Comedy Festival to roll around. There are pubs and comedy clubs all over the city that host local and international acts all year long. Some of them give newbies the opportunity to try and make strangers laugh for the very first time, while others prefer showcase more experienced performers who are either putting on a proper show or just warming up for something bigger. At these Melbourne comedy spots, you'll likely be a part of some awkward silences and come across a few ill-advised amateur hopefuls who should maybe call it quits, but that's a part of the whole experience. Great comedy takes some time to finesse, and watching comedians workshop shows can be great fun — especially when you're with a few mates and you've got a beer in hand. But to help you find the best Melbourne comedy, we've rounded up the organisers that gather together some of the funniest people around. Read on to find where you'll get your next full belly laugh here.
"Your nose like a delicious slope of cream / And your ears like cream flaps / And your teeth like hard shiny pegs of cream." Dîner en Blanc — like Howard Moon's poem — will have you in all white. But sorry Booshers: the third edition of this annual Melbourne event is just for the sophisticated. Dîner en Blanc began in Paris back in 1988 thanks to François Pasquier and friends. This year, 2500 of Melbourne's most dedicated dinner party guests will once again dress in all white on Saturday, March 4 for the event, which will be held at a suitably stunning location. That detail remains secret until the very last moment, but over the last few years, the Docklands waterfront and riverside in front of the Convention and Exhibition Centre have proved welcoming venues. Guests have to bring their own wares though — it's BYO table, chairs, glassware, dinnerware and white tablecloth as well as picnic (although you can order a hamper for pick-up on arrival. After the evening of fine dining and live music, the foodies then pack up their crystal, dinnerware, tables and litter. Like ghosts (white 'n' all), they leave behind no sign of their rendezvous — but don't get any ideas, a white sheet thrown over your figure will not do for an outfit. Ticketing happens in three phases. If you've attended a previous Dîner en Blanc, you can go right ahead and purchase one, otherwise you must be invited by a member from the previous year. Total newbie? Get on the ol' waiting list — just register before January 27.
Peninsula Hot Springs has officially won the title of Best Luxury Hot Springs at the 2025 World Luxury Spa Awards, solidifying its status as one of the world's leading wellness destinations. The Mornington Peninsula spa beat out contenders from across the globe, earning the honour through more than 250,000 votes cast by spa guests, travellers and wellness industry experts. The award recognises destinations that consistently deliver standout service, innovation and truly transformative guest experiences, and according to the international scoreboard, Peninsula Hot Springs is now the very best of them. In a widely competitive field, the Victorian hot springs stood out for its forward-thinking approach to geothermal bathing, its long-term sustainability work and its dedication to creating experiences that nurture both people and the environment. "For twenty years, our vision has been to create a space where people can reconnect with nature, with each other, and with themselves," said Peninsula Hot Springs Co-Founder and Chair Charles Davidson. "To be recognised as the world's best is a profound honour, not only for our team but for the entire Australian wellness community." The award comes as Peninsula Hot Springs celebrates 20 years of immersing its guests in its brand of wellness and nature, having welcomed more than eight million visitors since opening in 2005. Its natural geothermal waters draw from 637 metres below the surface, feeding a network of pools and experiences across 42 acres of coastal bushland. The site's offering has steadily grown to more than 70 globally inspired bathing and wellness experiences, from hot and cold therapy and immersive saunas to spa treatments, glamping accommodation and eco-lodges. Each element designed to deepen connection to the natural landscape and encourage a slower, more intentional rhythm for guests. Peninsula Hot Springs is located at 140 Springs Lane, Fingal, Victoria. For more information about the site or to make a booking, visit the website.
You put up the money. You helped stomp the grapes. Now, the people-powered winemakers at Noisy Ritual are inviting you back to put a cork in 2015 — literally. After getting off the ground earlier in the year with crowdfunding support from a group of wine-loving locals, the Brunswick-based urban winery has produced six batches of homemade vino which they're now about to bottle. So naturally, they're using it as an excuse to throw a party. Cracking open their barrels on the evening of Saturday, November 21 in a Brunswick East warehouse space, the Noisy Ritual Bottling Party will be your very first chance to try their 2015 vintage – straight from the bottle you helped pour it into. In addition to the wine, there'll be food by Forge Woodfired Pizza and music from Broadway Sounds, Pink Tiles and a number of local DJs. We'll drink to that. Tickets to the Noisy Ritual 2015 Bottling Party are $10 on the door, and bottles will be available to purchase on the night. But if you want to secure a half dozen straight up, we're giving one reader the chance to win six bottles of Noisy Ritual 2015 vintage. Plus, you'll also get two tickets to the Bottling Party on Saturday, November 21 — so you can head along and pick up your booze in person. To be in the running, subscribe to the Concrete Playground newsletter (if you haven’t already), then email win.melbourne@concreteplayground.com.au with your name, phone number and address. Entries close Wednesday, November 18.
Now and then you see a piece of theatre which is so powerful it's like taking a bullet. Grounded is like taking two — one to the head and one to the heart. A haunting depiction of modern warfare, Grounded follows a character known simply as The Pilot, a woman working for the American airforce, flying combat missions over Iraq. She is taken off active duty after becoming pregnant but that’s only the beginning. When she returns to work, she finds herself posted to a different kind of job altogether: piloting drones, remotely, from a base in America. By day she controls killing machines in the skies of the Middle East, then she commutes home to her husband and daughter. This work was written by American playwright George Brant and has rocketed him to fame. Previously, Brant’s work had been played mostly in regional America but Grounded has had an explosion of interest both in his home country and abroad, notching up some serious accolades, including being listed on The Guardian’s top 10 plays of 2013. In this, the show’s Australian premiere, you can see why. In addition to being a well-researched piece on a compelling and uniquely modern issue, it uses the scenario of robotised warfare to make broader statements about contemporary life, work and relationships. You don’t need to be working with drones to empathise with Brant’s view on modern alienation. Kate Cole as The Pilot is magnificent. Both indomitable and vulnerable, passionate and disaffected, bursting with bravado and simmering with repressed sensitivities, her performance presents a complex and highly believable weave of contradictions. It’s only her on stage for 80 minutes and she owns the audience the entire time. Red Stitch has pulled no punches in staging the show either. The lighting is like a visual art piece in its own right, Matthew Adey’s design is starkly effective. A soundtrack by Elizabeth Drake, who scored films such as Japanese Story, works on your subconscious in subtle ways, heightening both the emotion and the growing sense of disconnection. Perhaps the most striking aspect of the play is that the central emotional relationship is not really between people but between the Pilot and the sky. Her love for the open air is palpable and from the moment she is taken off active duty you feel the pain of her separation from it keenly. However much she achieves in life and work, that sense of loss won’t leave her. Progress overshadowed by the sense of loss: if any sensation epitomises modern life it is that. Unsettling and heartbreaking, yet uplifting and amusing in all the right places too, Grounded is an absolute tour de force. Photo credit: Jodie Hutchinson.
Most visitors to Fitzroy's Vegie Bar would be more than familiar with the eatery's luscious sweet creations, which beckon from that cabinet beside the till every time you go to pay. Well, now those treats have become the stars of their own show, with owners Mark Price and Laki Papadopoulos launching a new dessert bar in the adjoining Brunswick Street space. Plant-based goodness is the name of the game at this sweet-tooth haven, with the menu at Girls & Boys full of vegan delights running from the virtuous to the downright decadent, and offering a hearty array of gluten- and refined sugar-free options. You'll be ready to beat the summer heat when shlepping up Brunswick Street with a range of house-spiced mylks, smoothies, thickshakes, and cold-pressed juices, alongside an impressive rotation of vegan desserts. With gems like a matcha almond tart, a maca fudge bar, and the signature Caramisu, we can't imagine you'll be missing those animal products in the slightest. They're also doing a slew of vegan gelato flavours, including blood orange and yuzu, and caramel and miso, along with a pretty epic vegan baklava soft serve. With both Vegie Bar and Transformer next door and Smith & Deli just down the road, to say vegans are well-catered for in Fitzroy is an understatement.
UPDATE, December 23, 2021: Last Christmas is available to stream via Google Play, YouTube Movies and iTunes. At the end of each year, when 'Last Christmas' gets stuck in your head for months, you probably don't spend too long thinking about it. George Michael's soft tones echo through your brain, his romantic lyrics roll off your tongue and the song's gentle beat becomes the rhythm of your life — but we're guessing you've never added a backstory to the classic 80s festive track, pondered its words in-depth or taken it literally. Clearly, you're not Emma Thompson. Asked to turn the tune into a screenplay, the Oscar-winning actor and writer has expended her brain cells on this task — and the film that results clearly states that it's "inspired by the song 'Last Christmas'". Given that movies based on games, toys and amusement park rides are now commonplace, a Wham! track is as good a starting point as any. Plus, with Bridesmaids, Ghostbusters and A Simple Favour director Paul Feig at the helm, Last Christmas comes with a solid comedy pedigree. It's highly contrived, as plenty of end-of-year movies are. It's also schmaltzy, as is the song. But, splashed across the screen with a sea of red, green and tinsel, the Christmas flick boasts enough warm-hearted charm to light up this sweetly engaging seasonal affair. Feig, Thompson and co-writer Bryony Kimmings (the performance artist behind I'm a Phoenix, Bitch) have another trick up their sleeves, with Last Christmas taking its entire soundtrack from George Michael's back catalogue. On paper, a Christmas rom-com based on a beloved pop song, featuring a jukebox worth of tracks by the same artist and unfurling its Yuletide hijinks in London sounds like the work of an algorithm in overdrive. If the world's December playlists joined forces with everyone's Love Actually-heavy festive streaming queues, this premise would be the end result. The film's casting, letting a post-Game of Thrones Emilia Clarke channel her inner Fleabag and deploying a post-Crazy Rich Asians Henry Golding as a tender dreamboat, seems like it has sprung straight from social media posts, too. In short, Last Christmas feels engineered to incite as cosy a feel-good glow as it can — and, in-between evoking a few eye rolls, it manages that feat. On the subject of eye rolls, the plot details might as well spring from a rom-com handbook. Kate (Clarke) is a down-on-her-luck aspiring singer who works as an elf in a year-round Christmas store, Tom (Golding) is an unrelentingly optimistic bicycle courier who doesn't have a phone and devotes his spare time to helping the homeless, and, despite ostensibly having nothing in common, they're drawn to each other. One of their early run-ins involves a bird shitting on Kate, lest viewers forget that her boozy life moving between various friends' couches and spare rooms is a mess. Befitting this incident, Tom's wisdom-laced catchphrase — because, yes, he has one — is "look up". As Last Christmas' chalk-and-cheese duo get closer, with Tom's kindness rubbing off on the cynical Kate as she tries to figure out her life, nothing unexpected happens. That's especially true if you do actually spend a few seconds thinking about the song behind the movie's moniker, but Thompson and Kimmings' script has such a heartfelt tone — and an awareness of the tropes it's gleefully adopting — that the film mostly works. It's the cinematic equivalent of drinking eggnog; it might not be your beverage of choice, but, when it's in front of you, you'll genuinely enjoy it all the same. Two weightier aspects of Last Christmas' narrative also help it go down smoothly, the first involving Kate's recovery from a major health scare and the impact it has had on her life, and the second stemming from her family heritage. With the picture set in 2017, and with Kate and her relatives (including Thompson as her broad-accented mother) immigrating from the former Yugoslavia two decades earlier, this is very much a Brexit-era festive romantic comedy. The film's other key elements — Feig, Clarke and Golding — all hit their marks. Feig's penchant for odd-couple comedy, Clarke's bubbliness behind her usual Mother of Dragons on-screen persona and Golding's innate charisma each sparkle, particularly when the movie begins to lean on its formula (and when the predictable twist, which viewers have been guessing since the trailer first dropped, pops up). Elsewhere, the latter's Crazy Rich Asians mother, Michelle Yeoh, steals her scenes as Kate's boss Santa (yep, that's her name). Naturally, Thompson does the same in the picture's most overtly comic role. Consider them the extra ingredients in this Christmas pudding of a picture — a film that's designed to complement the full meal that 'tis the season, and proves sweetly satisfying enough. https://www.youtube.com/watch?v=co5jWMYsr34
Make the most of the summery Melbourne weather with a twilight visit to the Heide Museum of Modern Art. Giving you an after-hours to explore Mirka Mora's Pas de Deux — Drawings and Dolls and Danica Chappell's Thickness of Time exhibitions, the gallery is extending its opening hours until 8pm and hosting a couple of laidback shindigs as the sun goes down. From 5pm — on Friday, January 25 and Saturday, February 16 — visitors will be able to scope out the exhibitions, wander through Heide's beloved sculpture park, and enjoy music from percussionist Vanessa Tomlinson and experimental music producer Martin Ng. There'll also be food and wine available to purchase, because no jaunt through a gallery is truly complete with a glass of bubbly in hand. That's just a straight-up fact — and, if you're organised, you can also bring your own picnic. Entry in Art by Twilight starts at $10 for Heide members, $15 for concession holders and $20 for adults. Image: Jeremy Weihrauch
You may have thought your days of hanging out in car parks were over, but this Melbourne music event aims to change that. Play On brings a unique combination of live classical and electronic music to the underground car park at the Collingwood Housing Estate and, after launching late last year, they are back for three Friday nights on March 24, March 31 and April 7. The event presents classical music outside of traditional performance venues, making it both an accessible and pretty magical experience in a space that welcomes music lovers from all walks of life. The first event will see Tchaikovsky's joyful 1980 work Souvenir de Florence played by the Play On Collective, followed by a DJ set from local producer Prequel. Tickets are $15 presale or $20 on the door. Images: Alan Wheedon.
Forget the trashy mags conveniently placed just near supermarket checkouts, and forget whatever the real-life royals are up to, too. These days, if you're keen on regal intrigue, then you're hooked on Netflix drama The Crown. And, after two eventful seasons, you're definitely eagerly awaiting the show's third batch of episodes — following the same characters but with an all-new cast. Since 2016, The Crown has peered inside both Buckingham Palace and 10 Downing Street, unpacking the goings-on behind Britain's houses of power. Set during the reign of Queen Elizabeth II, the series has charted her wedding to Prince Philip, her coronation and the birth of her children (aka Prince Charles, Princess Anne, Prince Andrew and Prince Edward). As well as delving into the monarch's marital ups and downs, The Crown has also explored the romantic life of her sister, Princess Margaret, plus the major political events throughout the late 40s, entire 50s and early 60s. During all this, viewers have become accustomed to seeing Claire Foy as Elizabeth, Matt Smith as Philip and Vanessa Kirby as Margaret. In the third season, however, they've all been replaced to better reflect the passing of time. Fresh from winning an Oscar for The Favourite earlier this year, Olivia Colman steps into ol' Lizzie's shoes, while Tobias Menzies and Helena Bonham Carter do the same with Philip and Margaret. Also joining the show is Josh O'Connor as Prince Charles, Erin Doherty as Princess Anne and Marion Bailey as the Queen Mother. Given the change of cast, and the fact that The Crown's last episodes hit Netflix at the end of 2017, the show's third season has been eagerly anticipated. While the just-dropped teaser doesn't include much at all in the way of detail, it does offer a 20-second glimpse at Colman as the Queen — and reveal that the series will return this November. A full trailer is bound to follow, giving fans a better look at the show's new stars. And, hopefully, touching upon the third season's storyline, which'll chart the years between 1964–1977, including Harold Wilson's (played by The Man Who Killed Don Quixote and The Children Act's Jason Watkins) two stints as prime minister. If you're waiting for the Margaret Thatcher era, and the arrival of Princess Diana, they're expected to be covered in The Crown's fourth season. For now, check out the third season's first teaser below: https://www.youtube.com/watch?v=ZXrEnmracYw The Crown's third season will hit Netflix on November 17.
If you missed Gelato Messina's degustation bar the last two times, you're in luck because they're coming back to Melbourne for two weeks this August — and this time it will be all about truffles. In conjunction with Madame Truffles, Messina's Creative Department is returning to the secret room behind their Windsor store, this time with a seven-course gelato-meets-gourmet mushrooms degustation. So what kind of truffle-gelato goodness have the masterminds come up with? There's a pine and eucalyptus gelato that's a mix of 67 percent chocolate and black truffle cremeux, salted caramel, Jerusalem artichoke crisp and caramelised honey served with a ginger and lemon myrtle infusion. Using ingredients from the Dominican Republic, Japan, Tonga and NSW, Messina will take your tastebuds on a sweet and savoury journey. There are also two kinds of sorbet on the special Truffle Week menu: apple and nasturtium sorbet, and black truffle oil and vanilla oil sorbet. Sorbets are paired with a finger lime tonic and a spiced chai latte. Tickets are $130 per person and, with just eight seats available at each of the three sittings each night, you can book for groups of two, four, six or eight of your gelato-loving mates. And based off of previous events, you'll want to grab your tickets ASAP before Melburnians book out the event (most probably in record time again). Head to the Messina Creative Department page to nab a seat. The Messina Creative Department will pop-up from August 2-12 at their Windsor store, 171 Chapel Street, Windsor. For more info, visit their website.
Think about Broken Hill and movies, and one of three films likely comes to mind. Mad Max 2 is one of them. The Adventures of Priscilla, Queen of the Desert is another. Wake in Fright should be the third. Before road warriors and drag queens helped bring the outback city to the big screen, this stone-cold classic got there first. It was back in 1971 that the iconic Australian page-to-screen thriller turned the remote patch of New South Wales — well, the fictional Bundanyabba in the narrative — into a hotbed of small-town small-mindedness, toxic masculinity and a dim view of outsiders. If you've never thought that ochre soil as far as the eye can see could be a vision of claustrophobia, then you haven't seen this, which sits on Canadian director Ted Kotcheff's extremely diverse resume alongside everything from First Blood to Weekend at Bernies. Here's your next change to redress that: a Hear My Eyes session at the 2024 Melbourne International Film Festival, where the movie-and-music series will give Wake in Fright a new soundtrack. For Hear My Eyes first-timers — so, those who've missed Hellraiser, Good Time, Pan's Labyrinth, Chopper, Two Hands, Drive, Girlhood and Suspiria sessions in the past, to name a few prior shows — the event brings a must-see flick back to the big screen accompanied by a live, all-new and completely original score that's played while film lovers sit, watch and listen. Doing the musical honours for Wake in Fright is Surprise Chef, who'll be playing to a freshly unveiled 4K restoration of the feature. Hitting up Hamer Hall at Arts Centre Melbourne on Friday, August 16, the MIFF Hear My Eyes screening narks the world-premiere of the 4K version of the film. Whether they pop up as part of festivals or on their own — and no matter the movie, too — these events are always popular, so getting tickets quickly is recommended.
If the smack-in-the-face chill of Melbourne town is getting you down — and we haven't even got halfway through winter yet — here is some small solace for you. Melbourne's new Boho Luxe Market (their words, not ours) is determined to make you remember those times when you could dip your toes in the ocean without them falling off and take you to a sun-dappled place of dreamcatchers and flower crowns. Because these things are apparently synonymous with Byron Bay, the market's goal is to bring "that Byron Bay vibe to Melbourne" — so expect all of the above except for the beach bit. It'll be in town on Sunday, July 9, when you can treat yourself to a day of 'winter wanderlust' in the Atrium at Federation Square. There'll be heaps of stalls featuring bohemian fashion, jewellery, homewares and kids stuff for tiny people too. There are even some complimentary workshops on offer for idle browsers and live music will amp up the anti-winter vibes.
A resident who lives near Melbourne's iconic Cherry Bar has recently been labelled "fuckwit of the year" for complaining about the venue's noise levels. Opening themselves up to unrelenting criticism from music lovers citywide, this neighbour wrote a small letter to the live music venue which has now been mocked and shared everywhere over the weekend. In the age of social media, it's almost always a bad idea, but in principle — do neighbours likes this really have a right to complain? In Melbourne in particular, this has been a huge problem. Earlier this year, many of the city's major venues were in dire financial straits as a result of noise complaints made by surrounding residents. Just one complaint could have seen the council stepping in and enforcing major renovations to soundproof the venue. For many smaller sites, this would put them at risk of bankruptcy. There were even concerns about this affecting the music scene at large — if this kept happening, surely the best venues would just move away? As a loud and proud bastion of hard rock in Melbourne's CBD, Cherry Bar is very familiar with this kind of trouble. As plans were going ahead to erect a 12-storey apartment building next door, the small venue was under pressure from the council to comply with noise regulations. Turning to crowdfunding from their loyal clientele, they raised over $50,000 in under 24 hours to go towards soundproofing the venue. This has now changed. And, as most venues aren't as blessed as Cherry, it's a very good thing. After years of arduous legal battles, Victorian parliament passed new Agent of Change laws last month which put the onus of soundproofing on the developers of residential complexes rather than inner-city venues. It was a momentous win for live music that guaranteed the future of many bandrooms on the brink. The City of Yarra then jumped on the back of this and offered $25,000 worth of funding to these venues in the name of good will. Go Melbourne! With all this in mind, it's a wonder this person bothered to get in touch. Shit's already getting done, right? "The noise made by your bar is affecting my sleep and work, especially since it lasts beyond midnight," the complaint read. "May i suggest u guys to reduce the noise made by at least a half ? [sic] There are many working adults and students living in this apartment, so the noise produced by your bar made it very difficult for us to rest at home after a long day of work." Then they get serious. "I have read about the noise restrictions in the CBD, and will consider reporting to the City of Melbourne or the Victoria Police if this matter is not solved within the next week." And that's where it all began: Fuckwit moves next door to Cherry Bar and complains about noise: http://t.co/2bYQZ3TBCq — Wil Anderson (@Wil_Anderson) October 18, 2014 Cherry Bar owners have since got back to the neighbour expressing their side of the story. "Cherry has been successfully operating for 14 years as a late night live music venue. We have never had a noise complaint," their letter read. "The good news for you is that we are proactively investing in $100,000 worth of soundproofing presently. We are approximately 3 weeks into the 4 week process." The moral of this story: you probably shouldn't move onto a street named after AC/DC if you don't like loud music. But in general, even if you live and breathe live music, it's easy to see the points these kind of neighbours are making. How many drunk trespassers and sleepless nights would it make to turn you into a fuckwit too? Via Tone Deaf and Music Feeds. Photo credit: Scootie via photopin cc.
Melbourne's massive celebration of all things contemporary dance is back for 2019. Stomping and shaking its way into venues across the city — including Arts House, Malthouse Theatre and Abbotsford Convent — the latest edition of this biennial dance festival is packed with original performances, talks, installations and even a dance battle. So you better hurry up and get moving. Running from Tuesday, March 12 to Sunday, March 24, this year's Dance Massive will showcase new works from acclaimed companies and choreographers including Chunky Move, Force Majeure, Stephanie Lake and Lucy Guerin — as well as Indigenous company Marrugeku and many more. Meanwhile, the Massive++ program features everything from Cinematic Experiments, a multi-media installation combining early film techniques with digital dance choreography, to Sensorial Experiences, a series of workshops that guides audiences through the moves of a dance themselves before they see it performed. Image: Bryony Jackson.
Gone are the days of sidling into bottle shops and covertly trying to identify the second cheapest wine on the shelf. The brainchild of The Iconic founder and former managing director Cameron Votan, Spokewine is the brand new online wine store that may well revolutionise the way you think about your drinking — with a unique customer rating system. The online equivalent of a well-stocked cellar door, Spokewine features wine options from more than 70 different Australian wineries, many of which have never before been available to buy on the web. With a focus on boutique producers, customers can browse by wine type, region or individual winery, or simply take a look at what's trending with their fellow oenophiles — which, let's face it, is basically just a fancy word for knowledgeable alcoholic. Once you've found the wine that suits your palate, you can order by the case and have it delivered to you absolutely free. Shipping should take between 4-10 days, and you'll need someone over 18 to sign for it on arrival. Sorry kids, there's no gaming the system. What makes Spokewine unique is their democratic review process, which takes the power away from snooty wine critics and puts it back into the hands of the people. Basically, it's like IMDb, but for your liver. After logging in through Facebook, you can choose between 'love', 'like' and 'not for me', or get more in depth feedback through tasting notes and written reviews. After you've rated the vino, your score and everyone else's get aggregated into two separate rankings — the 'approval' rating counts the percentage of positive votes, while the 'passion' rating calculates the number of 'love' votes as a percentage of people who ranked it positively. The Spokewine venture may prove a new mode of doing business for the former Iconic head and his partners Nicholas Turner, Michael Larsen and Victor Garcia. Votan told BRW the move was a "real partnership" with winemakers, as opposed to the set-up with labels: arguing over rebates, charging fees for lost custom. Looks like Votan is going to do things a little differently this time. "Not just The Iconic but any retailer I’ve ever been involved with, whether through consulting or an operational role, is that merchants are by nature in an adversarial relationship [with suppliers],” Votan told BRW. "It would be impossible to do that with the set of vendors that we’re working with now. They just don’t work like that. They’re up for partnerships for life. They want you to come and look them in the eye, walk through their vineyard with them, understand their story and at the end shake hands and say let’s do business." Now if you'll excuse us, we've got some user-reviewed wine to order.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. SPENCER With two-plus decades as an actor to her name, Kristen Stewart hasn't spent her career as a candle in the wind. Her flame has both blazed and flickered since her first uncredited big-screen role in The Flintstones in Viva Rock Vegas but, by Elton John's definition, she's always known where to cling to. After jumping from child star to Twilight heroine and then one of the savviest talents of her generation, she's gleaned where to let her haunting gaze stare so piercingly that it lights up celluloid again and again, too. Spencer joins Stewart's resume after weighty parts in Clouds of Sils Maria, Personal Shopper, Certain Women and Seberg, and has her do something she's long done magnificently: let a world of pain and uncertainty seep quietly from her entire being. The new regal drama should do just that, of course, given its subject — but saying that director Pablo Larraín has cast his Diana well, pitch-perfect head tilt and all, is a royal understatement. Larraín also trusts himself well, making the kind of movie he's made three times now — not that Jackie, Ema and Spencer are carbon copies — and knowing that he does it phenomenally. Both essaying real-life figures and imagining fictional characters, the Chilean filmmaker keeps being drawn to tales about formidable women. His eponymous ladies could all be called strong female leads, but Larraín's features unpack what strength really means in various lights. Like her predecessors in the director's filmography, Diana faces searing traumas, plus ordinary and extraordinary struggles. She scorches away tradition, and values letting her own bulb shine bright over being stuck in others' shadows. Viewers know how this story will end, though, not that Spencer covers it, and Larraín is just as exceptional at showing how Diana's candle started to burn out. The year is 1991, the time is Christmas and the place is the Queen's (Stella Gonet, Breeders) Sandringham Estate, where the Windsors converge for the holidays (yes, Spencer is now prime seasonal viewing). As scripted by Peaky Blinders and Locked Down's Steven Knight, the choice of period puts Diana in one of the most precarious situations of her then decade-long married life, with her nuptials to Prince Charles (Jack Farthing, The Lost Daughter) turning into an "amicable separation" within 12 months. Spencer's focus is on three days, not all that defined the People's Princess' existence before or after, but she can't stop contemplating her past and future. The Sandringham grounds include the house where Diana was born, and those happier recollections — and time spent now with her children (debutants Jack Nielen and Freddie Spry) — give her a glow. Alas, all the monarchical scrutiny simmers her joy to ashes, unsurprisingly. Larraín is one of today's great detail-oriented filmmakers, a fact that glimmers in his approach to Spencer — and did in Jackie, too. Both character studies let snapshots speak volumes about broader lives and the bigger narratives around them, including when poised as "a fable from a true tragedy" as the title card notes here. 'Poised' is one word for this fictionalised imagining of real events, which builds its dramas in an immaculate chamber, lets heated emotions bounce around as it tears into privilege and power, and allows audiences to extrapolate from the meticulous minutiae. Specific tidbits are oh-so-telling, such as the demand that Sandringham's guests hit the scales upon arrival and leaving, their weight gains deemed a sign of how much they enjoyed themselves. Bolder flourishes are just as exacting, like the way the place is lensed to make the Princess of Wales resemble a doll being toyed with in a playhouse, as well as a Jack Torrance substitute trapped in her own Overlook Hotel The Shining-style. Read our full review. NIGHTMARE ALLEY Don't mistake the blaze that starts Nightmare Alley for warmth; in his 11th film, Guillermo del Toro gets chillier than he ever has. A lover of gothic tales told with empathy and curiosity, the Mexican filmmaker has always understood that escapism and agony go hand in hand — in life, and in his fantastical movies — and here, in a carnival noir that springs from William Lindsay Gresham's 1946 novel and previously reached cinemas in 1947, he runs headfirst into cold, unrelenting darkness. As The Shape of Water movingly demonstrated to Best Picture and Best Director Oscar wins, no one seeks emotional and mental refuge purely for the sake it. They flee from something, and del Toro's life's work has spotted that distress clearly from his first dalliance with the undead in his 1993 debut Cronos. The Divinyls were right: there is indeed a fine line between pleasure and pain, which del Toro keeps surveying; however, Nightmare Alley tells of trying to snatch glimpses of empty happiness amid rampant desolation. That burning house, once home to the skulking Stanton Carlisle (Bradley Cooper, Licorice Pizza), is surrounded by America's stark midwestern landscape circa 1939. Still, the terrain of its now-former occupant's insides is even grimmer, as Nightmare Alley's opening image of Stan dropping a body into a hole in the abode's floor, then striking a match, shows. From there, he descends into the carny world after hopping on a bus with only a bag and a radio, alighting at the end of the line and finding a travelling fair at this feet. Given a job by barker Clem Hoatley (Willem Dafoe, Spider-Man: No Way Home), he gets by doing whatever's asked, including helping clean up after the geek act — although, even with his ambiguities evident from the outset, stomaching a cage-dwelling man biting the heads off live chickens to entertain braying crowds isn't initially easy. While set in an already-despondent US where the Depression is only just waning, the shadows of the First World War linger and more are soon to fall via World War II, Nightmare Alley still gives Stan flickers of hope. Adapted from the novel by del Toro with feature debutant Kim Morgan, the movie doesn't ever promise light or virtue, but kindness repeatedly comes its protagonist's way in its first half. In fortune-teller Zeena the Seer (Toni Collette, Dream Horse) and her oft-sauced husband and assistant Pete (David Strathairn, Nomadland), Stan gains friends and mentors. He takes to mentalism like he was born to it, and his gift for manipulating audiences — and his eagerness to keep pushing the spiritualism further — is firmly a sign. Soon, it's 1941 and he's rebadged himself as 'The Great Stanton' in city clubs, claiming to speak to the dead in the pursuit of bigger paydays, with fellow ex-carny Molly Cahill (Rooney Mara, Mary Magdalene) as his romantic and professional partner beyond the dustbowl. The tone may be blacker than del Toro's usual mode — positively pitch-black in the feature's unforgettable ending, in fact — but Stan is just doing what the director's main characters tend to: trying to find his own place as he runs from all that haunts him. "My whole life, I been lookin', lookin' for somethin' I'm good at — an' I think I found it," he says, his elation palpable. Although his first altercation with Dr Lilith Ritter (Cate Blanchett, Don't Look Up) starts with a public scene at one of his swanky gigs, he's equally as thrilled that his crowd-pleasing act attracts her attention, and by the psychologist's suggestion that they team up on wealthy mark Ezra Grindle (Richard Jenkins, Kajillionaire). But here's the thing about being a grifter, even one who was so recently a drifter: if you're fleecing someone, you're likely being fleeced back in turn. Read our full review. BELLE When Beauty and the Beast typically graces the screen, it doesn't involve a rose-haired singer decked out in a matching flowing dress while singing heart-melting tunes atop a floating skywhale mounted with speakers. It doesn't dance into the metaverse, either. Anime-meets-Patricia Piccinini-meets-cyberspace in Belle, and previous filmed versions of the famed French fairytale must now wish that they could've been so inventive. Disney's animated and live-action duo, aka the 1991 musical hit that's been a guest of childhood viewing ever since and its 2017 Emma Watson-starring remake, didn't even fantasise about dreaming about being so imaginative — but Japanese writer/director Mamoru Hosoda also eagerly takes their lead. His movie about a long-locked social-media princess with a heart of gold and a hulking creature decried by the masses based on appearances is firmly a film for now, but it's also a tale as old as time and one unafraid to build upon the Mouse House's iterations. At first, there is no Belle. Instead, Hosoda's feature has rural high-schooler Suzu (debutant Kaho Nakamura) call her avatar Bell because that's what her name means in Japanese. That online character lives in a virtual-reality world that uses body-sharing technology to base its figures on the real-life people behind them, but Suzu is shy and accustomed to being ignored by her classmates — other than her only pal Hiroka (Lilas Ikuta of music duo Yoasobi) — so she also uploads a photo of the far-more-popular Ruka (Tina Tamashiro, Hell Girl). The social-media platform's biometrics still seize upon Suzu's own melodic singing voice, however. And so, in a space that opines in its slogan that "you can't start over in reality, but you can start over in U", she croons. Quickly, she amasses an audience among the service's five-billion users, but then one of her performances is interrupted by the brooding Dragon (Takeru Satoh, the Rurouni Kenshin films), and her fans then point digital pitchforks in his direction. Those legions of interested online parties don't simplistically offer unwavering support, though. Among Belle's many observations on digital life, the fact that living lives on the internet is a double-edged sword — wielding both opportunities to connect and excuses to unleash vitriol, the latter in particular when compared to the physical experience — more than earns its attention. That said, all those devotees of Suzu's singing do rechristen her avatar as Belle, and she starts living up to that fairytale moniker by becoming fascinated with the movie's Beast equivalent. He's mysterious to the point that no one in U or IRL has been able to discern who he really is, but the platform's self-appointed pseudo-police force is desperately trying. Suzu is also mortified about the possibility of anyone discovering that she's Belle, although she's drawn to Dragon because she can sense his pain. Hosoda has repeatedly proven an inspired filmmaker visually — one just as creative with his stories and storytelling alike, too — and Belle is no exception on his resume. After the likes of The Girl Who Leapt Through Time, Summer Wars, Wolf Children and Mirai, he's in especially dazzling form in a movie that wields its images in two distinctive modes. In U, Belle is an epic onslaught for the eyes, its animation lively, busy and hyper-real in a way that cannily mirrors the feeling of wading through always-on online realms. This is where that whale swims through the air, concerts are held in what appears to be a hollow planet and Disney-style castles turn gothic. When it's in Suzu's reality, the film opts for naturalistic tones in a look that notices the everyday beauty in the flesh-and-blood world, even amid daily routines in fading small towns filled with average teens and their families. Hosoda revels in the contrast between the two, in fact, because that clash constantly sits at the film's core. Read our full review. ONE SECOND Any new film by Zhang Yimou deserves eyeballs the world over, but One Second, the Raise the Red Lantern, Hero and House of Flying Daggers director's latest, hasn't charted the smoothest route to screens. Pre-dating the filmmaker's Cliff Walkers, which reached Australian cinemas in 2021, it was originally scheduled to show at the 2019 Berlinale. But after the festival began, it was removed from the lineup — and while a "technical problem" was cited as the official reason, Chinese censorship was floated as the real cause. One Second eventually surfaced on home soil late in 2020, and elsewhere around the globe in the last few months of 2021. It's now an immensely timely movie, although purely by coincidence. Every great feature by a great director inherently pays tribute to the medium of film, so that's hardly new for Zhang — but celebrating the silver screen, and the pandemic-relevant yearning to bask in its glory when life conspires to get in the way, isn't just a side effect here. It's 1975 when One Second begins, and crowds are flocking to makeshift small-town picture palaces to see propaganda films. The specific movie drawing in the masses: 1964's Heroic Sons and Daughters, which prison-camp escapee Zhang Jiusheng (Zhang Yi, Cliff Walkers) is desperate to catch. Alas, after finding his way into one village through mountains of sand that wouldn't look out of place in Dune, the fugitive discovers that he's already missed the showing that the night. Worse still, the film's canisters are being packed onto a motorbike to be driven to their next destination. And, he isn't the only one keen to make the movie's acquaintance, with the orphaned Liu (Liu Haocun, another Cliff Walkers alum) swiftly stealing its sixth reel before it departs town. An unlikely pair seeking the same thing for different reasons — he's heard that his estranged daughter appears in newsreel footage in the feature, while she wants the celluloid to make a lamp for her younger brother — Zhang and Liu are soon following the rest of the film through the desert to its next stop. That's where Mr Movie (Fan Wei, Railway Heroes) awaits, courting profit and glory compared to Zhang's desperation to glimpse his family and Liu's resourcefulness (that said, sporting a mug calling himself the 'World's Greatest Projectionist', the man behind the travelling cinema that's screening Mao-approved fare to entertainment-starved locales does still love his a clear fondness for his job). But the reels don't return intact, sparking a homemade restoration campaign that needs the entire town's help. Yes, loving film is also a tactile experience here. Zhang has always been able to make any kind of movie he's put his mind to, and has the four-decade-long resume to prove it. With 2009's A Woman, a Gun and a Noodle Shop, he even remade the Coen brothers' Blood Simple. One Second sees him masterfully blend film-adoring melodrama with a Cultural Revolution-era portrait that's laced with just the amount of commentary that managed to escape the censors. He revels in sight gags and chases that could've been lifted out of silent comedy greats from a century back as well, giving cinema yet another ode. The end result mightn't be Zhang's absolute best — his resume isn't short on highlights — but it easily ranks among his most endearing. One Second makes exceptional use of its dust-swept setting, too, and its trio of chalk-and-cheese main players; plus, in celebrating an artform that's both tangible and an illusion, Zhang still makes a clear statement. One Second is currently screening in Sydney and Brisbane, after opening in Melbourne in December 2021. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on September 2, September 9, September 16, September 23 and September 30; October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; and January 1, January 6 and January 13. You can also read our full reviews of a heap of recent movies, such as Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard and Limbo.
Now in his tenth year of making music, Nicolas Jaar was previously known for his 'blue-wave' minimal techno. But at a young 24 years, Jaar has already progressed in style. Darkside moves away from anything he's created on his lonesome. Collaborator Dave Harrington, a multi-instrumentalist from Brooklyn, might have previously said he prefers making music that's sad. But speaking from his hotel room in icy Oxford, Jaar concedes that Darkside isn't dark at all; it has an electro-psyche-jazz sound all of its own. Right now, Darkside are in the UK as part of the Psychic world tour alongside their recently released debut album of the same name. Receiving rave reviews from both critics, and, well, ravers, Psychic scored two 'Best New Track' slots with Pitchfork after the 11-minute opener 'Golden Arrow' was released as a free download in August. But Jaar refuses to get carried away by critics and their reviews. Because, as he says, there'll always be those who love your music and others who hate it. For Jaar, it's about taking fans to a new place. "The only hope for musicians is that we're communicating something," says Jaar, coming over all Alice in Wonderland. "I just hope that people are able to fall into the small worlds that we try to create." Harrington originally played with Jaar as part of his touring live band. But after jamming together between gigs, the duo quickly morphed into Darkside back in 2011. Now they're back to where it all began — on tour — and Sydney and Melbourne are next on their list of places to wow. Darkside are at their best when heard live. but there's no use in predicting how their sets will pan out. Though their drawn-out electronica is likely to have us fall down the rabbit hole, each of their performances are different. "We try to improvise every night because we're doing this so much, and we're playing so many shows," says Jaar of their live performances. "We feel like, if we change it up here and there every night we'll slowly get to a better understanding of what we're trying to say. And as musicians we're getting better and better." Darkside's Psychic world tour has sold out shows across Europe. And since Jaar sold out his solo gigs at 2013's Sydney Festival, their Hi-Fi and Palace Theatre gigs are expected to go the same way. After all, in the year that's passed, the duo's evolving sounds have only garnered more fame. And don't expect that to slow down any time soon. It appears we can expect even more from Darkside over the coming year. "We're hoping to write a new record," says Jaar. Sadly, they've not as yet begun writing: "We're thinking about it." For now we'll have to settle with Psychic and their upcoming live shows. But who are we kidding; we couldn't ask for more. https://youtube.com/watch?v=d8NaWT0WvEE
If the end times were coming, and the antichrist as well, how would an angel and a demon on earth cope? That's the question that fantasy authors Terry Pratchett and Neil Gaiman explored in 1990 novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch, winning awards and plenty of fans as a result. Now, what'd happen if Michael Sheen (Quiz) was that heavenly figure and David Tennant (Doctor Who) his demonic counterpart? That's exactly what the Good Omens streaming series dived into when it initially arrived back in 2019. Four years later, the Prime Video show is finally returning for season two. With Sheen back as Aziraphale and Tennant as Crowley, that key casting remains intact. Jon Hamm (Confess, Fletch) also returns as Gabriel, this time showing up at Aziraphale's bookshop with zero memory of who he is — sparking the show's new mystery. Cue hiding the archangel from all interested parties — below and above — and, as is Good Omens' custom, getting Aziraphale and Crowley leaning on each other. Cue jumping from before The Beginning through to modern times as well, including stops in the biblical and Victorian eras, and the Blitz in 1940s England. As the trailer for season two shows, divine chaos ensues, even though Aziraphale and Crowley thwarted the apocalypse in season one. How it all turns out, other than amusingly, will be revealed when the series hits streaming again on Friday, July 28. Also back for a second go-around are Doon Mackichan (Toast of Tinseltown) as archangel Michael, plus Gloria Obianyo (Dune) as archangel Uriel, while Miranda Richardson (Rams), Maggie Service (Life) and Nina Sosanya (His Dark Materials) return as well — but in different parts. They're all joined by series newcomers Liz Carr (This Is Going to Hurt), Quelin Sepulveda (The Man Who Fell to Earth) and Shelley Conn (Bridgerton), the latter as Beelzebub. And Neil Gaiman is back as executive producer and co-showrunner, helping guide a season that now expands past its source material. Check out the trailer for Good Omens season two below: Good Omens returns for season two from Friday, July 28 via Prime Video.
The grand opening of Calia's hotly anticipated Lonsdale Street store might have been slightly overshadowed by this year's pandemic. But the multi-faceted venue, complete with luxury grocer, bottle shop, cafe and eatery is now officially open and ready for action. In late September, Calia made the move from its former Emporium digs to this two-level, 800-square-metre site most recently home to Top Shop. Now, with hospitality restrictions continuing to ease and the city starting to open up, the restaurant-to-retail brand's new home is finally getting a proper workout. The sprawling space features a sleek fit-out by hospitality design firm Architect Eats, complete with blond timber accents and foliage cascading from the ceilings. As promised, an expansive retail selection features a hefty range of culinary-focused delights, both locally made and imported. You'll find gourmet groceries, homewares, premium Korean beauty products and a lineup of booze that includes plenty of rare Japanese whiskies. The first floor plays host to a large dining space where you can tuck into bites from Calia's refined menu of modern Japanese fare. Top-notch produce from the likes of Robbins Island wagyu, Red Hill truffles and Yarra Valley caviar stars throughout, with dishes like spicy mapo tofu, salted egg yolk chicken and a signature wagyu bowl featuring top-grade A5 meat flown in from Japan. There are sweet treats from local favourites like Penny for Pound and Bibelot, while a coffee bar celebrates locally roasted blends alongside Calia's famed matcha-based and purple sweet potato drinks. For now, COVID-19 restrictions mean there's reduced capacity and a one-hour time limit on dine-in tables, though when the site's fully operational it boasts space for around 150 diners. Pop your name in the virtual queue system to avoid waiting too long for a table. Unfortunately, COVID-19 has pressed pause on the much-hyped plans for an on-site urban cellar door done in conjunction with the Yarra Valley's Levantine Hill Estate. That element, complete with tastings and an extensive retail wine selection, is now set to launch a little further down the track. Find Calia's new store at 287 Lonsdale Street, Melbourne. It's open from 10am–9pm daily.
Much of 2017 might seem like it has been ripped from an episode of Black Mirror, but the real thing is about to show us just how grim the future could be. The Charlie Brooker-created TV show is set to return for its fourth season later in the year, and it has dropped its first sneak peek. Spoiler: things really do look grim. Headed to Netflix at a yet-to-be-revealed date, the new Black Mirror will consist of six instalments filled with more unnerving satire about humanity's relationship with technology. Although the new clip is really just that, announcing the series' episode titles with suitably moody snippets, expect snowy peaks, spooky blonde-haired kids, Star Trek-style space jaunts, monstrous robots and more. Each new chapter's moniker is certain to pique plenty of interest, with names such as 'Arkangel', 'Black Museum', 'Crocodile', 'Hang the DJ', 'Metalhead' and 'USS Callister'. In addition, the new season's directors and main cast members have also been revealed. Brooker himself wrote every new instalment, while the likes of Jodie Foster, Australian filmmaker John Hillcoat (The Road, Triple 9), Peaky Blinders' Colm McCarthy and American Gods' David Slade are sitting in the helmer's chair. On screen, expect a cast that includes La La Land's Rosemarie DeWitt, Nocturnal Animals' Andrea Riseborough and Fargo's Jesse Plemons getting up to the kind of sci-fi antics that no one wants to dream of. Check out the trailer below in preparation for a whole new round of futuristic bleakness. https://www.youtube.com/watch?v=oH85obU350E
We can't think of a much better late-night fusion than Melbourne Museum's after-dark adults-only party, and Australia's favourite music trivia show. On Friday, August 23, the legendary RocKwiz is making a special guest appearance for the Museum's August edition of Nocturnal, as part of White Night Reimagined, as the pair teams up to deliver a rocking night of eats, drinks, talks, tunes and exhibition-hopping. Not only will you score exclusive night-time access to the Revolutions: Records and Rebels exhibition, but host Brian Nankervis and The RocKwiz Orkestra will dish up a special live show paying homage to some of the retro songs and artists featured throughout the show. Expect a soundtrack of old-school hits, plus fun RockKwiz questions centred around that revolutionary era from 1966 to 1970. Nocturnal X Rockwiz runs from 7pm–midnight. Image: Cesur Sanli
Since the beginning of film, fashion and costumes have played an integral role in creating and defining our most loved characters. Like Charlie Chaplin in a bowler hat or that plunging white gown on Marilyn Monroe, costumes become as iconic as their wearers, and will forever be associated with our fondest film heroes and heroines. Similarly, Avant Garde fashion designers like Walter Van Beirendonck have continued to surprise and delight the world as they’ve torn through the imagined boundaries of a conventional interpretation of fashion. Is there a line between fashion and costume, and if so, what does it mean? Celebrating some of the most exciting fashion exhibitions Melbourne has seen, Concept Clothing is designed to complement Walter Van Beirendonck’s wonderful retrospective Dream The World Awake (currently showing at RMIT Design Hub) as well as ACMI’s hugely popular Hollywood Costumes exhibition. Presented by RMIT University and the Australian Centre for the Moving Image, the event will run as a panel discussion exploring the intersection between fashion and costume design, culminating in a screening of Walter Van Beirendonck’s most impressive and innovative work, held at ACMI this Wednesday August 14 at 6.15pm. The impact that clothing and costume can have on our emotional memories and connection to their wearers is incredibly powerful, and at a measly $15, Concept Clothing is an absolute must-attend for anyone with an interest in or appreciation for masters of a creative craft.
Aussie-made electronic dance trio RÜFÜS DU SOL is gearing up to embark on a massive tour on home turf. But for those who missed out on tickets, or simply want to add a euphoric encore to their experience, the group is set to play an exclusive DJ set at Melbourne's The Wool Store on Friday, November 28. Set to be an immersive and deeply connected experience, this sprawling industrial space in West Footscray will serve as the ideal venue for this one-night-only encounter. Featuring founding members Jon George and James Hunt, the duo will get behind the decks to offer up a club-focused counterpart to their enormous stadium tour. Pegged as the group's only DJ set going down during this return home, fans can expect a high-energy celebration spanning the deeper edges of RÜFÜS DU SOL's sonic identity. Taking the audience on a journey through their wide-ranging influences, underground roots will combine with euphoric mainstage bangers throughout a transformative experience. Shaping this deep day-to-night event, the lineup will also feature SG Lewis, a renowned British producer and songwriter. Alongside joining RÜFÜS DU SOL on every date of their national tour, while making time for a pair of solo shows, he'll also bring his groove-driven DJ set, blending disco, house and electronica to The Wool Store. Plus, rising talent Samantha Loveridge will set the tone with her melodic house soundscapes, having just released her debut EP on RÜFÜS DU SOL's Rose Avenue Records label imprint. Basked in rhythm and atmosphere, her tracks will prove the perfect appetiser to the main event. With the entire lineup channelling the raw, communal spirit that has made RÜFÜS DU SOL a global name in electronic music, this DJ set is your chance to catch one of Australia's most captivating acts as they round out another hypnotic year on the dance floor. RÜFÜS DU SOL (DJ Set) is happening on Friday, November 28 at The Wool Store, 47-61 Sunshine Rd, West Footscray. Tickets go on presale at 12pm on Tuesday, November 11, with the general sale starting at 12pm on Wednesday, November 12. Head to the website for more information.
Real estate prices might still be on the rise, but with every passing week, it seems there's a new, more affordable way to get your hands on your own tiny house. Last month, we introduced you to Unyoked, a start-up that lets you stay in your own designer cabin in the wilderness. In September 2016, we got excited about Australia's first ever flat-packed, off-grid, little homes. Now, Japanese home goods giant MUJI has entered the arena. From August 2017, the MUJI Hut will go on sale in Japan. And its immaculately-designed twelve square metres of space will set you back $36,000. The hut is 100% Japanese timber and is split into two spaces: an interior of nine square metres and a covered patio of three square metres. Glass doors provide a divide between the two, creating an indoor-outdoor feel. Inside, you're surrounded by warm cypress plywood and potting about on a mortar-covered floor. Meanwhile, the outside has been charred using shou sugi ban, a Japanese method that increases the wood's resistance to insects, decay and fire. Underneath, a concrete foundation keeps you protected from moisture and cold. "It's not as dramatic as owning a house or a vacation home, but it's not as basic as going on a trip," the MUJI website reads. "Put it in the mountains, near the ocean, or in a garden, and it immediately blends in with the surroundings, inviting you to a whole new life." Before you go tree-changing, though, we do have to let you know that the MUJI Hut isn't selling outside Japan as of yet.
Keeping your emotions in check won't be easy as the next instalment of the Renegades Derby turns up the heat in the Big Bash League. As cross-town rivals Melbourne Renegades take on Melbourne Stars, these long-standing foes have gone toe-to-toe since the league's foundation. With bragging rights up for grabs and live music from Australian DJ Cyril, the Sunday, January 12 match is the best time to attend as the bowling gets faster and the swinging harder when local pride gets put on the line.
Even though the calendar may tell us it's so, it's all too easy to be in denial about the fact that summer, at least officially, is over for another year. If you're looking to extend those summer vibes this season, you're in luck: this March, The Glenlivet, legendary producer of single-malt whisky, will be bringing a summer-fuelled Social Club to CBD hangout Whitehart Bar every Thursday to Sunday. The Social Club is taking place to showcase The Glenlivet's new Caribbean Reserve, a non-age statement finished in former rum barrels. Inspired by the Caribbean and its legendary tradition of floating bars, the event will see rounds of five drinks served on water from bartender to guest — the serves will literally float from one end of the bar to the other — as well as a rotating lineup of live music to keep the good times rolling. You'll want to get there quickly, too — the first 100 punters to shout a round will also score a limited-edition The Glenlivet x Bianca Beers bucket hat. The Glenlivet Social Club is taking place from Thursday to Sunday, from 4:30pm, every week in March at Whitehart Bar. For more info, head to the website.
Earlier this year, it was revealed that St Jerome's Laneway Festival was being forced to find new digs, thanks to a boom in construction works — including the West Gate Tunnel project and a swag of new apartment buildings — around its current home, the Footscray Community Arts Centre (FCAC). Now, the festival has announced its new location for 2019 — and it's not too far away. After enjoying a nine-year stint at the FCAC, moving there in 2010 after outgrowing its original Lonsdale Street alleyway site, the festival will be heading to Footscray Park for 2019. While the festival's new home will be larger, the capacity will remain about the same, allowing for more flexible placement of stages, less lines for bathrooms and food stalls, and maybe even less jostling to get to the front of the stage. The new space has more shady spots under trees, too, for when you need a break from the fiery summer sun. [caption id="attachment_686533" align="alignnone" width="1920"] A map of the new Footscray Park festival site.[/caption] The lineup and dates of St Jerome's Laneway Festival 2019 have not yet been announced. You can sign up for pre-sales and announcements at lanewayfestival.com. Image: Anthony Smith
You don't need to tell us twice that beer and barbecue are a match made in culinary heaven, so the ultimate partnership this Good Food Month is the one between Footscray's Hop Nation Brewing and Up In Smoke. The American-inspired BBQ gurus have joined forces with their beer-brewing neighbours, curating a special food pairing that showcases some of the west's best. Across 13 days of the festival, you can swing by Up In Smoke to enjoy four craft beer samples, matched to four smoky snacks from the kitchen for 30 bucks.
Melbourne might currently be enjoying a mild start to 2018, with temperatures nearing the mid twenties on January 1 and forecast to stay below 25 degrees until Thursday; however a blast of hot, hot heat awaits come the weekend. Indeed, finding some frosty air-con or a shaded pool is recommended on Saturday, when the city is predicted to swelter through its hottest day since January 2016. The Bureau of Meteorology is expecting the mercury to hit 41 degrees to start the first weekend of the year, which will be 15 degrees above average according to Weatherzone. The last time Melburnians experienced 40 degree-plus temperatures was two years ago, with a 2016 high of 42.2 degrees. In 2017, the hottest recorded temperature was 38 degrees in January. Thankfully, the blast of scorching summer warmth will be short-lived. After a 35-degree Friday and a 41-degree Saturday, milder climes are expected to return on Sunday, thanks to a cloudy 20-degree forecast. Phew. That said, the sweat-inducing spell does come hot on the heels of the city's hottest November heatwave in 150 years, so yes, there's a reason you've probably been feeling a little heated over the last few months. The rest of southeastern Australia will also have a toasty time over the weekend, with Adelaide reaching 42 degrees, Canberra hitting 36 degrees, and Hobart and Sydney making it to 33 degrees. At the top end of the east coast, Brisbanites get off lightly, with a comparatively bearable 3o degrees predicted. Via Weatherzone. Image: udeyismail via Flickr.
When gallery owner Susan (Amy Adams) first rifles through a manuscript penned by her ex-husband Edward (Jake Gyllenhaal), the pages draw blood. Her finger bleeds from a simple paper cut, but another, unseen wound also opens — one caused by her actions 19 years earlier, that she thought her now-strained second marriage to the wealthy Hutton (Armie Hammer) had healed. Already an insomniac and riddled with stress about her latest exhibition opening, she's drawn to the dark tale told found within those pages. There, a man by the name of Tony (also played by Gyllenhaal) finds his family holiday with his wife (Isla Fisher) and daughter (Ellie Bamber) interrupted by Texan troublemakers (including Aaron Taylor-Johnson and Karl Glusman). Before long, the story segues from road rage terror to nightmarish tragedy to an account of violence that can only be solved with more of the same. As Susan reads, ravenously leafing through the novel at any moment that she can, it inspires memories of her younger, happier days with Edward. That's the film's second narrative within a narrative, one in which Susan earns the disapproval of her mother (Laura Linney) by wedding a writer of little means, and then struggles as their married bliss inevitably falters. And so Nocturnal Animals becomes a nesting doll of pain, heartbreak, betrayal, sorrow and, eventually, revenge. Alluring exteriors hide ugly depths on multiple levels. The film constantly juxtaposes beauty and horror; an opening sequence is filled with fleshy, scantily clad women dancing in a cloud of glitter. Who better than director Tom Ford to usher audiences into such a seductive, psychologically complex world? Nocturnal Animals is a bolder, blunter and more brutal movie than the fashion designer turned filmmaker's first effort behind the lens, A Single Man. In adapting Austin Wright's 1993 novel Tony and Susan, the writer-director proves that he still knows how to provoke a reaction. Still, where A Single Man heaved with emotion as it bewitched the eye, Nocturnal Animals seethes with emptiness. As shot by cinematographer Seamus McGarvey, the film's glossy visuals feel like vacant vessels, styled meticulously, and yet never containing more than the obvious. In a pulpy, throwaway thriller, that's fine, but Ford aims much higher than that. Ensuring that his feature wears his clear influences, from Alfred Hitchcock and Brian de Palma to David Lynch and Douglas Sirk, prominently on its impeccably dressed sleeves, he strives to craft a sensual, suspenseful exploration of regret, and the aches that mistakes can bring. Sadly, he comes up short. The cast of the work is expectedly first-rate, from the glassy-eyed Adams to the increasingly frantic Gyllenhaal to the ever-stellar, scene-stealing Michael Shannon as a cop helping Tony seek justice. Some play real characters within the world of the film, while others are literary manifestations of decades worth of pain. But then if there's one thing that Ford excels at as much as making his features look stunning, it's casting. Everyone's performance is perfectly pitched, which is perhaps why the overall lack of feeling behind the film's luxurious facade feels so very disappointing.
Preston Market is back with its beloved Greek Festival in celebration of Greek Day. On Sunday, April 7, the northside market's usual facade makes way for a lively Greek-themed atmosphere. From 10am–3pm, the Manasis School of Greek Dance will present live music and dance performances featuring traditional moves paired with authentic folk costumes. Of course, specialty food stalls and merch pop-ups, including St.Gerry's Greek Donuts, Twista Bros Potato Twists and more, will also be around to further immerse you in the Greek culture. If you're planning on bringing the little ones, there will be a selection of fun activities from 11am–1pm, such as pot decorating and seed planting. The event aims to bring the community together for a day of cultural immersion and enjoyment. Preston Market has been championing multicultural communities since 1970 and extends a warm invitation to all this Sunday, April 7.
It's time to put Dunkeld's Royal Mail Hotel back on your weekend getaway radar, as it has a new fine dining offering: Wickens at Royal Mail Hotel. Taking over a standalone space on the property, the remote restaurant is accessible by a bush trail the winds down from the hotel. It's been designed by Melbourne-based Byrne Architects to highlight its connection to its natural surroundings, with floor-to-ceiling windows capturing striking views of Mount Sturgeon and Mount Abrupt. Inside it's a luxe fusion of sheepskin leather, sandstone and Australian hardwood. This respect for the land is mirrored in Executive Chef Robin Wickens' hyper-local menu, which'll change up regularly, dictated by the daily haul from the on-site olive groves, orchard and 1.2-hectare organic kitchen garden. The garden-fresh goodies inspire textural plate additions like soils, foams, purées and vegetable infusions. Diners can enjoy the spoils via an ever-changing chef's tasting menu ($220), with a special chef's table in the kitchen available to groups of up to four. Unsurprising, given the Royal Mail's award-winning 25,000-bottle cellar, the booze side of things sure isn't lacking, with three expertly curated wine matches on offer as well. Get a taste of the largest privately-owned collection of Bordeaux and Burgundy in the southern hemisphere with the French match ($200), celebrate locality with the all-Australian wine match, or mix things up with the cellar wine match ($130). The restaurant is a replacement of sorts for the two-hatted Royal Mail Hotel dining room, which closed in early 2017. The hotel's casual diner Parker Street Project — which is a good spot for lunch if you're staying the night — has now taken over the space, which is connected to the hotel.
If there’s one thing we’ve come to know about ourselves it’s that we love a good gimmick. Whether it’s a nautically-themed gastropub or an entire cafe built on Pantone colour palettes, we can’t get enough of the weird and the wonderful. And so it’s no surprise that we’re squee-ing in anticipation of the Brisbane Festival's bizarre food-meets-theatre offering Fear and Delight. Created by Strut & Fret, the theatrical culinary event has been making waves in the news for the last few days, mainly because of the inclusion of food artists Bompas and Parr's so-called G&T Cloud Experience, first opened in London last month. This, in layman’s terms, means 'a room filled with a cloud of humidified gin and tonic which is consumed through the skin and eyeballs'. Yep, breathable booze. As expected, some are delighted with the prospect and others are fearful, while some people are just downright ready to party. Health experts have been lining up around the block to offer their opinion on the phenomenon. Professor Jake Najman, of the University of Queensland’s Drug Research and Education Centre, told the Guardian that rapidly absorbing a carcinogenic chemical is a big no-no. To be fair to the Professor, downing six Jaeger bombs and a Big Mac every Saturday night could also be considered near to carcinogenic but that certainly doesn’t stop us. However Najman also admits that not too much is known about the effects of inhaling alcohol, so bottoms up! Or bottoms out or however it is you toast in this new landscape of possibility. Celebrated internationally for such foodie happenings as an anatomical whisky tasting, a DNA-matching cocktail bar and a huge pagan feast at this year's Dark Mofo, Bompas and Parr are no strangers to controversy. Parr told Bloomberg that humidified drinking is "a new way of experiencing drink, and it’s social because it’s an immersive shared environment. You all have the same flavour sensation. Alcohol tastes better, with more nuances. You can detect more subtle flavours when it is humidified". What a time to be alive! But don’t worry about overdoing it on the alcohol-infused vapour, as Fear and Delight director Scott Maidment says that patrons would have to stand in the cloud for 40 minutes to absorb the equivalent of a large gin and tonic. So even if you get naked and do laps of the room, you won’t end up too drunk to watch the show afterwards. It really adds a whole new layer of meaning to #vapelife. Brisbane Festival’s Fear and Delight runs 4-25 September at South Bank Culture Forecourt. Grab tickets here.
It's a play about a king with a toilet-brush sceptre that takes place in a large pit of mud, but Ubu Roi's director Jason Cavanagh thinks the play just about sums up Australian politics and media right now. "It would be nice to think of Ubu as this ridiculous, grotesque, purile, simplistic, animalistic, infentile yet fictional creature," says Cavanagh. "But then you have a little look at the standard of our political debate, and the figures that are today held up as inspirational; people who are famous for being rich, or worse yet, famous just for being famous… and you realise that there are potential and actual Ubus everywhere." The play was originally written by Alfred Jarry as a send-up of French bourgeoisie, and when it debuted in Paris in 1896, the audience started rioting before they'd even made it past the first word. It's unlikely to have quite the same effect on a 21st-century Melbourne audience, but there will be literal as well as metaphorical mud-slinging, so you might want to steer clear of front-row seats for this one.
Unstoppable chef and restaurateur Andrew McConnell, whose hospitality empire includes Cutler & Co., Cumulus Inc. and Ricky & Pinky, is embarking on yet another project. This summer, for ten magnificent days, he'll be taking over the Garden Restaurant at the National Gallery of Victoria (NGV), and transforming it into Supernormal Natsu, a spin-off of Supernormal, his modern Japanese restaurant in Flinders Lane. The pop-up is part of Triennial EXTRA, a 10-day, one-off festival, organised to celebrate the inaugural NGV Triennial, a free exhibition featuring the works of 100 artists from 32 nations, which opens on December 15. Triennial EXTRA and Supernormal Natsu will run from January 19 to 28. Every day, from midday, McConnell's team will be creating dishes inspired by natsu, which is Japanese for summer. Many of them will be emerging from a hibachi grill, to be positioned on the restaurant's terrace. And although the details of specific dishes are yet to be revealed, we can tell you to expect fresh meats and seafood, grilled to perfection, and accompanied by summery ingredients. The dessert menu will include an array of sweet hits based on shaved ice. In addition to Supernormal Natsu, Triennial EXTRA will bring a bunch of free immersive and experiential events to the NGV, covering art, music, dance, live performance, design, fashion and ideas. Images: Ben Swinnerton and Kristoffer Paulsen.
The Village Belle is winning over locals with a whole swag of great weekly specials, though come Sunday lunch, it's all about that traditional, Mum-style roast. It'll set you back a mere $29, for the likes of Flinders Island salt grass lamb, or roasted Hazeldene free-range chicken, with an assortment of matched sides crafted on produce sourced from the St Kilda Community Garden. It's all best enjoyed against the cosy backdrop of the old-meets-new public bar, where there's footy on the big screens and live tunes to round out the weekend.
The Queen Vic's Winter Night Market has wrapped for another year and there's still months to go before its summer version kicks off. Thankfully, in the interim, the precinct is here to fill your Hump Day void with a mini nocturnal market series, when its Europa Night Market returns to brighten up Wednesdays from September 21–October 26. For six weeks, the market will play host to a vibrant Euro-style bazaar, with entertainment and wafting food aromas promising to transport you to a different European destination each week. You can feast your way through over 25 food and drink vendors, shop an array of market stalls, and catch roving entertainers and live tunes, all designed to whisk you away to some far-flung locale. Kicking things off on September 21, the market will be saying 'ciao' to the flavours and sounds of Italy, with bites like Sicilian-style fried arancini and woodfired 400 Gradi pizza, plus entertainment by Siesta Cartel and Elvira. The following week will take you on a trip to Central and Eastern Europe, by way of pierogi, stacks of handmade baklava and traditional dance performances; while October 5 is your ticket to Oktoberfest, with a German-inspired beer hall serving up scores of sausages and Oompah band entertainment to match Brick Lane Brewing's special-release Europa Lager. The Iberian Peninsula will get a look-in on October 12, with piles of paella, Casa Nata's Portuguese tarts and a spot of fiery flamenco, before the following week serves up a Mediterranean affair complete with Croatian-style cevapi wraps, Greek pastries and Turkish dancers. A celebration of all things French wraps up the series on October 26 — bid the Europa Night Market adieu with an evening of oozy raclette, decadent filled croissants and entertainment from classic beret-clad French mime artists. The Europa Night Market returns 5–10pm Wednesdays, from September 21–October 26. Find it at the Queen Victoria Market, corner of Queen and Therry Streets, Melbourne.
The Premier's Active April is here again — a whole month-long bonanza of free classes, discounts on sportswear and sport programs, and some pretty great two-for-one deals that'll have you rediscovering your inner kid and the energy you once had (you can go to Legoland, you're never too old). A yearly campaign run by the Victorian Government, Active April encourages Victorians to do 30 minutes of physical activity every day during the month of April. To take part, you just need to register online — it's free and you can download an app to log your progress and explore what's going on in your local area. Just to start, you get heaps of free stuff. Ten free passes to participating YMCA facilities, free tennis court hire and five free dance lessons at Dancesport Victoria. There are also a heap of discounts, including 15-percent off at Sportsmart — so you can stock up on activewear — and a two-for-one offer at Golf Victoria courses. Then there's the two-for-one Legoland scenario and two-for-one passes to the Melbourne Aquarium, too. By signing up and participating, you also go into the draw to win a slew of prizes, which include tickets to the 2019 Australian Open finals. As well as snaggin' some sweet discounts, you'll be able to prove your "drunk talking New Year's Eve post-midnight" self right – you will get more fit this year. Head here to register for Active April — you have until April 30 to signup — and start popping squats all over the place.
Prosecco, you've probably been drinking a lot of it in your Aperol cocktails this summer — we don't blame you, it's delicious — but there's so much more to the bubbly Italian wine than being a splash in a spritz. Indeed, prosecco is a tasty tipple in its own right. But, to fully experience its nuanced beauty, you must go directly to the source. That's where the King Valley comes in. Located in northeast Victoria, the region is known for its irrefutably fresh produce and first-rate vino — there's even a place called Prosecco Road that's packed with neat rows of prosecco vines and rivals Northern Italy when it comes to beauty. So, to help you plan your extra bubbly getaway, we've partnered with the purveyors of fizz at Dal Zotto Wines to bring you some top prosecco-filled experiences to have in the King Valley. Get ready for one helluva bubbly weekend. EAT AND DRINK First things first, you'll need to get your prosecco fix, so head to Dal Zotto Wines. Nestled among soaring gums and rolling hills, the charming cellar door is a real family affair. Patriarch Otto Dal Zotto planted the first prosecco grapes on the property back in the 90s (which just so happen to be the very first prosecco vines in Australia) and released Australia's first prosecco in 2004. Now his sons, Christian and Michael, continue to craft quality vino, while matriarch Nonna Elena maintains the on-site kitchen garden that provides seasonal produce for the trattoria. It's all about la famiglia here, and you can taste it in every bite and drop. Work your way through the five different styles of prosecco, before tucking into homemade pizza, antipasto and charcuterie. All the produce you'll taste is grown and handpicked from the garden and — alongside the knock-out prosecco — is the real hero here. Don't forget to grab a couple bottles of your favourite bubbly to-go; you'll need it over the weekend. Trust us. If you're after something a little more substantial — and we mean substantial — head to Gamze Restaurant and Smokehouse Door in Milawa. Occupying a converted 150-year-old tractor garage, the smokehouse slings all kinds of mouth-watering meat and deliciously stodgy food, as well as local wines and craft beer. Go straight for Felix the Dog, a footlong grilled kransky with fried onion, sauerkraut and barbecue mayo, which is sure to satiate even the hungriest of travellers. While there's no prosecco here, there is a juicy 2016 Dal Zotto Cuore Del Re available by the glass and bottle. Finally, be sure to stop by Milawa Cheese Factory for a cheese and wine flight. Located in the town's historic butter factory, Milawa Cheese Company has been slinging wedges of the good stuff since 1988 and only uses artisanal cheesemaking methods. Every wheel is made by hand and preservative free, so you can only imagine the incredible flavour. In addition to the comprehensive cheese offering, there's also an on-site restaurant Milawa Kitchen and the Walnut Tree Collection gift shop. But, really, who needs gifts when you can take away cheese? SEE AND DO While it may be tempting to spend the whole weekend wining and dining, there are also heaps of fun outdoor adventures to embark on in the King Valley. Not only will you be exposed to the idyllic countryside, but sweating it out will make you feel as though you've earned the prosecco to come. Plus, those feelgood exercise-induced endorphins never go astray. Start with a trip to Paradise Falls. True to its name, it's an idyl buried deep in the Alpine National park, just outside of Cheshunt. Misty falls, mighty rocks and Australian natives to boot, this peaceful oasis is the perfect place to while away a day. And, since there are picnic facilities, you can pack a bottle of Dal Zotto prosecco and some gooey cheese and have yourself a fancy little lunch. The best part? It's only a 20-minute return bushwalk to the falls and back. If you'd prefer to check out the sites on two wheels, take the Milawa Gourmet Bike Ride. The ten-kilometre 'Pedal to Produce' route will take you past some of the region's famed gourmet food stores and give you the opportunity to procure some local treats while, of course, sampling the goods at renowned local eateries along the way. The journey will take around an hour, depending on how leisurely you pedal, and can be tackled by people of all fitness levels. Next, stop by the King River for a spot of fishing. Now, we're not suggesting you go full Rex Hunt, but casting a line can be super relaxing. There's a top-notch fishing spot at Upper King River Road, where the river meets Lake William Hovell. While you're awaiting your perfect catch — a rainbow trout or redfin, perhaps — you can take in the lush forest surrounds. How's the serenity? Finish up with a picnic by the river's edge, featuring the gourmet goods from your bike ride, a bottle of bubbles and, who knows, maybe a fish? (BYO barbecue or sashimi knives.) STAY After all that eating, drinking and sightseeing, you'll need a place to rest your weary head. Luckily, there are plenty of twee country cottages to stay in around the King Valley — one of the cutest being Cortes Cottage. Set on one of Australia's oldest operating walnut farms Valley Nut Groves, this secluded weatherboard home exudes relaxed rural vibes and is a lovely place to unwind. Comprised of two bedrooms — one with a queen-sized bed, the other with two singles — the cottage has all the creature comforts, including a clawfoot bath, record player, fully equipped kitchen and that all-important rainfall shower. It's a house built for chilling — but if you're itching for an adventure, take a short 15-minute stroll through the paddock till you reach Ovens River. Go for a swim, skip rocks, cast a line — the choice is yours. To finish the weekend on a high, we suggest popping a bottle of prosecco and watching the sunset by the river Want to get a taste of the King Valley life right here in the city? Head to The Osborne Rooftop and Bar at 119 Commercial Road, South Yarra, on Wednesday, February 27. Dal Zotto will be taking over the rooftop bar from 6pm, with a bunch of prizes available, including $50 drink vouchers and a complimentary night at the Cullen Hotel in Prahran.
UPDATE, September 24, 2020: True History of the Kelly Gang is available to stream via Stan. Parched bushland. Roaring flames. Irate Australians rebelling against the status quo. It's a tragic coincidence rather than a case of making a purposeful statement, but True History of the Kelly Gang's bold, blazing imagery is timelier than director Justin Kurzel could've ever dreamed. It fits, though. It fits perfectly. Adapting Peter Carey's Booker Prize-winning novel via a sharp script by Kurzel's Snowtown screenwriter Shaun Grant, this a work of agitation. Made for a world where 'such is life' tattoos commit Ned Kelly's purported last words to slabs of Aussie flesh, this gritty, galvanising film sets fire to Australia's national identity and stares at the ashes of the country's troubled history — all by re-interrogating a man inescapably engrained in our iconography over the past century and a half. Australia came of age in thrall to Kelly, with the notorious bushranger's Robin Hood-esque story known by everyone. Accordingly, True History of the Kelly Gang needn't wonder what type of nation evolves as a result, because that's the Australia that we already live in. But what has the country mythologised about Kelly, and why — and what does that say about us today? They're questions that Kurzel, Grant and a first-rate cast led by soaring British talent George MacKay (1917) all ponder. Carey's literary work doesn't just excavate the past but toys and tinkers with it, mixing reality and fiction to mirror the present — a task that this wild and daring feature eagerly continues. "Nothing you are about to see is true," True History of the Kelly Gang announces at the outset. Reflecting the film's irreverent, impudent vibe, that's not strictly accurate. But the opening statement sets a playful mood and smashes any expectations of historical accuracy — because, here, anything can happen. So it is that Kurzel begins by peering through a letterbox-style slit in corrugated iron, as pre-teen Ned (excellent newcomer Orlando Schwerdt) watches his mother Ellen (Essie Davis) pay off local Sergeant O'Neil (Charlie Hunnam) by getting intimate. As lensed by cinematographer Ari Wegner (In Fabric, Lady Macbeth), shots recalling Kelly's famous armour keep recurring, peeking through gaps and offering rich and potent visual symbolism. In his boyhood, Ned adores yet also fears his Irish settler mum, who'll do anything for her family — including putting her husband Red (Ben Corbett) in his place. The Kelly patriarch is considered a disappointment by his wife, with Ned dubbed the man of the house instead. Indeed, Ellen has plans for her eldest son. When, through an act of heroism, Ned receives the chance to attend boarding school, his mother refuses. Rather, she gives him to bushranger Harry Power (Russell Crowe) as an apprentice. Learning he's been sold into a life of crime severely shapes Ned's perspective, understandably. Returning home a decade later following a stint in jail, Ned (now played by MacKay) makes a living through bare-knuckle boxing. He fights to entertain the law — such as the suspiciously friendly Constable Fitzpatrick (Nicholas Hoult) — and the upper classes, in a winking inversion of his future path. But his now-grown younger brother Dan (Earl Cave, son of Nick) has taken to horse-rustling, and soon crime is a family business. As their father previously did, they wreak havoc in the bush adorned in dresses, breaking both the law and societal conventions. Immortalised in the first feature-length movie ever made back in 1906, in a Mick Jagger-starring 1970 flick and with Heath Ledger donning the bandit's helmet in 2003, the nuts and bolts of Kelly's story have already been given the cinematic treatment — the Jerilderie letter, the Glenrowan siege and his 1880 hanging among them. While the same minutiae remains here, it's reshaped, reinterpreted and recontextualised, with Kurzel's uncompromising 2015 reworking of Macbeth the best reference point. Think equally ferocious and poetic imagery, an intensity bordering on operatic, a score that's both sparse and jittery, and an all-round punk-ish attitude. Framed through letters penned by Kelly, retelling an oft-told tale isn't True History of the Kelly Gang's main motivation, but rather re-evaluating the legend that's sprung up around him. In stripping bare the bushranger's story, Australia's colonial history and the nation we've become in the shadow of each, two other filmic frames of reference spring to mind: 2018's Sweet Country and 2019's The Nightingale. Ignoring the misstep that was Assassin's Creed, Kurzel's adds True History of the Kelly Gang to a resume already marked by Snowtown and Macbeth — and what an audacious and propulsive trio they make. All three also boast spectacular casts, with MacKay brawny, angry, anarchic and simply brilliant to watch here. Although he's well-supported by the formidable Davis, sly Hoult and raucous Crowe, he's nothing short of electrifying in this brutal yet utterly bewitching picture. The verve and spark in his performance is the same blistering energy that Kurzel burns into every frame of the film — a visually, emotionally, thematically searing movie that strides across the screen like an outlaw, aptly. https://www.youtube.com/watch?v=RE7YVZA5YVc
Cannoleria dreams up a fun new flavour every week, but the team is taking it to the next level later this month, teaming up with the legendary American Doughnut Kitchen to create a hot jam doughnut-inspired connolo. Both Cannoleria and American Dougut Kitchen sell their sweet treats at Queen Vic Market, but lining up for both cannoli and doughnuts can be a real chore — especially as the American Doughnut Kitchen has long-ass lines down the road every weekend. Too often, punters have to choose one or the other. Thankfully, from Friday, September 20–Thursday, October 3, you can get a mash-up of both iconic eats from any of Cannoleria's stories — at Queen Vic Market, South Melbourne Market, Preston Market and Lygon Street. For the collaboration, a doughnut- and jam-infused ricotta is piped into a crunchy pastry shell, and then garnished with crumbled doughnuts. These bad boys will go for $6 each, three for $15, and then any additional cannolo on top of that costs $5 a pop. "We can't wait for everyone to try this Flavour of the Fortnight," shares Co-Owner and Chef at Cannoleria Dario Di Clerico. "The Cannoleria team have wanted to work with the iconic American Doughnut Kitchen for a while, and we are so excited that the collaboration is nearly here. "When we were planning the flavours, we all thought about how doughnuts are perfect for the [AFL] Grand Final and that people will love the cannoli, and so we decided to make it a Flavour of the Fortnight that covers the big game." You can pick up these hot jam doughnut-inspired cannoli from any of the Cannoleria stores from Friday, September 20–Thursday, October 3 (unless sold out prior). For more information, visit Cannoleria website.
There's something about Kingswood's undeniably raw and blokey brand of indie rock that just makes you want to grow some hair on your chest and spend an afternoon in your shed, lovingly (in a manly way) toiling over your custom Harley. That's almost what this event is about. (Disclaimer: no bike included.) Presented by Harley Davidson's community customisation platform The Shed, this is an intimate, invite-only chance to catch the Melbourne four-piece. Kingswood have had a pretty decent year so far, cementing their ones-to-watch status with continued high-rotation Triple J play, an appearance at Splendour and the release of their debut album Microscopic Wars, which they recorded in Nashville, Tennessee. The band — who have a serious and somewhat surprising thing for First Aid Kit covers — are on an extensive national tour at the moment, but with only 40 tickets available, and only to competition winners, this gig is something special. Thanks to Harley Davidson and The Shed, we have two double passes to give away to see Kingswood at Kustom Kommune in Collingwood on October 12 at 8.30pm. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email win.melbourne@concreteplayground.com.au with your name and address.
This could be love: a classic 80s film that's been adored for decades, a new date with the big screen, and a live band and singers bringing its soundtrack to life as you watch. Dirty Dancing in Concert isn't new to Australia, but it keeps returning to tour the country because the movie at its centre is one that audiences can't get enough of. If you're a fan, you'll know which phrase fits: ideally, you'll have the time of your film-watching life. On Thursday, October 9, 2025, Patrick Swayze and Jennifer Grey will dance up a storm in the 1987 romantic drama at Hamer Hall, Arts Centre Melbourne. While this event is clearly hoping that you've never felt like this before, that'll only apply if you didn't go to 2022's or 2023's shows. Whether you're a Dirty Dancing in Concert first-timer or returning after seeing it before, you'll not only see the movie — you'll also hit up the party afterwards. Accordingly, as you celebrate one of Swayze's biggest and most-charming film roles, you'll be immersed in the world of the picture from the moment that you take your seat. Although no one will be carrying watermelons or checking into Kellerman's Mountain House in the Catskills, the digitally remastered feature will grace the big screen, its iconic songs will get a workout live, then the musicians will stick around afterwards to headline a party that'll naturally have you singing and dancing. If you're feeling adventurous and inspired by the movie, you might even want to try to recreate the famous lift. Here, nobody will put you or Francis 'Baby' Houseman in a corner — and you'd be just a fool to believe otherwise. Your hungry eyes will soak in Baby's first taste of dirty dancing, her eager rehearsals and her growing infatuation with Johnny Castle, as well as her parents' bitter unhappiness about the entire situation. Dirty Dancing in Concert images: Zdenko Hanout.
Hold onto your hats, kids. The 19th Biennale of Sydney has just announced its 2014 lineup and it's shaping up to be a cracker. Along with the usual slew of international art superstars — Tacita Dean OBE, Roni Horn and Ugo Rondinone — artistic director Juliana Engberg has focused on lesser-known, younger artists and special, one-of-a-kind works commissioned for the event. The list of artists slated to show works is impressive. Martin Boyce, the Scottish artist who made a big splash at the 2009 Venice Biennale is one to look out for, as is Australia's TV Moore and Susan Norrie. The Biennale will be staged in various venues across the city, and each locale will offer a different experience. Cockatoo Island will once again be overcome by larger, site-specific works, many of which will be targeted at families and children. The Art Gallery of NSW will host, among other pieces, a performative installation by Yingmei Duan, who will live, for the duration of the Biennale, in a 'forest' built inside the gallery. As part of Happy Yingmei, the artist will interact with visitors, before retreating back into the forest to retrieve little notes dispensing advice and observations to them, in what Engberg described as a nexus between the practices of Yoko Ono and Marina Abramovic. Another key venue, the Museum of Contemporary Art Australia, will feature works responding to its surroundings of 'air and water', and what those elements represent in the human psyche. Look out for the large-scale multimedia installation Phantom (2011), by Scottish artist Douglas Gordon (the first video artist to win the Turner Prize) and featuring the heartbreaking vocals of Rufus Wainwright. Meanwhile, Artspace in Woolloomooloo will display 'flights of fancy', presenting works from several artists including Maxime Rossi and Henna-Riikka Halonen. The recently renovated space at Carriageworks will also house works, including a large-scale installation Dutch artist Gabriel Lester, who will offer a piece which responds to the architecture of the building. This fascinating work will explore the idea of cinematic and multimedia art as the 'new readymade'. Engberg is a sensational choice to man the helm of the Biennale, which is celebrating its 40th anniversary this year. Her excitement is palpable as she reveals details of a "happy anarchy" to be released upon unsuspecting Sydneysiders on March 21, 2014. The Sydney Biennale is one of the world’s oldest and longest running biennial art fairs. It's also one of the few biennales offering free entry to visitors. Every edition of the event brings together some of the world's most exciting contemporary artists in a vibrant celebration of Australian and international visual art. Each year, the works are curated around a specific theme. In 2014, that will be 'You Imagine What You Desire'. This "optimistic" Biennale takes its cue from a George Bernard Shaw quote: "Imagination is the beginning of creation. You imagine what you desire, you will what you imagine and at last you create what you will." Images: Henna-Riikka Halonen, Moderate Manipulations, 2012 (video still) and Yael Bartana, Inferno, 2013 (production still).
As someone who spends a lot of time indoors (that's where the internet is), I can understand that leg itch, the twitch, that feeling of needing to go outside, and do something that really makes you feel alive. Some people jump out of planes, or wing suit down huge mountains. Those particular activities might be a bit much for some, but to celebrate the release of Berlin Syndrome, a film that really gets the blood pumping, we've come up with a list of activities to get you fired up without the risk of severe injury or death. GET OUT OF AN ESCAPE ROOM The premise of the escape room is simple enough. You're in a room, now escape it. The devil, as always, is in the detail. Escape room themes can be anything from an asylum to a gaol cell or a haunted house — anywhere that's going to get your brain imagining every possible outcome. And you're going to need your brain, if you ever want to get out of the room (jokes, of course you can leave whenever you want, if you're chicken). You and your team solve the clues, and break yourselves out.There are heaps of rooms around Melbourne, like Shutdown by Strike in the Melbourne Central, or Trapt on Lonsdale St. TACKLE A TEETERINGLY HIGH WALL While there are many who would argue that the point of climbing to the top of a cliff that you're just going to abseil down is a little counter productive, these arguments would tend to come from those who've never done it before. Rock climbing gets you going for a number of reasons — the fear of falling, the drive to push yourself to the top, and that feeling of the only other alternative, halfway up, is a leap of faith. Which we all know is a terrible idea. Melbourne Adventure Hub comes to the rescue again, with some great deals on climbs all within an hour from town. SEE A MODERN THRILLER IN A DARK CINEMA Based on a novel of the same name, the film follows Australian photojournalist Clare (played by Teresa Palmer) as she embarks on her first solo trip to Berlin. While travelling, she meets and begins a passionate romance with charismatic local man Andi. Their relationship soon takes an unexpected and sinister turn—she wakes one morning to discover that Andi has left for work and locked her inside his apartment, with no intention of ever letting her leave. Filmed on location in Berlin and Melbourne, the film is a thoughtful, psychological thriller written and directed by Australian Cate Shortland (who also directed the critically acclaimed Somersault). It examines tough topics such as emotional manipulation, gaslighting and Stockholm syndrome in a provocative fashion, leaving the audience with a new outlook on the relationship that can occur between captor and captive. Berlin Syndrome opens in Melbourne cinemas on April 20. GO WHITE WATER RAFTING WITHIN THE CITY There aren't many more things that'll get your heart rate up faster than careening down a choppy river at blistering speed in a boat that's made out of the same material as a raincoat. But don't worry, you get a helmet. While it might not be an activity for the faint of heart, white water rafting is a real thrill, kind of like canoeing but with an insane sugar rush. It's all about working in teams to overcome the problem which, in this case, is water that is trying to kill you (nah, you'll be safe, don't worry). Melbourne Adventure Hub puts private groups through their paces on the King River. GO CANYONING WITHIN A RELATIVELY QUICK DRIVE OF THE CBD There are many ways to the bottom of a canyon, but the fastest is by abseiling down with the assistance of some well placed ropes and a few sturdy carabiners. The real rush comes at the exact moment you step out, backwards over the precipice, and all over a sudden gravity has never been more apparent. Leaning back, you take that first step off the rock face and, boom, that's living. As usual, Red Balloon has some top experiences at Yarra Junction. Berlin Syndrome will be released in cinemas nationally on April 20 — watch the trailer here.
Heralded as the future of blues, Joe Bonammasa brings his fresh style and performance to the Palais Theatre. A fourth generation musician and son of guitar shop owning parents, Joe Bonamassa caught the attention of B.B. King, who described him as “one of a kind”, at age ten. By age twelve he was opening shows for King, and touring with people like Foreigner, Stephen Stills, Joe Cocker and Gregg Allman. Twenty-one years later and Joe Bonamassa is a sell-out sensation in his own right, filling arenas and famous venues like The Royal Abert Hall, and dueting with Eric Clapton. This Thursday Joe Bonamassa will show the sure-to-be-packed Palais Theatre just why he’s Slash’s favourite guitarist, has been awarded a host of awards, and regularly tops the US Billboard charts with his charismatic and mesmerising style, one full of depth and emotional resonance.
