UPDATED, Friday, March 15, 2024: Taylor Swift: The Eras Tour (Taylor's Version) is available to stream via Disney+. Just like a great music documentary, an excellent concert film isn't solely about existing fans. That's still true when a movie arrives in a sea of friendship bracelets, focuses on one of the biggest current singers in the world, and perhaps the largest and most devoted fandom there is can be seen screaming, dancing and crying joyfully in its frames in a 70,000-plus drove. As the shows that it lenses were, Taylor Swift: The Eras Tour was a financial success before any Swifties experienced their version of heaven. Swift's onstage journey through 17 years of tunes sparked ticketing mayhem both as a concert and a cinema release that captures close to every moment. The Eras tour is a billion-dollar entity, with the self-produced film that's spreading it further than packed stadiums a box-office bonanza since it was announced. The 169-minute-long movie is also a dazzling spectacle that neither dedicated Swifties nor casual viewers will be able to easily shake off. When Swift told the world that she never misses a beat and she's lightning on her feet in possibly her best-known pop song, everyone should've believed her. Long before 2014 earworm 'Shake It Off' gets a spin in the 1989 segment of The Eras Tour, she's proven those words true in an indefatigable onstage effort. "Can't stop, won't stop moving" describes her efforts and the film, which is as energetically directed by Sam Wrench (Billie Eilish Live at the O2) and edited by a six-person team (with Max Richter's Sleep's Dom Whitworth as its lead) as it is performed. And, for anyone that's sat through Valentine's Day and Cats and found them hardly purring, it gives Swift the cinema presence that she's been trying to amass here and there — The Giver and Amsterdam are also on her resume — for over than a decade. Watching The Eras Tour doesn't just feel like watching a concert, but a musical spectacular in its vast grandeur, complete with the lead to match. Filmed over three concerts at Los Angeles' SoFi Stadium in August — closing out the first US leg on a global excursion that'll have notched up nearly two years of performances when it finishes in Toronto in November 2024 — The Eras Tour goes for both scale and intimacy, the holy duo of the genre. Concert flicks can't just passively watch on. One of their biggest aims: gifting audiences perspectives on the show that they can't see in-person, including spanning far and wide plus near and close. So, this one takes in the massive crowd and the just-as-enormous stage design from above. It also gives Swift's dancers and band their due. And, it, sees the star herself get sweaty, and the changing gleam in her eye depending on what which track calls for. As bouncily spliced together, each image reinforces an inescapable takeaway: everything about this tour is huge, from the cast and crystal-clad costumes to the sets and setlist, and also Swift's own stamina and chameleonic showmanship. Live and as recorded for posterity, nine of the singer's ten studio albums earn their own era (the one that doesn't, her 2006 self-titled debut, receives a track during the late acoustic section). Cue pinballing between records and styles, appearances and themes, and ballads and pop. Accordingly, songs from 2019's bright Lover sung in a bejewelled bodysuit give way to gold fringing to go all country-pop with 2008's Fearless, then orange cottagecore and witchy black cloaks for 2020's Evermore, a one-legged and snake-clad black-and-red catsuit for 2017's Reputation, and so on. Eras onstage has been exhaustively documented since opening in Arizona in March, making knowing which tracks Swift will sing, outfits she'll wear, moss-covered cabins she'll sit atop and glistening pools she'll seem to dive into scarcely a surprise not only to the Swiftiest of Swifties, but to anyone who hasn't been able to avoid the tour coverage — but in a production this immense and evolving, a "what'll happen next?" vibe still pulsates. Sans accompanying footage — interviews, behind-the-scenes glimpses and commentary are absent, with just snippets of bloopers dotted through the closing credits — The Eras Tour lets the show and tunes do the talking, plus Swift's chatter when she addresses the adoring crowd. By the time that she mentions how fun it is to segue through sounds and looks, and how it's made possible due to her fans (so: popularity and sales), the film has already made that plain, too. An ode to reinvention sits at the centre of Eras onstage and on-screen, and to longevity as well. When 'Look What You Made Me Do' enlists Swift's dancers in clear boxes, each decked out like various versions of the superstar across the years, the Barbie nods aren't subtle. 2023 is clearly the year of cinema celebrating women being everything that they want to be, which thrums at the heart of two key Swift details: why she's kept striking a chord, including with her youngest aficionados who see her as an array of role models, and her savvy knack for transformation. To the delight of The Bear's Cousin (Ebon Moss-Bachrach, No Hard Feelings), 'Love Story' gets a whirl early. Usually Swift-agnostic The Eras Tour viewers can consider the hit TV dramedy's fictional character their spirit animal while watching. This presentation is as shiny and shimmering as everything that its star wears, and as irresistible as the catchy 'We Are Never Ever Getting Back Together' refrain and slinky 'Vigilante Shit' beat as a result. Getting to the why of it all, Swift briefly explains the tour's concept; "what are you gonna do, play for three hours?" she says she was asked about touring post-pandemic after not yet taking Lover, Evermore, fellow 2020 release Folklore and 2022's Midnights on the road. The swarm of phone-wielding concertgoers before her cheer, of course. Understanding why Eras has had everyone talking since is as simple as letting The Eras Tour wash over you. A music film veteran with movies about everyone from Mary J Blige and Blur to Brandi Carlile and Lizzo on his resume, director Wrench knows that his task with The Eras Tour is multifaceted. His latest concert flick needs to spy the macro and the micro; to feel like it's on the ground and unveiling a money-can't-buy experience; and to see its star as everything and an everywoman whether she's singing about falling in love, searching for a soulmate, heartbreak, revenge, empowerment and identity — and playing guitar or piano. That it does this so seamlessly is no minor feat. Swift isn't a stranger to bringing her shows to the screen, as seen with The 1989 World Tour Live and Taylor Swift: Reputation Stadium Tour, but Swifties will consider The Eras Tour their Stop Making Sense, The Last Waltz and Amazing Grace. For everyone else, all almost three hours of the film is still enchanting to meet. Top image: TAS Rights Management, Trafalgar Releasing.
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. DECISION TO LEAVE When it's claimed that Decision to Leave's Detective Hae-joon (Park Hae-il, Heaven: To the Land of Happiness) needs "murder and violence in order to be happy", it's easy to wonder if that statement similarly applies to Park Chan-wook, this stunning South Korean thriller's filmmaker. The director of Oldboy, Thirst, Stoker and The Handmaiden doesn't, surely. Still, his exceptional body of on-screen work glows when either fills its frames — which, in a career that also spans Joint Security Area, Sympathy for Mr Vengeance, Lady Vengeance and English-language TV miniseries The Little Drummer Girl, among other titles, is often. To be more accurate, perhaps Park needs to survey the grey areas that loiter around death and brutality, and surround love, lust, loss, and all matters of the brain, body and heart that bind humans together, to find cinematic fulfilment. Certainly, audiences should be glad if/that he does. In Decision to Leave, exploring such obsessions, and the entire notions of longing and obsession, brings a staggering, sinuously layered and seductively gorgeous movie to fruition — a film to obsess over if ever there was one. In this year's deserved Cannes Film Festival Best Director-winner, reserved insomniac Hae-joon is fixated from the outset, too: with his police job in Busan, where he works Monday–Friday before returning to Ipo on weekends to his wife (Lee Jung-hyun, Peninsula). That all-consuming focus sees his weekday walls plastered with grim photos from cases, and haunts the time he's meant to be spending — and having sex — with said spouse. Nonetheless, the latest dead body thrust his way isn't supposed to amplify his obsession. A businessman and experienced climber is found at the base of a mountain, and to most other cops the answer would be simple. It is to his offsider Soo-wan (Go Kyung-Pyo, Private Lives), but Hae-joon's interest is piqued when the deceased's enigmatic Chinese widow, the cool, calm but also bruised and scratched Seo-rae (Tang Wei, The Whistleblower), is brought in for questioning amid apologising for her imperfect Korean-language skills. In the precinct interrogation room, the detective and his potential suspect share a sushi dinner — and, in the lingering looks gazed each other's way even at this early stage, this may as well be a twisted first date. Hae-joon then surveils Seo-rae, including at her work caring for the elderly, which also provides her alibi. He keeps watching her at home, where her evenings involve television and ice cream. In stirring scenes of bravura and beauty, he envisages himself with her in the process, longing for the illusion he's building in his sleep-deprived mind. As for Seo-rae, she keeps stoking their chemistry, especially when she's somehow being both direct and evasive with her responses to his queries. She knows how small gestures leave an imprint, and she also knows when she and Hae-joon are both desperately hooked on each other. Every intelligently written (by Park and frequent co-scribe Chung Seo-kyung), evocatively shot (by cinematographer Kim Ji-Yong, Ashfall) moment in Decision to Leave is crucial; the film is made so meticulously, with a precision its protagonist would instantly admire, that cutting out even a second is unthinkable. Equally, every scene speaks volumes about this spellbinding movie — but here's three that help convey its simmering potency. In one, Hae-joon ascends up the victim's last cliff by rope, tied to Soo-wan, Busan looming in the background. In another, detailed blue-green wallpaper filled with mountains surrounds Seo-rae. And in yet another, she reaches into Hae-joon's pocket to grab his lip balm, then applies it to his mouth. Perspective is everything in this feature, Park stresses. Minutiae is everything, too. Intimacy is more than everything, actually, in a picture that's also grippingly, electrifying sensual. Read our full review. BARBARIAN "Safe as houses" isn't a term that applies much in horror. It isn't difficult to glean why. Even if scary movies routinely followed folks worrying about their investments — one meaning of the phrase — it's always going to be tricky for the sentiment to stick when such flicks love plaguing homes, lodges and other dwellings with bumps, jumps and bone-chilling terror. Barbarian, however, could break out the expression and mean it, in a way. At its centre sits a spruced-up Detroit cottage listed on Airbnb and earning its owner a trusty income. In the film's setup, the house in question is actually doing double duty, with two guests booked for clashing stays over the same dates. It's hardly a spoiler to say that their time in the spot, the nicest-looking residence in a rundown neighbourhood, leaves them feeling anything but safe. Late on a gloomy, rainy, horror-movie-101 kind of night — an eerie and tense evening from the moment that writer/director Zach Cregger's first feature as a solo director begins — Tess Marshall (Georgina Campbell, Suspicion) arrives at Barbarian's pivotal Michigan property. She's in town for a job interview, but discovers the lockbox empty, keys nowhere to be found. Also, the home already has an occupant in Keith Toshko (Bill Skarsgård, Eternals), who made his reservation via a different website. With a medical convention filling the city's hotels, sharing the cottage seems the only option, even if Tess is understandably cautious about cohabitating with a man she's literally just met. Ambiguity is part of Barbarian from the get-go, spanning whether Keith can be trusted, what's behind their double booking and, when things start moving overnight, what's going on in the abode. That's only the start of Barbarian's hellish story. Canny casting plays a considerable part in Barbarian's early unease; if you rocked up to a place that's meant to be yours alone for the evening only for Pennywise from the recent big-screen version of IT and its sequel lurking within — sans red balloon, luckily — you'd be creeped out. Skarsgård's involvement isn't the only reason that the movie's first act drips with dread and uncertainty, but it's a devastatingly clever use of him as a horror-film talent, and the Swedish star leans into the slippery and shifty possibilities. Still, after taking a photo of his ID and being wary of drinking beverages he's made, Tess warms to Keith over wine and conversation. He's having a loud nightmare on the couch, too, when her bedroom door opens mysteriously. When she gets stuck in the locked basement the next day, he's out at meetings. Then he returns, and they'll wish that a reservation mixup really was the worst of their troubles. Clearly made with affection for old-school horror, especially films by genre great Wes Craven, Barbarian feels like a well-crafted take on a familiar premise while it's laying its groundwork. Foolish is the viewer who thinks that they know where the movie is heading from there, though — or who ignores the instant bubblings of potential to zig and zag, plus the lingering inkling that something beyond the easily expected might stalk its frames. Indeed, watching Barbarian recalls watching scary flicks from four and five decades back for the first time, a rite of passage for every horror-loving teen no matter the generation, and being gripped by their surprises. Cregger bundles in twists, but he also establishes a vibe where almost anything can shift and change. Two cases in point: when Justin Long (Giri/Haji) shows up as a smug and obnoxious Hollywood player with #MeToo problems, and when the 80s isn't just an influence in scenes lensed in a tighter aspect ratio. Read our full review. BLACK ADAM "I kneel before no one," says Teth-Adam, aka Black Adam, aka the DC Comics character that dates back to 1945, and that Dwayne Johnson (Red Notice) has long wanted to play. That proclamation is made early in the film that bears the burly, flying, impervious-to-everything figure's name, echoing as a statement of might as well as mood: he doesn't need to bow down to anyone or anything, and if he did he wouldn't anyway. Yet the DC Extended Universe flick that Black Adam is in — the 11th in a saga that's rarely great — kneels frequently to almost everything. It bends the knee to the dispiritingly by-the-numbers template that keeps lurking behind this comic book-inspired series' most forgettable entries, and the whole franchise's efforts to emulate the rival (and more successful) Marvel Cinematic Universe, for starters. It also shows deference to the lack of spark and personality that makes the lesser DC-based features so routine at best, too. Even worse, Black Adam kneels to the idea that slipping Johnson into a sprawling superhero franchise means robbing the wrestler-turned-actor himself of any on-screen personality. Glowering and gloomy is a personality, for sure, but it's not what's made The Rock such a box office drawcard — and, rather than branching out, breaking the mould or suiting the character, he just appears to be pouting and coasting. He looks the physical part, of course, as he needs to playing a slave-turned-champion who now can't be killed or hurt. It's hard not to wish that the Fast and Furious franchise's humour seeped into his performance, however, or even the goofy corniness of Jungle Cruise, Johnson's last collaboration with filmmaker Jaume Collet-Serra. The latter has template-esque action flicks Unknown, Non-Stop, Run All Night and The Commuter on his resume before that, and helms his current star here like he'd rather still directing Liam Neeson. That said, Black Adam, the character, has much to scowl about — and scowl he does. Black Adam, the film, has much backstory to lay out, with exposition slathered on thick during the opening ten minutes. As a mere human in 2600 BCE in the fictional Middle Eastern country of Kahndaq, its namesake was among an entire populace caught under a cruel ruler hungry for power, and for a powerful supernatural crown fashioned out a mineral called 'eternium' that said subjects were forced to mine. Now, 5000 years later, Black Adam is a just-awakened mortal-turned-god who isn't too thrilled about the modern world, or being in it. Bridging the gap: the fact that back in the day, one boy was anointed with magic by ancient wizards to defend Kahndaq's people (the word "shazam!" gets uttered, because Black Adam dwells in the same part of the DCEU as 2019's Shazam! and its upcoming sequel), but misusing those skills ended in entombment until modern-day resistance fighters interfere. The above really is just the preamble. Black Adam is freed by widowed professor Adrianna (Sarah Shahi, Sex/Life), who is trying to fight the Intergang, the mercenaries who've been Kahndaq's new oppressors for decades — and, yes, Black Adam gets caught up in that battle. But being out and about, instead of interred in a cave, gets the attention of the Justice Society. The DCEU already has the Justice League and the Suicide Squad, but it apparently still needs another super-powered crew. Indeed, Suicide Squad and The Suicide Squad's Amanda Waller (Viola Davis, The First Lady) even shows up to help put this new gang together. That's how Hawkman (Aldis Hodge, One Night in Miami), Doctor Fate (Pierce Brosnan, The Misfits), Cyclone (Quintessa Swindell, Voyagers) and Atom Smasher (Noah Centineo, the To All the Boys movies) don their caped-crusader getup and try to stop Black Adam, or convince him to stop himself. Read our full review. THE GOOD NURSE It isn't called CULLEN — Monster: The Charles Cullen Story. It doesn't chart the murders of a serial killer who's already a household name. And, it doesn't unfurl over multiple episodes. Still, Netflix-distributed true-crime film The Good Nurse covers homicides, and the person behind them, that are every bit as grim and horrendous as the events dramatised in DAHMER — Monster: The Jeffrey Dahmer Story. Such based-on-reality tales that face such evil are always nightmare fodder, but this Eddie Redmayne (Fantastic Beasts: The Secrets of Dumbledore)- and Jessica Chastain (The Forgiven)-starring one, as brought to the screen by Danish filmmaker Tobias Lindholm (A War, A Hijacking), taps into a particularly terrifying realm. The culprit clearly isn't the good nurse of the movie's moniker, but he is a nurse, working in intensive care units no less — and for anyone who has needed to put their trust in the health system or may in the future (aka all of us), his acts are gut-wrenchingly chilling. Hospitals are meant to be places that heal, even in America's cash-driven setup where free medical care for all isn't considered a basic right and a societal must. Hospitals are meant to care for the unwell and injured, as are the doctors, nurses and other staff who race through their halls. There is one such person in The Good Nurse, Amy Loughren, who Chastain plays based on a real person. In 2003, in New Jersey, she's weathering her own struggles: she's a single mother to two young girls, she suffers from cardiomyopathy to the point of needing a heart transplant, and she can't tell her job about her health condition because she needs to remain employed for four more months to qualify for insurance to treat it. Then enters Cullen (Redmayne), the newcomer on Loughren's night shifts, a veteran of nine past hospitals, an instant friend who offers to help her cope with her potentially lethal ailment and also the reason that their patients start dying suddenly. There's no spoiler alert needed about The Good Nurse's grisly deeds or the person responsible. Cullen's name hasn't been changed in Krysty Wilson-Cairns' (Last Night in Soho, 1917) script, which adapts Charles Graeber's 2013 non-fiction book The Good Nurse: A True Story of Medicine, Madness, and Murder, and Loughren's similarly remains the same. The Good Nurse also opens with the quietly disquieting Cullen retreating as someone in a different hospital years earlier goes into convulsions — standing back motionless, he tries to appear anxious but instead looks like a creepy blank canvas. Accordingly, that he's the cause of much of the movie's horrors is a given from the outset, but that's only one of Lindholm and Wilson-Cairns' angles. As aided by centring Loughren's plight, The Good Nurse is also a film about institutional failings and coverups with very real consequences. Indeed, as set to an eerie score by Biosphere (Burma Storybook), there's a procedural feel to Lindholm's first feature in America; that he helmed episodes of Mindhunter beforehand doesn't come as a surprise. There are cops, too, in the form of detectives Baldwin (Nnamdi Asomugha, Sylvie's Love) and Braun (Noah Emmerich, Dark Winds), who are brought in seven weeks after a patient's passing just after Cullen arrives. But nurse-turned-administrator Linda Garran (Fear the Walking Dead), who summons the police, is hardly forthcoming — about the almost-two-month delay or with information overall. It isn't in the hospital's interests to be upfront, which is why and how Cullen has kept moving from healthcare facility to healthcare facility, and notching up a body count at each by spiking IV bags with fatal doses of insulin and other medications. No hospital wants to be seen to be at fault, and won't warn fellow institutions, either. Read our full review. 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 July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; September 1, September 8, September 15, September 22 and September 29; and October 6 and October 13. You can also read our full reviews of a heap of recent movies, such as Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise, Clean, You Won't Be Alone, See How They Run, Smile, On the Count of Three, The Humans, Don't Worry Darling, Amsterdam, The Stranger, Halloween Ends, The Night of the 12th, Muru and Mona Lisa and the Blood Moon.
A cup of tea can't soothe all ills, solve any traumas of the past or smooth over centuries of systemic oppression; however, it is how the biggest New Zealand film of 2022 started to spring to fruition. That movie is Muru, writer/director Tearepa Kahi's (Poi E: The Story of Our Song, Mt Zion) take on the treatment of Aotearoa's Tūhoe community by the NZ government and law enforcement. It spins a story easily tied to one event, the October 2007 armed police raids of Rūātoki that were carried out under terrorism laws — acting on supposed suspicion of paramilitary training camps in the Urewera mountain range — but it gleans inspiration from multiple incidents that've blighted the country's history. "This film is not a recreation… it is a response," Muru tells its audience at the outset. That's an important statement. Kahi's approach is to work through the raids — and to draw upon the police shooting of Steven Wallace in Waitara in 2000, and from the arrest of Rua Kēnana in Maungapōhatu in 1916 — to offer a reply that might just prevent such horrors from recurring in the future. His feature lays bare how the community was impacted when police stormed in 15 years ago, and the distress it brought. An emotional film as well as an action-packed one, Muru doesn't hold back, whether it's confronting generations of prejudice, reckoning with its consequences or depicting what that kind of experience is like in shattering detail. When the cups of teas behind Muru began being poured, Kahi wasn't the only one doing the sipping. Also at the table: Tāme Iti, who was one of 18 people arrested during the 2007 raids. His off-screen input was always going to be crucial; his on-screen presence is as well. The activist and Rūātoki local plays himself in the film opposite fellow tea-drinker and NZ actor Cliff Curtis (Reminiscence), with Kahi bringing two famed Aotearoans together for a pivotal cause. Passion radiates from the end result: passion to tell this tale, to do it justice, to reflect the community's ordeal and to make a difference. It's no wonder that Muru has not only resonated on home soil, including opening the 2022 New Zealand International Film Festival midyear and its local box-office success, but also travelled further afield. Berths at the Toronto and Busan film fests, a cinema release in Australia, earning the Asia Pacific Screen Awards' Cultural Diversity Award: they've all followed. As Muru continues to share its story in NZ, in Australia and beyond, we spoke with Kahi and Iti about making a feature that history demanded, those cups of teas, the responsibilities of a film like this and more. ON DECIDING TO MAKE A FILM THAT RESPONDS TO THE TŪHOE RAIDS Tearepa: "Our first cup of tea together was in 2018, but my father and Papa Tāme, and my father-in-law and Papa Tāme, are friends, so the relationship predates 2018. You could almost say 'where did this film start?'. It probably started on the 15th of October 2007." Tāme: "I think those beginnings, it was really talking to people that we can trust. For me personally, it was: who do I need to talk to, and how do we do that, and the purpose? Who's the audience? And so forth and all that. For me, sharing my story, our story, the village's story to Tearepa is based on trust, connections and having those relationships with him and his family. So it has become a family collaboration or participation. It is really the timing too — it happened at the right time — and putting those layers of the story together. They came up with the magic." [Tāme points to Tearepa.] Tearepa: "The three of us — one, two and Cliff — we all started having cups of tea and plotting this chessboard out, really interrogating the themes, and pulling this chessboard of characters together." ON TĀME ITI PLAYING HIMSELF Tāme: "I mean, when Tearepa and I were talking about the character…" Tearepa: "I had a secret. And I kept the secret from him." Tāme: "It was all good. At the end of it, I did agree to it. There was a moment of anxiety, but I got over it and just moved along — it was fun, really." Tearepa: "We surrounded Papa Tāme with the best cast we could produce from NZ at the time of shooting. We were really proud — and the fact is that all of these people came on was because everyone was committed to wanting to bring Papa Tāme's story to life on-screen." Tāme: "And having the experience working with people like Cliff Curtis and Manu Bennett." Tearepa: "And Jay Ryan." Tāme: "And Jay Ryan. That was a new experience for me, working with people that have the craft and they're very good at it, and learning from that, too." Tearepa: "They learned a lot from you too, though. They learned a lot from you Papa." Tāme: "But it was great." ON FINDING THE RIGHT APPROACH Tearepa: "It's not what happened — it's a response to what happened. In that spirit, the spirit that guided us through here, is that this film, Muru, we hope is a prevention from this occurring to Tūhoe or to any Māori community ever again. Two times, our government has repeated their actions. And in many ways this is more than a reminder — it's a clear, strong message that the memory of the community is alive and well. It's saying: 'we know what you've done and we know what has happened, and here is our response. We've taken preventative measures to ensure the safety, the ongoing safety of our communities'. There was another version that was just much more Beehive and Wellington and police-focused, and a sort of very faithful chronological understanding of the machine and the system, and how it reached the moment of pushing the red button. But when we really held that script up and stress-tested it, there's no heart there, there's nothing to learn there. Why aren't we in the community? So we successfully screwed that one up and threw it into the basket, and put our story where it rightfully should be told." ON WORKING THROUGH REAL-LIFE TRAUMA WITH THE TŪHOE COMMUNITY Tāme: "That was my role, and others around us, to have those conversations with the community." Tearepa: "We had two years' worth of conversations. This was something that we carried with us every day, over the entire process. Is the commitment to telling this story going to enact more trauma, or retraumatise? Or, can we do this in a way where the point is so well-articulated, and the kaupapa is so well-understood and carried by everybody involved with this, that we do understand it as a prevention?" ON MAKING THE FILM WHERE THE RAIDS HAPPENED Tearepa: "What was it like staging an action film in Tāme's backyard? It was the most fun we've ever had as a full, experienced crew. We made many decisions from the outset, and one of them was not to shoot this in a West Auckland studio, or on a Lord of the Rings set. So we went to Tāme's backyard, and we spent our time conversing and communicating with everybody there so everyone in the community had an understanding of what was going to happen. It was an incredible amount of fun. It required an incredible amount of focus. Why it was easy was because it was all character-motivated and generated, so we're not imposing this external new worldview into the film — the film and the sequences are driven by the action of the characters. So that made it clear for everyone." ON SHOOTING DURING THE PANDEMIC Tearepa: "It was the best thing for us because it brought us much focus, and it brought us closer together. We're always trying to cast the lightest footprint in and amongst the community, but the amount of focus meant there was no third wheel to lean on. It was really up to us. It was like making an old-school 1980s film, you know, an old-school George Miller or an old-school Geoff Murphy film. It was just us and the crew, deep in the Valley, making this thing happen." ON THE PERSONAL IMPACT AMONG THE COMMUNITY, CAST AND CREW Tāme: "It was a whole new experience for the Valley, and bringing people into the space. Actually, that part was quite fun. After everybody agreed to participate in the making of the movie — it was a big thing for the village, to see something big is happening within our village — they were really excited, particularly my generation, the older folks, the ladies and the men there. And meeting Cliff Curtis and Manu Bennett, and all those guys — they really loved that." Tearepa: "There was an excitement factor, but then down inside each character, our cast members, there was a personal connection to the date, to the day that we're trying to bring to life as well. And that's what everyone was carrying — this personal connection. A lot of people were caught up inside this raid that day, and everyone had a personal story that connected them to someone who had been victimised or someone who had been caught up in this false net, so the personal stakes were really, really high." ON BRINGING THIS STORY TO THE WORLD Tearepa: "Everyone stays glued to their seats when the credits roll. We have been so specific with the Valley, in terms of the dialect, the language, the relationships — they are so specific. And I guess in committing to that level of specificity, you are universalising the story. There's a big undercurrent that's happening worldwide in terms of questions of authority, policing and how they should be protecting communities — there's always been a question mark there. So with that theme of loyalty and protection and authority, there is a lot of international resonance when they watch this specific valley." Tāme: "I had this conversation with Tearepa, sharing some of those experiences, those stories that come from within the village. The experiences we're covering come from well over 100 years — not just what happened in 2007, but what happened in 1916 to Rua Kēnana, what happened in the 1860s, right through that whole period of time. We survived here to tell the story, and to bring that story here and share it to the world really. And of course it resonated to many other Indigenous people, to other people that have been through the same experiences like our village." Tearepa: "To add to it, there is an overall awareness of the why we're making it — but really, in terms of the scriptwriting, it was about understanding and turning inwards. It was very inward-facing, to look into the Valley, to look into Papa Tāme's personal story. And with those themes, how we could bring those themes to life with characters within the village, within the Valley? Muru is screening in Australian and New Zealand cinemas. Read our full review. Images: Jawbone Pictures, Wheke Group Limited.
In The Guest Edit we hand the reins over to some of the most interesting, tasteful and (or) entertaining people in Australia and New Zealand. For this instalment, we've enlisted the elegant taste of Aotearoa-based fashion designer Juliette Hogan amid the launch of her super soft — and super kind to the planet — JHL loungewear range. Hogan has handpicked her five favourite sustainable brands that show caring for the planet does not mean compromising on style or quality. After all, who knows style better than one of the country's most celebrated designers? JULIETTE HOGAN: Sustainability is no longer a 'nice-to-have' when making purchasing decisions — it is an absolute essential. As a whole, the fashion industry has a long way to come, but it's encouraging to see change. I'm excited by the continued evolution to a more transparent sharing of knowledge within our industry — both from our suppliers and to our consumers. At JHL, we believe we owe it to our customers to be constantly improving and evolving in the sustainability space in order to create genuine, honest and enduring connections with them. At the end of the day, the power is in the consumer's hands. When you make a more sustainable choice, you are sending a message about what is valuable to you. Every decision adds up, and collectively that begins to have real impact. SANS CEUTICALS Founded by Kiwi Lucy Vincent and made with the intention of taking chemicals and preservatives out of our most soothing daily rituals, Sans Ceuticals is one of my favourite skincare companies. I particularly love the Activator 7 Body, Hair and Face Oil. Find it now: On Sans Ceuticals' website or at Mecca, with shipping available around both Australia and NZ. AMISFIELD WINE I really enjoy Amisfield wine and love everything they do, including the restaurant and cellar door. I was pleased to see that they recently received recognition of Riedel Organic Winery of the year in 2020. My favourites would have to be the Pinot Noir and the Pinot Noir Rose. Find it now: At Amisfield Winery in Queenstown or on the Amisfield website, with shipping available around both Australia and NZ. JH LOUNGE For obvious reasons, JHL is of course on my go-to list of sustainable labels. There was a gap in my wardrobe, so we looked to fill it with JHL, which are considered basics designed to elevate the everyday. Everything in the collection is developed from sustainable and responsible materials, which we love and are really proud of. Find it now: The JHL website or through The Iconic, with shipping available around both Australia and NZ. GOODFOR I love GoodFor's refinery. I've recently started making homemade crackers for cheeseboards and get all of the ingredients here, as I know they're the best out there. Find it now: The GoodFor website with shipping available around NZ only. HABITUAL GOODS This brand was founded in Christchurch and has been built from the ground up, by the best local crafts people, from the best possible materials. The brassware range is incredible. Find it now: The Habitual Goods website, with shipping available around both Australia and NZ.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning 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, comedies, music documentaries, 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. FAST AND FURIOUS 9 Fast cars, furious action stars, a love of family and oh-so-many Coronas: across ten movies over 20 years, that's the Fast and Furious franchise. It might've started out as a high-octane spin on Point Break, but this long-running series has kept motoring across nine flicks in its main storyline, and also via a 2019 spinoff. The latter, Hobbs & Shaw, actually casts a shadow over the saga's latest instalment. Because Dwayne Johnson was part of that sidestep, he doesn't show up in Fast and Furious 9. He's missed, regardless of whether you're usually a diehard fan of the wrestler-turned-actor, because he's managed to perfect the F&F tone. Over his decade-long involvement to-date, Johnson always seems amused in his Fast and Furious performances. He's always sweaty, too, but that's another matter. Entering the F&F realm in Fast Five, he instantly oozed the kind of attitude the franchise needs. He knows that by taking the outlandish stunts, eye-catching setpieces and penchant for family with the utmost seriousness, these films border on comedic — and by navigating five flicks with that mood, he's been the saga's playful and entertaining barometer. Without Johnson, Fast and Furious 9 isn't as willing to admit that it's often downright silly. It's nowhere near as fun, either. Hobbs & Shaw wasn't a franchise standout, but Fast and Furious 9 mainly revs in one gear, even in a movie that features a high-speed car chase through Central American jungles, a plane with a magnet that can scoop up fast-driving vehicles and a trip to space in a rocket car. The latest F&F is as ridiculous as ever, and it's the least-eager F&F film to acknowledge that fact. It's also mostly a soap opera. It leans heavily on its favourite theme — yes, family — by not only swapping in a different wrestler-turned-actor as Dominic Toretto's (Vin Diesel, Bloodshot) long-lost sibling, but also by fleshing out the warring brothers' backstory through flashbacks to their tragic past. Fast and Furious 9 starts with an 80s-era Universal logo, because that's the time period it heads to first — to introduce a teen Dom (Vinnie Bennett, Ghost in the Shell), his never-before-mentioned younger brother Jakob (Finn Cole, Dreamland) and their dad Jack (JD Pardo, Mayans MC). It's 1989, the elder Toretto is behind the wheel on the racetrack, and his sons are part of his pit crew. Then tragedy strikes, tearing the Toretto family apart. In the present day, Dom and Jakob (John Cena, Playing with Fire) definitely don't get along. Indeed, when Roman (Tyrese Gibson, The Christmas Chronicles: Part Two), Tej (Chris 'Ludacris' Bridges, Show Dogs) and Ramsey (Nathalie Emmanuel, Four Weddings and a Funeral) drive up to the rural hideout that Dom has been calling home with wife Letty (Michelle Rodriguez, Crisis) and toddler son Brian (first-timers Isaac and Immanuel Holtane) since the events of 2017's The Fate of the Furious, he doesn't even want to hear about the latest mission that demands their help. The only thing that changes his mind: realising that Jakob is involved and up to no good. Read our full review. VALERIE TAYLOR: PLAYING WITH SHARKS Steven Spielberg directed Jaws, the 1975 horror film that had everyone wondering if it was safe to go back into the water — and the movie that became Hollywood's first blockbuster, too — but he didn't shoot its underwater shark sequences. That task fell to Australian spearfisher and diver-turned-oceanographer and filmmaker Valerie Taylor and her husband Ron, who did so off the coast of Port Lincoln in South Australia. If it weren't for their efforts, the film mightn't have become the popular culture behemoth it is. When one of the animals the Taylors were filming lashed out at a metal cage that had held a stuntman mere moments before, the pair captured one of the picture's most nerve-rattling scenes by accident, in fact. And, before Peter Benchley's novel of the same name was even published, the duo was sent a copy of the book and asked if it would make a good feature (the answer: yes). Helping to make Jaws the phenomenon it is ranks among Valerie's many achievements, alongside surviving polio as a child, her scuba and spearfishing prowess, breaking boundaries by excelling in male-dominated fields in 60s, and the conservation activism that has drawn much of her focus in her later years. Linked to the latter, and also a feat that many can't manage: her willingness to confront her missteps and then do better. The apprehension that many folks feel when they're about to splash in the ocean? The deep-seated fear and even hatred of sharks, too? That's what Valerie regrets. Thanks to Jaws, being afraid of sharks is as natural to most people as breathing, and Valerie has spent decades wishing otherwise. That's the tale that Valerie Taylor: Playing with Sharks tells as it steps through her life and career. Taking a standard birth-to-now approach, the documentary has ample time for many of the aforementioned highlights, with Valerie herself either offering her memories via narration or popping up to talk viewers through her exploits. But two things linger above all else in this entertaining, engaging and insightful doco. Firstly, filmmaker Sally Aitken (David Stratton: A Cinematic Life) fills her feature with stunning archival footage that makes for astonishing and affecting viewing (Ron Taylor is credited first among the feature's five cinematographers). Secondly, this powerful film dives into the work that Valerie has spearheaded to try to redress the world's fright-driven perception of sharks. Like last year's David Attenborough: A Life on Our Planet, 2017's Jane Goodall documentary Jane and underwhelming 2021 Oscar-winner My Octopus Teacher, this is a movie about being profoundly changed by the natural world and all of its splendour. Read our full review. MARTIN EDEN The last time that one of Jack London's books made the leap to cinema screens — just last year, in fact — it wasn't a pleasant viewing experience. Starring Harrison Ford and a CGI dog, The Call of the Wild forced viewers to watch its flesh-and-blood lead pal around with a needlessly anthropomorphised canine, to groan-inducingly cheesy results. Martin Eden is a much different book, so it could never get the same treatment. With his radiant imagery, masterful casting and bold alterations to the source material, writer/director Pietro Marcello (Lost and Beautiful) makes certain that no one will confuse this new London adaption for the last, however. The Italian filmmaker helms a compelling, complicated, ambitious and unforgettable film, and one that makes smart and even sensuous choices with a novel that first hit shelves 112 years ago. The titular character is still a struggling sailor who falls in love with a woman from a far more comfortable background than his. He still strives to overcome his working-class upbringing by teaching himself to become a writer. And, he still finds both success and scuffles springing from his new profession, with the joy of discovering his calling, reading everything he can and putting his fingers to the typewriter himself soon overshadowed by the trappings of fame, a festering disillusionment with the well-to-do and their snobbery, and a belief that ascribing worth by wealth is at the core of society's many problems. As a book, Martin Eden might've initially reached readers back in 1909, but Marcello sees it as a timeless piece of literature. He bakes that perception into his stylistic choices, weaving in details from various different time periods — so viewers can't help but glean that this tale just keeps proving relevant, no matter the year or the state of the world. Working with cinematographers Alessandro Abate (Born in Casal Di Principe) and Francesco Di Giacomo (Stay Still), he helms an overwhelmingly and inescapably gorgeous-looking film, too. When Martin Eden is at its most heated thematically and ideologically, it almost feels disquieting that such blistering ideas are surrounded by such aesthetic splendour, although that juxtaposition is wholly by design. And, in his best flourish, he enlists the magnetic Luca Marinelli (The Old Guard) as his central character. In a performance that won him the Best Actor award at the 2019 Venice Film Festival, Marinelli shoulders the eponymous figure's hopes, dreams and burdens like he's lived them himself. He lends them his soulful stare as well. That expression bores its way off the screen, and eventually sees right through all of the temptations, treats and treasures that come Eden's way. Any movie would blossom in its presence; Martin Eden positively dazzles, all while sinking daggers into the lifetime of tumult weathered by its titular everyman. THE MOLE AGENT At this year's Oscars, the Academy of Motion Picture Arts and Sciences anointed the past year's best documentary, as it usually does — deciding that the standout factual film of the year told a tale about a man and his bond with a sea creature. My Octopus Teacher falls into a busy genre of films about being forever shaped and altered by the earth's natural splendour (see also: Valerie Taylor: Playing with Sharks), but it isn't the only one of 2021's nominees that demonstrates how unexpected connections can reap rewards, insights and new perspectives. Chilean doco The Mole Agent does the same, albeit in a vastly dissimilar manner. Its focus: an elderly man hired by a private investigator to go undercover in a retirement home. Rómulo Aitken's client suspects that the facility may be blighted by elder abuse, so he needs someone who'll blend in to do his sleuthing. Answering an advertisement for someone aged between 80 and 90, octogenarian and recent widower Sergio Chamy couldn't be more keen for the gig. He doesn't quite have a handle on the technology he'll need to use, despite trying to claim otherwise. Indeed, when he tries to show Rómulo that he can use a smartphone, he takes countless photos while claiming he's snapping none. Still, he's boundlessly eager to distract himself from his grief by taking on a new adventure, making new friends, and even learning a thing or two. For the mostly female residents at El Monte's San Francisco Nursing Home, for Rómulo and for filmmaker Maite Alberdi (The Grown-Ups) alike, Sergio is a dream — even though he's definitely not your usual spy or detective. He doesn't always fulfil his assigned tasks as asked, but he's a delight to spend time with as he endeavours to record what's going on at the home via his hidden camera-equipped glasses and pen. As they explain again and again in candid and lively chats to camera (presumably because they think they're being filmed for a more traditional type of doco), the women he's now sharing a facility with definitely agree that he's a charmer. In fact, Sergio is so charismatic that he fails to simply blend in, observe and report back. He's also a much-needed and -welcomed source of kindness and comfort to the home's residents, many of whom have no other company to turn to, and it's these interactions he largely documents in his dispatches to Rómulo via WhatsApp. Alberdi still charts his overall mission, but his general presence elicits just as much interest. With a crown for king of the home coming his way, and many of his peers fawning of him, there's much to chronicle. In her third film to focus on the elderly (after La Once and short I'm Not from Here) Alberdi sees the change he brings to people who haven't been paid this much attention in years, and also the change the spy gig brings in Sergio — and sharing her affectionate gaze is easy in this thoughtful film. MY ZOE Rare is the film that nods overtly to more than a few of its influences, yet still manages to inhabit its own niche and no one else's. My Zoe is one of those movies. Its first half bears much in common with 2017's exceptional French drama Custody, while its second half takes its cues from the greatest horror novel ever written. That combination works astonishing (and almost disarmingly) well, and nothing here every feels like a mere clone of better material. In the movie's opening section, Berlin-based geneticist Isabelle (Julie Delpy, Wiener-Dog) juggles the struggles of co-parenting with her ex James (Richard Armitage, The Lodge). They both dote on seven-year-old Zoe (Sophia Ally, The Current War), but they also argue incessantly — largely due to James' dour behaviour, cruel demeanour and ludicrous demands. By the time that Isabelle calls him "just an awful human being" in one of their arguments, the audience is already on her side. They settle their custody dispute, but the bickering doesn't subside when Zoe is found unconscious and requires hospitalisation. Eventually, though, Isabelle has another dilemma to navigate, involving a desperate ploy to get back what she's lost, a risk-taking doctor (Daniel Brühl, The Falcon and the Winter Soldier) in Moscow and an option his own wife (Gemma Arteton, Summerland) warns against. Directing, writing and starring here — as she's done with Looking for Jimmy, 2 Days in Paris, The Countess, Skylab, 2 Days in New York and Lolo before — Delpy could've made the relationship and tragedy side of My Zoe into a feature of its own, and then done the same with the science fiction-tinged exploration of loss that follows. Blending the two together befits one of her overt sources of inspiration, Mary Shelley's Frankenstein, though. For more than 200 years now, the gothic classic has examined how grief leads to drastic reactions, how science can let humans play god in increasingly bold and consequential manners, and how we're hardwired to use the latter to work through the former, as well as our fears of mortality — and My Zoe picks up those threads, interrogates them with today's medical advances in mind, and turns them into quite the haunting piece of cinema. Both sensitivity and realistic emotions linger in both of the movie's halves, and in Isabelle's actions and choices along the way. Delpy directs herself to a fantastic performance, and pairs her efforts with a poised and empathetic perspective throughout. Another savvy move, and one that epitomises how exactingly Delpy has thought through every detail: that, if you aren't paying the utmost attention during the first half, you mightn't even realise that the film takes place in the near-future. A FAMILY Just five letters are needed to turn A Family's title into the name of one of popular culture's most famous clans. The Addams crew aren't the subject of this Australian-produced, Ukraine-shot blend of comedy and drama, but it does delve into the creepy, kooky and mysterious anyway. The feature debut of director Jayden Stevens — who co-wrote the script with his cinematographer Tom Swinburn (Free of Thought) — the absurdist gem spends time with the stern-faced Emerson (first-timer Pavlo Lehenkyi). With none of his family around for unexplained reasons, he pays other Kiev locals to play their parts, staging dinners, Christmas parties and everyday occasions. They eat, chat and do normal family things, all for Emerson's camera. His actors (including Maksym Derbenyov as his brother and Larysa Hraminska as his mother) all need to stick to his script, though, or he'll offer them a surly reprimand. Olga (Liudmyla Zamidra), who has been cast as his sister, struggles the most with her role. She's also the member of this little faux family that Emerson is particularly drawn to. Her own home life with her mother Christina (Tetiana Kosianchuk) is far from rosy, with the pair suffering from her dad's absence, so eventually Olga decides that Emerson's role-play game might work there as well. A Family is a film of patient and precise frames, awkwardly amusing moments, and bitingly accurate insights into the ties that bind — whether of blood or otherwise. It's a movie that recognises the transactional and performative nature of many of life's exchanges, too, and ponders how much is real and fake in both big and seemingly inconsequential instances. To perfect all of the above, Stevens walks in Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer, The Favourite), Aki Kaurismäki (Le Havre, The Other Side of Hope) and even the usually inimitable David Lynch's shoes. His feature is austere, deadpan and surreal all at once, and smart, amusing and savage at the same time as well. Indeed, if a bigger-name filmmaker had made this purposefully and probingly off-kilter picture, it would've likely proven a film festival darling around the globe. A Family did start its big-screen run at a fest, at the Melbourne International Film Festival back in 2019. Now reaching Australian cinemas after a year that's seen everyone either spend more time with or feel more physical distance from their nearest and dearest, it feels doubly potent. Every lingering image shot by Swinburn — and all of the pitch-perfect performances that he captures — speak loudly to the cycle of yearning and disconnection that comes with being alive, and that never stops being put under a microscope. FROM THE VINE Uprooting to Italy on a whim is bound to change your life, and no one needs a movie to tell them that. Plenty of films keep stressing the message, though; if Under the Tuscan Sun and Eat Pray Love didn't get the idea across, 2020's Made in Italy tried to, and now From the Vine does the same. The only new things that this latest sun-dapped European-set jaunt has to add to its concept: talking vines, and reminders that the corporate world cares for no one and small towns can struggle. So, this movie trades in fantasies and the obvious, and does so several times over. It also relies heavily upon rural Italy's obvious scenic sights, thanks to frequently used drone shots of Acerenza, the quaint Potenza spot where the bulk of the movie is set. Lawyer-turned-car manufacturing company CEO Marco Gentile (Joe Pantoliano, Bad Boys for Life) was born and raised locally, but left as a child; however, it's the first place he thinks of heading when he quits his job after a tussle with the board over sustainability. His wife Marina (Wendy Crewson, The Nest) refuses to go with him, and their daughter Laura (Paula Brancati, Workin' Moms) is certain he's having a midlife crisis — but, after making the trip, reacquainting himself with the locals and setting back into his late grandfather's own vineyard, he realises he's found la dolce vita. From the Vine has Marco and Marina chat about La Dolce Vita, the 1960 classic, and about the Audrey Hepburn-starring Roman Holiday, too — in case the themes and messages the film is going for really weren't clear enough. They are, of course; working with a script adapted from Kenneth Canio Cancellara's novel Finding Marco by screenwriter Willem Wennekers (Buckley's Chance), filmmaker Sean Cisterna (Full Out) loves spelling out as much as possible. Not a single character seems to have a thought they don't overtly state, every plot development is telegraphed as far ahead as the movie can manage, and stressing the apparent idyll by shoehorning in yet another scenery shot happens again and again. Then there's those talking vines, as well as scenes where the adult Marco chats with his grandfather's ghost. Apparently viewers wouldn't understand exactly what's tempting Marco to give up his old existence if greenery and the dead didn't chatter. Although in far less challenging and rewarding territory than his past roles in the likes of Memento and The Sopranos, Pantoliano is the best thing about this dully formulaic flick — a result that also fits a template. Christopher Walken was in the same situation just last week with Percy vs Goliath, in fact. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; May 6, May 13, May 20 and May 27; and June 3 and June 10. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella, My Name Is Gulpilil, Lapsis and The Conjuring: The Devil Made Me Do It.
It began, as so many wonderful internet things do, with an XKCD cartoon. Titled Up-Goer Five, the schematic explained the internal workings of the only rocket to have transported humans into space, the Saturn V, using only the 1000 most commonly used words in the English language. Rocket is not one of the words, nor thousand. Nor most of the words in this paragraph. In the last few days, enabled by Theo Sanderson's specially built text editor, several other people have Up-Goer Fived their own area of expertise. Most of them are scientists from esoteric fields, giving us laymen a rare chance to grasp what their life's work is about. Not being able to use jargon makes for some convoluted WTF gibberish sentences, but at other, better times, it creates windows where you can grasp at some previously ungraspable idea. Check out these excerpts and their simply stated insights. 1. Saturn's moon Iapetus is two-toned because bits of air turn into ice on the back side of it "First, it runs into black stuff that sticks to the front of it. That black stuff takes in more light from the sun and makes it warmer. That makes very tiny bits of the ice it's made of turn into air, and the bits of air go around it and turn back into ice on the back side of it. Second, when the bits of ice go away from the front side, they leave behind dark stuff that was between and under them, and that makes the front side even blacker, and helps it warm up even more, so things go on and on and on. The back side is white because it didn't get black stuff on it, and also because the ice that went away from the black side went there and made it bright." By Rachel Klippenstein. Read in full at io9.com. 2. The Higgs boson is the tiny thing that makes all other things heavy "What makes the tiniest things heavy? The best guess explained this by saying that all around us is a field, which is a bit like water or some other stuff that would slow you down if you tried to walk through it … [U]ntil last year, people weren’t completely sure this field was real. But they knew that if it was real, and you shook it really hard, then a totally new tiny thing would fall out of it. That’s because it’s a bit like the water-like-stuff is made out of this new tiny thing." By Michael Slezak. Read in full here. 3. We don't have robot helpers yet because it's hard to make computers with bodies walk "We want the computers with bodies to run quickly. We want them to climb walls. We need them to do these things even when the ground is covered in rocks or with ice, without tripping and falling or getting stuck. We look a lot at animals to see how they do these things. We try to understand how their brain decides where to put their legs, and how their legs are built." By Shira E. Read in full here. 4. The Bechdel Test is a check to see if things are even in the way they show men and women "To make the story as much like real life as possible (except for the made-up bits) you really do need a lot of different kinds of people, not just lots of men who are quite like each other because they are all young and white and strong. This makes it easier for people to accept the really made up bits, because the rest of the story feels much more real." Read in full here. 5. Environmental protection might mean not giving so much food to animals and cars "So how are we going to grow more food without cutting down more trees? One answer to this problem is looking at how we use the food we grow today. People eat food, but food is also used to make animals and run cars. In fact, animals eat over one-third of the food we grow." By Emily S. Cassidy, environmental scientist. Read in full here. 6. Postmodernism is that many things we think are facts are actually stories "This is not to say the facts are not true. But the story isn't." Read in full here.
It's been a little under two years since star chef Shane Delia brought his lo-fi, modernised kebab offering to Windsor, setting up Biggie Smalls on Chapel Street. But now, the hip hop tunes and crinkle-cut chips are being switched out for something a little sleeker, as the venue transforms into new culinary concept Maha East. Sibling to Delia's acclaimed CBD restaurant Maha, the reimagined Windsor space will soon be showcasing the same elevated Middle Eastern flavours and contemporary flair, only with a more relaxed edge. While the original Maha is known for its degustation-driven dining options, guests at the Chapel Street newcomer will find themselves faced with a little more choice and a slightly fatter wallet at the end of a feed. Delia and Head Chef Simon Lillico are still adding the final touches to the Maha East food offering, though we do know that both lunch and dinner will offer the option of a la carte or a share-style set menu. Whatever you choose, get set for a mix of tried-and-true favourites and creative new dishes, from slow-roasted lamb shoulder and famed turkish delight doughnuts to the likes of fried buns filled with taramasalata and topped with salmon caviar, and house-baked breads with hummus and a Persian saffron XO. [caption id="attachment_722637" align="alignnone" width="1920"] Brook James[/caption] The drinks program is set to be a major focus, too, with a 120 bottle-strong wine list heroing both old-world styles and more contemporary drops, alongside Maha's full lineup of signature cocktails. Yes, that means the legendary Pomegranate Sour will be be making an appearance. Meanwhile, the design of the 40-seat restaurant will favour the timeless, pulling together a suave mix of bronze-edged stone, walnut panelling and rich green accents. If you'd still like a taste of Delia's lo-fi kebabs, fear not — you can still visit the original Biggie Smalls outpost in Collingwood. Find Maha East at 36 Chapel Street, Windsor from Thursday, June 27. It'll be open for dinner daily and lunch on Saturday and Sunday. Images: Brook James
Almost every bakery in town is spruiking their limited-time Easter creations, so making the best choice for your long weekend won't be easy. If you're weighing up the (many, many) options, just know that Penny for Pound has years of form in this area, having served up in-demand hot cross buns to huge fanfare for nearly a decade. However, in 2025, the bakery is taking things up a notch, with a full range of limited-time goods on its Easter lineup. Hot cross bun fanatics will be happy to know that Penny for Pound's sought-after versions will be available until April 20. There are a two flavours on offer: a dressed-up take on the classic which sees earl-grey soaked raisins, currants and sultanas elegantly balanced with orange zest and cinnamon and a triple-chocolate bun that packs decadent dark chocolate chunks into every bite. But the fun begins with Penny for Pound's new Easter inventions — the hot cross-ant and the hot cross cinnamon scroll. For the former, co-owners Matilda Smith and Ben Wilson put their clever and creative heads together to create a genius mash-up, where flaky croissant meets classic hot cross bun flavours. Filled with cinnamon, orange-spiced almond frangipane and the traditional fruit, these treats are available fresh in-store or as convenient bake-at-home frozen packs. Plus, they're topped with the classic Easter cross. Meanwhile, the hot cross cinnamon scroll features a light, fluffy scroll dough infused with spiced brown sugar, cinnamon and plump sultanas. Glazed with vanilla sour cream and topped with a cinnamon cross, these special edition baked goods are bound to give your Easter long weekend a sweet lift. Founded in 2018, Smith and Wilson have expanded beyond Penny for Pound's original Richmond location, with bakeries now thriving in Camberwell and Moorabbin. Renowned for its intricate and inventive cakes and handcrafted baked goods, the bakery has become a go-to for pastry fans seeking a sweet, flaky bite to kickstart their weekday morning or weekend ritual. Penny for Pound's limited-time Easter treats are available in-store until April 20 at Richmond, Camberwell and Moorabbin locations. Head to the bakery's website for more information.
After its enormous success on Broadway and in London's West End, the Tony and Olivier award-winning musical Come From Away is touring its remarkable true tale around Australia's east coast. Based on real post-September 11 events, the acclaimed production is on in Melbourne until October 30. If you aren't familiar with the musical's plot or the actual events that inspired it, it's quite the exceptional story. In the week after the September 11 attacks in 2001, 38 planes were unexpectedly ordered to land in the small Canadian town of Gander, in the province of Newfoundland. Part of Operation Yellow Ribbon — which diverted civilian air traffic to Canada en masse following the attacks — the move saw around 7000 air travellers grounded in the tiny spot, almost doubling its population. Usually, the town is home to just under 12,000 residents. To create Come From Away, writers and composers Irene Sankoff and David Hein spent hundreds of hours interviewing thousands of locals and passengers, using their experiences to drive the narrative — and, in many cases, using their real names in the show as well. The result is a musical not just about people coming from away (the term that Newfoundlanders use to refer to folks not born on the island), but coming together, all at a time when tensions were running high worldwide. Since being workshopped in 2012, having a run in Ontario in 2013, then officially premiering in San Diego in 2015, Come From Away has become a global smash hit. After opening on Broadway in 2017, it was still running before the theatre district closed due to COVID-19. The musical wowed crowds in the West End, too — and, when it first opened in Melbourne in July 2019, it became the Comedy Theatre's most successful musical in the venue's 91-year history. Along the way, the show has picked up a Tony Award for best direction of a musical, six other nominations, and four Olivier Awards out of nine nominations. https://www.youtube.com/watch?v=-zmvy1p2FOE&feature=emb_title Images: Jeff Busby. Come From Away is showing at the Comedy Theatre until Sunday, October 30. Tickets and more information can be found on the website.
The roll call of food favourites setting up shop at 80 Collins Street continues to grow, with four final venues announced for the $800 million CBD development. Melbourne's already getting excited for new eateries from Chin Chin's Chris Lucas and Sepia's Martin Benn and Vicki Wild, Alejandro Saravia's new paddock-to-plate Farmer's Daughters restaurant and a Melbourne outpost of high-end cocktail and Champagne bar Nick and Nora's by the Eau de Vie team. Now, it's been revealed that Handpicked Wines, Glacé, Colours Bowls and Maverick will also be joining the party. Handpicked Wines will launch its first Melbourne urban cellar door, showing off its award-winning range of drops. The site is set to boast a retail space and wine bar, dishing up cheese, charcuterie and vino for taking away or enjoying in. There'll be wine flights, workshops and barrel tastings, as well as a rotation of tap wines, with nifty refillable bottles to minimise waste. The two-level Glacé venue will be a flagship for dessert queen Christy Tania's artisanal creations, complete with an open kitchen, a Parisian-inspired tea house and a dedicated dessert bar. This one's set to be a go-to for stunning cakes and sweet treats, lush high tea sessions and decadent dessert degustations. Colours Bowls is the latest from young gun chef Charlie Carrington, riffing on his well-known Colours by Atlas concept. Mediterranean-inspired plant-based fare will reign supreme here, in a space inspired by Carrington's recent jaunts in Tel Aviv. [caption id="attachment_634417" align="alignnone" width="1920"] Glacé[/caption] Fronting Little Collins Street, Maverick will be the next offering from the minds behind Richmond's Mayday Coffee & Food and the original Petty Officer in Albert Park. The contemporary cafe is set to deliver ethically sourced specialty coffee from Axil and a creative menu filled with local, seasonal produce. The space itself is a warm, playful setting, that comes courtesy of Pitch Architecture & Developments. Slated for completion in 2020, the 80 Collins development will also boast a futuristic new office tower, a 255-room boutique hotel and a luxury retail offering, alongside its star-studded hospitality precinct. 80 Collins Street is slated for completion in 2020.
Enjoy being served by a human being at a cafe or restaurant and being able to ask "what are your specials for today?" whilst you can because food delivery techniques are changing fast. Scrap that, they are dropping fast. After flying drones recently emerged to deliver food to patrons at London's renowned YO! Sushi restaurant and beer to festival revellers in South Africa, a group of innovative Melburnians have decided that wasn't cool enough, so they have decided to deliver double the cool. Not only are they serving delicious jaffles in Flinders Lane, they have elected to do it by parachute. That's right, by parachute. Then they gave their service an excellent pun-moniker: Jafflechutes. COOL. Describing themselves as the world's first float-down eatery, Jafflechutes has a process that sounds simple enough. You select your delicious filling (cheese and tomato; cheese, ham and pineapple; or the all-out cheese, roast beef, dill pickles, mushroom and mustard), pay via Paypal, stand on the 'X' at 349 Flinders Lane at your nominated time and catch your snack. Just be aware, if it gets stuck in the tree, then the people at Jafflechutes cannot stress enough to not climb the tree. Wind gods permitting, delicious pockets of cheese filled dough will be raining down on Flinders Lane tonight from between 10pm and midnight, and whilst they have sold out this time around (the Jafflechuters have got 600+ likes on Facebook since starting their page on August 12), they hope to be back in the near future should everything work out fine. What could possibly go wrong? You can follow Jafflechutes on their Facebook and Twitter.
Imagine if you could get a sneak peek of your next holiday destination before you arrived. No, looking at photos online and scrolling through Instagram doesn't count. Taking the concept of trying before you buy to the travel industry, a company called Navitaire has unveiled what they're calling "the world's first virtual reality travel search and booking experience". Their VR system places would-be jetsetters in a room with a globe, lets them spin away, pick a place somewhere on the planet and then dive right in. After wandering through their chosen location in a virtual sense — spying tourist attractions and seeing the general sights — users can then search for flights, walk through the plane to pick their seat, give a few rental cars a try and purchase their trip, all within the virtual reality realm. Down the track, Navitaire, which is owned by travel technology company Amadeus, hopes that touring and booking hotels, and sharing searching experiences via social media, will also be able to be incorporated into their VR platform. At the moment the project is still in development, with a patent pending. Plenty of other places have combined virtual reality with scoping out ace spots — Qantas has an app that lets you take a virtual tour of Australia, and the Sydney Opera House has their own that peers behind the scenes at the iconic venue — but doing all of that and then locking in a trip straight away might be the future.
To support flood-affected communities in regional Victoria, Music Victoria is launching a massive live music program this spring. That's 30 individual events running all over the state from Tallarook and Pyramid Hill to Newbridge and Baringhup. It's all part of Music Victoria's Live Music for Flood Recovery program – a chance for communities, travellers and music-lovers to gather and show their support for towns affected by the devastating October 2022 floods. This program began last December in Shepperton, but it was such a hit that Music Victoria put the call out to live music venues, artists, presenters and community groups to get involved and the response has been huge. The idea now is to expand the program and keep it running, reigniting tourism in the regions and raising money for flood-affected communities. From July to the end of October, live events will be popping up across Victoria in Tallarook (Taungurung Country), Pyramid Hill (Dja Dja Wurrung and Barapa Barapa Country), Boort (Dja Dja Wurrung and Barapa Barapa Country), Newbridge (Dja Dja Warrung Country), Rochester (Yorta Yorta Country), Bridgewater (Dja Dja Wurrung Country), Mooroopna (Yorta Yorta Country), Baringhup (Dja Dja Wurrung Country), Horsham (Wotjobaluk, Wergaia (Were-guy-ya), Jupagalk, Jaadwa and Jadawadjali Country), Euroa (Taungurung Country), and the Pyrenees (Dja Dja Wurrung Country). It all kicks off on Sunday, July 30 at Blue Tongue Berries in Seymour with Sundanese icon, Ajak Kwai. You can check out the full schedule here. Highlights include Rochella (October 14) and FLOW presented by Euroa Music Festival (October 21). "We're so excited to see an incredible array of community led events taking place all over the state," Music Victoria CEO Simone Schinkel says. "These events will provide a place for people to gather, reconnect and enjoy live music, which is such an important part of the recovery process for these communities." Tickets for most of the events are already on sale. Check out Music Victoria's website for all the details. Images: Supplied
They can't all be treats. That's true each time October 31 hits, sending children scurrying around the streets in search of sweets, and it's true of the film franchise that owns the spookiest time of year. Since debuting 43 years ago, the Halloween series has delivered both gems and garbage — and off-kilter delights such as Halloween III: Season of the Witch — but its latest and 12th entry carves a space firmly in the middle. Halloween Kills ticks plenty of boxes that a memorable Halloween movie should, and is also a horror sequel on autopilot. Somehow, it's also a Halloween movie lacking purpose and shape. It has The Shape, of course, as Michael Myers is also known. But it's more an exercise in spending extra time in Haddonfield, in its boogeyman's presence and in world inhabited by franchise heroine Laurie Strode (Jamie Lee Curtis, Knives Out) than a compelling slasher flick on its own. After giving the Halloween realm its second-best chapter in 2018, it's easy to see why returning writer/director David Gordon Green (Stronger) and his frequent collaborator Danny McBride (The Righteous Gemstones) have taken this approach. When you've just made a classic follow-up to a stone-cold classic — again, only John Carpenter's iconic franchise-starter is better — you keep on keeping on. That's not quite how Halloween Kills turns out, though. It picks up immediately where its predecessor left off, lets Michael stab his way through small-town Illinois again, and brings back Laurie's daughter Karen (Judy Greer, Where'd You Go, Bernadette) and teenage granddaughter Allyson (Andi Matichak, Son) from the last spin. It also pads things out with a vengeance storyline that endeavours to get political, yet proves about as piercing as a butter knife. In the last film — called Halloween, like the flick that started it all — Laurie faced the man who turned her into a victim back when she was a 17-year-old babysitter. She unleashed four decades of rage, fear and anxiety during a moment she'd been preparing for across all of that time, and it proved cathartic for her and for viewers alike. This saga was always going to add another sequel, however. As the second part of a trilogy under Green and McBride's guidance, Halloween Kills will also gain its own follow-up in a year's time. When it arrives in 2022, Halloween Ends won't actually live up to its name. No horror movie lover would want it to. Still, it already haunts Halloween Kills — because, like the townsfolk that the latex mask-sporting, overall-wearing Michael just keeps stalking, it feels uncertain about where it should head. First, Halloween Kills sends its three generations of Strode women to hospital, riffing on 1981's Halloween II. Sadly, it also replicates one of the latter's missteps, leaving Laurie there as her nemesis keeps slicing — and splitting its attention around Haddonfield. Here, both Karen and Allyson have also had enough of Michael's nonsense. So has Tommy Doyle (Anthony Michael Hall, The Goldbergs), one of the kids that Laurie babysat on that fateful night all those years ago. So, he rallies a mob and transforms the grieving and scared locale into a haven for vigilante justice; "evil dies tonight!" is their cheer. Evil won't die tonight, which isn't a spoiler. Again, Halloween Ends is coming — and evil won't end there, either. As this franchise has kept looping, twisting and constantly resetting its prior timelines every few films or so, the fact that its source of evil keeps slashing in movie after movie has been one of its strongest thematic weapons. Indeed, Halloween circa 2018 keenly understood that trauma such as Laurie's doesn't fade. It festers; its survivors might learn to cope beneath their PTSD, but their lacerations still pulsate with pain. Halloween Kills tries to expand the idea by focusing on communal rather than individual wounds, and on its setting's shared past; however, thanks to heavy-handed insurrection-style imagery, it plays less as a musing on its underlying suburban nightmare and the distress rippling from it, and more as a weak comment on America today. They can't all slay, obviously — Halloween movies, that is. Michael clearly can and does keep slaying, his body count rising swiftly. When it comes to his murders, Halloween Kills is gory, bloody and gruesome, with Green at his best when he's honing in on the mechanics of its masked maniac's reign of terror. It'd be repetitive if it wasn't so effective, even if it's packaged with smaller doses of tension and suspense. The OG Halloween spawned a spate of imitators for a reason, and still does, but this latest successor lacks its slasher elegance and economy — because Green also enjoys getting flamboyant with Halloween Kills' kills for the sake of it. Perhaps he's trying to make up for sidelining his star, the white-haired Curtis, for so long. Steely as ever, she remains the film's undisputed highlight in the screen time she has, but Halloween Kills doesn't feel like Laurie's story. Or, perhaps Green is trying to distract from the bold move he didn't make. Even in a franchise that plays so fast and loose with its continuity, not managing to bring back Paul Rudd, aka Halloween: The Curse of Michael Myers' version of Tommy, is a huge missed opportunity. Halloween Kills re-enlists other familiar faces, spanning both 1978's and 2018's Halloween flicks. It adds backstory all over the place, much of it filler. It gets Carpenter, his son Cody and godson Daniel Davies to rework the synth and piano-heavy tunes that've served the series so well, after they did the same last time around. Like its predecessor, it slinks and stalks with unease. It pushes women to the fore again, too — women who refuse to simply be mere final girls. But it's also the jack-o'-lantern of Green's trilogy within the broader Halloween franchise: there's enough light flickering in its carved-out pumpkin eyes, but there's also an inescapable by-the-numbers emptiness as well.
The laneways of Melbourne have been the unofficial training ground and creative home for Australian street art, in all its variety and forms. Over the years, as street art has changed and evolved, it has moved beyond the laneways and in with some unlikely bedfellows — galleries, governments and businesses. A recent example of this is the collaboration between one of Melbourne's most prominent and talented street artist, Drab, and product design company Buzz Products. Drab's street art has not only graced the walls of Melbourne's laneways but also been part of exhibtions and festivals in Melbourne, Sydney and New Zealand. He also worked with locals kids in Woorabinda Queensland to paint murals as part of the Indigenous Hip Hop Project. However, this recent collaboration with Buzz Products has really expanded his artistic repertoire. Literally. The exterior of the Buzz Products has been transformed from a boring blank wall into Australia's largest paste up street art. Using 56 sheets of paper, 40 litres of glue and taking two days to complete, this piece of street of art is 27 metres long by 8 metres high. It gives the urban landscape a much needed lift, and the good residents of Abbotsford in Melbourne something to gawk at on their trainride home.
Books and good lighting have never seemed to go together. As a child I was always encouraged to read less, because "you'll ruin your eyes!" Clearly my parents never anticipated that glasses would become cool. Regardless, I spent most of my childhood reading in bad light, and I am now quietly smug that I have reached my early twenties and have never had a cavity despite refusing to drink milk, have curly hair without eating my crusts, and have perfect vision, unaided by optometrists, despite having spent most of my life with my head in a book. Now Swiss designer Boris Dennler, in his 2007 series of lamps entitled Livresse, is bringing books and good lighting together in one lovely, yet contradictory, invention. Dennler has chosen to re-purpose books, an item frequently overlooked when it comes to the world of interior lighting, and transform them into eco-friendly lamps. The books are turned into fully functional soft-lighting lamps without causing damage to the pages, and can be easily changed if you need to swap your Mills and Boon lamps for early French philosophers. The lamps are also portable, so you could easily freak people out by hanging them from the trees. Recycling at it's best. [Via Designboom]
Can one city have too many burger bars? Melbourne certainly seems determined to put that question to the test. Here to join the party is South Australian cult burger joint, Benny's, opening their first Victorian location on Chapel Street. It's a bold move, especially considering there's competition from Betty's, Hello Sam, Leonard's House of Love and Kung Fu Burger on all sides. Sleepy Adelaide this is not. But Benny's has developed a serious reputation in Adelaide as the go-to for a cheat meal, specialising in juicy, hard-to-hold-in-two-hands, American-style burgers. [caption id="attachment_902425" align="alignnone" width="1920"] Image: Matt Turner[/caption] If this is your first visit to Benny's, start with something simple like the cheeseburger. Then work your way through the menu, up to monsters like the Fat Boy: an Angus beef patty, 8-hour slow-cooked brisket, double cheese, BBQ sauce and onion. All your usual burger friends are here too: mac and cheese, milkshakes you struggle to suck through a straw and chips smothered in gravy. There are over twenty on the menu and Benny's is even giving out 300 freebies on its opening day on Friday, June 2. Mark this one in your diaries, launch day freebies from 5pm will include the signature cheeseburger, a classic chicken burger or a vego cheeseburger, on the house. [caption id="attachment_902426" align="alignnone" width="1920"] Image: Matt Turner[/caption] There are also plans to launch Melbourne's first bottomless burger brunch later in the year, which sounds like a truly incredible hangover cure. Images: supplied. Benny's officially opens on Friday, June 2 at 560 Chapel Street, just opposite Chapelli's. The free burger special is running that day only for the 300 customers who dine-in from 5pm, so get your skates on. After that, it will be open Monday–Thursdays and Sunday 11am–10pm, plus 11am–12am on Friday and Saturday.
That time of year has rolled around again and we're all looking forward to many catch-ups with mates and family over glasses (or bottles) of vino. Not to mention there's the office Secret Santa gifts to be bought and the inevitable conversation with the siblings around who's picking the wine to impress the folks. And what you'll be drinking at Christmas lunch, no less. Thanks to Vivino and its hardworking community of wine lovers who voted in the inaugural Aussie Vivino Community Awards, we've handpicked the best of the best from the winning wines, so you can stock up on these top drops for all the silly season shenanigans you have planned, from a reasonably priced riesling to crack open with the crew to a $141 biodynamic cabernet blend that'll impress even the stubbornest of sippers. 2019 GRANT BURGE BAROSSA INK SHIRAZ, BAROSSA VALLEY SA ($17) With almost 1500 ratings, the Grant Burge Barossa Ink Shiraz was rated as the top vino in the Vivino Community Awards' wines under $25 category. Aussie wine lovers must know what they're talking about as this wine is quintessential Barossa — think Christmas cake spices with notes of plum and luscious blueberry. This wine is perfect for those who are always stuck on how to impress dad at family dinner. A crowdsourced success. Purchase Grant Burge Barossa Ink Shiraz via Vivino. 2020 TIM ADAMS RIESLING, CLARE VALLEY SA ($21.99) In the early 2000s, a group of forward-thinking winemakers in South Australia's Clare Valley were frustrated with cork-related faults ruining the vibrancy of their rieslings, so they banded together, bucked conventional norms and bottled their wines under Stelvin closure (screw caps). Twenty years later, screw caps are the norm and the future of Australian rieslings has never looked so bright. To experience the freshness and vibrancy of Clare Valley riesling, look no further than this archetypal example from Tim Adams. Bursting with flavours of freshly cut citrus and hints of white florals, this drop is the perfect accompaniment to a serve of Sydney rock oysters. Hot tip: you can even drizzle a bit of the wine on top of the oyster instead of lemon. Purchase Tim Adams riesling via Vivino. 2019 UNICO ZELO ESOTERICO, RIVERLAND SA ($24.99) Unico Zelo's Esoterico really lives up to its name, having developed a cult-like following over the years. At first you'd be excused for not knowing what to make of it on account of its slightly hazy colour and the kind of pronounced texture you only see in red wines, but then you're hit with pretty and delicate florals from the zibibbo and gewurztraminer grapes. If you've never understood what all the fuss is about with skin-contact wine this is a fantastic entry point, and a perfect one to crack open with a charcuterie board on a sunny afternoon with mates. Purchase Unico Zelo Esoterico via Vivino. 2018 LANGMEIL VALLEY FLOOR SHIRAZ, BAROSSA VALLEY SA ($30) Langmeil boasts a 125-year winemaking history with their dry-grown vineyards believed to be the world's oldest surviving shiraz vines. While the wine from that particular vineyard from this prestigious winery will set you back $145, they have released a wine that is a little more approachable for everyday drinking. The Valley Floor shiraz is crafted from fruit grown by over 20 families from across the Barossa's 30 original villages, still being made in the historic Langmeil winery. A piece of South Australian wine history at a fraction of the price, the perfect gift for the old school wine lover in your life. Purchase Langmeil Valley Floor shiraz via Vivino. 2018 SAILOR SEEKS HORSE PINOT NOIR, HUON VALLEY TAS ($67.10) From small vineyard plantings in Tasmania's Huon Valley comes a pinot noir by husband-and-wife winemaking duo Paul and Gilli Lipscombe. Fruit for this exceptionally well-crafted wine comes from the estate vineyard, planted by the duo's own hands in 2005. It's not hard to see why this wine clocked in at 14th place in Aussie wines priced between $25–80. It has blackberry and raspberry notes intermixed with a tension that causes you to reach for the bottle before you've even finished the glass in front of you. This small-batch premium pinot noir has become one of the most sought-after wines on the mainland, fought over by sommeliers and wine lovers alike. Purchase Sailor Seeks Horse pinot noir via Vivino. 2018 CURLY FLAT PINOT NOIR, MACEDON RANGES VIC ($72.60) There's pinot noir, and then there's Macedon Ranges pinot noir, and no one sets the gold standard of this wine varietal from this region better than Curly Flat. This light red is a medley of aromas and flavours, from violets and black cherries on the nose (with just the tiniest hint of dried rose petals) to balsamic strawberries and slight savoury notes of forest floor and slate. Meet duck pancakes' newest accompaniment. Purchase Curly Flat pinot noir via Vivino. 2019 TOLPUDDLE CHARDONNAY, COAL RIVER VALLEY TAS ($95.33) This wine is touted as the benchmark for cool-climate Aussie chardonnay. Using grapes from vineyards planted in Tasmania in 1988, this exceptional chardy is made by celebrated South Australian winemaker Adam Wadewitz (of Shaw and Smith fame). This drop is rarely available for long after its release. But you don't have to take our word for it — it's currently rates 4.4 out of five on Vivino, and it came in second in the Vivino Community Awards' top ten Aussie whites category. If you find some, buy it ASAP and impress the family with it on Christmas Day — and convert the anything-but-chardonnay drinkers in your household. Purchase Tolpuddle chardonnay via Vivino. 2018 CULLEN 'DIANA MADELEINE' CABERNET BLEND, MARGARET RIVER WA ($141) Vanya Cullen, the current winemaker of Cullen Wines in Western Australia (and often dubbed as Australia's High Priestess of Biodynamics) has named her flagship cabernet blend after her mother, Diana. What makes this wine so unique — and absolutely worth the price? The fruit comes off vines dating back to 1971, and the care and great attention it takes to produce this wine are unparalleled. The fruit was picked according to the biodynamic calendar dates, with one of the harvests occurring on a full moon. Due to this vino's structured nature, it'll cellar for up to 50 years (if you have that kind of patience). Purchase Cullen 'Diana Madeleine' cabernet blend via Vivino. Download the Vivino app and start discovering more ideal summer sips to stock up on — then buy them straight from the app. For more wine inspo, check out this year's Vivino Community Awards.
Gluten isn't always the enemy. Sometimes it's just wheat, a grain that's been modified so much over time that many of our guts now struggle to digest it properly. The team at Farro is well aware of this, opting to replace wheat with 100-percent spelt flour in all of its pizza, pasta and bread. Not only is this ancient grain better for our bellies, but it arguably tastes a whole lot better than wheat and totally gluten-free options. It's also what had made this Italian restaurant group so successful, with the crew having just opened its seventh outpost in Moonee Ponds. Here, diners can expect the same stacked menu of classic Italian dishes found at its locations in Fitzroy, Caulfield North, Hawthorn, Thornbury, Windsor and Richmond, from the long list of antipasti to house-made pasta and woodfired pizzas. The extensive vegan menu can also be found the new Moonee Ponds site, offering up a huge amount of completely plant-based eats. Drinks-wise, all the usual contenders are here. Aussie and Italian beers come both on tap and in tinnies, vinos from Victoria and Italy dominate the wine list, and there's a decent selection of cocktails for those feeling a little fancier. And if you're simply looking to order some pizza and pasta to be delivered to your house near in the inner northwest, Farro is available on UberEats. You'll find Farro at 30 Puckle Street, Moonee Ponds, open 5–9pm on weekdays and 12–9pm on weekends. For more information, head to the venue's website.
Since opening in March, Fitzroy's Evie's Disco Diner has been serving up vegan-friendly comfort food in the surrounds of a 80s-themed eatery straight out of Stranger Things. And this winter, you can take shelter from Melbourne's winter chill in its converted neon warehouse space and get stuck into the eatery's new menu. On the lineup you'll find some decadent winter warmers alongside grub inspired by America's deep south, including gumbo and seafood chowder. Vegans need fret not as half the menu will still be meat-free, with dishes such as mock hot dogs and vegan Halal Snack Packs. To drink, there's warming mulled wine and cider. And to help you forget about the rather gloomy weather, things are getting a bit boozy with a new bottomless brunch held on Saturdays and Sundays from 11.30am to 2.30pm. Kicking off on Saturday, July 14, the brunch features three hours of all-you-can-drink mimosas and Champagne, plus your choice of fried-chicken topped waffles, maple bacon pancakes or a BLT and fries — for only $55 a head. Each option can also be made vegan on request, and all the ingredients are sourced locally — so there's really no excuses to miss out on this weekend recovery session. Bookings are essential, so contact Evie's ahead of time to secure a spot for you and all your nostalgia-loving mates.
First birthdays are not all pleasant. Banal observations like "I can't believe it's only been a year!" fly out of people's mouths as unwelcomely as the projectile vomit now covering your brand new button-up (thanks, birthday boy). But upon hearing that Spotify Australia turned one today, we couldn't help but join the chorus of disbelief. It's only been a year? Really? It's hard to remember life before Spotify. The days of trying to 'unmax out' your maxed-out credit card before clicking 'purchase'. Of artists watching through tears as their life's work is torrented to the masses. A year later, it's hard to imagine anything other than clicking that little green button to soak our ears in unlimited, legal music juice. We might not yet have struck the perfect balance between access for audiences versus payment for artists, but it feels like we're getting closer. So for that we'd like to say 'Happy Birthday, Spotify'. Now today, just like the last occasion on which you celebrated a first birthday, is all about gushing and goggling over pretty pictures. And, proud mother that she is, Spotify Australia has shared this super-amazing infographic which you just have to see. The stats are pretty friggen incredible — Australian Spotify users have streamed a mammoth 42.5 million hours of music and have created over 14 million playlists over the past 12 months. (That's over 4000 years of music — which, if played in order, would take about 50 generations to finish. We're talking 6013, guys.) Of those 14 million playlists, over 240,000 playlists have been created about love, romance and/or sex; 150,000 for exercise; and 65,000 for getting through the work day. Also, a whopping 230,000 were created for travel. So if you've ever wanted to scream, "I get it, arts student, your European experience makes you singularly unique", you at least have proof that their playlist probably wasn't. American duo Macklemore & Ryan Lewis and Icelandic indie-pop-folksters Of Monsters and Men dominated our listening habits, taking out Most Streamed Artist and Most Streamed Track/Album respectively. We can now also confirm that Australians like Flume. A lot. Not only was he the most streamed local artist, but he took out three of the top five local tracks of 2012/13. This had little to do with the Spotify habits of Prime Minister Julia Gillard, who eschewed the young producer for the likes of Bruce Springsteen and Midnight Oil. We can't confirm if Julia actually enjoys Midnight Oil or is just playlisting them for the unity of the federal front bench.
The National Cabinet was set to meet and decide on how to relax some of Australia's social distancing and public gatherings restrictions on Monday, May 11 — inline with the end of Victoria's second four-week state of emergency — but Prime Minister Scott Morrison decided today, Friday, May 1, to bring this date forward to next week. "Decisions on relaxing restrictions will be made next Friday [May 8]", the Prime Minister said. "Australians have earned an early mark for the work they have done." Some states have started to ease minor restrictions — such as allowing two-person house visits in NSW and more outdoor recreational activities in Queensland — but next Friday's announcement could see some larger decisions made on the federally mandated public-gathering and social-distancing rules. The Northern Territory, which has had a total of 28 cases, has already outlined its own roadmap to the "new normal", with the reopening of restaurants, bars and cafes set to take place on Friday, May 15. The Prime Minister would not comment on exactly what restrictions could be wound back, but that "room density measures" — such as the previous one person per four-square-metre rule for indoor venues — and requirements to remain 1.5 metres apart will not be lifted. This could impact if it's financially viable for restaurants, bars and cafes to reopen, even if they are allowed to. Before any restrictions are lifted, though, the Prime Minister said that more people need to download the government's contact-tracing app COVIDSafe. He said that while 11 of the 15 previously outlined conditions under which restrictions could be eased had been met, the final piece in the jigsaw puzzle of contact tracing was not in place. "There are currently over 3.5 million downloads and registrations of the COVIDSafe app, but there needs to be millions more," the Prime Minister said. He reiterated that if Australians want to go to the pub, they have to download the app. For now, the current COVID-19 restrictions will remain in place for at least the next four weeks. And fines are still in place for disobeying these in NSW, Vic and Queensland. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Kimberley Low
Saint Dreux, a Japanese-inspired coffee and katsu sando bar that opened in Melbourne's CBD last month, exudes Japanese minimalism. With a concise menu of five sandwiches, castella cakes, pastries and Tokyo's Onibus coffee served in a modern monochromatic fit-out, it's the kind of place that could even spark joy for Marie Kondo. The sandos are cut with laser precision, as are the varying castella (Japanese sponge cakes), packaging is simple and even the ceramics are polished to perfection. Inspired by the vending machines and convenience stores of Japan, the Saint Dreux team, who is also behind Slater Street Bench and 580 Bench, wanted to make the humble katsu sandwich a hero here in Melbourne. "You could get them from vending machines, trains and restaurants. They're absolutely everywhere [and] we became obsessed…" said co-owner Joshua Crasti, who owns Saint Dreux and Bench along with Nick Chen, Frankie Tan and Claye Tobin. While, traditionally, katsu sandos are made with soft (crustless) white bread, cabbage, sweet tonkatsu sauce, kewpie mayo and panko-crumbed pork, the Saint Dreux team has widened the range to include wagyu beef, ebi (prawn), tori (chicken), tamago (egg) and the classic tonkatsu with Kurobuta Berkshire pork. Think white bread sandwiches must equal cheap? Think again. While most of the sandos sit around the $15 mark, the wagyu version will set you back a whole $28 — which might just make it Melbourne's most expensive sandwich. Despite this — or because of it — the sandwiches are selling out pretty early most days, so we suggest swinging by early if you want to snag one. https://www.instagram.com/p/BuvJoKxhXfw/ Housemade castella cakes are also available in original, black sesame, matcha and hōjicha (Japanese green tea) flavours, as well as croissants and an assortment of pastries by local Bakemono Bakers. Saint Dreux is the latest vendor to join St Collins Lane's contemporary food hub and sits neatly amongst a range of pan-Asian fare including Sushi Boto (where sushi is delivered to you via boat instead of train), Poke Workshop and Think Asia as well as a couple of espresso bars. Saint Dreux is now open in St Collins Lane Food Hall, Level Two, 260 Collins Street, Melbourne. It's open from 8am–5pm daily. Top image: Bekon Media.
Just hours after its series finale aired, Prime Video has confirmed that The Summer I Turned Pretty will conclude with a feature film. Announced on Thursday, September 18, the adaptation of Jenny Han's bestselling trilogy will wrap up with a movie written and directed by Han herself. "The Summer I Turned Pretty has struck a chord with audiences everywhere, creating moments of joy, nostalgia, and connection that have made it a global sensation," Courtenay Valenti, head of film, streaming and theatrical at Amazon MGM Studios, and Vernon Sanders, Global Head of Television at Prime Video and Amazon MGM Studios, said in a joint statement. "We're proud of the series' extraordinary success and couldn't be more excited to partner again with Jenny Han to bring fans an unforgettable next chapter." Han added: "There is another big milestone left in Belly's journey, and I thought only a movie could give it its proper due. I'm so grateful to Prime Video for continuing to support my vision for this story and for making it possible to share this final chapter with the fans." Since premiering in 2022, The Summer I Turned Pretty has become a global phenomenon. Its second season, released in 2023, more than doubled the first season's viewership within its first three days. Season three debuted in July 2025 and was streamed by 25 million viewers worldwide in its first week, becoming Prime Video's fifth most-watched returning season. The series has also helped launch the careers of stars Lola Tung, Jackie Chung, Christopher Briney, Gavin Casalegno, Rachel Blanchard, Sean Kaufman and Rain Spencer. No release date has yet been set for the film. Images: Erika Doss | Amazon
Survival is an ongoing process. If the first season of The Last of Us didn't already make that clear, the second season of the HBO series is set to arrive in 2025 to stress that message again. How does humanity endure in the aftermath of the Cordyceps virus, and the global devastation caused by it? What does it mean to persist? Also, who do we become in the process? Audiences will find out again from April. At the end of 2024, the US network confirmed that The Last of Us would return sometime in autumn Down Under. Now, it has locked in a month. An exact date is still to be revealed, but the show's comeback is getting closer. Also revealed: a new teaser trailer for the hit TV show that's based on the hugely popular gaming series, following prior sneak peeks — including as images and in promos for the network's full upcoming slate, plus an earlier season two teaser trailer. Prepare for a time jump. Prepare for a guitar. Prepare for hordes of infected. Prepare for a haunting feeling, too. Also, prepare for sirens, flares and a stern warning: "there are just some things everyone agrees are just wrong". In season two, it's been five years since the events of season one. And while there has been peace, it clearly isn't here to stay. Yes, Joel and Ellie are back — and, in their shoes, so are Pedro Pascal (The Wild Robot) and Bella Ramsey (Chicken Run: Dawn of the Nugget). This time, however, part of the conflict comes from each other. In season two, the show's main duo also have company from both familiar faces and a heap of newcomers. Rutina Wesley (Monster High) and Gabriel Luna (Fubar) return as Maria and Tommy, while Kaitlyn Dever (Good Grief), Isabela Merced (Alien: Romulus), Jeffrey Wright (American Fiction), Young Mazino (Beef), Ariela Barer (How to Blow Up a Pipeline), Tati Gabrielle (Kaleidoscope), Spencer Lord (Family Law), Danny Ramirez (Black Mirror) and Catherine O'Hara (Beetlejuice Beetlejuice) are the season's additions. The two teasers for the second season so far give fans a glimpse of plenty of the above new cast members, including Dever as Abby and Wright as Isaac. The Last of Us made the leap from video games to TV in 2023, and was swiftly renewed after proving a massive smash instantly. The series gave HBO its most-watched debut season of a show ever — and its first episode was also the network's second-largest debut of all time. Locking in a second season was also hardly surprising because the 2013 game inspired a 2014 expansion pack and 2020 sequel. For first-timers to the franchise on consoles and as a TV series, The Last of Us kicked off 20 years after modern civilisation as we know it has been toppled by a parasitic fungal infection that turns the afflicted into shuffling hordes. Pascal plays Joel, who gets saddled with smuggling 14-year-old Ellie (his Game of Thrones co-star Ramsey) out of a strict quarantine zone to help possibly save humanity's last remnants. There wouldn't be a game, let alone a television version, if that was an easy task, of course — and if the pair didn't need to weather quite the brutal journey. As a television series, The Last of Us hails from co-creator, executive producer, writer and director Craig Mazin, who already brought a hellscape to HBO (and to everyone's must-watch list) thanks to the haunting and horrifying Chernobyl. He teams up here with Neil Druckmann from Naughty Dog, who also penned and directed The Last of Us games. Check out the latest teaser trailer for The Last of Us season two below: The Last of Us season two will arrive sometime in April 2025 — we'll update you when an exact date is announced. Season one is available to stream via Binge in Australia and on Neon in New Zealand. Read our review of the first season. Images: HBO.
It's not every day someone asks you to steal their things. Stolen Rum did just that. They posted notices to telegraph poles asking "Is this your sofa?" and kindly let the good people know where to steal them from. You steal it, you keep it; that was the deal, no tricks. On the same day across three countries — Sydney, Australia; Miami, USA; and Dunedin, New Zealand — people lined up for hours hoping to secure a sofa. Needless to say, all 150 sofas were burgled, plundered and nicked in less than seven minutes. Seven. With the average sofa weighing at least over 30kg, that's some speedy thieving. The Stolen Sofas Project generated a gargantuan amount of public interest, with budding thieves nabbing a spot in line hours before kick-off in each city. The first 50 lounge bandits in Sydney, Miami and Dunedin then had one job to do: nick the lounge and get the heck home. Punters scraped together their best burglary getaway vehicles, trucks, cars, bikes, even skateboards. But the purists simply came with ready hands and previous experience in moving house for their mates. The result? Pure, debaucherous international chaos. Stolen Rum, a new drop on the market, has been winning over hearts in bottle shops across Australia, New Zealand and the States. The company’s inspiration is a rebellion against the “tedious existence of work and pay”. “We cannot buy our lives back, nor can we beg them back,” writes the vagabond theorist on their site. “Our lives will only be our own when we steal them back — and that means taking what we want without asking permission.” Want to know where you can taste Stolen Rum? It's on the shelf at BWS Australia wide and in some of your favourite Sydney bars. Check out all the happy couch thieves from The Stolen Sofa Project day below. Sydney Dunedin Miami
Last time James Blake jetted our way, in 2013, he won our hearts — and eyes and ears. Two Sydney Opera House shows sold out before you could say Overgrown and the folks at Tone Deaf got so excited, they awarded him best International Tour of the Year, over Bruce Springsteen. Now, he's back with a third, full-length album, The Colour In Anything, released unexpectedly (to fans, at least) on May 6. Lasting 76 minutes, it sees Blake go more collaborative than ever before, with Frank Ocean and Justin Vernon making frequent appearances, and Rick Rubin taking care of production. "I wanted to open up and be more outgoing," he told The Guardian. "The record became a commentary on my life rather than me becoming part of the rest of the world." There's more Splendour sideshow action where this came from. Check out our list of sideshows with tickets still available.
Since 2014, MPavilion has been Australia's leading architecture and design commission, attracting worldwide attention and bringing some of the most exciting architects from home and abroad to this city of ours. Founded by the Naomi Milgrom Foundation — a not-for-profit organisation dedicated to initiating and supporting great examples of public design, architecture and culture — MPavilion is now open for its biggest year yet. Located in Queen Victoria Gardens from Tuesday, October 3 until Sunday, February 4, MPavilion creates a free and open space that encourages coming together inside a beautiful setting. Each annual iteration of MPavilion sees a new architect commissioned to produce a stunning pavilion, with each designer bringing his or her own unique style and ideas to the project. Behind this year's design is legendary Dutch 'starchitects' Rem Koolhaas and David Gianotten of architecture firm OMA. For the uninitiated, Koolhaas has been awarded the Pritzker Prize — essentially the Nobel Prize of architecture — while being described as "the world's most controversial architect" and designing celebrated buildings the world over. Meanwhile, Gianotten is an architectural superstar in his own right, becoming a core part of OMA in recent years and overseeing the firm's expansion into Asia Pacific. And this year's design matches the duo's impressive resumes. Described by Gianotten as a "living room looking into the garden of the city", the architects have designed a pavilion that blurs the lines between inside and out, one that is reconfigurable and obscures the distinction between audience and performer. Taking its cues from natural amphitheatres, the pavilion is warm, bright and open, and provides the perfect way to take in Melbourne's skyline. There's coffee and a bar on-site, making it the ideal place to stop by and see what's going on. "This year's pavilion reflects OMA's interest in the concept of inside-outside design and conversing with the city, so it's been very exciting to have them involved," Milgrom explains. "It's an open brief, so it's all about what the architect feels is perfect for the pavilion." Images: John Gollings.
In the fight to help keep our planet healthy and firing on all cylinders, there's one little guy that can't be overlooked: the humble honey bee. These oft unsung heroes are crucial for pollinating the world's food crops, which means that our future food security relies on them thriving. Luckily, groups like Aussie not-for-profit Pollinator Alliance are spreading the word and helping to conserve our pollinator populations. Next month, the group is even opening a brand-new bee shed and bee school, creating not just a home for our insect mates, but a community space for educating and encouraging a new wave of backyard beekeepers. Making its home in Alphington at the Melbourne Innovation Centre, the Bee Shed was one of last year's winners of the Victorian Government's community grants initiative, Pick My Project. Thanks to the program, and strong community support and votes, Pollinator Alliance scored almost $200,000 in funding to bring its proposed venture to life. The project's using a double-whammy approach to help raise awareness about the bee's plight and its importance to our planet. Firstly, the onsite Bee Shed will act as a hands-on education hub and teaching apiary, where local beekeepers of all ages can head to for low-cost beekeeping tools, helpful resources and a program of workshops. Then there's the student-focused Bee School, which will visit schools across Melbourne, using display hives to teach budding future beekeepers about the ins and outs of pollination. The Bee Shed is kicking things off with Opening Day celebrations on Sunday, November 17. You're invited to head along to check out the new digs, take an apiary tour and even sit in on a beekeeping workshop. There'll be market stalls, live music, and plenty of CWA scones served with lashings of local honey. Find the Bee Shed at 2 Wingrove Street, Alphington from Sunday, November 17. To find out more, head to the Pollinator Alliance website.
Icons teaming up with icons: when documentary series Pretend It's a City hit Netflix in 2021, that's what it served up. Earning attention: Fran Lebowitz, with Martin Scorsese directing. The focus: the acclaimed writer, humorist and social commentator chatting about her life for the legendary filmmaker, following on from Scorsese's Lebowitz-focused 2010 feature-length doco Public Speaking. Of course, Lebowitz doesn't need to be nattering with Scorsese, or in front of The Wolf of Wall Street and The Irishman helmer's lens, to prove a must-watch figure. Her sharp opinions and deadpan humour have made her famous for more than five decades now, and over a career spanning magazine columns, books, working with Andy Warhol, notable late-night talkshow appearances and public-speaking tours. It's the latter that's bringing her back to Australia in 2024 — getting talking along the east coast. [caption id="attachment_912247" align="alignnone" width="1920"] Harrison Dilts[/caption] "Ever since Pretend It's a City exploded on our screens, we have wanted to bring Fran Lebowitz back to the Sydney Opera House. In this special event, we all get to take on the role of Marty Scorsese and ask her what she thinks about absolutely anything in our puzzling, frustrating, sometimes maddening world," said Sydney Opera House Head of Talks & Ideas Chip Rolley, with Lebowitz's Harbour City stop presented in conjunction with the venue's talk-focused programming strand. "It's then our job to sit back, relax and laugh until we can no longer. Sydney should prepare itself for a banner night out with one of the world's great cultural satirists." [caption id="attachment_912248" align="alignnone" width="1920"] Lia Clay Miller[/caption] Melbourne and Brisbane should also prepare accordingly, with Lebowitz also taking to the stage at Hamer Hall in the Victorian capital and QPAC in the Sunshine State in February. Will she chat about attending the Succession season four premiere party? Her role as a judge in the Law & Order franchise (and The Wolf of Wall Street)? Saturday Night Live's parody of Pretend It's a City? Being a columnist for Warhol's Interview mag? Growing up in New Jersey? New York in the 70s? Topics such as race, gender, media and politics? Anything that vexes her? Everything? At least some will earn an unfiltered mention — including at the audience Q&As. AN EVENING WITH FRAN LEBOWITZ: Tuesday, February 13 — Sydney Opera House, Sydney Thursday, February 15 — QPAC, Brisbane Sunday, February 18 — Hamer Hall, Melbourne An Evening with Fran Lebowitz hits Australia in February 2024. Head to the Sydney Opera House, QPAC and Arts Centre Melbourne websites for tickets — with pre sales from Tuesday, August 8 and general sales from Thursday, August 10 — and further details. Top image: Bill Hayes.
The force is strong with this one — the Lego-building force, that is, with the largest collection of life-sized Lego Star Wars models ever assembled, as well as the biggest touring Lego exhibition, set to hit Australia in 2025. Earlier in 2024, news arrived that Lego Star Wars: The Exhibition was on its way in this very galaxy, world-premiering Down Under. Now, exactly when and where you'll be able to check it out has been revealed. Melbourne has locked in the first-ever Lego Star Wars: The Exhibition season — and yes, of course it'll open on Sunday, May 4. Melbourne Museum will be filled with more than eight-million bricks, all making models based on the George Lucas-created space saga. What music goes best with turning all that Lego into a Star Wars fan's dream? 'Luke's Theme', aka the franchise's main tune? 'The Imperial March' when things get tricky? 'Parade of the Ewoks', just because? That's a question for Ryan McNaught aka Brickman, who has indeed been spending time turning plastic rectangles, squares and other shapes into a recreation of a galaxy far, far away. The exhibition is set to take 25,000-plus hours of building, which is occurring at McNaught's headquarters in Tullamarine. Here's a question for attendees, too: which tunes will pair well with walking through this Lego Star Wars wonderland? You've got a few months to think about it, but you can start getting as excited as a Skywalker learning how to first use a lightsaber. The full list of models that'll feature hasn't been unveiled so far, but one will be life-sized — and that'll be a Lego Star Wars first. A huge 64,759 bricks are being used to craft the three-metre-high X-wing Red-5, taking 382 build hours. Attendees can also expect to see battle scenes between Luke Skywalker and Darth Vader, plus Qui-Gon Jinn and Darth Maul duelling, and also Emperor Palpatine's throne flanked by two Royal Guards. If you're keen to check it out and you don't live in Melbourne, you'll need to head to the Victorian capital to wander through Lego Star Wars: The Exhibition. As well as the hosting the world-premiere season, which will run until Monday, January 26, 2026, the stint at Melbourne Museum is an Australian exclusive. While you're there, you won't just be looking at all things Star Wars in Lego — you'll be able to get building yourself. As it constructs an immersive experience and follows in the footsteps of the Jurassic World franchise, which has also scored the Lego treatment from Brickman, Star Wars: The Exhibition has plenty of material to draw upon. On-screen, the series spans the initial film trilogy that released from 1977–83, then the prequels from 1999–2005, then the sequels — including The Force Awakens, The Last Jedi and The Rise of Skywalker — from 2015–2019. Rogue One, Solo, The Mandalorian, The Book of Boba Fett, Obi-Wan Kenobi, Andor, Ahsoka, The Acolyte: the list goes on across the big and small screens, including the wealth of animated efforts in the saga. "Building these iconic scenes and characters in Lego Star Wars form is an extremely complex task — taking the humble Lego brick and using it by the millions to translate into Star Wars builds and models at an epic scale the world has never seen before," said McNaught about Lego Star Wars: The Exhibition. "My team and I are super excited to launch this mind-blowing experience right here in Melbourne. My inner seven-year-old self still can't quite believe this is happening. I can't wait till May the Fourth next year to be able to share this incredible galaxy-first exhibition with the fans." Lego Star Wars: The Exhibition will make its world-premiere from Sunday, May 4, 2025, running until Monday, January 26, 2026 at Melbourne Museum, 11 Nicholson Street, Carlton. Head to the exhibition's website for more details and to join the ticket waitlist. Exhibition images: Museums Victoria.
The Bellarine Peninsula is set to welcome a stunning new hilltop retreat, opening just in time for that post-winter coastal escape you've already been plotting. Boasting a majestic piece of Point Lonsdale real estate, complete with 360-degree views of the bay, Lon Retreat and Spa is the latest incarnation of luxury accomodation Lonsdale Views. It opened its doors in October, following a huge, 18-month transformation of the 200-acre family-owned property. The luxury retreat features seven sanctuary-like suites, each one decked out differently to mirror a particular aspect of the surrounding landscape. Expect earthy, natural tones throughout, with most of the furniture, ceramics, artwork and lighting sourced or crafted locally. As well as the plush rooms, Lon boasts its own private beach access, a guest lounge with an open fire and views across the ocean, a private art gallery showcasing local works, and an indoor heated pool fed by mineral water. In the spa, you'll also find an OTT eight-jet shower. Outside the retreat, you'll find nature walks spread all across the property, if some fresh air and leg stretching is on the agenda. And, while there's no restaurant on site, guests can still indulge in a swag of local goodies, thanks to the honesty bar and a 'Makers and Growers Pantry', showing off top Bellarine produce. Room rates at Lon Retreat and Spa will start at around $360 per night, with a two-night minimum stay. The price includes access to the pool and a hamper full of breakfast treats courtesy of Annie's Kitchen in nearby Barwon Heads. Lon Retreat and Spa wis now open at 25 Gill Road, Point Lonsdale — an hour-and-a-half's drive from Melbourne's CBD. Images: Nikole Ramsay Photography. Updated: November 2, 2018.
Thanks to the success of Beef, the past year has been huge for Ali Wong. It was back in April 2023 that the hit series arrived, getting audiences obsessed and sparking plenty of accolades coming Wong's way. She won Best Actress Emmy, Golden Globe, Film Independent Spirt and Screen Actors Guild awards for playing Amy Lau, who has a carpark altercation with Danny Cho (Steven Yeun, Nope) that neither can let go of — and that changes both of their lives. The last 12 months have also been massive for the American actor and comedian onstage, all thanks to her Ali Wong: Live tour. Wong has been playing to full houses in the US, and also in Paris and London — and Down Under audiences are just as keen to see her. Before general tickets even go on sale for her Australian visit, she's added extra gigs. [caption id="attachment_946690" align="alignnone" width="1920"] Andrew Cooper/Netflix © 2023[/caption] Wong will head to Australia and New Zealand in July 2024. She initially announced four dates, kicking off in Auckland, then jumping over to Melbourne. From there, she'll work her way up the east coast, next hitting up Sydney before wrapping up in Brisbane. Now, both Melbourne and Sydney have scored extra gigs thanks to the huge demand during the ticket pre-sale period. Behind the microphone, Wong's comedy career dates back almost two decades, including three Netflix stand-up specials: 2016's Baby Cobra, 2018's Hard Knock Wife and 2022's Don Wong. And, as an author, Wong also has 2019's Dear Girls: Intimate Tales, Untold Secrets & Advice for Living Your Best Life to her name. On-screen, Wong doesn't let go of grudges easily, at least in Beef. In rom-com Always Be My Maybe, she's also been romanced by Keanu Reeves. Tuca & Bertie had her voice an anthropomorphic song thrush, while Big Mouth sent her back to middle school. Beef, on which Wong was also an executive producer, earned just as much love for the show overall — including the Emmy for Outstanding Limited or Anthology Series; Golden Globe for Best Television Limited Series, Anthology Series, or Motion Picture Made for Television; Gotham Award for Breakthrough Series under 40 minutes; Film Independent Spirt Award for Best New Scripted Series; and PGA for Outstanding Producer of Limited or Anthology Series Television. [caption id="attachment_722120" align="alignnone" width="1920"] Ed Araquel / Netflix[/caption] Ali Wong: Live Tour Dates — Australia and New Zealand 2024: Monday, July 8 — The Civic, Auckland Thursday, July 11–Friday, July 12 — Palais Theatre, Melbourne Friday, July 19–Saturday, July 20 — ICC Theatre, Sydney Monday, July 22 — Brisbane Convention and Exhibition Centre, Brisbane Ali Wong is touring Down Under in July 2024, with general sales from 9am local time on Friday, March 22 — head to the tour website for further details. Top image: Andrew Cooper/Netflix © 2023.
Turning your phone off during a movie is cinema etiquette 101. Not kicking the seat in front of you, or talking during the film, or taking in food with aromas so pungent they stink out the whole theatre — they're all on the list as well. Usually, so is wearing clothes; however, the returning Fantastic Film Festival Australia is making attire optional for some of its 2022 sessions. One of Australia's film fests dedicated to weird and wonderful cinema — a tranche of flicks so glorious that several events celebrate them — FFFA is back for another year, screening at the Ritz Cinema in Randwick in Sydney and Lido Cinemas in Hawthorn in Melbourne from Thursday, April 21–Friday, May 6. It has just unveiled its full 2022 lineup, too, and its naked screening certainly deserves attention. The fest debuted the concept last year, and it's bringing it back this year. Even better: you'll be getting your kit off to mark the 25th anniversary of The Full Monty. Stripping off while seeing a classic movie about men stripping isn't the only highlight of this year's program, of course — and yes, if you want to see Robert Carlyle and company while remaining dressed, you can leave your hat on (and the rest of your clothing as well). The attire-optional session sits alongside other standouts such as opening night's viking epic The Northman, starring Alexander Skarsgård and Nicole Kidman, and directed by The Witch and The Lighthouse's Robert Eggers; closing night's New York Ninja, which was shot in 1984, only finished in 2021 and follows a vigilante tale; and a 4K restoration of the inimitable 1981 great Possession starring a young Sam Neill and always-wonderful Isabelle Adjani (The World Is Yours). In total, 22 features and eight shorts and special events sit on this lineup of strange, surreal, out-there and purposely offbeat flicks. We're All Going to the World's Fair arrives from Sundance, combining psychological horror with a coming-of-age story — and a storyline about an online roleplaying game — while French film After Blue is a sci-fi western fantasy about a mother and daughter tracking a killer in toxic forests. There's also indie animation Absolute Denial, which has been compared to Frankenstein but in a digital world; Agnes, which explores a case of demonic possession in a convent; Japan's Dreams on Fire, featuring acclaimed dancer Bambi Naka in her first lead role; Norwegian nightmare The Innocents, as directed by The Worst Person in the World co-writer Eskil Vogt; and The Timekeepers of Eternity, which is adapted from Stephen King novella The Langoliers. On the events bill, FFFA is hosting Music Video Blind Date, to connect Melbourne musos with filmmakers in the hopes of making music video magic — and, thanks to an evening called Cinema 1 Nightclub, it's getting DJ Female Wizard to spin tunes inside a theatre while artist Baben Shin provides the visuals. And if you're keen to celebrate the launch of the program, the fest is also hosting a sneak-preview session of Michelle Yeoh-starring multiverse gem Everything Everywhere All At Once in advance — on Saturday, March 26. Fantastic Film Festival Australia runs from Thursday, April 21–Friday, May 6 at Ritz Cinema, Randwick in Sydney and Lido Cinemas, Hawthorn in Melbourne. For more information or to buy tickets, head to the FFFA website.
The top end of the Northern Territory is postcard-perfect Australia — World Heritage-listed national parks, islands, wetlands, pristine beaches and off-the-beaten-track (and croc-free) swimming holes are all within its borders. And Darwin is its gateway. Darwin is Australia's only tropical capital city. With hot, balmy summers and dry, sunny winters, it feels worlds away from the inner-city hustle of our nation's other capitals. On top of its incredible natural beauty, there are plenty of action-packed adventures to be had. From a helicopter pub crawl around the Darwin region to an outdoor deckchair cinema and a music festival right on the beach, the city is the perfect launchpad. Really, it's the perfect summer getaway for when it's cold everywhere else and it's right on our doorstep. Go on, get acquainted with Australia's Top End. SAIL INTO THE SUNSET Darwin is a city known for its harbour and close proximity to the crystal-clear Timor Sea, so kicking back on a cruise is a must when it comes to exploring. Grab a beer and sail into the sunset. You won't have a care in the world with that balmy breeze and endless ocean as far as the eye can see. There's a variety of sailing tours available from Darwin Harbour, lasting from a few hours to adventurous overnight and multi-day trips. But if you're just after a relaxing mini jaunt, the sunset harbour cruise is a winner. Operated by local company Darwin Harbour Cruises, you can choose to either just jump on board and see the sites or indulge in a sunset buffet dinner while being ferried around. Darwin Harbour Cruises sunset tours typically run between April and December, from 6–8.30pm daily. For more information and online bookings, visit the website. SWIM WITH CROCS No trip to Darwin is complete without saying hello to a few crocodiles. Get up close and personal with the prehistoric beasts at Crocosaurus Cove — a croc and reptile haven in the heart of Darwin. It houses the world's largest display of Australian reptiles and is home to Australia's only crocodile dive for the Steve Irwin enthusiasts among us. If the Cage of Death is too far out of your comfort zone, there's a bevvy of other scale-studded attractions like the aforementioned reptile house, croc feeding shows — where you'll see Burt (the star of iconic Australian film Crocodile Dundee) — a freshwater aquarium, a swimming pool and a chance to hold a baby croc. Better to see a croc here than while sunning yourself at the beach. Visit the website for more details and bookings. BOOGIE ON THE BEACH Going to music festivals isn't strictly a summer activity — at least, not in Darwin. Mid-May sees the return of Darwin's huge one-day music shindig, the People's Choice BASSINTHEGRASS festival. This year's lineup features a stack of ace musicians, including Hilltop Hoods, Nick Murphy FKA Chet Faker, Amy Shark, Broods, Meg Mac, PNAU and more. Plus, for the first time in its 17 years, BASSINTHEGRASS will take place at Mindil Beach. So, in between catching your favourite artists, you can gaze out at the Timor Sea and forget that winter is waiting for you back home, as you soak up bucketloads of Top End sunshine. BASSINTHEGRASS 2019 will take place from 11am–11pm on Saturday, May 18. For the full lineup and to purchase tickets, visit the website. WATCH A MOVIE UNDER THE STARS Run by the local not-for-profit film society, Darwin's Deckchair Cinema grew from the desire to screen films that were not otherwise available in the city. Since it began in the 90s, it has become a go-to activity for locals and passersby alike, hosting an eclectic mix of films in a beautiful outdoor setting. Based on the edge of the harbour, Deckchair Cinema is decorated with fairy lights, artworks by local artists and, of course, deckchairs. There's also a licensed bar and food by local caterers, plus complimentary cushions and (very mandatory) bug repellent. It's the ideal balmy evening activity. Deckchair Cinema runs from mid-April to mid-November with daily screenings. Visit the website for more information and the current program. VISIT DARWIN'S MASSIVE WATERFRONT PRECINCT Darwin Convention Centre, shopping, restaurants, a park, swimming lagoons and a wave pool are all part of the mammoth precinct along Darwin's harbour. The lagoons and wave pool are notable drawcards, offering croc-and-stinger-free cooldowns in the Top End heat. Plus, it's home to some of Darwin's top eateries, including casual Vietnamese eatery CHOW!, Il Lido and the luxe Oyster Bar, which boasts waterfront views and some of the best seafood in town. For more information on the Waterfront Precinct, visit the website here. WANDER THROUGH MINDIL BEACH SUNSET MARKETS Held every Thursday and Sunday night from late-April to October, Mindil Beach Sunset Markets are undoubtedly Darwin's largest and most popular markets. Alongside arts, crafts, and entertainment stalls, there are over 60 food vendors offering up cuisines from almost every international corner — Mexico, Greece, Turkey, Sri Lanka, South America, North Africa, India and across South East Asia. Enjoy a picnic on the beach, then check out what the jewellers, tarot readers, indigenous artists, tailors and leatherworkers have on offer. Oh, and expect street theatre, magicians and plenty of musicians to keep you entertained while you peruse. For more information, visit the website here. [caption id="attachment_718143" align="alignnone" width="1920"] Emma Pritchett[/caption] EXPLORE KAKADU NATIONAL PARK AND STAY IN A LUXURY SAFARI LODGE If you're planning a visit to Darwin without venturing to one of its surrounding national parks — Litchfield, Mary River and Kakadu — you're really missing a trick. Australia's Top End is abundant with wildlife, exotic flora, rock art, waterfalls, floodplains, colossal termite mounds and swimming holes — it's some of the most diverse terrains in the country. World-Heritage-listed Kakadu, the largest national park in Australia, is 253 kilometres east of Darwin. Cruise down the remarkable Yellow Waters, visit Nourlangie Rock — famed for its indigenous rock art — and see some crocs and Australia's most diverse bird population. Be sure to fit in a visit to Warradjan Aboriginal Cultural Centre and dive into a few of the croc-free swimming holes, too. While day tours from Darwin exist, we recommend going all out and staying at Bamurru Plains — Australia's version of an upscale safari lodge — situated on the Mary River floodplains on the edge of Kakadu. Nine bungalows, artfully kitted out in timber and corrugated iron, are enclosed in mesh that offers sheer views over the wetlands. Be warned though — it'll set you back a cool $1360 per night. Visit Kakadu National Park's website for more information. For bookings and more information on Bamurru Plains go here. GO ON A HELICOPTER PUB CRAWL Being a tourist is thirsty work. Luckily, Airborne Solutions has got you with its helicopter pub crawl, which stops at some of the region's more remote watering holes. While up in the air, you'll see unparalleled views of the Top End's natural beauty, covering Darwin, its harbour and coastlines, eucalypt woodlands, termite mounds, billabongs and mangroves. Offered as both a half-day and full-day tour, this pub crawl is sure to get you rubbing shoulders with some quintessentially Aussie characters. You'll visit The Lodge of Dundee, Crab Claw Island Resort, Darwin River Tavern and Goat Island Lodge, before deciding between Humpty Doo Hotel and Noonamah Tavern for your final stop. Although the tours don't come cheap — $795 each for a half-day and $975 a pop for the full Monty — it's a pretty fair dinkum deal for a chopper ride and a beer (or few). For more information and bookings visit the website. To help get you to Darwin this season, and BASSINTHEGRASS festival, Northern Territory Major Events has partnered with Virgin Australia to release a bunch of discounted holiday packages. For more information and to book a flight and accommodation package, head this way. Top Image: Emma Pritchett.
It's television's greatest tragedy, and one that's been more than a decade in the making. Watching Better Call Saul, it's impossible not to think about the route its protagonist takes through Breaking Bad. We already know how Saul Goodman's (Bob Odenkirk) story ends, so as we explore his pre-Walter White life — when he was known by his birth name of Jimmy McGill and genuinely wanted to be a legitimate lawyer — the feeling is bittersweet, to say the least. The same sensation applies to former cop Mike Ehrmantrout (Jonathan Banks), whose Breaking Bad fate is also already known. Before getting caught up with Gus Fring (Giancarlo Esposito), he first crossed Jimmy's path as a car park attendant at the Albuquerque court house — and Better Call Saul tells his tale as much as its namesake's For four seasons since 2015, the Breaking Bad prequel has stepped through the earlier existence of these two characters, as well as others in their orbit — such as Jimmy's successful older brother Chuck (Michael McKean), his girlfriend and fellow lawyer Kim Wexler (Rhea Seehorn), and Mike's widowed daughter-in-law Stacey (Kerry Condon) and granddaughter Kaylee (Abigail Zoe Lewis). As the episodes pass, the two central figures slowly start inching towards their Breaking Bad lives. Familiar faces, such as Fring and Hector Salamanca (Mark Margolis) also pop up. The result: a series that's as excellent as its predecessor, and one that provides another excuse to spend more time in Breaking Bad's world. After last airing episodes in 2018, it's returning for a fifth season this year — and if you can't wait until February 24 to see what comes next, a pair of sneak peeks have dropped. The teasers are incredibly brief, as proved the case when glimpses of 2019's El Camino — A Breaking Bad Movie first started releasing. Still, they show what we all knew was coming: that Jimmy McGill is slipping further away — and Saul Goodman is emerging. Check out the teasers below: https://www.youtube.com/watch?v=ULZVGONrfuw&feature=youtu.be https://www.youtube.com/watch?v=XqopNXmg3x0 Better Call Saul's fifth season starts streaming on Stan from Monday, February 24.
As part of Melbourne's most fabulous week of drinking, World Class Cocktail Week, there's a special event going for those keen on great scotch and equally brilliant food. Saint Crispin's Joe Grbac and Thomas Olive's Alan Mulvihill will join forces to create an evening fit for King Neptune himself — if he could drink Talisker, of course. The Old Scotch and the Sea, a playful take on a famous Hemmingway title, is far more harmonious than the novel in its pairing of delicious scotch and sweet and juicy seafood. Grbac and Mulvihill will be serving up four courses, including dishes such as Marron tail, chicken liver parfait, fricassee of pine mushrooms, buttered hand-rolled macaroni and sesame seed crumble. If that’s not enough to make your mouth water, the menu is designed to pair perfectly with the Isle of Skye-born Talisker Storm Scotch Whisky. Sounds like the perfect storm to us.
If you're fond of R&B, hip hop and nostalgia, you'll want to grab your diary ASAP: Fridayz Live is back for 2025. The festival last popped up in 2023, then sat out 2024. There's no lineup just yet, but the event has locked in dates and venues for its four Australian stops, with Brisbane, Sydney, Melbourne and Perth on the itinerary. This year's Fridayz Live run will kick off on Friday, October 17 at Brisbane Showgrounds, then head to Sydney's ENGIE Stadium on Saturday, October 18. The following weekend, Perth's Langley Park will welcome the fest on Friday, October 24. The final stop: Marvel Stadium in Melbourne on Saturday, October 25. The lineup isn't far away, either, with the announcement set for 6am on Thursday, May 22. Whoever is on the bill will follow in the footsteps of Jason Derulo, Boyz II Men, Kelly Rowland and Flo Rida in 2023, plus TLC, Shaggy, Ashanti, Craig David, Akon and Macklemore in 2022. Before that, Fridayz Live previously went by RNB Fridays, but with the same focus music-wise. Kelis, En Vogue, Usher, Salt-N-Pepa, Ginuwine, Naughty by Nature and Janet Jackson have also graced past lineups. View this post on Instagram A post shared by Fridayz Live (@fridayz_live) The last time that Fridayz Live was on the concert calendar Down Under, it also went to Adelaide; however, a visit to the South Australian capital hasn't been announced for 2025. Fridayz Live joins Spilt Milk in making a comeback this year after sitting out 2024, in a welcome trend for the Aussie live music scene. Fridayz Live 2025 Dates Friday, October 17 — Brisbane Showgrounds, Brisbane Saturday, October 18 — ENGIE Stadium, Sydney Friday, October 24 — Langley Park, Perth Saturday, October 25 — Marvel Stadium, Melbourne Fridayz Live is touring Australia in October 2025. We'll have the lineup for you at 6am on Thursday, May 22, 2025 — keep an eye on the festival's website and Instagram in the interim.
If heaving steins of frothy, golden beers paired with generously proportioned, hearty schnitzels or freshly baked pretzels are your idea of a good time, you're probably a big fan of Oktoberfest. The German folk festival has been adopted worldwide, bringing its music, food and drinks aplenty to the masses. Melbourne's unofficial home of the festival is Hofbräuhaus, where the celebrations are returning for the 56th year in 2024. The special offering will run from Saturday, September 21, to Saturday, October 26. That's six weeks of celebrations, kicking off with an opening night party. The activities run most of the day, and you'll get the most action from 6.30pm from Thursday to Sunday, but the party starts as early as 12.30 on Saturdays, with imported German Biers poured (and tapped directly from the keg) and crumbed-to-order schnitzels plated to live music. If the bands are in full swing, guests can also take part in Stein-carrying competitions. The prize? A year of free beer, of course. Those activities and menu items will be available on a varying schedule for the entire six-week period, with more competitions (yodelling, anyone?) and over 16 exclusive German Biers imported for the event, singalongs in English and German and the promise of a fully immersive Oktoberfest experience. Prost! Oktoberfest celebrations will run at Hofbräuhaus from Saturday, September 21, to October 26. For more information, visit the website.
What's better than one major Australian structure proudly displaying the Aboriginal flag, hoisting it high for everyone to see on a permanent basis? Two, of course. Actually, watching that list keep on growing would be even better still — but for now, Melbourne's West Gate Bridge has joined the Sydney Harbour Bridge in making the Aboriginal flag an enduring fixture. As announced back on Monday, July 4 by the Victorian Government, the Aboriginal flag has taken up permanent residence upon the roadway, with permission from Traditional Owners. It was put in place last week for NAIDOC Week, and the decision was made to keep it there — rather than continue rotating it, as well as the Torres Strait Islander flag, when both Reconciliation and NAIDOC weeks pop up. "The Aboriginal flag signifies unity, identity and resilience for Aboriginal people. We are very proud that we can now fly this important symbol above Melbourne," said Victoria's Minister for Treaty and First Peoples Gabrielle Williams. "Flying the flag follows our ongoing partnership with the First Peoples of Victoria on our path to Treaty and truth." [caption id="attachment_860986" align="alignnone" width="1920"] A Canvas of Light via Flickr.[/caption] "The Aboriginal flag represents inclusiveness, recognition and respect and having it flown permanently atop the West Gate Bridge demonstrates this commitment to Aboriginal communities in Victoria," added Bunurong Land Council Aboriginal Corporation Chairperson Kelly Lehmann. "This is a significant first step, and we look forward to seeing ways in which the Torres Strait Islander flag can also be flown in the future." The Aboriginal flag joins the Australian flag on top of the West Gate Bridge and, yes, the Victorian Government is now looking into being able to fly the Torres Strait Islander and Victorian State flags there as well. It's currently exploring both the feasibility and the requirements, including current flag protocols, as well as the bridge's structural, safety and maintenance requirements. [caption id="attachment_840573" align="alignnone" width="1920"] Oliver Lupton via Wikimedia Commons.[/caption] Victoria's move comes at the same time that this exact conversation has been taking place in New South Wales, about flying the Aboriginal flag on the Sydney Harbour Bridge. NSW Premier Dominic Perrottet originally pledged to give it a permanent berth atop the country's most famous man-made structure back in February, then announced in June that it'd become a reality by the end of 2022 — before confirming on Monday, July 11 that the flag would stay hoisted above the harbour post-NAIDOC Week, too, like its Victorian counterpart. Also in Aboriginal flag news this year, the Australian Government unveiled a copyright deal at the end of January with Luritja artist Harold Thomas, who designed the symbol, to make it freely available for public use. The Aboriginal flag is now flying permanently on the West Gate Bridge, effective since Monday, July 11. Top image: Colin Campbell via Flickr.
Film fans, your spider-senses should be tingling: there's a new batch of Spider-Man-adjacent characters swinging onto the big screen. Get ready to meet Dakota Johnson (Cha Cha Real Smooth) as Madame Web, aka clairvoyant paramedic Cassandra Webb. Get ready, too, for Sydney Sweeney (Reality) as Julia Carpenter, who has a stint as Spider-Woman in her story in the comic books. Johnson and Sweeney lead Madame Web, the fourth film in Sony's Spider-Man Universe. That's the name for the studio's franchise of flicks that have been spun off from its Spider-Man movies — so from Spider-Man: Homecoming, Spider-Man: Far From Home and Spider-Man: No Way Home — but aren't part of the the Marvel Cinematic Universe. Hitting cinemas on Wednesday, February 14, 2024, it slings in alongside Venom, Venom: Let There Be Carnage and Morbius, plus the delayed Kraven the Hunter when it arrives later the same year, to spread another web of superhero-related pictures. Given its name, there's no chance of thinking that Madame Web would be subtle about its Spidey links. The just-dropped first trailer for the film makes that plain not just in multiple Spider-Woman sightings, but in an explanatory line from Johnson designed to drop some backstory: "he was in the Amazon with my mum when she was researching spiders right before she died". In the first SSU movie with a female lead, the man that Webb is talking about is Ezekiel Sims (Tahar Rahim, Extrapolations), a character who also hails from the page. He factors into a narrative that has Webb almost drowning, then discovering that she can see the future, with not just Sims but Carpenter linked to her fortunes. Also, would this be a Spider-Man-related movie, or a comic book movie in general, if a complicated past didn't also play a part? Also featuring on-screen in Madame Web: Celeste O'Connor (Ghostbusters: Afterlife), Isabela Merced (Rosaline), Mike Epps (I'm a Virgo), Emma Roberts (American Horror Story) and Adam Scott (Party Down). Veteran TV helmer SJ Clarkson (Succession, Vinyl, Jessica Jones) directs, and also co-wrote the script with producer Claire Parker (Life on Mars). Check out the trailer for Madame Web below: Madame Web opens in cinemas Down Under on Wednesday, February 14, 2024.
They're perhaps the most mystical of all sea creatures, but you probably haven't had much of a chance to get up close and personal with real-life jellyfish. Well, all that's about to change. Sea Life Melbourne Aquarium is shining the spotlight on these ocean enigmas with an interactive new $1.5 million jellyfish exhibition launching tomorrow, Thursday, December 12. Spread across 300 square metres and three multi-sensory zones, and featuring a thousands of jellyfish from a range of species, Ocean Invaders has made its home permanently at the aquarium. It's home to a range of exhibitions dedicated to these gelatinous critters — from lighting installations to hands-on activities and mesmerising, colourful displays of living jellyfish. Here, you can learn the ins and outs of jellyfish, watch them being cared for by Sea Life's ocean experts and even crawl through a cylindrical tank surrounded by them. In another zone, striking light projections lend even more magic to a range of living displays, including one transparent sphere that's packed full of floating creatures. Species like the blue blubber jellyfish (catostylus mosaicus), the upside-down jellyfish (cassiopea andromeda) and sea nettles (chrysaora melanaster) also feature in the Ocean Invaders collection, which also aims to school visitors on why some jellyfish populations are currently booming across our oceans. Find Ocean Invaders at Sea Life Melbourne Aquarium from Thursday, December 12, 2019. Entry is included in the price of general admission ($37.40)
One of the greats of the Aussie comedy industry, Josh Thomas, has graced our eyes and ears with his two television series Please Like Me and Everything's Gonna Be Okay, his podcast Josh Thomas and Friend and his standout standup career. Said standup career is returning to our lives with his newly announced 2024 national tour Let's Tidy Up. In this show, Josh tidies up, which isn't usually particularly gripping entertainment. Unless it's difficult, and for Josh, it's supposedly impossible, akin to defying gravity and reversing the tides. But he also promises more topics — like gardening, gophers and a love story. The tour starts in Sydney at the Sydney Opera House from Wednesday, January 31 to Sunday, February 18. Then Josh will move on to visit Canberra, Hobart and Newcastle for one-night-only shows in late February. He'll set up shop at Adelaide Fringe Festival from March 5—10, then hit Cairns and Perth for one-night-only shows in March and April. There'll be several shows at Melbourne Comedy Festival from April 9—21, a one-night-only show in Toowoomba on Wednesday, May 1 and finally the Brisbane Comedy Festival from May 2—5. And as a special offer for you, dear reader, you can get 20% off your tickets with this limited time offer to select shows in Sydney, Melbourne and Brisbane. 'Let's Tidy Up' is playing at the Sydney Opera House from Wednesday, January 31 to Sunday, February 18. For more information or to get tickets, visit the website.
Digital art is taking over the Australian Centre for the Moving Image in a huge way in 2024. The Melbourne venue might be known for its cinemas, as well as past exhibitions about Martin Scorsese, David Bowie, Disney animation and women in Hollywood, but it doesn't just celebrate movies and television. If it can grace screens, it can feature here — including at the Marshmallow Laser Feast: Works of Nature showcase that's displaying until April, and then at just-announced fellow world-premiere Beings. Interactive pieces using innovative technology firmly fit ACMI's remit, which is exactly what its big winter exhibition will be about. The playful event explores the work of art and design collective Universal Everything, featuring 13 pieces from its 20-year career. And the experience that you have while walking through Beings won't be the same as anyone else's. [caption id="attachment_944195" align="alignnone" width="1920"] Future You' by Universal Everything, installation view, Digital Impact, Barcelona, Spain, photo by Eva Caraso.[/caption] On display from Wednesday, May 22–Sunday, September 29, 2024, this new reason to head to ACMI wants attendees to not merely look at, but also move and dance in front of its large-scale screens and projected artworks. Beings' pieces will respond differently to each visitor, using evolving algorithms and generative technology. That makes you part of the art as well. Founded in 2004, Universal Everything began in a garden studio in Sheffield, England, which is where Creative Director Matt Pyke initially set up shop. Now, the collective — which includes animators, architects, cinematographers, designers, developers, engineers and musicians — works globally. Its creations display around the world, too, with stints in London, Seoul, Paris, Istanbul and New York before its upcoming Melbourne exhibition. [caption id="attachment_944193" align="alignnone" width="1920"] 'Friends' by Universal Everything[/caption] Beings' pieces — four of which will be brand-new world-premiere artworks themselves — frequently use the kind of tech that Hollywood studios and video-game makers deploy. Expect to peer at and play with an assortment of characters, and to feel like you've stepped into a movie or a game as well. The exhibition will unravel Universal Everything's creative process, including via hand-drawn sketches that'll be seen by the public for the first time. [caption id="attachment_944198" align="alignnone" width="1920"] 'Into the Sun' by Universal Everything, installation view, Lifeforms exhibition, 180 Studios, photo by Jack Hems.[/caption] "This is technology with heart and soul. Innovative, interactive and enriching, Universal Everything's joyous creations bring warmth and a sense of humanity. Whether you have an eye for design, an interest in new tech or are simply looking for some fun, this family-friendly experience will leave you with a smile. ACMI is the home of endless play this winter — no two visits to Beings will be the same," said ACMI Director and CEO Seb Chan, announcing the exhibition. "I relish this opportunity to push our studio practice even further, with some never-before-seen artworks created for Melbourne audiences. And as ever, I'm looking forward to being surprised by unexpected visitor responses to the show. We hope they have lots of fun," added Universal Everything's Pyke. [caption id="attachment_944196" align="alignnone" width="1920"] 'Future You' by Universal Everything, installation view, More than Human, Afundación, A Coruña, Spain, image courtesy of the artists.[/caption] As is ACMI's custom, an exhibition at the Federation Square venue spans more than just the showcase itself. While the specifics are still to be revealed, there'll be late-night access, as well as a new contemporary dance series that features Melbourne choreographers. Beings is also family-friendly, so activities for kids — for preschoolers in general, and over the school holidays — are on the agenda. [caption id="attachment_944201" align="alignnone" width="1920"] 'Transfiguration' by Universal Everything.[/caption] [caption id="attachment_944199" align="alignnone" width="1920"] 'Kinfolk' by Universal Everything.[/caption] [caption id="attachment_944200" align="alignnone" width="1920"] ''Maison Autonome' by Universal Everything, installation view, image courtesy of the artists.[/caption] [caption id="attachment_944194" align="alignnone" width="1920"] 'Symbiosis' by Universal Everything.[/caption] Beings will display at ACMI, Federation Square, Melbourne, from Wednesday, May 22–Sunday, September 29, 2024 — head to the ACMI website for further details or to get tickets. Images: courtesy of Universal Everything. Top image: 'Infinity' by Universal Everything.
Neo. John Wick. Johnny Utah. Ted "Theodore" Logan. Across Keanu Reeves' almost four-decade acing career, the inimitable star has played many iconic parts — but only one thrust him to stardom as a time-travelling high-school slacker who had to round up famous figures from the past to pass his history report and save the future of humanity. As a result, the Bill & Ted movies have always held a soft spot in Keanu fans' hearts. Since first hitting screens in 1989 and 1991, the franchise has long been the subject of follow-up rumours, too. And now, just when the world particularly needs a reminder about being excellent to each other, the series is returning with its long-awaited third instalment. Nearly 30 years after Reeves last rocked out, grappled with fate and used a telephone box as a mode of transport in Bill & Ted's Bogus Journey, he's back doing the same thing. So is Alex Winter as Bill S. Preston, Esquire, Ted's best buddy, San Dimas High classmate and fellow founder of Wyld Stallyns, aka the garage band that'll change life as we know it and inspire a utopian society — at least according to Rufus (the late George Carlin) in film that started it all, Bill & Ted's Excellent Adventure. But as both the first teaser and the just-dropped full trailer for Bill & Ted Face the Music shows, that plan hasn't quite panned out as yet for the franchise's central duo. A quarter-century ago, they played a concert in front of the entire world. One month ago, they played a gig in California for 40 people — "most of whom where there for $2 taco night", they're told. After being reprimanded by the folks from the future for their lack of progress — when you're supposed to write the song that unites the globe and rescues reality, 25 years without any progress isn't going to go by unnoticed — Bill and Ted decide to head forward in time to a point when they've already penned the tune in question. Once they're there, they figure they can just steal the track from themselves. Plenty of hijinks await, naturally, including singing at weddings, playing air guitar with the Grim Reaper (William Sadler) and coming face to face with beefed-up versions of themselves. Oh, and then there's Ted's daughter Billie Logan (Bombshell's Brigette Lundy-Paine) and Bill's daughter Thea Preston (Ready or Not's Samara Weaving), who follow in their dads' footsteps and get in on all the time-travelling fun. If the first teaser was enough to make you exclaim "party on, dudes!", Keanu-style, then this longer trailer will evoke more of the same. Bill & Ted Face the Music is clearly taking more than a few queues from its predecessors, too — as well as needing to create a song in 78 minutes that'll save the world and bring harmony to the whole universe, Bill, Ted, Billie and Thea also enlist some well-known personalities from the past to help. As for what happens next, how often someone will say "whoa!", and what the rest of the cast — which includes Kid Cudi, Kristen Schaal, Anthony Carrigan, Erinn Hayes, Jayma Mays, Jillian Bell, Holland Taylor, Beck Bennett, Hal Landon Jr and Amy Stoch — gets up to, that'll all be revealed when the film hits Australian cinemas on Thursday, August 27. Until then, check out the full Bill & Ted Face the Music trailer below: https://www.youtube.com/watch?v=9gnTuWEKSXw&feature=youtu.be Bill & Ted Face the Music is scheduled to release in Australian cinemas on August 27.
It is with a heavy heart that we announce one of Melbourne’s retail gems, Alice Euphemia, is closing its doors in less than a week. After 18 years in Cathedral Arcade, Flinders Lane, this champion of the Australian design world will be closing on Thursday, June 26 at 6pm. Karen Rieschieck, owner of Alice Euphemia, has had her finger on the pulse of innovative Australian fashion since opening her store in 1997. Labels she has stocked and supported over the years include Romance Was Born, Christopher Esber, Kuwaii, Livia Arena, Carly Hunter and Kloke. The much-loved store is also well-known for stocking talented and independent jewellery designers. Work from Lucy Folk, Mavro, Seb Brown, Julia deVille, Dani M, and Millie Savage has regularly graced the shelves of this Melbourne institution. In Australia’s current fashion climate, where cheap and mass-produced imports of buzz brands are causing lines around the block, specialty stores like Alice Euphemia that support quality and creativity will be greatly missed. We visited the boutique yesterday to say goodbye and the loyal fan base that Alice Euphemia has generated over nearly two decades was extremely evident. Every second customer walked straight up to the shop girls to tell them how sad they were that they are closing down. However, this might not be the complete end to all things Alice. The store's Instagram account mentions the possibility of a "phase two" and an email sent to loyal customers announcing the shop’s final days stated "it’s time for a hiatus". In speaking to The Age, Rieschieck indicated the store may come carry on in its online form, or as a support for local business. "I really want to reinvigorate Alice," Rieschieck said. "The only way I can think to do that is to stop, have some time out, have a bit of long-service leave and come back with a different approach." Until then, Alice Euphemia is spending its final days hosting a massive sale of their clothes and some of their jewellery. They are also selling shopping fixtures such as mannequins, cabinets, vases, light fittings, mirrors, hangers, and other miscellaneous parts of the store. Time to get on down, pick up a bargain, and say your goodbyes as this beloved boutique bites the dust. Alice Euphemia is located in Cathedral Arcade, on the corner of Flinders Lane and Swanston Street in the CBD. The store will be open its usual hours: Monday-Saturday, 10am-6pm until its last day of business on Thursday, June 26.
For most people, waking up to the smell of freshly brewed coffee is one of life's simple pleasures. Soon, waking up in bedding made from coffee grounds might be as well. Forget using caffeinated leftovers in the garden or around the house — Australian outfit Ettitude wants to reuse the parts that don't make it into your cuppa, infusing them into their new sheets range. It seems that they're not the only ones keen on the idea, with their Kickstarter campaign fully funded, and the first sheets due to ship in November. Their range includes the whole bedding kit and caboodle — aka flat and fitted sheets, quilt covers and pillow cases — in double, queen and king sizes, as available in a range of packs of combinations. And while they don't actually smell like everyone's favourite hot beverage, they do supposedly reap plenty of rewards. So, how does it work? The company's bamboo coffee bedding collection uses coffee yarns sourced from S.Cafe, who repurpose coffee grounds from cafes around the world, blend them with a polymer made from recycled plastic drink bottles, and turn the mix into fabric. At Ettitude, the yarns are then woven through their own sustainable bamboo lyocell textiles, ready to bring some coffee goodness to bedrooms everywhere. It's not just the environmentally friendly aspect of their new creation that Ettitude is getting all frothed up about, either; their sheets apparently offer a range of other benefits. It's unsurprising that material made out of something as heavy-scented as coffee grounds can block out other odours, but it can also wick away moisture faster, ensuring that bedding stays fresher for longer. Ettitude also state that hypoallergenic, thermoregulating bamboo-based linen doesn't irritate hair and skin as much as other fabrics, helping you wake up feeling refreshed — before you even roll out of bed and grab a coffee. For more information about Ettitude's bamboo coffee sheets, head to their Kickstarter campaign.
One of Sydney Festival 2017's most Instagrammed events was The Beach, an enormous ball pit inside a human-made cave, as created by Brooklyn-based design studio Snarkitecture. Tonnes of the city's residents spent at least some part of January diving, cannonballing and floating about in a sea of plastic bliss. Understandably. Thankfully, Melbourne got its own pop-up ball pit earlier this year — this behemoth, one-million ball, ball pit party. It sold out, and now it's returning just in time for Halloween. Like last time, it will be divided up into several spaces creating a kind of playground. There'll also be an on-site cocktail bar, to let you rest and refuel in between dips and dives. The ball pit will pop up in North Melbourne on Saturday, October 27 from 1pm till 1am. Entry will be via ticket, which will entitle you to two hours of playtime. The ball pit folk have gotten into the festival spirit this time round, too, and will be hiding $1000 throughout the ball pit. If you're keen to find it, we suggest booking into one of the earlier sessions. Anyone keen to attend between 1pm and 3pm can add some extra fun to their ball pit experience: a two-long bottomless prosecco and pizza session. Tickets including food and drinks cost $55, with only 200 available. A tip: you might want to go easy on the jumping around after getting your fill of eats and bubbles.
Remember the animation devices of ancient times, such as the zoetrope, praxinoscope and phenakistoscope? No, of course you don't. Fortunately, we have artist and technician Richard Balzer, who has taken it upon himself to perform the necessary updates. For more than 30 years, he has been dipping into cabinets of curiosity and combing through flea markets in order to find detailed drawings, diagrams and photographs from the old world and breathe new life into them through the popular gif image. From an early fascination with the magic lantern, Balzer has accumulated a comprehensive collection of optic toys and illustrations. These forms of visual entertainment were originally developed as an attempt to better understand the functioning of the eye and the brain. Enthralled by the phenomenon of illusory movement, Balzer has spent the last five years curating a virtual museum, bringing the image-making magic of these devices to the web. Peruse the catalogue and uncover innumerable psychedelic head-spinners, from galloping devils to backflipping knights in armour to monstrous faces swallowing and re-swallowing each other. Balzer's aim is simply to share his passion with as wide an audience as possible, whilst preserving and digitising an art archive on the verge of being forgotten. Via psfk and Colossal.
Over-the-top food and drink mashups might be popping up on seemingly every menu these days, but one has been around for much, much longer. That'd be the humble shandy, which mixes beer with something that's definitely not beer — something lemon-flavoured, usually — and makes for perfect summer sipping. Why just knock back a brew when you can also be drinking mango juice, ginger beer and squash? That's the thinking behind The Bavarian's summer shandy series — although no, you won't be downing all of the above ingredients at the same time. Instead, those tipples and a heap of others are featured in nine different shandies, which'll set you back between $10–15 each, come in 500-millilitre steins and are available all summer long. On the menu: the Summer Mango, which combines Franziskaner Hefe Weissbier with mango juice; the Michelada, a blend of 4 Pines Kolsch, bloody mary spiced juice and lime juice (with a chilli-salt rim); the Nightcap, which pairs Hofbrau Dunkel with coffee liqueur; and the Snake Bite, a mix of Bulmers apple cider, 4 Pines Kolsch and Chambord. Butterscotch, apple rye spice, whiskey and ginger, and a tequila concoction are also available — the latter called the Largarita — because these shandies can also include liqueurs and spirits. You'll find The Bavarian at Knox and Highpoint.
