Change is brewing in Prahran — or simmering, perhaps. Italian espresso bar Officine Zero is preparing to unveil its new identity: Officina Gastronomica Italiana, or OGI for short. Relaunching sometime this spring, OGI will operate in a space twice the size of Officine Zero, creating more room for culinary exploration. But the real game changer is the addition of a dinner menu. If you're worried about suffering caffeine withdrawal though, don't be — Officine Zero is still operating in its espresso bar and deli capacity for breakfast and lunch. It will close briefly before reopening mid-spring with dinner service under its new moniker. Owner and Emilia-Romagna native Claudio Casoni leads an all-Italian headline act, with OGI set to serve handmade pasta by Turin-born chef Gabriele Coniglio and artisan wines selected by front-of-house manager Armando Al Khatib, who hails from Florence. The menu at OGI will be a tribute to locally sourced seasonal ingredients. And those wines? They'll span a carefully curated selection of Italian vino to match. The heart of OGI is its central bar, a versatile space where patrons can start their day with a caffeine jolt, transition into a laidback afternoon with a glass of wine and conclude the evening with a relaxing dinner. The bar will also feature a tempting array of small plates, ideal for sharing. "When I originally opened Officine Zero in 2014, I always planned for it to be more than an espresso bar," said Casoni, announcing OGI. "I wanted to share my passion for Italian artisans, commitment to sustainable producers and good old-fashioned hospitality with the local community. Now, with the opportunity to expand our footprint and relaunch Officina Gastronimica Italiana, I have my chance." Officine Zero will relaunch as Officina Gastronomica Italiana in mid-spring 2023 at 532/534 Malvern Road, Prahran — we'll update you with an exact date when one is announced.
As the accompanying bar to Vue de Monde, it might be all too easy to think of Lui Bar as an afterthought, a mere staging area for the dining room it's connected to. But instead, Lui Bar makes the case for restaurant bars as destinations in their own right. The bar is perched 55 floors above the city in the Rialto — Lui Bar is named, in fact, after Luigi Grollo, whose construction company built the Collins Street tower in the 1980s. It's home to an impressive drinks offering, with cocktails that champion Australian flavours (much like its fine diner sibling). The drinks do more than just feature local ingredients, though: the list is a celebration of Melbourne's cocktail history, with tipples that take inspiration from the city's first cocktail boom during the Gold Rush, right through to today. The venue also takes the concept of drinking snacks to new heights thanks to its Vue de Monde-designed menu, which showcases clever technique as it reimagines classic local bites — think seafood rolls, handmade beef sausage rolls with a spicy ketchup and a chocolate lamington filled with raspberry gel. Add to the mix a standout wine list, incredible views from 236 metres above the city and live jazz on Sundays, and an evening at Lui Bar is no mere afterthought.
There's no doubting that Death and Other Details loves whodunnits, or that it's made with a murderers' row of them in mind. Playing "spot the nod" is one of this ten-part Disney+ series' games. Sleuthing along with its plot is the other, obviously. So, as an odd couple with an age discrepancy team up to attempt to solve "a classic locked-room mystery" — the show even calls it such — among the preposterously wealthy on holiday, and on a boat at that, where everyone has a motive and a battle over who'll seize control of a family business is also taking place, gleaning what creators and writers Heidi Cole McAdams and Mike Weiss (who also worked together on Stumptown) have been reading and watching isn't a puzzle. Nudges and references are regularly part of the murder-mystery genre anyway; here, they sail into a tale that's also about what we remember and why. Recalling Agatha Christie's oeuvre, its movie adaptations — complete with Kenneth Branagh's recent spate — and especially Death on the Nile is as blatant as knowing that no one onboard Death and Other Details' SS Varuna will be exactly who they appear. Thinking about Only Murders in the Building, Knives Out, Poker Face and The White Lotus is also instantly easy. So is pondering Succession, with narratives about business empires passing down the reins bound to pop up as frequently as detective capers even now that the HBO hit is over. But when other films and shows earn a wink here, Death and Other Details also digs into the purpose behind the minutiae that sticks in our memories. It's a savvy yet risky gambit, getting viewers ruminating on how they spy patterns and filter their perspectives, too, while chancing coming off as derivative. Mostly the series bobs in the first direction; however, even when it sways in the second, it still intrigues its audience to keep watching. That seemingly mismatched pair: Imogene Scott (Violett Beane, God Friended Me) and the Hercule Poirot-esque Rufus Cotesworth (Mandy Patinkin, Homeland), with the second regularly dubbed "the world's greatest detective". Most folks might believe that label, but Imogene does not. The duo shares a history spanning two decades, from when she was a child (Sophia Reid-Gantzert, Popular Theory) mourning the shock killing of her mother that he couldn't solve. Back then, Rufus was on the case at the behest of the wealthy Colliers, who work in textiles, employed Imogene's mum as a personal assistant to patriarch Lawrence (David Marshall Grant, Spoiler Alert) and took the girl in when she had no one else. Now, both Rufus and Imogene are guests on a cruise chartered by them — she's there as basically a member of the family; he's accompanying the Chuns, with whom the Colliers are in the middle of a billion-dollar business deal. The entire decadent jaunt is in aid of getting crucial signatures, securing the Colliers' future and anointing Lawrence's daughter Anna (Lauren Patten, a Tony-winner for Jagged Little Pill) as the next CEO — she hopes. Death and Other Details doesn't lack in people taking to the seas, though, not only including the aforementioned characters. Chun matriarch Celia (Lisa Lu, American Born Chinese) and her granddaughter Eleanor (Karoline, Dead Ringers), Lawrence's dutiful spouse Katherine (Jayne Atkinson, Baby Ruby) and coked-up son Tripp (Jack Cutmore-Scott, Oppenheimer), Anna's paranoid former-journalist wife Leila (Pardis Saremi, Hell of a Summer) and the Colliers' slimy long-serving manager Llewellyn Mathers (Jere Burns, NCIS: Los Angeles) are all onboard. So is ship owner Sunil Ranja (Rahul Kohli, The Fall of the House of Usher). The unruly Keith Trubitsky (Michael Gladis, The Company You Keep) is also among the passengers, until he's found dead via a harpoon in his cabin. Everyone is eventually a suspect, from a pool that features Washington Governor Alexandra Hochenberg (Tamberla Perry, They Cloned Tyrone), the politically influential Father Toby (Danny Johnson, The Equalizer) and his social-media star son 'That' Derek (debutant Sincere Wilbert), Jules (Hugo Diego Garcia, Touchées) from the vessel's security outfit, and hospitality head Teddy Goh (Angela Zhou, Promising Young Woman) and her sister Winnie (Annie Q Riegel, Kung Fu) as well. But fingers initially point in Imogene's direction, after she's caught on camera in the victim's room not long before he met his end. Rufus, who she's furious to see but has been tasked with looking into the matter until Interpol arrives, can assist — and wants her help cracking the mystery in turn. No one needs to be badged "the world's greatest detective" to pick that their current situation and Imogene's mother's murder have connections. "Pay attention: details matter," advises Rufus early, with Death and Other Details endeavouring to fill its frames with tidbits that prove that notion. And there are tidbits; just like the lengthy list of folks associated with the show's two cases, there's no shortage of backstories, links, twists, detours, motives, secrets, lies, affairs, clues and other finer points. Although not everything convincingly earns its place, the non-stop flow gives Imogene and Rufus plenty to dive into, in the present, common past and much in-between. And while the extravagant ocean liner that the bulk of the current-day timeline is set upon doesn't seem to be in a hurry to get anywhere, the series' plot is pacy and bouncy, never letting a moment drag. Death and Other Details' jumps backwards are always tied to memories and, in another choice that could've sunk or swum — thankfully, it's the latter — often insert Imogene into the recollections. Accordingly, the act of scouring one's brain and scrutinising someone's story for aspects that've might've been overlooked receives a visual representation. The underlying idea isn't just a passing theme, either. That almost everything is subjective isn't a unique revelation, but examining the distortions of our minds, what we choose to see and to block, and what recurs again and again, is particularly potent in unpacking grief and trauma. Such is Imogene's tale, which Death and Other Details never forgets even as it luxuriates on an opulent ship, splashes around sunnily and glossily shot sights, and also steams into the eat-the-rich realm. As the investigators sifting through a motley crew of players with their own idiosyncrasies, Patinkin and Beane unsurprisingly leave the biggest imprint among the cast. Ever-reliably great, he's in classic gumshoe and Columbo-type mode, while she's shrewd and determined. The contrast — as familiar as it is — works a charm. Indeed, as the series coasts entertainingly along, wanting more of Rufus and Imogene sleuthing together, and more of them stepping beyond their present boat-bound scenario, is the main takeaway. For now, their maiden Death and Other Details' voyage boasts much to keep audiences wanting to continue breezing along with them. Check out the trailer for Death and Other Details below: Death and Other Details streams via Disney+ from Tuesday, January 16. Images: Hulu.
Before Snow Machine became everyone's excuse to hit up Queenstown for a stint of music and skiing, the festival launched its mix of tunes in wintry climes in Japan. That was back in 2020 and it hasn't been back there since — until 2024 rolls around. Although Snow Machine Queenstown is still to come for 2023, Snow Machine Japan has locked in its return for Monday, February 26–Saturday, March 2 in Hakuba. On the just-dropped bill: everyone from Diplo and Marc Rebillet to Bob Moses and Todd Terje, plus Japanese talents Risa Taniguchi, Satoshi Tomiie and Shinichi Osawa. Snow Machine Japan might return when summer will be shifting into autumn Down Under, but it's one helluva excuse for a frosty holiday during the northern hemisphere's winter — and Japan's snow season. No matter where it's taking place, this is the hottest festival for the colder months, packed with a snow-filled week of music and adventure. Attendees will be treated to action-packed days on the slopes, après ski events, and a hefty roster of international acts against an idyllic backdrop. And, because this is Japan, onsen trips, sake aplenty and yakitori bites are also on offer. Other than the wintry setting, one of the things that sets Snow Machine apart from other music fests is being able to book your entire getaway with your ticket. Packages span five or seven nights of accommodation, and include a festival ticket across the entire event, plus a four-day lift pass for Goryu & Hakuba 47, Tsugaike, Iwatake and Happo One. A word of warning: unsurprisingly, the packages are popular. Although the Snow Machine Japan 2024 lineup has only just been announced, packages are already 85-percent sold out. If you're keen to take care of your own place to slumber and just nab a festival ticket, that's an option as well. Lift passes, rentals, lessons and activities can be then booked on top at additional cost, and you can opt for VIP access including heating and seating while you party if you're feeling particularly cashed up. SNOW MACHINE JAPAN 2024 LINEUP: Bob Moses (club set) Busy P Claptone Denis Sulta Diplo Ewan McVica George Fitzgerald (DJ set) GG Magree Marc Rebillet Nina Kraviz Risa Taniguchi Satoshi Tomiie Shinichi Osawa Todd Terje (DJ set) Reuben Styles and Danny Clayton present First Base Snow Machine Japan 2024 will be held from Monday, February 26–Saturday, March 2 in Hakuba. Presale tickets go on sale from 12pm AEST on Thursday, August 3, with general tickets available from 12pm AEST on Friday, August 4. For more information, visit the festival's website. Images: Pat Stevenson. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
The first phase of the ambitious hot springs-based Gippsland getaway, Metung Hot Springs, officially opened to the public late last year. The $100 million development from the minds behind Mornington Peninsula favourite, Peninsula Hot Springs, is a cool four-hour drive away from Melbourne and well-worth the journey. The 25-acre site is a haven of wellness and indulgence, surrounded by coastal bushland and located within strolling distance of the quaint lakeside village of Metung. It currently boasts two bathing areas with multiple mineral-rich hot springs, a sauna, cold plunge pool, reflexology walk and day spa. For phase one, geothermal springs are open in the Bathing Valley, as well as the Hilltop Escarpment which overlooks the gorgeous Lake King. But the crowning jewel here are the luxurious glamping tents, which come equipped with duo, geothermal bathing barrels. Overnight guests can enjoy private, 24/7 bathing barrels in luxurious glamping tents positioned by the lagoon or along the hillside. If you're keen to explore more of regional Victoria this year, head this Gippsland newcomer for an indulgent weekend of bathing, pampering and glamping. Images: Sharyn Cairn
When Lorde announced that she'd be bringing her Ultrasound world tour to Australia in 2026, Sydneysiders and Melburnians embraced the green light to buy presale tickets. In fact, the demand for the Aotearoan star's Qudos Bank Arena and Rod Laver Arena gigs has been so huge that new shows in both cities have already been announced — before general tickets to the originally locked-in concerts even go on sale. In February 2026, the 'Royals', 'Solar Power' and 'What Was That' singer-songwriter will hit the stage across both Australia and New Zealand, making dates with arenas at every stop across a six-city run. Sydney and Melbourne are now hosting not one gig apiece, but two. Ella Yelich-O'Connor is playing the Harbour City on Wednesday, February 18 and again on Thursday, February 19, then the Victorian capital on Saturday, February 21 as well as Sunday, February 22. These are the final Sydney and Melbourne dates that'll be added to the tour. [caption id="attachment_1012905" align="alignnone" width="1920"] Joseph Okpako/WireImage[/caption] Lorde last took her Solar Power tour to Australia in 2023. Her new series of concerts begins in September 2025 in the US — and also includes gigs in Canada, the UK and across Europe before this year is out. When the initial Australian and NZ dates were revealed, they came fresh from Yelich-O'Connor's surprise 2025 Glastonbury set, as well as her fourth album Virgin releasing at the end of June. The latter debuted at number one in Australia and New Zealand alike. This is Lorde's biggest tour of her career in general, too, with nights at the likes of Madison Square Garden in New York City and O2 Arena in London already sold out. [caption id="attachment_1012901" align="alignnone" width="1920"] Thistle Brown[/caption] Featuring the aforementioned 'What Was That' — her first original new track in four years — alongside 'Man of the Year', 'Hammer', 'Favourite Daughter' and 'Shapeshifter', Virgin also hit number one in the UK and number two on the Billboard 200 chart in the US. There might be a three-year gap between Lorde's last Down Under shows and her upcoming Ultrasound tour concerts; however, in addition to writing and recording Virgin, she's been busy making a surprise Sydney club appearance back in May 2025 at a Lorde-themed night. Since 2013, when her debut record Pure Heroine arrived, Yelich-O'Connor has also released 2017's Melodrama and 2021's Solar Power, won two Grammys, picked up a Golden Globe nomination for 'Yellow Flicker Beat' from the soundtrack for The Hunger Games: Mockingjay — Part 1 and notched up over 18 billion streams worldwide. [caption id="attachment_1012904" align="alignnone" width="1920"] Joseph Okpako/WireImage[/caption] Lorde Ultrasound World Tour 2026 Australian Dates Monday, February 16 — Brisbane Entertainment Centre, Brisbane Wednesday, February 18–Thursday, February 19 — Qudos Bank Arena, Sydney Saturday, February 21–Sunday, February 22 — Rod Laver Arena, Melbourne Wednesday, February 25 — Perth Arena, Perth Lorde is touring Australia and New Zealand in February 2026, with ticket presales for the new shows from 2pm local time on Thursday, July 17, 2025 and general sales for all shows from 2pm on Friday, July 18, 2025 — head to the tour website for more details. Top image: Thistle Brown.
Lately Tasmania has been at the top of our list of destinations where food, wine, spirits and scenery are at the heart of the holiday. It is, after all, home to many of Australia's finest producers and makers. In fact, we've been so inspired that we've curated a special travel package to Hobart that's dedicated to culinary indulgence — and you can snap it up now at Concrete Playground Trips. Alternatively, you can just win your way there. All you need to do is enter below right now. We're giving away this fantastic holiday for two in beautiful south Tassie and its many wineries, distilleries and farms (flights excluded). The itinerary includes a tasting experience at Ewenique Tasting House, a signature wine, cider, beer and whiskey tour of the Huon and Coal River Valleys, and a full-day tour sampling your way around Bruny Island, known for producing world-class seafood, cheese, honey and spectacular views. You'll also score four nights' accommodation at the impressive Vibe Hotel Hobart, as well as all-inclusive car rental to make getting around a breeze. Want to win a holiday in Tasmania for you and your best mate, partner or parent? Enter below. [competition]873504[/competition]
A new series of advertisements by Education First, a language-school network based in over fifty countries, makes the case for learning another language in a wonderfully unique light. Not a single word is spoken in the ads, nor do they pitch the school. Instead, you follow the adventures of four students touching down in Paris, Barcelona, London and Beijing respectively. Without speech, they manage to express perfectly how learning a new language helps you experience it. Specially-designed typography accompanies the film, accompanied by phonetic pronunciation underneath, and while there is no translation, they work perfectly. Niklas Johansson's cinematography envelops you in the adventures of the protagonists as they wander through the cities, while Albin Holmqvist's deftly designed original typography and typefaces beautifully reflect the languages of Paris, Barcelona, Beijing and London, and tell you more about the words than dull verb charts ever could. The films don't belabour the process of learning a language, but the benefits of being able to lose yourself in a different culture - the things you discover, the different things to see and do, and the attractive strangers that may or may not come your way. If these films don't make you want to jump on a plane straight away, I don't know what will. https://youtube.com/watch?v=1_QO8LoGNpc https://youtube.com/watch?v=p9isboDgxMM https://youtube.com/watch?v=Nr3gdVkkWzc https://youtube.com/watch?v=QLluxHOOXSw [Via ModCloth]
Tzaki is Alex Xinis' ode to Athens, which brings woodfired food, Mediterranean drinks, and the essence of lively Greek dining to Yarraville. This walk-in-only hotspot is open seven days a week and serves Greek coffee, mezze and contemporary Athenian dishes. From living and working in Athens to being instrumental to some of Melbourne's most well-known Greek restaurants of the past (Hellenic Republic, The Press Club), Alex Xinis knows a thing or two about modern Greek hospitality. For his first independent venture, Xinis set his sights on Yarraville, envisioning "the suburban bustle of Yarraville [to] fit the mould perfectly for Tzaki; an all-day hangout, evoking nostalgia from my lengthy stints living and working in Athens." Part of its attraction is its size, or lack thereof. With only 16 seats indoors and 15 outside, landing a table is an accomplishment you'll feel proud of. Once you're in, celebrate with wines sourced from Greece, Mediterranean beers, or a glass of Ouzo. About the menu, Xinis says Tzaki "showcases Grecian specialities presented in a Melbourne way." With a name meaning fireplace in Greek, it's no surprise the menu relies heavily on the smoky, charry goodness of the woodfired oven. The seasonal Grecian plates change often, but may include the likes of smoked cheese with honey peppered figs, tiger prawns with horseradish dressing, sand crab mousaka and lamb shoulder with lemon thyme potatoes. The allure of the blistered flatbread, served with whatever creation the kitchen has come up with that week (could be whipped cheesy butter, kalamata olive and feta butter, or even kumquat and fennel butter), is enough to draw visitors from all corners of Melbourne to the inner West. And even if you don't snag a table, you can still get a taste of Xinis' Greek fare, with his new takeout chicken shop, Kokoras, just next door to Tzaki, now open. Images: Supplied.
When National Tim Tam Day hit earlier this year, biscuit brand Arnott's gave Australians something we didn't know we wanted: the opportunity to smell like Tim Tams all day long. That chocolate biscuit-scented perfume was a limited-time-only affair, however, but there's now an option for your home, too — or for your mum's, because this a Mother's Day special. To mark 2022's celebration of mums, Arnott's doesn't simply want you to simply give your mother Tim Tams — although it clearly does still want you to do exactly that. To really get everyone's tastebuds in a tizzy, the biscuit brand has also just launched gift packs filled with Tim Tam-smelling candles and diffusers. Try getting a whiff of that and not having instant bikkie cravings. Yes, if Victoria Bitter can make a fragrance inspired by beer, The Louvre can drop perfumes that take their cues from its famous artworks and Messina can release gelato-scented candles, then making the air around you smell like Tim Tams really isn't that outlandish at all. It's the aroma that'll make you hungry all day, and features not only cocoa notes, but also caramel, tonka bean and a hint of sandalwood as well. View this post on Instagram A post shared by Tim Tam (@timtam) The Melbourne-made, cruelty-free and vegan packs cost $100 a pop and are only on sale until Thursday, April 28, and include a 200-millilitre Tim Tam-scented reed diffuser and a 300-gram Tim Tam-scented candle, as well as packs of original and salted caramel brownie Tim Tams. So, if you're buying this as a gift, that means you won't need to take a dessert along to Mother's Day lunch. And if you're purchasing it for yourself instead, well, you're only human. Stocks are limited, though — but delivery is free Australia-wide. The Tim Tam Mother's Day gift boxes are available to purchase until Thursday, April 28.
When it makes its debut this June, Sydney's huge new arts and food festival will help kickstart winter in a big way. Live music paired with stargazing, country tunes in Newtown and moonlit kayaking from Darling Harbour are just some of the highlights among the just-revealed Sydney Solstice program, with the previously announced event slotting into Vivid's usual early-winter berth between Tuesday, June 8–Sunday, June 20. Aiming to reinvigorate the city's hospitality, music, arts and culture sectors after a tough 12 months, the new event will take place across four city precincts. Spaces across the CBD, Darling Harbour, Newtown and Oxford Street will host more than 200 events — in restaurants, bars, galleries, museums, music venues and outdoor areas. In the CBD, highlights include music, dance and theatre events in the YCK Laneways precinct; dancing and late-night dim sum at Mr Wong; International Pride Month events at Metro Theatre; and art installations and dance pop-ups in Chinatown. There'll also be after-dark parties at Sea Life Aquarium, where more than just the aquatic creatures will glow; a world-premiere work by celebrated composer and producer William Barton, which will soundtrack an evening of stargazing at Sydney Observatory; and Queen's Feast, Heaps Gay's multi-sensory dining and art experience at Sydney Town Hall. The latter will feature an all-female chef lineup, including Masterchef alum Sarah Tiong, pastry maven Anna Polyviou, Southside Charmers' Georgia Woodyard and Claire Van Vuuren of Newtown fave Bloodwood. The Sydney Opera House forecourt will become a hub of live music, talks and poetry readings for each night of Sydney Solstice. Head along at sunset, and you'll see this year's Badu Gili, too — a six-minute projection on the structure's eastern Bennelong sails. Or, for two food-filled days, make a date with Opera Kitchen and its Italian- and Japanese-focused festival. Nearby, Darling Harbour will be transformed into a winter wonderland, complete with an ice-skating rink and German-themed chalets. If you'd prefer to hop onto the water, you'll be able to kayak by moonlight as well. Also making great use of the waterfront location: Harbour Garden, an installation of inflatables that's designed for attendees of all ages. Just outside of the CBD, Newtown will host the inaugural (and adorably named) Country and Inner Western Festival, which'll pop up in small bars, pubs and other venues to showcase emerging and established country, alternative country, bluegrass, folk, Americana and blues musicians. And, over at South Eveleigh, a big (and free) street festival will celebrate the growing food precinct — just as Kylie Kwong launches her new restaurant onsite. Meanwhile, fermentation will be in the spotlight on Oxford Street, with Bitter Phew celebrating brewers, winemakers, bakers and cheesemakers for the duration of Sydney Solstice. Plus, Hotel Harry's Altar Danceteria will throw a series of genre-hopping parties — so fingers crossed that dancing is back again by June. And, no, you won't be bored across the festival's 13-day run. Sydney Solstice will take place from Tuesday, June 8–Sunday, June 20. We'll update you with further details when they're announced — and you can keep an eye on the festival's website, too. Images: Destination NSW
Given that The Simpsons Australia episode was more of a Fosters ad than anything else, it sounds clunky to claim 'beer is back Down Under'. When did it leave? So let's settle for the idea that brewers have lifted their socks in the wake of the return of cocktail culture. Hell, the Old Growler is pretty much a hops-filled speakeasy, beer festivals seem to be going off like fireworks on Guy Fawkes Day and home brewing is slowly being wrestled from the cold, dead hands of the river folk. Oh, and Coles now owns a microbrewery, Steamrail, that's exclusively stocked at their Liquorlands across the country. The times they are a-changing. But, with a flood in the market, where should you be directing your attention before the sun cuts back its working hours and we're all staring down those few unmentionable months of winter? Here is a list of (mostly) local beers you've probably glanced over on a menu but may not have taken the risk, forgone your beloved Coopers and forked over those extra $3 for a taste. Let's try them together. Robot Ninja Lager Rice lager is a great way to ease into the wonderful world of craft beer — fruity, light and round, this offering from the Victorian brewery Kooinda is inspired by Tokyo City and the proof is on the palate. Plus, it is something new. You can pretty much taste everything in this tipple (the website even claims a bubble-gum finish), but it is surprisingly smooth and a go-to on those hot afternoons. Though, be warned: this one masks its 4.6 percent booze content with a ricey backbone and shouldn't be treated lightly. For a more traditional rice lager, try out the Koshihikari Echigo Beer. Four Pines American Pale Ale Four Pines comes out of Manly, and offhand there is nothing in their range that isn't worth a look. The kolsch is an absolute winner, but their pale gets on here by virtue of its wide appeal. They use an unusual amount of hops in here, so expect a mouth-filling flavour, but the softness of the pine and bite of the grapefruit wrangle it in and make it a very versatile food match… Admittedly I'm thinking pub food here, but heck go with it. Murrays Angry Man If you are looking for something a little bit more familiar (yes I'm talking to all of you smashing-Sierra-Nevadas-like-its-going-out-of-fashion people) in a pale ale but still interested in broadening those horizons, try out the Murrays Angry Man. It's got a bit more punch and hop, aka bitterness, and will suit a blokier pallet — I swear I am not just running with their ridiculously awesome strong man versus kangaroo label here — but there is still plenty of complexity to the flavour. Keep a few in your fridge and order some unadvisedly hot Thai curry for your next Thursday in. Emerson's Pilsner New Zealand does do a few things well, and one of them is pilsner — in this case German pilsner. Emerson's is a well-balanced beer with a healthy smack of nectarine and then (which those of you easily overwhelmed by ales will appreciate) a long, dry finish that makes this one taste like… well... beer, essentially, which is nice. A clean, crisp mouth-wetter with a few surprising flavour notes to get your tongue wagging. Stone & Wood Jasper Ale It is still an ale, but its not going to blow your socks off with an overwhelming burst of vanilla or pineapple. The Jasper is a great crowd pleasingly thirst quencher, and it is sold in pints which is good news for everyone! Most people who identify as non-beer-likers are actually just not that into hops, but that doesn't mean you have to forgo the whole drink. Plenty of people enjoy peat free whisky, and in the same vein beers that let the malt sing and tone down the hops, like this one, will make a convert of you in no time. For the rest of us, true believers, this deep-red Jasper Ale kicks off fruity, finishes nutty and is very restrained on the carbonation front so it won't fill you up. Young Henrys Newtowner An Australian pale (i.e. they use Australian hops), this critter came out for the 150 years of Newtown celebrations and remains only available in the Inner West — which makes it the perfect excuse for a trip to King Street. Young Henrys is easily one of the most talked about local breweries and this English summer ale is a fair bit drier than their other regular pours, with a golden look and refreshing finish. Head over to The Courthouse for a long lunch with this one before summer's end. Murray's Moon Boy Golden Ale This is a beautifully gentle beer that should have spent all summer teamed up with your favourite pineapple-filled burger. It didn't did it? Do not mistake gentle for wishy-washy or tasteless; there is a lot of wheat in this baby, so expect a dry finish, and there is fruit there too. And if the option to drink a beer with a maroon-sweated, bespectacled werewolf man for a logo doesn't get you high-tailing it to the Trinity Bar on Crown Street, then I feel like I don't even know who you are anymore, man. Feral Brewing Hop Hog If this was 'Ten Beer Names to Appreciate Before the End of Summer', all of them would be from Feral Brewing. These WA beer freaks don't stop at making great beer, no, no; they then give them names like The Raging Flem, Runt and a whole selection of hogs. The Hop Hog is simply a great beer, but there is nothing simple about it: big on the hops, well balanced by malt, and somehow the whole room smells like pine when the top's off. Feral reminds us that some tastes can't be luck and someone, somewhere must know exactly what they are doing. Seriously, hop on a hog. Hargreaves Hill ESB Serious beer drinkers need only apply for this one, an Aussie twist on the Extra Special Bitter (this is normally an English speciality) that brought this Victorian brewery some serious international attention a few years ago. There are hops aplenty, a rich toffee-like malt and tropical wonders on the nose. Yes, I am an unabashed fan of this beer. If you're looking for a bit more oomph, pair it up with sherry casked single malt and sip away the next 45 minutes of your day. Sinha Stout Okay, so stouts aren't particularly summery, but they also aren't particularly Sri Lankan, which is where this mochaccino-worthy bevvy hails from, so go with it. First up, it is smooth (look at how this thing pours into a glass; it's like they've managed to bottle the voice of Laurence Fishburne), and then you sip it and suddenly you've gone to that place Irish Coffee promised but never delivered. It is 8 percent, but honestly, you don't even notice. Well, not while you're drinking it at least. Try this one out for a flavour kick at the end of your next dumpling session at Uncle Mings. Like anything, your appreciation of beer grows in direct proportion to the amount you pop in your gob, so get yourself off to an upcoming beer festival or check out the website of a brewery near you for the grand tour. Yes, it will smell like yeast. Yes, that is pretty much the smell of warm horse feed. Yes, you'll love it. Or else, we'll see you in the beer garden.
Situated opposite Parliament and alongside the theatre strip, City Wine Shop is not the place to venture for a beer and happy hour special. On the contrary, this is the place you go for a glass of Chablis, cheese board and a serve of fried artichokes — or even some fine caviar and champagne. Choose from the by-the-glass wine list — which changes regularly — or simply buy a bottle from the on-premise bottle shop and settle in at an outdoor table, overlooking the Spring Street suits. It's a classic setting for year-round romance, whether you're seeking sanctuary from winter inside City Wine Shop's rich wooden warmth, or a splash of sun with your latte on an street-side seat. Appears in: The Best Bars in Melbourne for 2023
Moon Dog announced its plans to transform Footscray's iconic Franco Cozzo building into a huge drinking and dining venue at the end of 2022, and now we finally have news on when it's going to open. Come early March 2024, the team will swing open the saloon doors to its new Moon Dog Wild West brewery bar that's set to be twice as big as the already enormous Moon Dog World in Preston. The new 800-person venue will span three storeys, and have over 100 taps pouring Moon Dog beers and seltzers. Once guests pass through the swinging saloon doors on Hopkins Street, they'll be met with a huge bucking bull surrounded by horseshoe-shaped booths, an old western-inspired arcade and a barrel-ageing room. Up on level two, there'll be a honky tonk bar, live music stage, some pool tables, a balcony and a secret Pianola Bar. On this floor, the menu will be stacked with American barbecue eats — very on theme for the Moon Dog Wild West brewery bar. The new Moon Dog Wild West in Footscray will even have a sun-drenched rooftop with views over the city. There'll be another bar up here, plus food will come in the form of Tex Mex bites and classic gastropub dishes (it seems that no matter how far it leans into the US stylings, it can't get rid of the Aussie parma — and we're not mad about it). "With a venue of this size, we know we could achieve something that hasn't been seen before and really go bigger than we ever have. We're hoping to create somewhere for people to enjoy the outrageousness of it all!" said Moon Dog CEO and Co-Founder Joshua Uljans. [caption id="attachment_880996" align="alignnone" width="1920"] Gavin Anderson via Flickr[/caption] [caption id="attachment_744580" align="alignnone" width="1920"] Moon Dog World, Kate Shanasy[/caption] Moon Dog Wild West will be located at 54 Hopkins Street, Footscray and is set to open in early March 2024, operating from 11am–11pm Sunday–Thursday and 11am–1am Friday–Saturday. For more information, head to the venue's website. Images: Sam Schultz.
If you've spent the past year with your nose buried in a book, that's about to pay off beyond the everyday joys and thrills of reading. Sydney Writers' Festival's 2023 lineup is here another hefty catalogue of thought-provoking events — 226 of them, with almost 300 writers and thinkers involved. From the recipients of the literary world's brightest honours to some of Australia's household names and faces, a wealth of talent is descending upon the Harbour City, and being streamed nationally thanks to SWF's online program. Every writers' festival converges around an annual theme, with Sydney's focusing on 'Stories for the Future' for its 2023 iteration from Monday, May 22–Sunday, May 28 at various venues around the city — and also beamed digitally. Thinking about what's to come has been an inescapable part of living through the pandemic era, which SWF knows, curating a bill of talks that'll contemplate moving through the chaos of the past few years and into in a different tomorrow. [caption id="attachment_893384" align="alignnone" width="1920"] Eleanor Catton by Murdo MacLeod[/caption] Today's most current Booker Prize-winner, plus three from past years as well, top the lineup: Shehan Karunatilaka, who won in 2022 for The Seven Moons of Maali Almeida; The Luminaries' Eleanor Catton; The Narrow Road to The Deep North's Richard Flanagan and Girl Woman Other's Bernardine Evaristo. Still on highly applauded attendees, two-time Pulitzer Prize-winning American novelist Colson Whitehead — for The Underground Railroad, which was then adapted into a TV series, and for The Nickel Boys — also leads the bill, arriving between Harlem Shuffle's 2021 publication and sequel Crook Manifesto's arrival this July. Among the international names, the above headliners have ample company. When Trinidad-born UK musician Anthony Joseph isn't talking poetry — he is 2022's TS Eliot Prize for Poetry winner — London restauranteur Asma Khan from Darjeeling Express, and also seen on Chef's Table, will chat about comfort food; Daniel Lavery from Slate, who penned the Dear Prudence column from 2016–21, will run through his best advice; and Vietnamese author Nguyễn Phan Quế Mai will introduce her new novel Dust Child. [caption id="attachment_893383" align="alignnone" width="1920"] Colson Whitehead by Chris Close[/caption] On the local front, get ready for two iconic pairings: former Prime Minister Julia Gillard being interviewed by Indira Naidoo, plus Jurassic Park favourite Sam Neill discussing work, life and writing with his Sweet Country, Dean Spanley, Dirty Deeds and Palm Beach co-star Bryan Brown. Also on the must-attend list: Grace Tame chatting about The Ninth Life of a Diamond Miner: A Memoir, Heartbreak High's Chloé Hayden doing the same with Different, Not Less: A neurodivergent's guide to embracing your true self and finding your happily ever after, and Stan Grant on The Queen Is Dead. Also, on Monday, May 15 before the main festival, Tim Winton will discuss writing the ABC TV documentary Love Letter to Ningaloo. Under first-time Artistic Director Ann Mossop, opening night will feature Evaristo, Benjamin Law and Miles Franklin-winner Alexis Wright working through the impact that the past has on the present, as well as poet Madison Godfrey performing. At the other end of the fest, novelist Richard Flanagan will look forward, exploring why we need to tell our own tales to shape the future. [caption id="attachment_893385" align="alignnone" width="1920"] Grace Tame by Kishka Jensen[/caption] And, if your main relationship with the printed word is through recipe books, the 2023 festival is going all in on the topic for one day at Carriageworks Farmers Market. Stephanie Alexander and Maggie Beer will talk with Adam Liaw, while fixing the food system and family recipes will also nab chats by culinary talent. Capping off the bill will be foodie gala The Dinner That Changed My Life, with everyone from Nat's What I Reckon and Jennifer Wong to Alice Zaslavsky and Colombo Social's Shaun Christie-David involved. Among the rest of the program, other highlights include a tribute to Archie Roach and Jack Charles; comedians Wil Anderson and Laurence Mooney; the All Day YA lineup; a deep dive into crime podcasting with journalists Patrick Abboud, Kate McClymont and Hedley Thomas; and The Book Thief and The Messenger's Markus Zusak on bringing the latter to TV. Adaptations in general earn their own session, Shane Jenek aka Courtney Act is part of SWF's stint of Queerstories, Tom Ballard pops up on an OK Boomer panel, Australia's war on hip hop gets its time in the spotlight, and there's a look at AI in the age of ChatGPT. As always free events are a big part of the program as well, with more than 80 on year. And, also in the same category, the spread of venues is hefty — including Carriageworks, Town Hall, and 25 suburban venues and libraries across the Sydney. Sydney Writers' Festival runs at various venues across Sydney from Monday, May 22–Sunday, May 28. Tickets go on sale at 10am on Friday, March 17 via www.swf.org.au.
When he penned The Beach, the 90s-era must-read novel that became a Leonardo DiCaprio (Killers of the Flower Moon)-led movie and started his own working relationship with filmmaker Danny Boyle (Yesterday), Alex Garland told a tale of shattering the Thai holiday idyll. As his backpacker protagonist travelled to Asia, pure shores gleamed, but the supposedly utopian community on a hidden coastline that he sought, and found, was never destined to fulfil the promise of beyond-the-postcard perfection. Garland soon moved to screenwriting, kicking off the 28 Days Later franchise with Boyle and reteaming with the director on the also Cillian Murphy (Small Things Like These)-starring sci-fi gem Sunshine. Grim realities lurk in both, after an escaped virus sparks a zombie pandemic that shatters life as everyone knows it, and on a space mission to attempt to reignite the dying sun. Warfare, Garland's sixth project as a director himself, also has that familiar idea in its sights: that grasped-onto perceptions, facades and status quos always crumble or conceal horrors, or both, as driven by human nature. The same concept has proven a part of his other works as a filmmaker, starting with 2014's tech nightmare Ex Machina, then continuing through fellow movies Annihilation, Men and Civil War, plus TV series Devs — and before them, on screenplays for Never Let Me Go and Dredd. It's reasonable to expect Garland and Boyle's upcoming 28 Years Later, as well as its sequel 28 Years Later: The Bone Temple (written by Garland but helmed by The Marvels' Nia DaCosta), to continue the trend. Warfare is that idea put into action, however, by the feature's entire existence and purpose. Co-directed with former Navy SEAL and Iraq War veteran Ray Mendoza, drawing solely upon the latter's memories and those of his platoon during a 2006 mission in Ramadi, unfurling in real time and playing out as almost one entire hellish scene, it is as committed to depicting the nightmare reality of combat, and immersing its cast and audience in it, as is cinematically possible. The picture's singular focus and sensory saturation relies upon a valid assumption: no one is watching this in a vacuum, so no one needs the feature to spell out the context, let alone overtly express anything but total realism. The latter conveys everything anyway, and anything more vocally pointed would be beside the point. Warfare is "simply us accumulating memories, accumulating bits of information and trying to piece together what happened", Garland tells Concrete Playground. "The intention is to try to understand what happened in a sequence of events. There is no hero. There is no protagonist, because at different times different people are doing different things, and sometimes they're doing it concurrently." For D'Pharaoh Woon-A-Tai (Reservation Dogs), who portrays Mendoza as the film follows his unit on a surveillance mission surrounded by insurgents, it's pivotal that "we don't glorify anything, romanticise, make anything up. Almost all the words you hear in there are from actual memory. Everything is basically from memory," he shares. "The audience is an adult. This is not a film for children. It's a film for grownups, right? It's a film for people who live in the fucking world, right? And any adult who does not have an understanding of the Iraq War and why it happened and how it happened is an idiot. It is all available to them to find out. It's a huge global event, and if they have no historical and intellectual curiosity, that is on them. That's not on the film," Garland says, chatting about his second movie in a row, after Civil War, where the justified lack of an all-caps-style, shouting, hand-holding agenda has become a talking point, much to his frustration "I think that the concept behind that is so lazy, and it comes from a culture that we exist in at the moment where you are not allowed to offer something into the world unless you're making your private agenda clear. And I don't like that. I object to it. Because what it means is all information that is put out into the world is attached to an ideology, which means that either people are being reassured or they're feeling attacked. And some people like to be reassured and some people like to feel angry that they're being attacked, and it's juvenile, it's childish," Garland continues. "It's important: if you're going to understand something about how horrific war is, you need to be able to look at it and you need to be able to trust the information. And if we attached an agenda to it, it would make the information untrustworthy, and then we would have failed in our objective. It was the same dreary, whiny bullshit with Civil War as well, and I thought it was lazy, I thought it was unsophisticated and I thought it was dishonest. It was effectively people saying 'why aren't you agreeing with me?' — and that is the same [here]. That is what our polarised state is." For Warfare's cast, enlisting for the movie was as close to that — enlisting — as a film production can get. Before the cameras began rolling for the impressive lineup of Woon-A-Tai, Will Poulter (Death of a Unicorn), Cosmo Jarvis (The Alto Knights), Joseph Quinn (Gladiator II), Charles Melton (May December), Kit Connor (Heartstopper), Michael Gandolfini (Daredevil: Born Again), Noah Centineo (The Recruit) and more, they went through a Mendoza-led three-week boot camp. During that phase, the group spent every moment together, even when they weren't specifically training. Speaking with us, Woon-A-Tai and Poulter stress how crucial the bond that the actors formed during that experience was, for them and for the picture. Mendoza is equally as adamant. His dedication to authentically recreating what he went through, plus his fellow soldiers like Elliott Miller (who can't remember it due to the traumas of the incident, as viewers witness, and who Jarvis plays), couldn't be more apparent. Enforcing the hierarchies of their characters in the film, mirroring leadership positions and communication channels, shaving each other's heads: that was all built into the boot camp. "Quickly, I think it was very unique and very different on this set compared to others," explains Woon-A-Tai. "First and foremost, I haven't played a soldier prior. I haven't been on a set that had a war — a war set — before. So I'm new and I don't understand it. But what was different that I do acknowledge is that the position that Will Poulter here, and Charles Melton and Joseph Quinn, were in," he continues. "They knew our schedule, which is not common. If I wanted to know what we're shooting that day or when's lunch or et cetera, even to ask to use the restroom, I would go to Will. And that was set up perfectly by Ray and by Alex, and also these gentlemen right over here, who I just said before, who filled in those shoes very quickly, to keep that leadership position going on-screen and off-screen. And that was beautiful." Not its stars, not Garland, not Mendoza — who worked as the military advisor on Civil War, following technical advisor jobs on the likes of Lone Survivor, Jurassic World, Mile 22, The Outpost and The Terminal List — and not audiences: no one should quickly shake Warfare, its like-you're-there naturalism and its distressing-by-reality portrait of war after viewing. With Woon-A-Tai, Poulter and its two directors, we also unpacked that key preparation process, the film's long-take visual style, why its vision of battle stands out, human nature and physically demanding productions, among other subjects, including Civil War's potential premonitions. On the Importance of Warfare's Pre-Shoot Boot Camp in Cementing a Bond Among the Cast and Helping Them Respond Authentically to Such a Testing Experience On-Screen Will: "Absolutely pivotal and central to everything that we did. And the boot camp was really the environment that fostered those bonds and allowed us to develop very sincere, authentic and real relationships and understandings between each other. I think the boot camp really served two purposes as far as us being able to execute the objective of this project. First was the emotional side of things, and those bonds that I mentioned. And then, second I think was the development of a skill set to be able to put our best foot forward as far as accurately representing Navy SEALs. And as actors, we were under no illusions about the massive gulf between us and the real individuals who serve, and the women and men who operate at that level. But Ray is a fantastic instructor — both a great teacher and a great director — and so he really couldn't have put us in a in better stead to replicate seal culture to the best of our abilities." D'Pharaoh: "And plus, if we didn't prioritise working on this bond from the jump, you would honestly see a different result on-screen, I'm sure." Ray: "It was extremely important, actually. It was one of my three critical nodes of what I wanted to do, not only just for the practicality of what you mentioned, and as it contributed to the brotherhood and what we would eventually see on film or on the screen, but I just wanted them to experience something that they could take away for the rest of their lives as well. Just the concept of the team before self, what it means to sacrifice, the burden of leadership, identifying everyone's weaknesses and strengths, and how they can help each other, essentially. There's a concept that we're only as fast or as strong as our slowest or weakest person. And then, applying those principles, all that stuff is what they were using to draw on in regards to their performances, as you mentioned. So it was a super important. It was one of the things I focused on the most." Will: "I think the guys, obviously from the point of signing on, began to just engage in even more physical conditioning and whatnot to make sure that we're all showing up to boot camp in the best shape possible. But, really, I think what we all experienced — at the risk of speaking for anyone, but I feel like I can safely generalise in this by saying that I think physically and mentally, especially, it pushed us all further than we were even necessarily prepared for. And that was absolutely necessary. A fundamental part of the story is a response to things going wrong and loss, and the reaction to that. And it's typical of Navy SEAL training to analyse how people respond to duress, and how they respond to things going wrong, and what their reaction is to things being especially difficult, and that was integrated into the training. So regardless of what individual preparation we've done, the boot camp really became defined by how we'd respond to things that Ray knew would lead us to fail." On Woon-a-Tai's Task Portraying Mendoza — While Mendoza Was Co-Directing the Film D'Pharaoh: "Of course I have a sense of responsibility that I represent this man on-screen for countless of people to watch it. And but in all honesty, though, he had way more pressure on his shoulders than I could ever have. So I don't really want to sit here and tell you how much pressure I had because, yeah I did, but it was also very much a gift. The fact that I was the only one to have to have my guy be there every single day, I can't complain. And as much pressure as it was, I wouldn't have did it any other way or wanted to do it any other way. But really, Ray had way more pressure on his shoulders than I could have ever had. He's telling the story on behalf of his personal story and the people, their personal stories who were there, but also countless other veterans who served in multiple different wars who can relate to that exact same story. And sadly, maybe in Hollywood, the depiction of a lot of stereotypes in the military community that he was breaking down with this film." On How Garland and Mendoza Came to Reunite for Warfare After Civil War Alex: "We got to know each other during the shooting of Civil War. Ray was a military advisor, and the idea to work together in a really concrete way arrived in post-production with Civil War. Ray and I had stayed in touch. Ray had some project he was working on and we discussed it — and I was very interested in some of the sequences that Ray had choreographed, and some of the qualities of realism that Ray introduces because of his experience prior to working in the film industry. And so I approached him saying 'would you be interested in working together to make a real-time movie that attempted to be forensically accurate about combat and removed some of the tricks and devices of cinema?'." On the Cast's Experience Working with Co-Directors with Completely Different Backgrounds and Skill Sets Will: "It's very, very cool to see two very authoritative leaders practise the humility and self-awareness that is required to co-lead a project like this, while never stepping on each other's toes — and both, I suppose, leading in their own ways and based on their own areas of expertise. Alex will be the first to say that Ray naturally ought to lead on anything that related to the experience of being at war, and anything that we were doing, I would say, sort of from an emotional standpoint — and anything that pertained to operating like a SEAL. And then I think Ray would also readily admit that Alex took slightly more of a lead when it came to the camerawork and things that related to technical direction. And they were a brilliant complement to one another." On Using Long Takes, and the Pros and Cons of How One-Shot Scenes Can Immerse Audiences and Create an Unrelenting Sense of Tension Alex: "Right or wrong, that would be, in a way, for other people to decide. But what I would say is that me personally — this is just me — I find that, for example, scenes that are all shot in a oner, where there's no cuts, I find I start to think about the filmmaking more than what is happening on-screen. So I get detached from the characters. I get detached from the narrative. And I start thinking 'where are the secret cut points?' or 'how did they orchestrate this movement through the door or over the car?' or whatever it happens to be. So I find it distancing. And what I think is, while we're talking to each other now, at the moment I'm looking at the screen, so in a way that's a close-up — but sometimes I might look over here and then it's a wide. And actually the grammar of cinema, with edits between mids and close-ups and wides, is very like our experience walking down the street or talking to someone in a room. You're sat opposite someone in a restaurant, but then you see the waiter approach, it's turned from a close-up to a wide. You blink. There are these little sort of interruptions, which are very like edits. So for me, the most truthful version is actually the classical film version of moving between close-ups, mids and wides — whereas a oner, I find slightly artificial, and not how I experience the world, paradoxically." On the Difference in How Warfare Approaches the Depiction of War Compared to Other Films, How It Continues Activist Work and Why It Should Start Conversations Will: "I think one of the things that attracted me to this project was that it seeks to break with the conventions around how war is often depicted in Hollywood. I think the tendency within Hollywood when it comes to war is to mine warfare environments for entertainment. And a lot of the time in the depiction of war, American soldiers and British soldiers especially, their place in warfare environments and their actions are glorified and romanticised. And I was excited to be part of a project that sought to go against the grain in that respect, and really focus more on depicting the real-life events with a degree of objectivity that that rarely, rarely is seen in Hollywood. So that was a process that was too exciting to turn down. I think as a civilian, a lot of our understanding of war is based in these Hollywood recreations, and they don't necessarily optimise for truth and accuracy. So we stand to learn something potentially a bit new and a bit more truthful by watching a film like Warfare. And then also my hope is that veterans feel more accurately represented, and therefore at less risk of being misunderstood by the general public in respect of what they do and why they do it." D'Pharaoh: "So with this film, what I loved about it so much when I was reading the script and while we were shooting it is that we didn't romanticise anything. We didn't make anything up or make anything look cool. And one thing that I hope people will see with this is a sparked conversation on what happened in Iraq. I think that this is a film that doesn't have a bias. I feel like this film is more like a transcript. It just states what happened and that's it. And as audience members, we should leave the theatre talking about what happened over there — yeah, talking about what happened over there. So to answer your question about activism or et cetera, this a good part of that. I don't think I'm steering away from my activism at all. I think this is sparking conversation of what happened in Iraq. It's an important conversation to have. And to have a film that doesn't have a bias or doesn't make a stance, if you may, is a perfect example to have those conversations. Because we didn't glorify anything. We didn't make anything look cool. In my opinion and in my personal opinion only, it makes it seem like this film may not want people to join the military. I don't when I watched that movie." On How Mendoza Looks Back at the Iraq War with Everything That the World Knows About It Now, Including the Claims Used to Justify It Ray: "I think when I first heard, yeah, I mean I felt a little heartbroken about it for sure. Like, I did ask myself 'what was it all for?'. There's a lot of good we did there — besides the mission set of, like 'all right, we're a direct-action force, we get tasks given that we do missions'. But there's a lot of humanitarian effort when you coexist with the people of that country. There's a lot of good humanity. You see the full spectrum, of the worst side of humanity to the best side of humanity, on both sides. And we took a lot of autonomy to do, outside of the scope of our mission, to do as much good as we could. Because when you're there and you see people that are in need — there were people that were being oppressed, whether you agree with me or not; I was there and we saw it — and we helped a lot people. Didn't have to. It wasn't something that was passed down as a policy. We're occupying their country. We would go into these people's homes — and not there for them, but just using it as depicted in the movie, as a position to use, to observe or to operate out of, and you learn a lot about them. I'm not there to hurt them. It's just we're using the home for what we need it for. And so yeah, you just learn and you want to help where you can. And there's a lot of assets we have — or whether it's just providing water or colouring books, or aid stations for battered women or battered children or foster children. So there's a lot of good we did, and that's the only salvageable thing coming out of that. Even though ISIS came back in and took it over, there's a lot of good done there. I guess that's the only way I can really live with it." On What Garland Has Learned About Human Nature Through Interrogating It On-Screen and on the Page Across His Career Alex: "I would say that part one of the answer is in what Ray just said, which is that Ray is speaking from the point of view of someone who's seen a lot of combat, and spent a lot of time at war and involved in the military. But what you can hear is — I can hear, I'm sure you can hear — is a concern for compassion and a desire to have done something good, even amidst a dreadful, horrific situation. Ray said 'this is what I can salvage from this in order to live with it, is that some good was done'. And I think that one crucial part of the human condition is that most people have a desire for goodness. And I think the other part that I've observed is that we seem to all suffer from a kind of Alzheimer's-like dementia, where we are unable to remember things for very long. So important lessons can be learned. I was born in 1970. I thought there were some lessons that were learned from the Second World War that would never be forgotten, and now I'm 55 and many of them have clearly been forgotten. There were lessons learned from Vietnam that should never have been forgotten, and then they were forgotten. And there will be lessons learned from Iraq, should be remembered, have been forgotten. And so it goes on. So a good example for me right now is that you have the leader of the most-powerful democracy in the world rather casually talking about militarily owning their sovereign peaceful neighbour, as Greenland. To me, a world leader, particularly an American world leader, in the immediate memory space of some of these things, would simply never talk like that. You could only talk like that if you've forgotten many important lessons. So goodness and dementia would be my takeaway." On Whether Poulter Enjoys Taking on Parts in Physically Demanding Productions, with Warfare Joining The Revenant on His Resume Will: "I think I do. I've been very fortunate to have those opportunities first and foremost, so I'm grateful for them. That's, I suppose, the overbearing feeling around it. But where possible, I do like to expose myself to those sort of challenges — and comparable in the sense that I guess it definitely was a test from a mental and physical standpoint. And I think that, to a degree, I couldn't necessarily have done this had I not gone through certain challenges prior. But this is totally unique in respect of what a team-orientated and collectivist process it was, and that's what I'm most grateful for. I think that we all practise this idea that we were all a team before we were individuals, and the bonds that we formed are truly unlike anything else I've experienced. So that's what I'm most grateful with in respects of Warfare, and it's the feeling that I'm left with — and I imagine will be left with long after this film was released." On If Anything Else on Woon-A-Tai and Poulter's Resumes Helped Them Prepare for Warfare D'Pharoah: "No. This is such a completely different role for me, and the fact that I had Ray Mendoza there for me by my side throughout the whole process, it would have felt very disrespectful to do anything opposite of what he wanted." Will: "There was only one other role that comes to mind for me. I was involved in a sort of satirical film that was kind of a critique, I suppose, of war, and it was called War Machine. And I played a US Marine and took part in a boot camp. And that was certainly helpful as far as being able to predict, to some degree, how close we would all get over the process and what would be required of me in a leadership position. But also to echo D'Pharaoh's point, this film broke with convention in so many ways and was so unique that really, it sort of exists in a category of its own, both as an experience and as a film." On Whether Garland Feels Like Civil War Was a Premonition — and If It That Was the Sense While Making It Alex: "At the point of writing it, it felt to me like many people were having the concerns that were reflected in the script. At the point of making it, then January the 6th that happened, where American law-enforcement officers were attacked brutally, and the seat of government was attacked brutally by someone who was denying an electoral result. And now that person is floating, in a sort of mischievous but also serious way, about a third electoral term, which means changing the constitution. It's not exactly that it's changed — it's more that it hasn't changed. So all of these conditions existed back then and they still exist now. I think they probably have gotten more serious. I think they probably have gotten more dangerous. The strange thing for me is that the fever hasn't broken. That something as basic as wanting to stick up for Capitol law-enforcement officers is somehow not possible in these conditions. It's a very, very strange situation." Warfare opened in cinemas Down Under on Thursday, April 17, 2025. Images: Murray Close/A24.
Housed within the heritage 1930s Equity Chambers at the Hilton Melbourne Little Queen Street, sits dapper destination eatery Luci. A contemporary Australian fine diner with an Italian-Euro twist, it's named after the Roman leader and famous gourmet, Lucias Lucullus. Here, chef Sam Moore (Pier in Rose Bay, Becasse, No.35 at Sofitel Melbourne) is serving a sharp, produce-driven menu across brekkie and dinner. The food strikes a balance between the classic and the modern, while the space boasts a grand, old-world fitout complete with original wood panelling, restored heritage elevators and stonework galore. The menu hits plenty of high notes. For breakfast, there's a fried duck egg paired with roasted squash, hazelnuts and duck ham ($22), along with the likes of a wattleseed bircher ($12) and the smoked ham hock on potato rosti with cabbage ($23). Come dinner, you might find plates like a goat's milk ricotta gnocchi ($22/36), Hiramasa kingfish featuring mango and coriander ($24), and a lamb saddle with cos lettuce and anchovies ($44). The wine list is also a winner, fully stocked with a broad mix of local drops and interesting low-intervention options. Meanwhile, the 1930s-style Douglas Club next door is your go-to for elegantly revamped classic cocktails, with a bar run by Gee Shanmugam (from Windsor's Galah Bar and Mya Tiger at The Espy). Images: Food and interiors by Kristoffer Paulsen; Hilton entrance by Paul Gosney
From continually churning out top professional surfers to scoring a mention in the best surfing heist film ever made, aka Point Break, Australia's surfing prowess is well recognised around the world. Now our island continent has another wave-riding feather in our cap, with a stretch of Sunshine Coast coastline being named the latest World Surfing Reserve. Spanning a four-kilometre area at Noosa — including the beaches and five surf breaks between Sunshine Beach and the Noosa River — it's only the tenth spot on the planet to earn such honours. And, as a land girt by sea (as our anthem reminds us), it's Australia's third entry on the list. Sydney's Manly beach was selected in 2010, while the Gold Coast joined the swell in 2016. World Surfing Reserve status is awarded by the Save The Waves Coalition, with partners National Surfing Reserves Australia and the International Surfing Association, after launching the initiative in 2009. As well as aiming to preserving wave breaks and their surrounding areas, the scheme recognises and works to protect the surfing reserves on an environmental, cultural, economic and community level. It was Noosa's "beautiful pointbreaks and visionary coastal conservation," that got it over the line, according to the WSR announcement made at the dedication ceremony for the ninth reserve in Punta de Lobos, Chile. If heading to the popular Queensland spot wasn't already on your summer itinerary, you now have another reason to channel your inner Johnny Utah and head north for a splash in the sun. Via the ABC. Image: Yun Huang Yong via Flickr
Two Succession brothers facing off in the same category. A musical crime melodrama making history, earning more nominations than any film not in the English language ever has. Brazil's second contender for Best Actress ever — the daughter of its first, in fact. A female filmmaker in the running for Best Director for only the tenth time in 97 years. They're some of the big stories among the 2025 Oscar nominations, involving A Real Pain, The Apprentice, Emilia Pérez, I'm Still Here and The Substance. There's more where they came from — but which of those movies, and the talents involved, will earn shiny statuettes on Monday, March 3, Down Under time? And will Anora, The Brutalist, A Complete Unknown, Conclave, Dune: Part Two, Nickel Boys and Wicked have any luck, too? Just like in 2022, 2023 and 2024, we've watched everything — many of which you can as well in Australia right now — and singled out who and what will likely be credited as an "Oscar-winner" moving forward. Surveying 11 categories, we've also named which nominees deserve to, and what else might be in with a chance. Best Motion Picture The nominees: Anora The Brutalist A Complete Unknown Conclave Dune: Part Two Emilia Pérez I'm Still Here Nickel Boys The Substance Wicked Should win: The Brutalist Could win: Conclave Will win: Anora What a field. Worthy films will always miss the cut among the ten Best Picture nominees each and every year (Love Lies Bleeding, A Different Man, The Apprentice, I Saw the TV Glow, A Real Pain, Challengers, Babygirl, Hard Truths, All We Imagine as Light, Kneecap, La Chimera and Kinds of Kindness are just some absences in 2025), but the current batch nominees still showcase a staggering variety of movies. Sandy sci-fi blockbusters, hit musical adaptations, body-horror, papal thrillers, multiple features that show how stunning that filmmaking ambition and an unflinching vision can prove: they're all there. Brady Corbet's The Brutalist is a towering achievement. It could repeat its Golden Globes glory at the Oscars. It should. But Anora won the Palme d'Or at Cannes, then top gongs from America's Directors Guild and Writers Guild, and is also a tremendous winner. Conclave emerging victorious wouldn't be a miracle, though, after its BAFTA and Screen Actors Guild wins. Best Director The nominees: Anora, Sean Baker The Brutalist, Brady Corbet A Complete Unknown, James Mangold Emilia Pérez, Jacques Audiard The Substance, Coralie Fargeat Should win: Coralie Fargeat, The Substance Could win: Sean Baker, Anora Will win: Brady Corbet, The Brutalist Some films feel like a force of nature — and like a vision ripped from a filmmaker's mind wholesale to dance and strut across the screen, too — and Coralie Fargeat's The Substance is one such movie. Jane Campion is the only woman to have been nominated for Best Director twice so far (for The Piano and The Power of the Dog), but this shouldn't prove the only nod in Fargeat's career. Likely down to Brady Corbet and Sean Baker, where the field actually goes might depend on which of the pair's features win Best Picture — and if the Academy is in the mood to share the love or consolidate it. Awarding Corbet's achievement for a three-and-a-half-hour film that's had audiences glued to the screen, was made using a format in VistaVision that was favoured by Alfred Hitchcock on masterpieces such as North by Northwest and Vertigo, and brings back intermissions seems the most probable — and well-deserved — bet. Best Performance by an Actress in a Leading Role The nominees: Cynthia Erivo, Wicked Karla Sofía Gascón, Emilia Pérez Mikey Madison, Anora Demi Moore, The Substance Fernanda Torres, I'm Still Here Should win: Demi Moore, The Substance Could win: Mikey Madison, Anora Will win: Demi Moore, The Substance She's been giving stunning speeches around Hollywood, and Golden Globe- and Screen Actors Guild-winner Demi Moore best have another prepared. Rewarding her for a deeply committed performance more than four decades into her acting career, and after a significant time lacking substantial roles, also rewards The Substance's hefty and blatant fight against women being deemed past their prime when they hit a certain age. If Mikey Madison repeats her BAFTA feat, the Anora star will join the top-ten youngest-ever Best Actress-winner's ranking, knocking Gone with the Wind's Vivien Leigh off the list. The film's final scene alone, in all of its emotional glory after Ani's rollercoaster ride, could nab her the accolade alone. Had Marianne Jean-Baptiste been nominated for Hard Truths, however, it'd be hard to see how anyone else could grasp the accolade. Best Performance by an Actor in a Leading Role The nominees: Adrien Brody, The Brutalist Timothée Chalamet, A Complete Unknown Colman Domingo, Sing Sing Ralph Fiennes, Conclave Sebastian Stan, The Apprentice Should win: Adrien Brody, The Brutalist Could win: Timothée Chalamet, A Complete Unknown Will win: Adrien Brody, The Brutalist Will the youngest-ever winner of the Best Actor Oscar make history again 22 years later, joining the incredibly small list of two-time victors (only ten other performers have one this accolade twice or more)? Or will someone else not only grasp this year's prize, but also that spot as the gong's freshest-faced recipient? The Brutalist's Adrien Brody is the former. A Complete Unknown's Timothée Chalamet is the latter. Neither of their movies would be the films that they are without either actor leading the charge. Intensity simmers in their respective performances alike. Either could take it — but Brody's portrayal wouldn't just be a once-in-a-lifetime piece of work for another actor; it'd be impossible. As for the rest of the field, in other years Colman Domingo for Sing Sing, Ralph Fiennes for Conclave and Sebastian Stan for The Apprentice (or for A Different Man, which he won the Golden Globe for) would be certain winners. Best Performance by an Actress in a Supporting Role The nominees: Monica Barbaro, A Complete Unknown Ariana Grande, Wicked Felicity Jones, The Brutalist Isabella Rossellini, Conclave Zoe Saldaña, Emilia Pérez Should win: Zoe Saldaña, Emilia Pérez Could win: Isabella Rossellini, Conclave Will win: Zoe Saldaña, Emilia Pérez Emilia Pérez will always be the first non-English-language film to receive 13 Oscar nominations, but its chances of scoring a big bag of trophies have dwindled courtesy of lead actress Karla Sofía Gascón's awful past tweets. As a result, the excellent Zoe Saldaña, portraying the eponymous character's conflicted lawyer, might end up being the movie's only winner — and hers is a powerhouse performance. Or, Emilia Pérez mightn't even be a lock here, despite Saldaña winning the Golden Globe, BAFTA and Screen Actors Guild Award in the lead up. Isabella Rossellini is exceptional in Conclave as Sister Agnes, the nun that's also the Head Caterer for the bickering cardinals — and it'd recognise her for her entire career, and redress the fact that she wasn't nominated for David Lynch's Blue Velvet. Ingrid Bergman, her mother, won three, including in this category in 1974 for Murder on the Orient Express. Best Performance by an Actor in a Supporting Role The nominees: Yura Borisov, Anora Kieran Culkin, A Real Pain Edward Norton, A Complete Unknown Guy Pearce, The Brutalist Jeremy Strong, The Apprentice Should win: Kieran Culkin, A Real Pain Could win: Kieran Culkin, A Real Pain Will win: Kieran Culkin, A Real Pain There's no bad picks in the Best Supporting Actor field. There's the vulnerable yet irreverent portrayal that's clearly going to win — the recipient of accolades at the Golden Globes, BAFTAs, Screen Actors Guild Awards and Film Independent Spirit Awards as well — and there's also the spur-of-the-moment speech that everyone will get to enjoy when Kieran Culkin does, but each one of the five nominated performances is outstanding, including from first-time Australian nominee Guy Pearce for The Brutalist. Jeremy Strong is on another level even for him in The Apprentice. The lifelong Oscar fan will win one of the coveted awards before his career out. He knows what it's like to lose out to Culkin, though, and not just on-screen in Succession — the only time that they were both nominated for the Best Actor in a Drama Emmy in the same year, Culkin won (beating Roy family patriarch Brian Cox, too). Best Original Screenplay The nominees: Anora, Sean Baker The Brutalist, Brady Corbet and Mona Fastvold A Real Pain, Jesse Eisenberg September 5, Moritz Binder, Tim Fehlbaum and Alex David The Substance, Coralie Fargeat Should win: A Real Pain, Jesse Eisenberg Could win: The Brutalist, Brady Corbet and Mona Fastvold Will win: A Real Pain, Jesse Eisenberg Sean Baker took out this category for Anora at the Writers Guild Awards, where Brady Corbet and Mona Fastvold weren't nominated for The Brutalist. But at the Oscars, A Real Pain should go home a winner in every field — two in total — that it's up for. The Academy does have a history of pairing the winner of Best Original Screenplay with Best Supporting Actor, including with Django Unchained and Green Book. As a performer, Jesse Eisenberg has only been in the running for an Oscar once, in 2011 for Best Actor for The Social Network — and in a different year, he could've been nominated for starring in A Real Pain as well. His script for the film makes the personal universal, and understands existential angst and anxiety, and how it manifests in different manners, with both intensity and humour. That said, this could also be where Coralie Fargeat gets some love for The Substance. Best Adapted Screenplay The nominees: A Complete Unknown, James Mangold and Jay Cocks Conclave, Peter Straughan Emilia Pérez, Jacques Audiard in collaboration with Thomas Bidegain, Léa Mysius and Nicolas Livecchi Nickel Boys, RaMell Ross and Joslyn Barnes Sing Sing, Clint Bentley, Greg Kwedar, Clarence Maclin and John 'Divine G' Whitfield Should win: Sing Sing, Clint Bentley, Greg Kwedar, Clarence Maclin and John 'Divine G' Whitfield Could win: Nickel Boys, RaMell Ross and Joslyn Barnes Will win: Conclave, Peter Straughan The possibility that either or both of Nickel Boys or Sing Sing could go home empty-handed from this year's Oscars is a travesty. Each 2025 releases in Australia, where the former sadly didn't get the big-screen date that it deserves, they're already among the year's best for viewers Down Under. Both possess screenplays of deep feeling — one adapting a Pulitzer Prize-winner, the other drawing from a helluva slice of real life. Nickel Boys emerged victorious at the Writers Guild Awards, but over A Complete Unknown, plus three films not in the running here: Dune: Part Two, Hit Man and Wicked. Here, this looks like Conclave's guaranteed time to shine, and the Vatican City-set script based on Robert Harris' novel about electing a new pope after the sudden death of the last one — and what the manoeuvring around it says about faith — is indeed a gem. Best International Feature The nominees: I'm Still Here The Girl with the Needle Emilia Pérez The Seed of the Sacred Fig Flow Should win: The Seed of the Sacred Fig Could win: The Seed of the Sacred Fig Will win: I'm Still Here Once a near lock for Emilia Pérez, Best International Feature now has fellow multiple-nominee — and fellow Best Picture and Best Actress contender — I'm Still Here in its sights. Brazilian filmmaker Walter Salles has notched up two nods in this category over his career, and winning for his Fernanda Torres-led account of love, loss and holding onto life under the shadow of a dictatorship would be an extra-nice feat given he was last in contention for Central Station starring Torres' mother Fernanda Montenegro. Dialogue-free animated marvel Flow deserves to win every award that it's nominated for, so this and Best Animated Feature, but The Seed of the Sacred Fig is as powerful as filmmaking gets — with Mohammad Rasoulof (There Is No Evil) fighting on- and off-screen against the regime that's long tried to silence his voice. Best Animated Feature The nominees: Flow Inside Out 2 Memoir of a Snail Wallace & Gromit: Vengeance Most Fowl The Wild Robot Should win: Flow Could win: The Wild Robot Will win: Flow Flow's title couldn't be more perfect. To watch Latvia's first-ever film to be nominated for an Oscar is to swirl, surge and sweep along with the gorgeous dialogue-free feature, and with the animals — a cat, some dogs, birds, a capybara, a lemur and more — that are trying to survive, and learn how to heal together, when a flood gushes in. It's astonishing. The Wild Robot doesn't scrap chatter, but it too is heartfelt and wondrous as it watches animals carve out an existence — here, with the sudden arrival of a robot (voiced wonderfully by Lupita Nyong'o) disrupting the usual status quo, and also redefining what makes a family. Australian claymation Memoir of a Snail would easily win in many previous years, deservedly so. For big-name animation studios Pixar and Aardman, it doesn't look likely that Inside Out 2 and Wallace & Gromit: Vengeance Most Fowl will back up Inside Out and Wallace & Gromit: The Curse of the Were-Rabbit's past Oscars. Best Documentary Feature The nominees: Black Box Diaries No Other Land Porcelain War Soundtrack to a Coup d'Etat Sugarcane Should win: Black Box Diaries Could win: Porcelain War Will win: No Other Land Fury or hope? What takes home 2025's Best Documentary Feature prize might come down to how voters want to feel. There's no escaping anger while watching No Other Land or Black Box Diaries, both deeply personal docos featuring their filmmakers and telling their stories — one about the Israeli campaign of displacement in the West Bank region of Masafer Yatta, the other about a Japanese sexual-assault survivor taking on the system that won't punish her attacker. In Sugarcane, too, digging into the abuse experienced at a Catholic Church-run mission school isn't just a job for Julian Brave NoiseCat, nor an outrage-free watch for audiences. Porcelain War heads to Ukraine, as 2024's victor 20 Days in Mariupol did — but there's more optimism in its heroing the power of art, even in small acts, amid the fight. It's also among Australia's Oscar hopes for 2025, as an Aussie co-production. The winners of the 2025 Oscars will be announced on Monday, March 3, Australian time. For further details, head to the awards' website. Wondering where to watch this year's Oscar contenders? We've put together a rundown for Australia.
Wander through French Impressionism, NGV International's big winter blockbuster exhibition, and visions of the natural world by iconic artists are among the many sights that greet attendees. There should be no better way to appreciate our planet than engaging with it ourselves, but sometimes art sees what we don't, as this showcase of masterworks helps demonstrate. Also open since Friday, June 6, 2025 and similarly displaying until Sunday, October 5, 2025, Plans for the Planet: Olaf Breuning for Kids takes the idea of embracing the environment through art and makes it the sole focus — playfully, and to get young visitors engaging with the topic. Swiss artist Breuning explores sustainability, conservation, pollution and wildlife, aiming to spark new generations to ponder a better future for the pale blue rock that we call home. The art here is interactive, as seen in the animated drawings of forests, lava and more that kids can activate via swipe card. This exhibition also wants children to get creative themselves, courtesy of their own drawings. For instance, a giant tree installation brings the woodlands indoors — and is designed to inspire little art lovers to draw homes for forest animals. Or, via the photobooth, attendees can snap self-portraits, decorate them with virtual objects, and use them to express themselves. At touch screens, too, kids are encouraged to add their ideas for the future, which then become part of the installation. Images: installation views of Plans for The Planet: Olaf Breuning for Kids, on display from 6 June to 5 October at NGV International Melbourne. Photo: Mitch Fong.
It's bloody hard to get anywhere from Australia, so we Aussies tend to take our holidays seriously. A new survey from travel consultancy Forward Travel has analysed data from the Department of Home Affairs' Overseas Arrivals and Departures to reveal where Australians have been travelling since 2021. The report ranks global destinations, clearly outlining the winners and losers in attracting Australian tourists. Unsurprisingly, the top spots remained consistent. As expected, Indonesia continues to dominate Australian travel trends. With Bali's beautiful landscapes, proximity, and affordability, Indonesia remains one of the top travel destinations for Australians. Likewise, New Zealand maintains its strong standing due to family ties and its proximity to Australia, it would be shocking to see it fall from favour. Singapore also features prominently, serving as both a central transit hub and a destination in its own right. The USA, UAE, Thailand, and Fiji remain solid contenders. These destinations have remained relatively stable in rankings, serving as "comfort corridors" for Australians, places we trust and return to, even as other destinations gain popularity. Surging up the rankings, Japan, Vietnam, and India have emerged as some of the most-travelled destinations since 2021. Driven by culture, food, ski tourism, safety, and a favourable exchange rate, Japan has experienced the most dramatic rise, jumping from 20th in 2021–22 to fourth in 2024–25, attracting over one million Australian visitors. Vietnam has also seen remarkable growth, positioning itself as an affordable alternative to Thailand. From roughly 6,000 Australian visitors in 2021–22, the number skyrocketed to over 200,000 in 2024–25. Although Malaysia briefly overtook Vietnam in 2022–24, Vietnam reclaimed its lead by 2024–25, reflecting a developing rivalry between the two destinations. India represents the most unpredictable trajectory, dipping in and out of the top 20 before returning in 2024–25. As traveller confidence increased, many Australians chose India for its profound cultural immersion and transformative travel experiences. Australians continue to favour destinations that are familiar, affordable, and easily accessible, while rewarding countries that actively invest in tourism marketing and infrastructure. At the bottom of the rankings are countries such as Samoa, Syria, Guinea, Montenegro, Uruguay, and Zimbabwe. Political instability, limited flight connectivity, and inadequate tourism promotion pushed these countries to the bottom of the rankings. However, Uruguay and Zimbabwe have shown some improvement in recent years, climbing out of the lowest tier, suggesting signs of stabilisation. Countries that once held mid-tier positions but have since fallen into obscurity include Mexico and Peru, likely due to increased competition and a decline in their appeal to Australian travellers. Other countries such as Oman, Dominica, and Malawi have remained consistently in the lower tiers, showing minimal movement. Oman's ranking has fluctuated, particularly appearing in the bottom tier in 2021–22, disappearing entirely, then re-emerging in 2024–25. Across regions, African nations struggle due to a lack of direct flights, higher travel costs, and political instability. Latin America and the Caribbean face the challenge of long travel times and distance. Meanwhile, the Asia-Pacific's lesser-known destinations and parts of Central Asia have yet to capitalise on their transit potential and translate it into tourism demand. As a result, these regions remain anchored toward the bottom of the rankings. Now that we've entered spring, it's not too early to start planning for the travel trends of 2026. So the question is: where will you be headed next? Ready for your next getaway? Dive into Forward Travel's expert report and see which destinations are topping travellers' lists. Images: Suratman Alimuddin, RuslanKaln, Drazen Zigic, Mikolajn, Igor Kovalev, Wiley Wilkins
After opening 90 bars over the past eight years, bringing its worldwide footprint to 94, Scottish brewery BrewDog has finally set up shop in Australia. And, sprawled across a hefty parcel of land by the banks of the Brisbane River, it has arrived with a splash. That said, while a brand new jetty has just been built right next to the company's Murarrie site — which has been dubbed DogTap Brisbane — don't go planning on pairing your brew with a dip in the ol' Brown Snake. Brisbanites, you really do know better than that. Still, Calvin McDonald, BrewDog's operations manager for Australia, isn't ruling out making the most of DogTap's impressive location. "There aren't many bars in the world that are totally accessible by jet ski," he notes, without giving away what fun activities the company might have in store down the line. If you've been following the brand, you'll know that it has engaged beer-lovers in many inventive ways over the years, including launching a craft beer hotel in the US, brewing up a Subwoofer IPA for pooches and taking to the skies in the world's first craft beer airline. [caption id="attachment_751722" align="alignnone" width="1920"] Pandora Photography[/caption] In Brisbane, brew aficionados can look forward to the BrewDog basics when DogTap opens to the public on Thursday, November 21. Acting as the brand's Australian base, the brewery will pump out beer that'll get shipped around the country. It'll also have a huge taproom with food and plenty of opportunities to learn more about craft beer. There'll be tours of the facility, once the fully automated four-vessel 25-hectolitre brewing system and accompanying canning line is completely up and running in January, while eager drinkers can also enrol in Beer School — aka two-hour guided tasting sessions where one of BrewDog's Cicerone-certified staff will talk you through the BrewDog and craft beer basics. First announced in 2018, and only the company's fourth taproom directly attached to one of its breweries, BrewDog's $30-million street art-covered Brisbane site boasts a range of other reasons to drop by. Heading to the end of a Murarrie industrial estate hasn't ever been high on locals' to-do lists, but making the journey to sip freshly poured cold ones on a 485-square-metre riverside patio soon should be. The sizeable outdoor area comes with views towards Hamilton and the Gateway Bridge, as well as ample seating. There's also a selection of games, such as giant Jenga, giant chess and giant Connect Four. And, both the public and staff car parks are licensed too, so beer festivals and other events could be in DogTap's future. [caption id="attachment_751727" align="alignnone" width="1920"] Pandora Photography[/caption] If you're coming by for the beer, BrewDog's headliners (including its famed Punk IPA) sit alongside a heap of small-batch brews. Nodding to the growing local craft beer scene — one of the reasons that BrewDog chose Brisbane as its Aussie base, McDonald advises — is a rotating range of guest tipples from other Queensland breweries, such as Range Brewing, Currumbin Valley Brewing, Balter, Aether, Brouhaha and Black Hops. All-Australian wines, an Aussie-heavy spirits list and local soft drinks are also on offer, should you want something other than beer. Of course, if you fall into that category, McDonald hopes that BrewDog will convert you. He's adamant that there's a craft beer for everyone, and that anyone who says they don't like beer just hasn't tried the right brew for them yet. Food-wise, it's a lineup of familiar bar favourites. Think 11 types of burgers and eight kinds of pizza — plus Korean-style chicken wings, crispy pork, baby squid and barramundi fritters. On weekends, a brunch menu will feature chicken and waffles, eggs benedict and other classic meals, while you can tuck into two-for-one vegan dishes on Mondays. In addition to 16 blue leather booths and high-top tables, DogTap's industrial indoor area also has arcade games, including Addams Family and The Munsters-themed pinball machines. [caption id="attachment_751728" align="alignnone" width="1920"] Pandora Photography[/caption] Really love BrewDog? There's a merchandise stall that's already been selling items before DogTap even opens. Want a few brews to take home? Stop by the takeaway area on the way out the door. And if you're an interstate BrewDog fan hoping that it'll be coming your way soon, McDonald explains that the plan is to open five Aussie venues in the next five years (then, hopefully, another five before the brewery marks a decade in Australia). Find DogTap Brisbane at 77 Metroplex Avenue, Murarrie from Thursday, November 21. It's open from 12pm–midnight daily. Images: Pandora Photography
If it's a big blockbuster franchise, it stars Harrison Ford, and it debuted in the 70s or 80s, then it's always coming back to the screen. In 2008, before Star Wars: Episode VII — The Force Awakens and its sequels, as well as Blade Runner 2049, that actually first proved true for the Indiana Jones series. Alas, Indiana Jones and the Kingdom of the Crystal Skull wasn't the adventure saga's best effort, but that isn't stopping it from coming back for another go. Cue the fifth Indy flick, aka Indiana Jones and the Dial of Destiny — and yes, Ford is donning the famous hat once more. Hitting cinemas in late June 2023, Indiana Jones and the Dial of Destiny heads back to the 60s, and uses the Space Race between the US and the Soviet Union as a backdrop. And, it serves up two different looks at Ford, as the just-dropped first trailer shows: Indy in the film's present day and Indy in the past, with the movie using digital de-aging technology. Harrison Ford? Check. Dr Henry Walton 'Indiana' Jones Jr's famous headwear? Check again. That whip? Yep, check. A tale that includes Nazis? Just keep checking those boxes. And yes, the famous John Williams-composed theme tune gets a whirl in the first sneak peek, because it wouldn't be an Indy movie otherwise. Indeed, the icon takes care of the whole score again. The archaeologist's latest outing will bring in a few changes to the series, however. Firstly, Steven Spielberg isn't in the director's chair for the first time ever, handing over the reins to Logan and Ford v Ferrari's James Mangold. And, George Lucas doesn't have a part in the script, either with Mangold co-scripting with Ford v Ferrari's Jez Butterworth and John-Henry Butterworth. Cast-wise, expect the return of John Rhys-Davies as Sallah, as well as a heap of new faces. Fleabag's Phoebe Waller-Bridge looks set to keep Indy in step, playing his goddaughter, while Antonio Banderas (Official Competition), Mads Mikkelsen (Fantastic Beasts: The Secrets of Dumbledore), Thomas Kretschmann (Das Boot), Toby Jones (The English), Boyd Holbrook (The Sandman) also feature — alongside Shaunette Renee Wilson (Black Panther), Oliver Richters (The King's Man) and Ethann Isidore (Mortel) . When it crusades across the big screen, Indiana Jones and the Dial of Destiny will arrive a whopping 42 years after Raiders of the Lost Ark, 39 since Indiana Jones and the Temple of Doom and 34 since Indiana Jones and the Last Crusade. Check out the trailer for Indiana Jones and the Dial of Destiny below: Indiana Jones and the Dial of Destiny releases in cinemas Down Under on June 29, 2023. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.
When Disney revealed that it was moving into streaming, it also announced a slew of high-profile titles designed to keep everyone's eyes glued to the company's new platform. Naturally, that included Marvel, with a number of new Disney+ series commissioned to broaden out the Marvel Cinematic Universe. If you loved Loki (Tom Hiddleston), Bucky Barnes/Winter Soldier (Sebastian Stan), Sam Wilson/Falcon (Anthony Mackie), Vision (Paul Bettany) and Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) on the big screen, you'll now get to enjoy more of each in a variety of spinoff shows. So far, in typical Mouse House style, details have been kept close to Disney's chest. We know that The Falcon and the Winter Soldier and WandaVision are due to release later in 2020, with Loki set to follow in 2021. Thanks to their titles, we obviously also know who they're about. And, we know that they'll all star the familiar faces that brought the characters to big-screen fame — and that they'll each run for six episodes apiece. Broadly, we know the premise for each series, too. The Falcon and the Winter Soldier will take place after the aforementioned huge blockbuster, following its eponymous characters as they team up in the aftermath. As for WandaVision, it's a sitcom-style series exploring the home lives of Wanda and Vision, although there's undoubtedly more to it. And when Loki hits next year, it'll see the God of Mischief return — and it'll be set after Endgame. Until now, however, we haven't seen any footage from any of the three shows — but, during this year's Super Bowl, Marvel dropped its first sneak peek. The company released a combined teaser for the trio of series, so there's still not much in the way of substantial detail. That said, if you've been hanging out to see what's in store post-Avengers: Endgame, a quick glimpse is better than nothing. Check out the teaser below: https://www.youtube.com/watch?time_continue=1&v=62EB4JniuTc&feature=emb_logo The Falcon and the Winter Soldier and WandaVision will hit Disney+ sometime later in 2020, with Loki due to premiere in 2021 — we'll update you with release dates when they're announced.
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. https://www.youtube.com/watch?v=2wnmC7uLTNQ THE DISSIDENT If you know even the slightest thing about the circumstances surrounding Jamal Khashoggi's death, it's impossible to watch The Dissident without feeling angry. That's most viewers' starting mood, given that the Saudi journalist and Washington Post columnist's assassination has garnered ample media attention — and Oscar-winning director Brian Fogel (Icarus) is well aware of how much coverage the subject has received, and of how the world feels about the situation. Indeed, his thorough and exacting documentary both feeds upon and fuels that shock and ire. The mood is tense, the commentary is pointed and the prevailing sentiment is savage. Both rage and outrage permeate each frame, unsurprisingly so, as the film lays bare the brutal facts surrounding Khashoggi's murder, its lead-up and its aftermath. No other tone would be acceptable. Nothing other than dismay, abhorrence and anger would be either. When you're making a movie about a man who entered his nation's embassy to obtain paperwork so that he could get married, then left it in dismembered pieces while his bride-to-be waited outside, how could anything other than fury, horror and alarm eventuate? Although the details have already been well-documented since October 2, 2018, they're still reassembled in The Dissident. Accordingly, the doco tells of Khashoggi's visit to the Saudi consulate in Istanbul just over a year after fleeing his country, after which he was never seen alive again. He wanted to marry academic Hatice Cengiz, his Turkish fiancée. To do so, he needed a document certifying that he was no longer wed to his prior wife. He'd first sought that necessary certification from the embassy just a few days earlier, so they knew that he'd be returning — and once he stepped inside once more, he was ambushed, attacked and killed by a newly arrived team of Saudi agents. Cengiz contacted the authorities when the man she thought she'd be spending the rest of her life with didn't surface, but the Saudi government claimed that the exiled reporter had left via a back entrance. It didn't take long to ascertain the truth, as was suspected from the moment he failed to reemerge. The official story changed several times, and Saudi Crown Prince Mohammed bin Salman denied any knowledge of a premeditated plot, but the fact remains that Khashoggi was slaughtered by operatives from his homeland. Read our full review. https://www.youtube.com/watch?v=vGLmTd8q3Ec&t=7s THE UNITED STATES VS BILLIE HOLIDAY More than 80 years after it was first sung and heard, Billie Holiday's 'Strange Fruit' still isn't easily forgotten. Drawn from a poem penned to protest lynchings, it's meant to shock and haunt. It's designed to galvanise and mobilise, too, as drawing attention to the extrajudicial killings of Black Americans should. Indeed, so vivid is the song in its language — "Black bodies swingin' in the southern breeze" describes the third line — US authorities demanded that Holiday stop performing it. She refused repeatedly, so there were repercussions. Concerned that the track would spark change, inspire Holiday's fans to fight for civil rights and justice, and perhaps motivate riots against against oppression and discrimination as well, the US Treasury Department's Federal Bureau of Narcotics went after the musician for her drug use. If it couldn't get her to cease crooning the controversial tune via other means, such as overt warnings and a prominent police presence at her shows, it'd do whatever it could to keep her from reaching the stage night after night. With Andra Day (Marshall) turning in an intense, impassioned, career-defining portrayal as its eponymous figure (and in her first lead film role, too), so tells The United States vs Billie Holiday, the latest Oscar-nominated biopic to step through its namesake's life. Back in 1972, Lady Sings the Blues loosely adapted Holiday's autobiography of the same name, enlisting Diana Ross to play the singer — but, in taking inspiration instead from Johann Hari's non-fiction book Chasing the Scream: The First and Last Days of the War on Drugs, this latest big-screen vision of the music icon's story adopts its own angle. Holiday's troubled childhood and youth has its part in this tale, which is scripted for the screen by Pulitzer Prize-winning playwright Suzan-Lori Parks. Her addiction, and the personal woes that she tried to blot out, clearly don't escape filmmaker Lee Daniels' (The Butler) attention, either. But The United States vs Billie Holiday also falls in alongside Seberg, MLK/FBI and Judas and the Black Messiah in interrogating bleak truths about mid-20th century America. In a film that manages to be both rousing and standard, that includes surveying the misplaced priorities of its government during multiple administrations, and the blatant determination shown by an array of agencies under various presidents to undermine, persecute and silence those considered a supposedly un-American threat to the status quo. Read our full review. https://www.youtube.com/watch?v=wNE7ap2lOnU MORTAL KOMBAT No one enjoys watching someone else mash buttons. While it's a passable way to spend a few minutes, losing interest quickly simply comes with the territory. That's how viewing Mortal Kombat feels as well, except that watching your friends play any of the martial arts video game franchise's 22 different arcade and console titles since 1992 (or any game at all) would be far more entertaining. Shot in South Australia and marking the feature debut of filmmaker Simon McQuoid, the latest attempt to bring the popular series to the big screen — following a first try in 1995 and a sequel in 1997 — feels like watching cosplay, too. The movie's cast literally dresses up in the outfits needed to recreate the game's characters, of course, but the film shouldn't so overtly resemble fans donning costumes at a pop culture convention. And yet, Mortal Kombat evokes this situation from the moment its 17th century Japan-set prologue, which is also its best scene, comes to an end. After establishing a mythic and bloody backstory for the movie's narrative as a whole, the character that'll become an undead ninja ghost called Scorpion (Hiroyuki Sanada, Westworld) and his prophecised descendants, this B-grade flick is happy to, in fact. It's not just the violence that's cartoonish here; it's every glare exchanged and word uttered, with much of the script trading in cliches, dramatic pauses and catchphrases. Mortal Kombat's gaming fanbase may be eager to see their beloved characters given flesh and blood, face off against each other and spout lines that usually emanate from a much smaller screen, but that doesn't make a movie engaging. Nor can a flimsy screenplay by first-timer Greg Russo and Wonder Woman 1984's Dave Callaham, which follows the battle between Earthrealm and Outworld — one that'll be lost by the former if an MMA fighter named Cole Young (Lewis Tan, Wu Assassins), who bears a dragon birthmark, doesn't team up with the other figures with the same marking to stop humanity from losing for the tenth time. That's where the no-nonsense Sonya Blade (Jessica McNamee, Black Water: Abyss) comes in, and also the grating, wisecracking Kano (Josh Lawson, Long Story Short). The villainous Sub-Zero (Joe Taslim, Warrior) might be threatening to freeze all of earth's champions so that Outworld's Shang Tsung (Chin Han, Skyscraper) can rig the tournament before it even happens, but Mortal Kombat still has time — and far too much of it — to spend pondering supernatural destinies and letting an over-acting, always grating Lawson mug for attempted laughs. The end result is intentionally ridiculous, and presumably unintentionally dull, all while setting up an unearned sequel. And although brutal enough amidst the silliness for an R rating, even the film's fight scenes merely go through the motions, especially given the heights that films like The Raid and John Wick have scaled in with their eye-popping action choreography over the past decade. https://www.youtube.com/watch?v=5YZuNQLSJlQ EVERY BREATH YOU TAKE In The Nightingale, Sam Claflin wasn't charming, kindly or gallant. He was worlds away from his roles in rom-com Love, Rosie, weepie drama Me Before You and the page-to-screen Hunger Games franchise — and, playing a supporting but still key part in the exceptional 2019 film, he was excellent. Alas, while he remains in darker territory with Every Breath You Take, this psychological thriller isn't a highlight on his or anyone's resume. The good news: it doesn't feature the 1983 single by The Police that shares the film's title. The not-so-great news: it is indeed about someone surveilling others, so it must've taken the production's entire reserves of restraint not to include that song. Little subtlety seems to be displayed elsewhere, including by Claflin, and little intelligence, either. In development for almost a decade, once set to be directed by Misery's Rob Reiner, and also slated to star Harrison Ford and Zac Efron over the years, the film focuses on the fallout from a psychologist's decision to talk to one of his patients about his own problems. Not long after gushing to a lecture hall filled with students about his successful new technique, however, he finds himself the target of a vindictive stalker who is intent on destroying his entire family's lives. Debut screenwriter David Murray has clearly seen Fatal Attraction, Unfaithful, Cape Fear and Fear, and The Silence of the Lambs as well, and he's not afraid to mash pieces of each together here. Looking pensive, grappling with family woes again but worlds away from his Oscar-winning performance in Manchester by the Sea, Casey Affleck (The Old Man and the Gun) plays Philip, the analyst in question. He crosses paths with James (Claflin, Enola Holmes) at the scene of a tragedy, then finds him knocking on his door — and soon his wife Grace (Michelle Monaghan, The Craft: Legacy) and teenage daughter Lucy (India Eisley, Dead Reckoning) are both bumping into the newcomer seemingly everywhere they go. In an already tense household thanks to an accident years earlier, James easily upsets the status quo. When Philip starts having professional problems as well, the trio's struggles only deepen. It's hard to guess what attracted this starry cast to such a routine film, but it definitely isn't the pulpy script or Vaughn Stein's (Inheritance) overboiled direction. Indeed, in a movie that somehow thinks that being as blatant as possible will ramp up the suspense — which, unsurprisingly, it doesn't — only the icy visuals by cinematographer Michael Merriman (another Inheritance alum) garner much attention. Well, that and the screechy score by Marlon Espino (also returning from Inheritance), although the latter does so with the same obviousness that characterises almost everything about the feature. https://www.youtube.com/watch?v=COLOJaM3k_M SISTER More than once during Sister, An Ran (Zhang Zifeng, Detective Chinatown 3) is reminded that her status as a sibling — and as a woman — is burdened with strong expectations in China. With her much-younger brother An Ziheng (Kim Darren Yowon) earning pride of place in her parents' hearts, and in Chinese society's patriarchal hierarchy in general, she's meant to defer her dreams and desires in favour of her family's male heir. That's just what's done, and always has been. And, after the pair's mother and father are killed in a car accident, no one can quite understand why An Ran is determined to buck convention. But, after weathering a childhood coloured by her dad's disappointment about her gender, she has spent years trying to break free from her past. A nurse hoping to gain acceptance into medical school so that she can become a doctor, and so distanced from her parents and brother that she doesn't even know the latter, she doesn't just vehemently disagree with the idea that she should now devote her life to An Ziheng; she refuses to abide by it. Instead, An Ran wants to sell the family apartment, find adoptive parents for her sibling and continue working towards her own future. Neither director Yin Ruoxin (Farewell, My Lad) nor screenwriter You Xiaoying (Love Education) shies away from the harsh reality facing their protagonist in Sister, or from the fact that her plight is emblematic of the nation's women in a much broader sense. And, for most of its duration, their sensitive but clear-eyed drama firmly and unflinchingly tackles the ramifications of simply being born female in China. The continued pressure directed An Ran's way and the treatment she receives for not toeing the line aren't the film's only sources of conflict, with class differences and the way that power structures play out both domestically and professionally also playing their part in the movie's layered narrative. They're aided by Zhang's weighty performance, too — a portrayal that segues seamlessly back and forth from defiant and committed to exhausted and exasperated, and shows both the will to eschew norms and the weariness from the constant battle on multiple levels. The film's boldness is eventually undercut, though. Budding within its naturalistically lit imagery and its often roving and restless frames is an awareness that the bonds of blood will eventually pull at An Ran. The script ensures that her growing bond with her brother feels genuine; however, it's also a far more sentimental turn of events than Sister indulges otherwise. https://www.youtube.com/watch?v=SodO2VN0iYY SIX MINUTES TO MIDNIGHT Eddie Izzard takes inspiration from her home town of Bexhill-on-Sea in Six Minutes to Midnight, using its pre-World War II history as the basis for an intriguing but also muddled thriller. Before the conflict broke out, the coastal spot was home to the Augusta Victoria College, where the daughters of high-ranking Germans were sent to finish their education. In Izzard's hands as the film's star, executive producer and co-writer — the latter with Celyn Jones (The Vanishing) and director Andy Goddard (A Kind of Murder) — this real-life scenario gives rise to espionage antics. She plays Thomas Miller, the school's new teacher, and also a spy sent to keep tabs on the students' whereabouts for British intelligence. Headmistress Miss Rocholl (Judi Dench, Blithe Spirit) dotes on the girls, and naively sees only camaraderie in the college's existence, but Miller and his superiors are concerned that the institution's pupils could be smuggled out in secret. It doesn't help that Ilse Keller (Carla Juri, When Hitler Stole Pink Rabbit), the school's only German employee, hardly seems trustworthy. The pro-Nazi ideology infused into her lessons is hardly a promising sign, but soon it's Miller that is the object of suspicion, despite his efforts to uncover just who in English society has been pledging their allegiance abroad. No one can fault Izzard's interest in Augusta Victoria College, or her eagerness to bring its little-known place in Britain's past to the screen. But Six Minutes to Midnight is so caught up in being a spy film — and one that takes its cues from Alfred Hitchcock at that — that it serves up a paper-thin story that's on the verge of blowing over in the East Sussex breeze. Twists, double crosses, wavering loyalty, murder, chases, interrogations and clandestine plots all ensue, but with few surprises, and with exactly why the students' possible return to Germany would be so catastrophic never fully fleshed out. Handsome seaside scenery does abound, though, and so does a committed performance from Izzard. She spends much of her screen-time running, as she often does in reality — completing 43 marathons in 51 days in 2009, 27 in 27 days in 2016 and 32 in 31 days earlier this year — but her wit and charisma are always evident. Saddled with a one-note role, Dench is less convincing, but supporting players Jim Broadbent (King of Thieves) and James D'Arcy (Avengers: Endgame) make the most of their small parts as a kindly bus driver and a wily detective respectively. As for the young women, the fact that they're primarily regarded as a group, rather than given the time and space to convey their personalities, speaks volumes about their function as the feature's MacGuffin. https://www.youtube.com/watch?v=1xXFm78O6P8 MOON ROCK FOR MONDAY Kurt Martin, the first-time feature writer/director behind Moon Rock for Monday, must owe much of his film education to Australian cinema of the 90s. His road-trip drama — which is also a coming-of-age tale and a crime thriller, and happens to be set in the 90s, too — takes clearcut cues from The Adventures of Priscilla, Queen of the Desert and Two Hands. Here, though, a 12-year-old girl and an older teen sit at the centre of the narrative. Thankfully, while the nods towards other prominent homegrown movies are obvious, these sources of inspiration don't cast an overbearing shadow. There isn't much about Moon Rock for Monday that proves overtly novel, but it doesn't simply trudge in other films' footsteps, either. The importance of the feature's canny casting can't be understated, with fellow debutant Ashlyn Louden-Gamble a winsome presence as the titular pre-teen and George Pullar (Playing for Keeps) infusing his wayward but well-meaning jewellery store thief-turned-fugitive with more depth than might be expected. Indeed, their rapport as their characters first evade the police on Sydney's streets, then take to the highway towards the Northern Territory, gives this warm-hearted movie enough charm to do more than simply coast by. Named for the day she was born, Monday's (Louden-Gamble) entire life has revolved around an illness that requires frequent medical treatment. But, despite the lived-in weariness and worry perennially plastered across the face of her dad Bob (Aaron Jeffrey, The Flood), she handles the situation with a sunny disposition, an eagerness to see the world and an obsession with Uluru — or Moon Rock, as she calls it. Then, this father-daughter duo stumble into Tyler's (Pullar) orbit. Soon Monday is by the latter's side, indulging her thirst for adventure and tagging along as he hightails it out of town. Bob isn't the only one desperate to find them, with Detective Lionell (David Field, Mortal Kombat) also on their trail in the aftermath of Tyler's light-fingered ways. From the outset, even before Monday and Tyler start heading west, there's an episodic feel to Moon Rock for Monday; however, flitting from one narrative incident to the next suits the road-trip premise. When nothing but landscape surrounds its central pair, that dusty red expanse does plenty of heavy lifting — a scene outside of Coober Pedy is particularly striking, both visually and emotionally — but this is still a promising big-screen start for its director and leads alike. https://www.youtube.com/watch?v=VyopYXVJNmQ THIS LITTLE LOVE OF MINE Blatantly formulaic rom-coms are cinema's version of junk food, as Netflix has been trying to use to its advantage. Scroll through the platform's catalogue, especially around Christmas, and a wealth of straight-to-streaming movies that eagerly play up every trope and cliche await — but being easy to make and undemanding to consume isn't the same as being worth watching. This Little Love of Mine is debuting in cinemas; however, it'll feel at home when it does find its way into a streaming service's lineup. Its story is that predictable and its dialogue is that hoary. The setup: ambitious workaholic lawyer Laura (Saskia Hampele, The Heights) is certain that she'll finally make partner and be able to start doing worthwhile work helping small business owners if she convinces a building magnate's (Martin Portus, Home and Away) island-dwelling boat captain grandson Chip (Liam McIntyre, Them) to take over his billion-dollar development company. The catch: the island, Sapphire Cove, is where she grew up before she left for her high-powered, big-city life in San Francisco, and Chip is the childhood best friend she's thought of fondly over the years, but hasn't seen since she departed. Romantic comedies don't need to trade in surprises. When you're just aiming to bring two characters together so that they can presumably live happily ever after, twists aren't a necessary feature. But viewers should enjoy their time watching said central figures overcome the obligatory obstacles that come their way on the inevitable path to becoming a couple. They should get invested in their plights, be charmed by their personalities and care about their fates —and, even with the ultimate outcome remaining obvious to anyone and everyone, no one should feel as if they're just peering on as a movie works through a checklist. While Hampele and McIntyre do their best to liven up Georgia Harrison's (Rip Tide) rote script, they can't nudge This Little Love of Mine into engaging waters. The same applies to Lynn Gilmartin (How Do You Know Chris?) as Laura and Chip's fellow lifelong friend Gem, who proves the kind of dutiful sidekick-slash-trusty confidant character that could've strolled out of almost every rom-com ever made. Also unable to lift the material: the eye-catching Far North Queensland backdrop, which sets a suitably swoon-worthy scene; however, the repeated palm tree and beach shots peppered throughout the film by first-time director Christine Luby and cinematographer Simon Harding (Ruben Guthrie) begin to feel like filler quickly. 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 and April 8. 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 and Supernova. Top image: Takashi Seida.
Fans of weighty Australian fare that reckons with the country's past are fans of the Mystery Road franchise, spanning both the big and small screens. They're fans, then, of the way that the outback-set saga surveys the nation's distinctive ochre-hued landscape from above in picturesque drone shots, all while contemplating the racist ills waged to live and work upon it. Stan's new six-part series Black Snow borrows much that's made Mystery Road such a hit, including a shock murder in a small town, a cop riding in to solve the mystery it heralds, a grim look at Aussie history and a bird's-eye view of its setting. But when this instantly compelling show peers down, it spies fields of green sugar cane fields far and wide. And, when it explores the country's traumas, it focuses on the treatment of the Australian South Sea Islander community. Seventeen-year-old Isabel Baker (talented debutant Talijah Blackman-Corowa) is the first person seen in Black Snow's opening moments, riding her bike hurriedly through the cane in the thick of night, making a frantic call from a remote phone booth and getting spooked by a music-blaring car's sudden appearance. The year is 1994, and the evening is the high schooler's Year 12 formal, as well as her last alive. Black Snow's second face belongs to James Cormack (Travis Fimmel, Raised by Wolves), a Brisbane-based Cold Case Unit police officer trying his luck in 2019 at a claw machine in a pub. He's troubled in a different way, haunted by emotional pain he attempts to deaden by paying for a Fight Club-style beating in the bar's back alley, and he'll swiftly be on Isabel's trail. Flitting between the two timeframes — hopping back and forth so heartily that Isabel is as much Black Snow's protagonist as Cormack, meaningfully so — this series isn't short on 90s touchstones. VHS stores, mix tapes, camcorders, Smashing Pumpkins and You Am I on the soundtrack, a Thelma & Louise video, teen chat about piking and being cut, a mention of The Adventures of Priscilla, Queen of the Desert: they're all covered. The best TV show of that decade, Twin Peaks, doesn't get an overt shoutout; however, David Lynch's influential masterpiece springs to mind while watching as clearly as Mystery Road does. Ashford, Black Snow's setting, is indeed a quaint locale centred around a mill and populated by inhabitants who all know each other. And, due to the murder of its most promising daughter, the town's secrets start to spill. As simple maths makes plain, Ashford's 90s tragedy bubbles up again a quarter-century later, in one of creator Lucas Taylor (Harrow) and co-writers Beatrix Christian (Hearts and Bones) and Boyd Quakawoot's (Black Comedy) sharpest moves. In what's supposed to be a moment of celebration to mark the local school's centenary, the town gathers to unearth a time capsule buried by Isabel and her classmates, with the blasts from the pasts that result spanning far beyond nostalgia. In addition to providing the series with an immediate point of difference — outsider detectives dropping by to solve dead-girl crimes is a well-worn on-screen trope — the excavated box also signals Black Snow's devotion to looking backwards. Fields like the fictional Ashford's have been blighted by blackbirding, the exploitation of South Sea Islanders involving forced relocation, severe underpayment and brutal working conditions, a grim form of slavery that isn't forgotten here. In the show's 2019 timeline, Cormack heads north to sweaty heat, an unwelcoming Senior Sergeant Turner (Kim Gyngell, Wakefield) — who originally led the case, and is adamant a passerby was responsible — and a mixed reaction from Isabel's sister Hazel (potent first-timer Jemmason Power), mother Glenda (Seini Willett), aunt Rosa (Lisa Blackman) and pastor father Joe (Jimi Bani, Mabo). His job: to find the murderer by "finding out who people really were back then", he notes, with his enquiries also involving Isabel's boyfriend Anton Bianchi (Alexander England, How to Please a Woman) and best friend Chloe Walcott (Brooke Satchwell, The Twelve), the former a farmer's (Rob Carlton, Bali 2002) son and the latter gifted every advantage courtesy of her mill-owning father (Erik Thomson, Blueback). Back in 1994, Isabel wades through her own chaos, with the younger Hazel (Molly Fatnowna) watching on. Her parents are strict, so much so that she's scared to tell her dad about plans for a pre-university road trip to Sydney with Chloe (played by The Unlisted's Annabel Wolfe as a teen). Anton (Josh Macqueen, Significant Others) is hardly reliable, but he is jealous of the time she's spending with the picked-on Hector Ford (Fraser Anderson, Rock Island Mysteries). Plus, Isabel soon has her own investigation causing waves around town, tied to fresh-faced Vanuatu newcomer Ezekiel Iesul (musician Ziggy Ramo), absent visas, hellish abuse and missing people. Without its leaps backwards, Black Snow would still be gripping and well-acted, with Fimmel giving the series an expectedly dogged but quietly magnetic cop — one so breezily spoken that he stands out from every other detective that's ever chased comparable cases — and Power living up to her name as a woman that's spent more than half her life in a tragedy's shadow. Still, it can't be overstated how essential the 1994 segments prove. They gift Isabel a voice and presence past being a mere victim; showcase Blackman-Corowa's luminous performance in the process; and inescapably anchor Black Snow's narrative in colonial crimes, horrors waged for centuries since, the deep-seated intergenerational traumas they've caused, Australian South Sea Islander culture and telling class clashes. Come for Australia's latest must-stream crime drama, and the first of 2023, then, but stay for a show that embraces and interrogates much more than its recognisable basic setup typically indicates. Stay, too, for taught and tense direction from helmers Sian Davies (Spreadsheet) and Matthew Saville (A Month of Sundays), an emotive score by Ramo with Jed Palmer (Animals), and eye-catching cinematography from Eric Murray Lui (We Are Still Here) — scenic sights lush with greenery but as stained with hurt, woe and sorrow as Australia's reddest soil. Check out the trailer for Black Snow below: Black Snow streams via Stan.
Do you have a whole shrine filled with gin? A shelf? A decent section of your liquor cabinet? If so, it's likely that many of those bottles hail from Australia's own Four Pillars. And, thanks to the gin-making superstars' next two tipples, you might be about to add to them. The latest additions to the award-winning brand's range both play with its original gin — and one that has quite the following. So, if you've sipped Four Pillars' Rare Dry Gin, you'll want to try its new Rarer Dry Gin and Rarest Dry Gin. The first is made with yuzu, the second features bergamot, and obviously no one stretched themselves too much thinking of these gins' names. Still citrus-heavy like the OG tipple, Rarer Dry Gin and Rarest Dry Gin came about after the Four Pillars' team discovered some locally grown yellow yuzu and green bergamot — and then started tinkering. Where the Rare Dry Gin uses nine botanicals in the pot and oranges in the vapour basket that sits above the pot, these two newbies swap in their different types of citrus. That's it, that's the change. While Four Pillars still recommends that you drink the original in G&Ts, it's suggesting that these two newcomers also suit the cocktail — or you can add the Rarer Dry Gin to a gin and soda highball if you're after something different. Rarer Dry Gin and Rarest Dry Gin will be available from Saturday, September 11 from the distillery's website, costing $75 each per bottle. And, because Four Pillars likes to put the bi-products from the distillation process to good use, this time it has whipped up a Made from Gin Yuzu & Bergamot Shred Marmalade that'll be available for $12 for a 160-gram jar. For more information about Four Pillars' Rarer Dry Gin and Rarest Dry Gin, or to buy them from Saturday, September 11, head to the distillery's website.
If the end times were coming, and the antichrist as well, how would an angel and a demon on earth cope? That's the question that fantasy authors Terry Pratchett and Neil Gaiman explored in 1990 novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch, winning awards and plenty of fans as a result. Now, what'd happen if Michael Sheen (Quiz) was that heavenly figure and David Tennant (Doctor Who) his demonic counterpart? That's exactly what the Good Omens streaming series dived into when it initially arrived back in 2019. Four years later, the Prime Video show is finally returning for season two. With Sheen back as Aziraphale and Tennant as Crowley, that key casting remains intact. Jon Hamm (Confess, Fletch) also returns as Gabriel, this time showing up at Aziraphale's bookshop with zero memory of who he is — sparking the show's new mystery. Cue hiding the archangel from all interested parties — below and above — and, as is Good Omens' custom, getting Aziraphale and Crowley leaning on each other. Cue jumping from before The Beginning through to modern times as well, including stops in the biblical and Victorian eras, and the Blitz in 1940s England. As the trailer for season two shows, divine chaos ensues, even though Aziraphale and Crowley thwarted the apocalypse in season one. How it all turns out, other than amusingly, will be revealed when the series hits streaming again on Friday, July 28. Also back for a second go-around are Doon Mackichan (Toast of Tinseltown) as archangel Michael, plus Gloria Obianyo (Dune) as archangel Uriel, while Miranda Richardson (Rams), Maggie Service (Life) and Nina Sosanya (His Dark Materials) return as well — but in different parts. They're all joined by series newcomers Liz Carr (This Is Going to Hurt), Quelin Sepulveda (The Man Who Fell to Earth) and Shelley Conn (Bridgerton), the latter as Beelzebub. And Neil Gaiman is back as executive producer and co-showrunner, helping guide a season that now expands past its source material. Check out the trailer for Good Omens season two below: Good Omens returns for season two from Friday, July 28 via Prime Video.
New Quarter is part of Commune Group's stable of bustling and busy restaurants, including Hanoi Hannah, Tokyo Tina, Moonhouse, Studio Amaro and Firebird. With a sleek fit-out and a fresh, vibrant menu, New Quarter is a spot that suits just as well for a midweek casual lunch as it is for kicking off festivities on a Saturday evening. Self-described as a neo-Vietnamese restaurant, the menu presents refined takes on classic dishes, which maintain the fragrant and spicy flavours of Southeast Asia. While you sip on an NQ Spritz, a combination of Okar Orange Tropic, mandarin shrub, prosecco and soda, snack on the likes of moreish bahn mi fingers with whipped chicken liver pâté, rockling sliders with Vietnamese mint tartare, and fried chicken sandos with cabbage slaw and hot sauce. Up next, sample kaffir lime-cured snapper with sesame crackers or beef tartare with pho jelly, and a crunchy and fresh crisp tofu salad with kohlrabi and tamarind. For the main event, the duck floss egg noodles are a must, as is the roast chicken with pickled chilli sambal, and the delightfully delicate barramundi fillet accompanied by an umami-rich burnt butter nuoc mam. If you're dining with a group, and easy option is the $78 or $89 per person set menus, which allow you to sample many menu favourites. The Swan Street hotspot has now introduced their Tuesday night special, which includes a glass of wine or beer and a shared-style set menu for just $50 per person. Available from 5pm, the three-course menu features rotating proteins, starting with a 250g MB2 porterhouse steak served alongside bun bo heu jus, Thai basil and jasmine rice, and two sides such as wok-tossed greens or egg noodles. Finish off with a Vietnamese coffee crème caramel, and make your Tuesdays a little more exciting. Images: Ashley Ludkin.
When Nathan Sasi isn't cooking up a storm as the head chef at inner-city fine-dining restaurant Mercado, he's overseeing Good Times Artisan Ice Cream. When he's not doing that, he's collaborating with Lynx and designer Felix Chan to design accessories for Lynx's Find Your Magic collection. That's quite a number of hats to wear. And that's what makes him Sydney's renaissance man – he's clever, detail-focused, enthusiastic and can take on as many projects as he likes. He gets things done, and he gets them done well. Whether he's working in the kitchen, whipping up imaginative flavours in his ice cream shop or dabbling in the sartorial world, Sasi's entire existence focuses on showcasing his own personal style. We wondered, how does he balance so many projects? And how does he ensures that he expresses his individuality in everything he does? "You have to be passionate," he says. "Having a sense of confidence – not arrogance – with your style helps you pull of your look." Whether it's fashion, food, or life in general, Sasi says your style has to suit your personality. He says being passionate about what you do helps you to be persistent and reach your goals, and it also helps with the ability to juggle several different projects somewhat easier, or at least worthwhile. "Just go for it," is the advice he followed when it came to realising his childhood dream of selling everyone's favourite frozen sweet treat at Good Times. "Growing up I actually wanted to be a dentist or a lawyer," Sasi notes. But, "I always dreamt of having my own ice cream parlour, really so I could have an endless supply of ice cream." Sasi didn't just dream big though. He was also practical and thorough, and knew what worked best for him. His two food-focused roles are all about perfecting every element of the eating experience in a creative and unique way, from the Spanish-style dishes available at the former to hand-made ice cream served at the latter. "Becoming a chef was something I knew I was going to work towards actually becoming," he advises. "Once I developed my style of cooking with learning the art of making everything from scratch — charcuterie, cheese, vinegars, you name it — I knew that I wanted to extend that outside of the kitchen and typical restaurant setting. That's where the dream of really owning an ice cream parlour came about." [caption id="attachment_586645" align="alignnone" width="1280"] Sasi's collaboration with Lynx.[/caption] It was while he was waiting for Mercado to come to fruition that Good Times became a reality, with Sasi forging ahead — or just going for it — when the opportunity arose. "I was waiting for the build of Mercado Restaurant to be completed, and with time up my sleeve and a vacant space in a prime location in Potts Point, I decided I would give it a crack," he says. Give it a crack, he did. Good Times made a splash as soon as it opened its doors back in February. Sasi makes all the bases from scratch with pure cream and milk rather than pre-made powered mixes, along with using top quality ingredients for the garnishes. He found his inner magic and infused it into Good Times — and it's that outlook that inspired Lynx to come calling for a collaboration. He often alters his own clothes to create a little uniqueness, saying "people own the right to express themselves through their fashion choices, through their accessories and personal style." His own look is a blend of "old school gentlemen with a touch of rock and roll," which shines through in his collaboration with Chan. The line of silk pocket squares, checked socks and patterned ties they've designed together doesn't just try to convey Sasi's particular style, but aims to share his way of looking at the world. "I think to some degree, cooking and fashion go hand in hand. Chefs are putting what they create with heart and soul onto a plate for restaurant reviewers and diners to critique, so they tend to just do what they love, what feels right — and don't fuss too much about what others think, providing they are doing what is true to them." "You learn early on that you aren't always going to please everyone, and I think the same goes with fashion," he says. "If we didn't take risks and love being creative in the kitchen then we probably wouldn't be chefs." Or in Sasi's case, chefs, ice cream parlour owners and accessory designers. The Find Your Magic collection is available to purchase at Men In This Town, all proceeds will go to I-Manifest.
If September weather still isn't hitting compared to a tropical holiday, then maybe it's time to book a short-haul flight with Virgin Australia's happy hour sale. From now until 11pm today (AEST), score international flights for as little as $419 return. But be quick, because you've only got until 11pm tonight to nab these deals. Travel anywhere from Queenstown and Vanuatu to Bali, Samoa and Fiji, to make the most of this limited-time offer. Deals include a Melbourne to Bali flight for as little as $419 return, or Sydney to Fiji from $489 return. Book your economy flights between October 22, 2025 and March 31, 2026, to be eligible for these red-hot deals. If you're a Velocity Frequent Flyer, then these deals are even better, because sale fares still go towards your Velocity Points and Status Credits. Just make sure to pack light, as these fares do not include baggage and seat reservations. For more information about Virgin Australia's Happy Hour Flights Sale, head to the website. Images: iStock
No matter when your birthday is, you're getting a present this week — as long as you're keen on booking a getaway and you get in quick. Jetstar turns 21 this year, and the Australian airline is celebrating. First, it announced a LARPing tournament in Melbourne with $50,000 in flights up for grabs. Next comes the latest return of its always-popular return-for-free sale. Your dream vacation plans can now include jetting off to Tokyo, Seoul, Phuket, Bali, Singapore and more, then flying home for free — or holidaying in Australia while scoring the same deal for getaways to Cairns, the Gold Coast, Byron Bay and other locations. Here's how it works, if you're new to the concept: you buy a ticket to your chosen destination across more than 80 routes, with 95,000-plus fares available, then the carrier covers the cost of you coming home. For free flights back to Australia from international spots, Osaka and Vanuatu are also on the list. Sticking with Down Under destinations, so are Hobart, Margaret River, Adelaide and Perth. Wherever you'd like to venture, the key part of this sale is making your way back without paying for the return flight, which'll also make your holiday oh-so-much cheaper. The special runs from 12am AEST on Wednesday, May 7–11.59pm AEST on Thursday, May 8, 2025 or until sold out if that happens earlier — with Jetstar members getting an extra 12 hours to access the sale from 12pm AEST on Tuesday, May 6, 2025. And yes, it really is as straightforward as it sounds. Whatever flights you opt for as part of the sale, you'll get the return fare for nothing. Prices obviously vary depending on where you're flying from and to, but some include Brisbane to Tokyo from $373, Cairns to Osaka from $285, Melbourne to Singapore from $209, Perth to Bali from $154, Sydney to Port Vila from $209, Sydney to Phuket from $299 and Brisbane to Seoul from $309. Domestic fares span deals such as Sydney to Ballina/Byron from $38, Newcastle to the Gold Coast from $59, Melbourne to Hobart from $69 and Cairns to Brisbane from $89. You'll be travelling within Australia from September 2025–March 2026, and from late-May 2025 to late-March 2026 if you're going global. The caveats that are always in place with this Jetstar deal remain this around. So, you need to book an outbound fare, then you'll get the return fare for free — and the deal only applies to Starter fares, and only on selected flights. Also, checked baggage is not included, so you'll want to travel super light or pay extra to take a suitcase. Plus, you have to use the same arrival and departure ports for your flights — which means that you can go from Brisbane to Tokyo and back, for instance, but can't return via another place or to another city. Jetstar's 21st birthday 'return for free' sale runs from 12am AEST on Wednesday, May 7–11.59pm AEST on Thursday, May 8, 2025 — or until sold out if prior. Jetstar members get an extra 12 hours access to the sale from 12pm AEST on Tuesday, May 6, 2025. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
This year, Australia's leading Aboriginal and Torres Strait Islander performing company, Bangarra Dance Theatre, is inviting audiences to experience a connection to Country in a whole new way. The company's newest stage production, Illume, will tour nationally from June to September 2025, bringing Bard-Bardi Jawi culture and storytelling to the stage. Developed by Mirning woman and Bangarra Artistic Director and Co-CEO Frances Rings, the show is an exciting kaleidoscope of images, music and movement. It explores light as a bridge between the physical and spiritual worlds, the impacts of light pollution, and puts forward the question: 'Is the deep wisdom passed down from elders enough to illuminate a path forward from the shadows of a dark future?'. [caption id="attachment_1007624" align="alignnone" width="1920"] Daniel Boud[/caption] It's also the first time a Bangarra mainstage production has been created in partnership with a First Nations visual artist – Goolarrgon Bard man, Darrell Sibosado. Sibosado is known for his pearl shell carvings and large-scale geometric installations, with works shown at the Biennale of Sydney and QAGOMA, and held in the collections of the National Gallery of Australia, National Gallery of Victoria and Art Gallery of South Australia. In Illume, his visual language shapes the entire production, from costume and set design to lighting patterns that ripple across the stage, creating a shimmering world that draws directly from his Bard-Bardi Jawi heritage. "I think [Frances' work] and my work will work very well together, there is a similar energy," Sibosado says. "It's always about the rhythm and everything of my own Country." [caption id="attachment_1002105" align="aligncenter" width="1920"] Cass Eipper[/caption] On top of Sibosado's artistic influence, what makes the production special is the way it came to life through Bangarra's Cultural Creation Lifecycle, a process that involves years of community engagement, transfers of knowledge, and on-Country visits. This unique Cultural Creation Lifecycle is the foundation of all Bangarra's work and can take anywhere from 3 to 4 years from start to finish. With each production, the process begins with people, place and story, then involves multiple stages of research, development and input from cultural leaders. [caption id="attachment_1002103" align="aligncenter" width="1920"] Cass Eipper[/caption] For Illume, the Bangarra creative team made multiple trips to draw inspiration, including travelling to Lombadina on the Dampier Peninsula in Western Australia. There, they met with local cultural consultants, spent time listening and observing, and sought permission to bring elements of their stories into the work. Rings and her collaborators consider the Cultural Creation Lifecycle an essential part of the creative process. Rather than drawing from archives or second-hand sources, the company builds work through lived experience. By being on Country, surrounded by the landscape and people who shape the story, they're able to create something that's authentic and respectful. [caption id="attachment_1002106" align="aligncenter" width="1920"] Daniel Boud[/caption] In Illume, that deep connection to Country is felt in every moment, from the stunning set details to the choreography led by Rings, and the score by Brendon Boney, an Wiradjuri/Gamilaroi man and longtime Bangarra collaborator. The end result is a performance that's immersive, powerful and grounded in place. It promises to bring audiences closer to the stories of Bard-Bardi Jawi Country in a way that's creative and entirely original. Bangarra will tour Illume nationally from June to September 2025, with stops in Sydney, Perth, Albany, Canberra, Brisbane, Darwin and Melbourne. Whether you've followed Bangarra's work for years or you're seeing the company for the first time, Illume is a chance to experience a unique creative collaboration that brings Country to the stage in your city. Illume tour dates: Gadigal Country Sydney Opera House – Wednesday, June 4 to Saturday, June 14 Whadjuk Noongar Boodja Heath Ledger Theatre, Perth – Tuesday, July 10 to Sunday, July 13 Kinjarling Albany Entertainment Centre – Friday, July 18 Ngunnawal Country Canberra Theatre Centre – Friday, July 25 to Saturday, July 26 Meanjin QPAC, Brisbane – Friday, August 1 to Saturday, August 9 Garramilla Darwin Entertainment Centre – Friday, August 15 to Saturday, August 16 Wurundjeri Country Arts Centre Melbourne – Thursday, September 4 to Saturday, September 13 Bangarra's 'Illume' tours nationally from June to September 2025. Head to the website for more information or to book your tickets. Images courtesy of Bangarra Dance Theatre By Jacque Kennedy
As a kid, your checklist for treehouse essentials would have likely included a tin can telephone and a retractable ladder to keep out those awful adults. And while you may have thought that as you matured your treehouse ambitions would diminish, the opposite is true. While once you would have been content with a setup that rivalled that of Bart Simpson or the Stand by Me crew, as an adult you expect to be perched among the treetops with all the creature comforts of a high-end hotel. Lucky for us, there are adults in Australia who have let their imaginations run wild, and they've put their own dream treehouses up for rent. SECRET TREEHOUSE When your treehouse rivals that dreamt up by Walt Disney, arguably the forefather of imagination, you know you've got a winner. More specifically, winner of Airbnb's best place to stay on the planet in 2016. Perched above the treetops overlooking 600 acres of world heritage Blue Mountains bushland, Love Cabins' Secret Treehouse is one of the only places where nature is better enjoyed from indoors. Floor to ceiling windows allow for uninterrupted views of the rainforest from the comfort of your bed, when curled up in front of the fire or while enjoying a wine on the balcony. Not just there for show, the branches intersecting the room have a real structural role to play, making this the truest incarnation of a treehouse since the handy work of the Swiss Family Robinson themselves. It's seasonally sound too, as one of our go-to cabins for winter. SILKY OAKS LODGE Giving the actual rainforest a run for its money, Silky Oaks Lodge is about as lush as it gets — with a price tag to match. Built on the banks of the Mossman River in the Daintree National Park, the rooms at Silky Oaks are the epitome of jungle luxury. All rooms are surrounded by rainforest, but the cream of the crop are the Billabong Suites which look out across the river. Spoilt for choice, if you stay in the Billabong Suite you can enjoy river views from either a hammock or a day bed. And if peace and tranquility does grow tiresome, you can always move to the marble ensuite to soak in a spa bath or rinse off in the rain shower. With rosewood and silky oak timber featuring predominantly throughout the rooms, the beauty of the Daintree extends from the outside in. CANOPY TREEHOUSES On the banks of the Ithaca River in tropical North Queensland you'll find five treehouses that come close to blending into the rainforest canopy. Surrounded by lush rainforest you'll feel completely secluded. That is, until the therapist arrives to give you a private in-house bamboo massage, foot therapy or facial. And if there's such a thing as your average treehouse, this is larger than most, boasting two bedrooms, a full kitchen, spa bath, balcony, barbecue and hammock. This is the kind of place you would visit with friends only to sit in silence staring out over the treetops. GIRAFFE TREEHOUSES While not the true definition of a treehouse, the fact that you're high up enough for a giraffe to tuck their head over your balcony for a feed makes this worthy of a mention. And when Humbekhali, the resident giraffe at Jamala Wildlife Lodge has had his fill, you can kick back on the balcony and watch him galavant around his enclosure, wine in hand. If hand-feeding a giraffe wasn't special enough, the generally African-inspired accommodation will have you feeling like you're on a high-end safari. The kind where you have a bathtub, TV and a king-size four-poster bed. And here's a sentence you've likely never heard before, "Please join us in the cave for some pre-dinner drinks with our exotic residents". DAINTREE JUNGLE HOUSE Deep inside the world's oldest rainforest you'll find the Daintree Jungle House. Built three metres up in the rainforest canopy, you stay here because you have a sense of adventure and want to feel like you're cut off from the rest of the world — even though in reality there's a boat that leaves twice daily for a snorkel tour of the Great Barrier Reef at the end of the street. Facilities are basic so you'll be using a compost toilet and a hot outdoor shower, but it's not the creature comforts you came for. The two-storey open design houses a bed, hammocks, a breakfast bar and basic kitchen facilities, but on the other side of those walls is an acre of rainforest to explore. There's a freshwater creek right next to the Jungle House that you can swim in and an abundance of wildlife to keep you company. This is a taste of true(ish) jungle life. NOTABLE AIRBNB OPTIONS This one in Main Arm, NSW. This one in Musk, Victoria.
Wine lovers visiting New Zealand's biggest city are truly spoilt for choice. A cluster of award-winning and family-owned vineyards sit less than an hour's drive from the CBD, making it the perfect destination for your next short break. Dotted among the hillsides and bays of northern Auckland, Matakana has a warm climate that produces elegant reds — there are 28 varieties planted in the region, which makes it one of the most diverse wine growing areas in New Zealand. Here you'll find the only vineyard in the country to specialise solely in Italian grapes, French-inspired drops and an elaborate 'if you build it, they will come' sculpture park. Flights to Auckland from Sydney, Melbourne and Brisbane are super short — around three-and-a-half hours on average — and Air New Zealand flies direct from all three cities and offers great everyday fares. SCULPTUREUM A Nike-wearing alligator, inspirational quotes from Steve Jobs, an exotic bird aviary and an 80-seat restaurant — Sculptureum isn't your average vineyard. After 12 years of design and development, Auckland-based lawyers Anthony and Sandra Grant opened the doors to their elaborate 'if you build it, they will come' space. The 25-acre site is located less than five minutes' drive from the Matakana village en route to Omaha (north of Auckland). After strolling through art-filled gardens, seeing a massive chandelier created by American glass artist Dale Chihuly and spotting large rabbits in a grassy arena named Rabbiton, it'll finally be time to sit down for a wine. On a sun-soaked hill beyond the gardens is the vineyard that produces Sculptureum's award-winning wines. Current varietals available include chardonnay, Bordeaux blend, syrah and rosé. They're best enjoyed by the glass with a meal at on-site restaurant Rothko — though you can always grab a bottle for later, too. BRICK BAY WINERY Brick Bay is another spot that incorporates boutique wines, a sculpture trail and a top-notch restaurant. Nestled amidst a patchwork of native bush and farmland, the winery is a magical setting for a short break out of the city. For a little over 32 years, the brand has made a name for itself crafting sustainable wines, notably the classic pinot gris and berry-driven rosé. If you want to see what all the fuss is about, tastings are held any time at on-site restaurant The Glasshouse for $8. Designed by respected architect Noel Lane, the building is exactly as the name suggests — a light-filled glass box, which sits over a lily-filled pond. For an additional fee, you'll also be given the opportunity to stroll around the sculpture trail and see work by some of New Zealand's top contemporary sculptors, including Paul Dibble, Terry Stringer and Judy Darraugh. The full trail takes around an hour to complete. HERON'S FLIGHT Heron's Flight is the only vineyard in New Zealand to specialise solely in Italian grapes. The winery was established 31 years ago by David Hoskins, whose work as a chemist, philosopher and winemaker makes him quite the renaissance man. Heron's Flight has been consistently committed to sustainable winemaking and can be found in the wine lists of top restaurants up and down New Zealand. Heron's Flight works with two grape varieties: sangiovese, which translates to 'the blood of Jupiter', and dolcetto, a variety which is often both dry and full-bodied. Tastings are available seven days a week, excluding public holidays. MATAKANA ESTATE Matakana Estate has been around since the boutique wine region first sprung to light more than 30 years ago. Under the care of Australian winemaker Richard Robson, the estate produces stylish, full-bodied chardonnay, syrah and pinot gris. With expansive views over the vineyard — the largest in the region — the tasting room is one of the most popular to visit for an afternoon of sniffing and swirling. That said, it's recommended to call ahead if you're looking to try a specific varietal. If you haven't sorted transportation for your return journey, the estate boasts a luxury lodge, which stands proudly on a ridge overlooking the Matakana valley and hills. It has room for up to eight merry guests. RUNNER DUCK ESTATE Runner Duck Estate is a boutique vineyard nestled in the Matakana valley, specialising in small quantities of French-inspired syrah, Bordeaux blends, pinot gris, sangiovese and rosé. After leaving behind a successful business in Mumbai and purchasing the estate, it was the objective of owners Clyde and Farida to produce a small amount of iconic red wine that would impress the world's most discerning wine drinkers. Staying true to their word, the pair will not produce wine under the label unless the year been outstanding. The estate's cellar door can be found at celebrated vineyard restaurant, Plume, which offers tastings of any five wines for $7 per person. Alternatively, tastings are free with any bottled purchased. Book your flights to Auckland with Air New Zealand and start planning your next long weekend away. Plus, Vinomofo has released a case of wine featuring six delicious wines representing the diverse and unique sub-regions of Waiheke, Kumeu and Matakana. Every case has a one in 50 chance of winning return flights to Auckland (from Sydney, Melbourne and Brisbane). T&Cs apply.
In Stay of the Week, we explore some of the world's best and most unique accommodations — giving you a little inspiration for your next trip. In this instalment, we go to Lady Elliot Island Eco Resort off the coast of Queensland, the spot we're putting up guests who book our Four-Day Turtle Hatching and Photography Adventure. WHAT'S SO SPECIAL? This award-winning retreat is the only accommodation on Lady Elliot Island, a small coral cay located at the south end of the Great Barrier Reef. And the beach — where you'll find wild turtles, manta rays and tropical fish swimming around colourful coral fields — is only ten metres away from many of the rooms. THE ROOMS Sustainability is at the core of everything at Lady Elliot Island Eco Retreat. The units, glamping tents and cabins are all designed to seamlessly sit within the natural environment, minimising the impact on local flora and fauna. In line with such an ethos, you won't find wifi, televisions nor radios in any of the rooms — only a limited wifi connection can be found in the restaurant. You go to this island to disconnect — put the phone away and go exploring IRL. But, it must be noted that this lack of signals and screens doesn't mean you'll be roughing it. All room types come with plush beds, charging points, an ensuite bathroom and ceiling fans for hot island nights. [caption id="attachment_889431" align="alignnone" width="1920"] Fabrice Jaine[/caption] FOOD AND DRINK You're on a remote island, so you're not going to find a series of flash restaurants and bars. However, you do have a few casual places to eat and drink to choose from. First off, you have the laidback Beachfront Cafe — a lunch spot where you can get burgers, salads and some booze in the arvo. Next door you'll find The Lagoon Bar, where you can down a few cocktails, crush some beers or sip a vino after spending a big day out on the reef. The uninterrupted beach views don't hurt either. Lastly, there's the Beachfront Dining Room, where you'll find your included buffet breakfasts and dinners. You'll enjoy a variety of modern Australian cuisines here, set to fuel you up for more outdoor adventuring. THE LOCAL AREA Lady Elliot Island is about 80 kilometres northeast of Bundaberg — located roughly halfway between Fraser Island and Lady Musgrave Island. And even though it's the closest Great Barrier Reef island to Brisbane, it is never overcrowded — you won't find swarms of people or big boats full of tourists in these parts. What you will find is a flourishing marine sanctuary. Go snorkelling or diving around tropical sea life or take the easier route by hopping aboard a glass-bottom boat tour. You can also go on walks around the island (it's super flat, so it won't be difficult) or simply read your book on the beach or by the saltwater pool. You can be as active or relaxed as you want. THE EXTRAS While you can explore the land and water at your own leisure at Lady Elliot Island Eco Retreat, we recommend joining one (or a few) of the available tours. You'll have stacks to choose from, but we've teamed up with these guys to create an exclusive Four-Day Turtle Hatching and Photography Adventure that combines all the best experiences into one epic trip. This package includes return flights from Hervey Bay, snorkel tours, turtle-hatching experiences, a private boat trip around the island and photography classes led by Mark Fitz (an expert wildlife photographer). As well: all your breakfast and dinners will be sorted. It's the ultimate trip for nature and photography lovers. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world.
Melbourne is littered with public outdoor pools and great beaches, but sometimes you want the luxe private pool experience. This usually comes with booking a room at one of Melbourne's best hotels or signing up to an exorbitantly priced private members' club, but most of us don't want to go that far for a little dip. To solve this problem, W Melbourne has started up its midweek Swim Club, which runs 8am–8pm from Monday–Friday. During these times, you can book a poolside session at the sky-high indoor pool WET and stick around for as long as you like. You'll have access to the pool, steam room and fully equipped gymnasium FIT, plus you'll get a mocktail, bottle of water and fruit platter delivered to your sun lounger. This doesn't come cheap, at $98 per person, but it's the price you pay for semi-private luxury. If you're on a budget and want to swim on a cold day, these heated Melbourne pools are a heap cheaper. But those of you seeking a day of swimming and relaxing without crowds — while looking out over the city skyline — can consider booking a spot at WET's Swim Club.
If you'd like to spend the rest of 2022 hopping between music festivals and doing very little else, that's definitely a possibility. Everything from Splendour in the Grass and Falls Festival to Woodford Folk Fest, Spilt Milk, Lost Paradise, Festival X, Grapevine Gathering, Beyond The Valley and Jungle Love is making a comeback before the year is out — and, as just-announced, so is The Grass Is Greener. Queenslanders should already be familiar with the music, food and art festival, which made its debut back in 2016. In 2022, it'll return to Cairns and the Gold Coast, spreading the love from one end of the Sunshine State to the other. And in excellent news for festival fans and music lovers down south, it's also branching out further for the first time ever. Your destinations: Canberra and Geelong, with The Grass Is Greener expanding nationally but keeping a focus on bringing tunes to cities beyond the usual state capitals. It'll do the regional rounds across the last two weekends in October, starting on the Goldie, hopping down to the ACT, zipping back up to its Tropical North Queensland birthplace, then wrapping up its 2022 run in Victoria. "With plans to grow The Grass Is Greener into a national festival falling through in 2020, we couldn't be more thrilled to bring regional Australia a truly unique offering they deserve," said organisers Handpicked Group. Each 2022 stop will boast multiple — and themed — stages, other eye-catching activations, and VIP packages. Exactly who'll be on the bill won't be announced till Thursday, June 16; however, given that The Grass Is Greener has played host to Amy Shark, All Day, Hayden James, Ocean Alley and Tyga before, expect a characteristically impressive lineup spanning both international and Aussie artists. [caption id="attachment_856350" align="alignnone" width="1920"] Curdin Photo[/caption] THE GRASS IS GREENER 2022 DATES: Saturday, October 22 — Gold Coast Sunday, October 23 — Canberra Saturday, October 29 — Cairns Sunday, October 30 — Geelong The Grass Is Greener will hit the Gold Coast, Canberra, Cairns and Geelong in October 2022. The full lineup will be announced on Thursday, June 16 — head back here then for further details — with pre-sale tickets going on sale from Wednesday, June 22 and general sales from Thursday, June 23. Head to the festival website for more info and to register for pre-sales. Images: Mitch Lowe and Curdin Photo.
If you watched Jemaine Clement and Taika Waititi's vampire sharehouse mockumentary What We Do in the Shadows back in 2014, then instantly found yourself yearning for more, that's understandable. Smart, silly and hilarious, the undead flick is one of the decade's best comedies. Thanks to two TV spinoffs, that dream has come true, letting viewers keep spending time in the movie's supernatural world — and that's not going to end any time soon. Last year, the New Zealand-made Wellington Paranormal made it to screens, following the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural. It proved a hit, unsurprisingly, and has a second season in the works. This year, an American television version of What We Do in the Shadows also started airing, following a group of vampire flatmates living in Staten Island. Featuring Toast of London's Matt Berry, Four Lions' Kayvan Novak, British stand-up comedian Natasia Demetriou, The Magicians' Harvey Guillen, The Office's Mark Proksch and Lady Bird's Beanie Feldstein, it follows the same basic concept as the original movie, just with memorable new characters. And now it has been renewed for a second season as well. Created and co-written by Clement, and executive produced by the Flight of the Conchords star with Thor: Ragnarok's Waititi, the US take on What We Do in the Shadows was first hinted at back in 2017, and then confirmed in May 2018. While the duo don't star in the new-look series, Berry, Novak and company have been doing them proud as the next batch of ravenous — and comic — vamps. Novak plays the gang's self-appointed leader, 'Nandor The Relentless', who dates back to the Ottoman Empire days and is somewhat stuck in his ways. As for Berry's mischievous British dandy Laszlo and Demetriou's seductive Nadja, they're like a blood-sucking Bonnie and Clyde (but much funnier). Guillén plays Nandor's familiar, who'd do anything to join the undead, while Proksch's Colin is an 'energy vampire'. And Feldstein's Jenna is a college student with a new craving. If you haven't caught the series yet, here's one of the first season's trailers: https://www.youtube.com/watch?v=VWUiU3t5udM Can't wait to sink your fangs into more? The first season is still on the air at present, and the second season will continue the story — charting Nandor, Laszlo, Nadja and the group's undead antics in the New York borough. It wasn't easy being a centuries-old bloodsucker in Wellington in the movie, and it's just as tough (and amusing) on the other side of the world. What We Do in the Shadows' first season is currently airing on Foxtel's Showcase channel weekly at 8.30pm on Tuesdays. Expect the second season in 2020. Via Variety.
These days, you won't find too many people yet to be bitten by the Melbourne plant-buying bug. If there's one thing we love, it's a dose of Mother Nature in the form of a leafy, green houseplant. And of course, that plant collection is a constant work in progress, because there is always room for one, two or seven more additions. Thankfully, Melbourne's got a mighty offering of expert-run plant nurseries that are more than happy to help fuel your obsession for all things green. Whether you're looking to jazz up your abode with some fresh plant talent, hunting the perfect pot, or in need of a spot of sound advice, here's a round-up of Melbourne plant shops worth putting on your radar. Recommended reads: The Best Bookshops in Melbourne Where to Shop Like a Local In and Around Melbourne CBD The Best Hair Salons in Melbourne
Under the supervision of acclaimed chef Andrew McConnell (Cumulus Inc, Cutler & Co.), the Builders Arms Hotel's restaurant offering has been an oft-evolving one, debuting as fine diner Moon Under Water in 2012, then dishing up modern Chinese as Ricky & Pinky since 2016. And back in 2018, the public bar and restaurant was given its latest makeover, turning it into a quintessential locals' pub that has enough style to impress your mum. British Michelin-trained head chef Andy Barkham has designed one venue-wide menu: a contemporary, UK-accented lineup with something for after-work snack sessions in the bar, lazy weekend lunches in the dining room and everything in between. It's menu changes regularly, but you should expect to find dishes like Barkham's signature scotch eggs, mussels cooked with fermented chilli and pork sausage, and a proper Brit-style fish pie, loaded with rockling, prawn and smoked ocean trout. Public bar favourites like the legendary cod roe dip and the Builders Arms cheeseburger have stuck around, while the courtyard rotisserie spins a daily changing meat offering to really get excited about. Like all good neighbourhood pubs, this one's also plating up a solid crop of weekly specials, from the locally loved Monday steak night, to Sunday's generous roast offering, cooked over charcoal and served with all the trimmings. To match, there's a 12-strong tap beer rotation filled with favourites, and a considered crop of wines to suit just about every palate. Take yours out back to the leafy, secluded courtyard for the ultimate summer arvo pub sesh. [caption id="attachment_872111" align="alignnone" width="1920"] Roberto Pettinau[/caption] Top image: Harvard Wang. Appears in: The Best Pubs in Melbourne for 2023
Rampant death. A destroyed world. When Cillian Murphy's (Small Things Like These) bicycle courier Jim awoke from a coma in a deserted British hospital 28 days after the rage virus leapt from chimpanzees in a biological weapons laboratory to spreading across the United Kingdom, that is what he found. The scenes of the Oppenheimer Oscar-winner's character wandering through an empty London in 2002's 28 Days Later — images that no one could fathom happening beyond the realm of cinema prior to the COVID-19 pandemic's earliest days — were stunning. So too was Danny Boyle (Yesterday) and Alex Garland's (Warfare) entire film, as Jim and the fellow survivors he stumbled across, including Naomie Harris' (Black Bag) Selena, Brendan Gleeson's (Joker: Folie à Deux) Frank and Megan Burns' (In2ruders) Hannah, tackled perhaps the most-important existential question there is: how does life go on? That query is again on Boyle and Garland's minds 23 years later for audiences, but closer to three decades on inside the narrative of their stellar horror franchise. 28 Days Later initially received a sequel in 2007, but Boyle didn't direct 28 Weeks Later, nor did Garland pen the film's script. For 2025's resurrection of the saga, they're now back in their OG roles — as they once were when Boyle only had Shallow Grave, Trainspotting, A Life Less Ordinary and the big-screen adaptation of Garland's 90s must-read novel The Beach on his resume, and also before Garland became the helmer of Ex Machina, Annihilation, Men, Civil War and Warfare. How life goes on interested this pair again in 2007 themselves, actually, but in a completely different movie. 2057-set sci-fi thriller Sunshine enlisted an impressively stacked ensemble — including Murphy again, another future Academy Award-winner in Michelle Yeoh (Wicked), 28 Weeks Later star Rose Byrne (Physical), plus Chris Evans (Materialists), his Marvel Cinematic Universe colleague Benedict Wong (Bad Genius), Hiroyuki Sanada (Shōgun) and Cliff Curtis (Kaos) — to portray astronauts attempting to save humanity from a dying sun. If Boyle and Garland had had their way, that would've sparked two more films. "Moonshine and Starshine. We never got to make them," Garland tells Concrete Playground. "So Sunshine was originally, there was this idea of it being a trilogy, but it didn't do very well. People like it a lot more now than they did on the day, or that's what it seems like, anyway," adds Boyle. Returning to 28 Days Later's infection-ravaged UK with 28 Years Later is no mere consolation prize in the wake of Sunshine's trilogy never soaring beyond a concept. This visit to a post-apocalyptic Britain is a spectacular event in its own right — and also the beginning of a new trio of movies. 28 Years Later: The Bone Temple has already been shot, with Candyman and The Marvels' Nia DaCosta directing a Garland script, Boyle producing, Murphy set to feature and a January 2026 release slated. Everyone that sees 28 Years Later will be counting down the days. A currently untitled third picture, and fifth in the saga, is planned after that, which Boyle will hop back behind the lens on. Existence endures in this franchise partly through human persistence in a Britain quarantined from the rest of the planet — and, for the community on Holy Island, through carving out a new normalcy. This northeast spot, which is only connected to the mainland via a sole causeway, is the only place that 12-year-old Spike (Alfie Williams, His Dark Materials) has ever known. But its people have a custom, taking its adolescents across the water to face the infected and prepare for an adulthood that requires venturing beyond the isle's walls for wood for fuel. The town has many traditions, in fact; however, this is where the film meets its protagonists, as Alfie sets off for a day trip with his dad Jamie (Aaron Taylor-Johnson, Nosferatu) while his ailing mother Isla (Jodie Comer, The Bikeriders) remains bedridden. Not only how life continues but how people manage to subsist without modern medicine, or don't, is among 28 Years Later's concerns. Boyle and Garland's latest collaboration has brains — and heart, too, as it relays an immensely relatable story about coping with sickness regardless of the zombie-like creatures prowling rewilded landscapes. "I wanted the illness to feel believable," Comer advises. 28 Years Later also ponders what the passing of three decades means for societal attitudes, for young minds that've only existed since the rage outbreak and also for the infected themselves, as nature always evolves. A family drama, a coming-of-age film and, yes, a horror movie: all are alive within its frames, as is Garland's penchant for fraying and fracturing status quos. Firmly remembering death is as much a part of 28 Years Later. Mortality has become utterly unavoidable for England's remaining inhabitants. Musing on it proves the same for the movie. Grief and loss, both everyday and on a mass scale, pulse through it, as does the distress of co-exisiting with uncertainty, and with death always surrounding you. Dr Ian Kelson (Ralph Fiennes, Conclave) helps give these themes an iodine-covered champion, assisting in the feature's balance of carnage with compassion in the process. "He sees the bigger picture," Fiennes tells us. Unsurprisingly, the actor adds to 28 Years Later's exceptional performances, with Williams and Comer among his clear company. While there's no desolate cities here, then, 28 Years Later's visuals are every bit as memorable, meaningful and masterful as those in the flick that started it all, and possess the same just-can't-escape intensity. Boyle and also-returning cinematographer Anthony Dod Mantle (My Penguin Friend) — who claimed one of Slumdog Millionaire's eight Oscars, as Boyle did for directing — have conjured up a new array of striking and terrifying imagery, filled with greenery and gore and sky-high monuments made of bones (over 250,000 individual replicas and 5000-plus skulls). Our chat with Boyle, Garland, Comer and Fiennes spanned giving the new film its own look, too, plus whether there was a Sunshine-esque plan for more 28 Days Later entries 23 years ago, contemplating mortality, towers of bones, conceiving of rituals and routines for a post-outbreak way of being, and more. On If There Was an Initial Plan Back in 2002 for Boyle and Garland to Make More 28 Days Later Films — Like There Was with 2007's Sunshine Alex: "Danny and I had a crack at a 28 Years Later film quite soon before this one. We worked on a script and worked something up, but just didn't feel it was right. There were some issues. Basically, it was it was too generic as a story. And I think that, in a strange way, trying and failing was the last part of the puzzle towards coming up with this idea. And when this idea arrived, it just came in the form of a trilogy. And I think stories, you slightly discover stories more than invent them. They just arrive not exactly fully formed, but with the core of them formed. And the core of this was a trilogy — three separate but interrelated narratives that form an overall structure, because some characters will move through the films, basically." On the Importance of 28 Years Later, Regardless of the Rage Virus and the Infected, Telling a Relatable Family Story About Coping with Illness Jodie: "I think it was important to me in a sense. I wanted the illness to feel believable, though it was tricky — because she goes on such a journey, yet is so debilitated by her illness. And she's very fortunate that she has her son to guide her and nurture her through, who often plays the kind of parental role. But I would just say it was always very present within the script, so it was beautiful to explore, and trust and lean into Danny's direction, and hope that it felt believable — and that there were enough ebbs and flows and nuances throughout the time in which we spend with her." On Giving 28 Years Later Its Own Visual Approach, After 28 Days Later Proved Such a Striking-Looking Film Danny: "Rewilding is something that played into our hands, really — that we were able to find areas that looked like they hadn't been [impacted by humans]. There are lots of areas of Britain — as you can imagine, it's quite a small island — that have been agriculturalised, and you can see, either close or in the distance, the mark of man, really. But there's an area in the northeast that does remain untouched. It's not much good for anything, that's the opinion of people anyway, but it's perfect for filming. And so we wanted to take these smaller cameras there, so we keep a light footprint and not disturb it too much. But also the technology has moved on so much now that these smaller cameras do allow you to use a widescreen format. There's enough resolution. And it means that you can have a statement that says quite clearly right from the early on that this is not a deserted empty city — which people might be expecting, because if it was a direct reference to the first film. It's very much outside the cities. They stay — in fact, I think one of them says at one point 'we stay outside the cities and towns', implying that their safety is on this beautiful island, Holy Island. Which is a historic — it's where Christianity first arrived, I think, in the UK. And it supports the perfect-size population for this kind of existence, about 100–150 people — where you don't need a system to run it. They just trust each other. They appoint their own leaders, and everybody knows each other and trusts each other. And Harari [writer Yuval Noah] says it in the homo sapiens book [Sapiens: A Brief History of Humankind], that when you get above about 150, you have to have a trust system to make everybody relate to something and trust through a system — which can be religion, or it can be money, or other values, for bartering." On the Room That Fiennes Had to Explore Thanks to the Film's Examination of Post-Apocalyptic Life and Death Without Modern Medicine Ralph: "That was a great angle, because immediately it presents me, as Kelson, with the man who's accepted the reality of death. He's living with death, his mortality. And that makes him rather like a seer or sage or — he's kind of like a bit of a priest, in a way. He sees the bigger picture. He talks about what the skulls had, that they were inhabited by the different souls — 'these eyes saw', 'these jaws spoke'. He's aware of the human soul. He's aware of the vitality of the human soul and the passing, how we pass from our earthly life into another life. I think he's — and this is what I projected onto him — he feels that we must mark the passing. We have been. We have graveyards. We have symbols of those we have lost. And he's created a big symbol in this Bone Temple. So I think he feels the need to acknowledge the lives that have gone. I think he's a bit like an artist or someone who's made this extraordinary installation in recognition of all the suffering that's gone on." On Imagining the Detail of How a Nation Would Start Again After an Apocalypse — and the New Way of Life, Routines, Rituals, Priorities and All, That'd be Carved Out Over Almost Three Decades Alex: "A lot of it just stemmed from the idea '28 years later'. So then, if you know it's 28 years after this strange viral outbreak, there's stuff that just logically flows from that. One of the things that logically flows is if you have communities that have stayed alive, well, they must have been able to defend themselves somehow. There's different ways you could defend yourself. It could be high walls, and it could be patrols and stuff. But there is this island that Danny was just talking about, Holy Island, which is connected to the mainland by a causeway. So in high tide, it's separate, and there's only really one way you can get to the island across this across this road. And so that created a natural barrier where these people could live. But then past that, to be honest, I don't really develop that. I would write some characters and a story about a community where people are using bows and arrows, and there's a mum and a dad and a child, but the fleshing out of that community — like 'what is their relationship to churches? What livestock do they have? How have they divided up their roles?', and even little details like 'what have they made into their own folklore?', like, for example wearing masks that represent infected — that's really Danny, and then the people he's working with, production designers and costume and makeup and so on, everybody just coming together to inhabit those bare bones. I think a script is a blueprint. But then the rooms have to be filled with furniture and curtains are chosen, as it were. You can see the metaphor. And so it's not really my job, I suppose — just the superstructure." Danny: "But one of the pleasures of doing it, though, and I think for audiences watching it, is the world-building — that you have to make all those decisions about how would they have survived, fed themselves. Fuel was the big thing that we talked about. You'd need so much fuel, which is wood for them to burn. So they go over to the mainland and chop down trees. And England would basically slowly return to forest, which it was originally. And they would scavenge, they would bring that fuel back — which is one of the dangers they have, and why they have to train their boys. And it's very much a gender-separated society. They look back like that to an older era, to like the 50s. They train their boys, because they're going to have to go to the mainland to get fuel. And sometimes, maybe food — kill deer or whatever, because Britain would be overrun by deer, apparently. Because there's no natural predators." Alex: "It practically is right now. It is interesting. I think audiences detect logical consistency with these things, and also react against logical inconsistency. So, with world-building, it has to make sense. You have to believe in the interactions. They don't all have to be laid out, but you can make imaginative leaps between all the things. And when they don't make sense, people spot it — like they spot bad visual effects. They just know it somehow and pull back." Danny: "Something's not right, yeah." Alex: "And I do think this film has a lot of unseen consistency in the way of that world that Danny and the team put together." On the Energy That the Bone Temple Set with over 250,000 Individual Replica Bones and 5000-Plus Skulls — and the Film's Shooting Locations in General — Gave the Cast Jodie: "Well, it's funny, because the set felt so alive in many ways, in regards to the location and being right next to the running water. And there were lots of wind chimes made of bones, so there was just constantly this kind of music that was enveloping the space. I also came to that set at the end of the shoot, when we were shooting those moments. So it really felt like we've heard so much about this place and this doctor, and then we were able to do our scenes with Ralph and explore that part of the material. So it was really profound, actually. So much detail." Ralph: "Yes. It was a strong atmosphere. And the location itself, even with just as a location, even before the incredible Bone Temple, the location was beautiful. We shot it in North Yorkshire, and I was going to work every day driving over the moors. It's stunning. It's a stunning place. And I can see the other locations that Jodie and Alfie shot in are beautiful locations in the north of England." 28 Years Later released in cinemas Down Under on Thursday, June 19, 2025.
Last year saw a slew of announcements around new streaming platforms, including two dedicated to horror and another to the world of Disney. Now, Australia's ever-growing streaming landscape is being joined by a service spotlighting great storytelling. Landing at the beginning of March, the documentary-focused iWonder launched with more than 500 hours of on-demand content, and hopes to host over 1000 blockbuster and under-the-radar titles by the end of the month. Documentaries already available on the platform cover a huge range of topics, from fast food social experiment Super Size Me, to fly-on-the-wall spectacle Jesus Camp which follows an Evangelist summer camp, and Morgan Neville's Oscar-winning music doco 20 Feet from Stardom. Music doco series Rolling Stones: Stories From the Edge, which covers the last 50 years of music in the US, and timely political flick Alt-Right: Age of Rage are also available on the service. iWonder co-founder James Bridges says a key feature of the service is the curation of the home page, which will reflect current events through articles and relevant documentary recommendations. Subscriptions have been set at $6.99 per month or $69.90 for an annual subscription. New Aussie users will receive the first month free — you can sign up here. The service is available on iOS and Android and can be cast to the small screen via Apple TV and Chromecast. The platform previously launched with 15 million users via the iflix platform in Southeast Asia, Africa and the Middle East. iWonder debuted in Singapore and New Zealand at the same time as Australia. You can sign up for iWonder via the website. Top image: Alt-Right: Age of Rage.
Those currently working from home have probably seen two major changes to their routine: less shoes and more snacks. To help with the latter, Australia's much-loved biscuit maker Arnott's is opening its vault and releasing some of its coveted recipes — for the first time in history. For weeks one and two of the snack expert's Big Recipe Release it unveiled its Monte Carlo and four-ingredient Scotch Finger recipes. Next up is a much-loved childhood-favourite: the Iced VoVo. Topped with pink fondant, raspberry jam and coconut, it's a little like Arnott's answer to the lamington. This recipe has been adapted for home bakers by Arnott's Master Baker Vanessa Horton, who suggests creating love heart shaped bikkies for mum — but, honestly, you can create whatever shape you like. Have a dinosaur shaped cookie cutter? Go wild. None at all? You can just cut them into squares. As you'd expect, you do, in fact, need flour to make Iced VoVos, but we've rounded up some of the spots selling the essential ingredient across the country, which aren't supermarkets. Australia's oldest baker will continue to release a new recipe for one of its famous biscuits every week until social distancing regulations are lifted. Next up, will it be the Tim Tam? Mint Slice? Pizza Shapes? We'll have to wait and see. In the meantime, though, here's the Iced VoVo recipe: ARNOTT'S ICED VOVO 180 grams unsalted butter, softened 1/2 cup (75 grams) soft icing sugar 1/2 teaspoon salt 2 cups (300 grams) plain flour Royal Icing 1 large egg white 1 1/2 cups (200 grams) icing sugar 1 teaspoon vanilla extract 1 teaspoon glucose syrup 1-2 drops pillar box red colouring 1/2 cup raspberry jam 1/2 cup desiccated coconut Heart-shaped cutter (optional) Piping bag and nozzle (optional) Method Pre-heat fan-forced oven to 160°C. Line two baking trays with baking paper. Using an electric mixer, beat the butter, icing sugar, and salt for two minutes or until pale and creamy. Sift the flour into the butter mixture and mix on low speed until combined. Place half the mixture between baking paper and roll out to approximately five millimetre thickness. Using a six centimetre heart shaped cutter, cut out biscuits, transfer to baking sheets. Repeat rolling and cutting heart shapes with remaining mixture, rerolling scrap dough to make more hearts. Bake for 16–18 minutes or when biscuits start to turn golden. Leave on the tray to cool. Royal icing Place egg white in a clean mixing bowl and mix on low speed with the whisk attachment until the whites begin to break up. Gradually add the icing sugar, vanilla and glucose, whisking until combined and glossy. If the mixture is too stiff add a teaspoon of water to loosen it up but ensure it isn't too runny as it will slide off the biscuit. It should form a smooth surface. Add your colour and stir until combined. Cover surface of icing with cling wrap until ready to use to prevent the icing going hard. Place a small round tip (we used a no. 2 nozzle) and fill your piping bag 1/3 full of icing. Don't overfill your bag. Fill another piping bag with raspberry jam. Pipe a jam strip down the centre of the heart biscuit and pipe pink icing around the edges before filling in the remainder of the heart with icing. Sprinkle with coconut. Place iced biscuits in a single layer of an airtight container to set overnight. Tips Be very light handed when adding your colour to ensure a soft pink colour. If you don't have a piping bag, you can use a snap lock bag and snip the corner off. Biscuits can be made into any shape, including the traditional rectangle.
It's one of the world's biggest sporting goods retail brands, found in over 30 countries and dubbed by many as 'the ALDI of activewear'. And now, France's famed Decathlon — which launched an online store here last year — has physically hit Aussie shores, yesterday opening the doors to an enormous Sydney flagship store. Located in Tempe Retail Park next to Ikea, the new space is a monster 3800 square metres, stocked with an impressive 7000 sport-related products and promising savings galore. And to see locals happily through the festive season, it's set to stay open 24/7 for the next two weeks. If you've got a sports nut or fitness fiend in your life, put this one at the very top of your Christmas shopping hit-list. CEO of Decathlon Australia Mr Olivier Robinet said that the company wants to make sport accessible to all locals. "Australians are some of the most active people in the world, the whole country is like a playground," he explained. "Until now many Australians have had to spend hundreds of dollars to get a quality product. Decathlon has now changed this." So how cheap is it? Well, a pair of yoga pants range will set you back between $12 and $40, while a two-person tent is $30. More than just a standard store, Decathlon's Tempe venue also features dedicated active zones, where customers can roadtest certain products, and its own community sporting areas, where local sports clubs can host sign-up days, barbecues and fundraising events. Find Decathlon at Tempe Retail Park, 634–726 Princes Highway, Tempe. The store will be open 24/7 in the lead-up to Christmas and then 5am till midnight in 2018. For more info, visit decathlon.com.au. Image: Decathlon via Facebook.
Today the Sydney Opera House has launched its Own Our House campaign, inviting Australians and international admirers of the World Heritage-listed building to support its renewal by purchasing one of 125,000 tiles from its tallest sail. If you're looking for a unique Christmas present idea, this might be for you. Just $100 buys you the shiny 'Ice' tile, or if you’re feeling flush, $400 gets you the apparently rare 'Snow' tile, which has a matte finish. Choose your tile and then it's yours to play with online. You can visit your tile, check out the view, personalise it with a photo and short message, and share it on social media with your friends and family. The money raised by the campaign will go towards the renewal of the 40-year-old building, while also aiming to increase public access to the Opera House in the future with new education initiatives and more free events. Sydney Opera House CEO Louise Herron AM says, "The Opera House belongs to everyone. This campaign gives people a really tangible, practical way of showing how much they care."
The team behind French dining juggernauts L'Hotel Gitan and Bistro Gitan have set up another French restaurant and bar in Cremorne — Frederic. The original two restaurants strongly focus on French classics, But Frederic has a bit more contemporary creative flair. Yeah, you'll still find your classic beef tartare, chicken liver pate and steaks with generous portions of fries, but the chefs go well beyond these French favourites. They seem to be having a heap of fun in the kitchen. Take the spanner crab cracker, for instance. A crunchy squid ink cracker is topped with fresh spanner crab, dollops of green apple and yuzu gel, micro shiso, finger limes and seaspray. The vibrant snack is an instant winner in our books. As is the sea bream ceviche. Unlike the basic ceviches that adorn just about every Melbourne restaurant menu these days, the Frederic team really turns it up a notch. It's added a spiced lemon chutney, house-made labneh, charred cucumbers and a stack of sea vegetables to the plate — creating something altogether special. A heap of complex French cooking skills are being put to use behind the pass, but in a thoroughly modern way. And it's all being served up within fairly minimalist surrounds — think exposed brickwork, dark leather bench seating and a smattering of large-scale black and white photographs. There are also a few outdoor tables that catch the mid-afternoon sun, perfect for summertime spritzes and snacks. And with a small bar located next door — Fred's Bar — the drinks really are given plenty of love. You'll find a huge selection of French and Aussie wines — that you can let the team talk you through — plus plenty of classic and signature cocktails. We are particularly fond of its seasonal martinis — best paired with some cheeky pork croquettes. To cater to the local business crowd, Frederic has also created an express lunch menu that includes two courses for $49. Add a glass of wine for an extra tenner to take proper advantage of the deal. And come dinnertime, the team throws together a five-course feast for just $85 per person. Be sure to also check out the specials board, where the chefs showcase new creations and seasonal produce. It is an excellent addition to Melbourne's semi-casual French dining scene.
You may have noticed, dear readers, that things look a little different here at Concrete Playground today. Indeed, our troop of absurdly brilliant writers, coordinators, editors, designers and developers have been working tirelessly over the last few months, preparing to make Swiss cheese of the stratosphere with the launch of a new and much improved website. We've nipped, tucked and delivered Concrete Playground to you in a shiny new package, re-imagining everything from the ground up. So, what exactly has changed? For starters, we'll be introducing a few of our new favourite toys... We have developed a custom Facebook application that lets you seamlessly integrate your new Concrete Playground user profile with the world's biggest social network, mapping out your social schedule to share with friends in just one click of a button. We have also created a shortlist of the city's best restaurants and bars, reviewed by some of this town's most fervent foodies, which includes a fancy geolocation tool that allows you to choose a place to dine or drink based on your current location or the place's proximity to an event you are planning to attend. And we have created some entirely new types of content, which will appear with daily regularity in our new News & Features, Featured Video and Galleries sections. Of course, you can expect the carefully and lovingly selected event coverage you have come to know — only more of it, and with things like dynamic event calendars and tailored recommendations to help you find what you are looking for. We're opening our doors in Brisbane today, and will be launching editions in Melbourne and Auckland in the next few weeks. We are big believers in design and functionality, and were very fortunate to find world class creative partners in Canvas Group and Etc Etc Awesome who designed and coded, respectively, the bejesus out of this thing. We have also received some very useful feedback from our readers and writers over the 18 months since our launch, and this redesign represents a consolidated viewpoint on exactly how best to publish an entirely online (for the moment, anyhow) cultural publication. This is not the end of our design process, but the beginning. We will be adding new features and optimising existing ones as we go to make the user experience a more dynamic, alive and intuitive one. Your feedback has been and will continue to be of great value, so please let us know what you think via Facebook, Twitter or Email. And last of all, a big thank you to everyone who has contributed - particularly the editorial team led by our wonderful head honcho, Anna Harrison - and to you, our readers, for your loyal and passionate support and advocacy. Please continue to spread the word and help an independent group of writers and editors start something big.
Marvel fans, it's time to get witchy. Agatha Harkness is back and she has a quest in her sights, plus a new posse of pals helping the MCU's latest small-screen series get spooky. A spinoff from WandaVision, Agatha All Along was announced back in 2021, then locked in its exact September 2024 release date earlier this year — and now Disney+ has conjured up the first teaser trailer for the eagerly awaited show. Kathryn Hahn (Tiny Beautiful Things) is also back as the series' namesake, starting the just-dropped sneak peek without her powers; however, that situation doesn't last long. First, Aubrey Plaza (Scott Pilgrim Takes Off) is on hand for a Parks and Recreation reunion, and to point out the bind that Agatha is in. Then, there's a goth teen, a magical gauntlet of trials and the promise of rewards — with the assistance from a coven of chaos. Joining Hahn and Plaza in the series: Joe Locke (Heartstopper), Patti LuPone (Beau Is Afraid), Sasheer Zamata (Unfrosted), Emma Caulfield Ford (a Buffy the Vampire Slayer alum) and Debra Jo Rupp (That '90s Show). Behind the scenes, Jac Schaeffer (Black Widow) returns from bringing WandaVision to the screen to run the show and direct the pilot instalment. For fans, this series really has been Agatha All Along thanks to the Emmy-winning tune that everyone who saw the character's first on-screen appearance has had stuck in their heads ever since — and again now — but the program has gone through a few monikers. House of Harkness, Coven of Chaos and Darkhold Diaries, this won't be, though, when it hits streaming queues from Thursday, September 19, 2024. If nothing else joins the Marvel television slate between now and then, that'll make Agatha All Along just the second Marvel Cinematic Universe TV series of the year, after Echo (by design, with the Mouse House noting several times that it wants to better space out its releases). When the MCU made the leap to Disney+ back in 2021, WandaVision was the first program to arrive. It also finally made everyone take notice of the always-great Hahn, who stole every scene she was in each and every time that she popped up — hence Agatha All Along getting the green light. Obviously, WandaVision was about Wanda and Vision, with Avengers: Endgame's Elizabeth Olsen (Love & Death) and Paul Bettany (A Very British Scandal) reprising their roles. But Hahn played a significant part as neighbour-slash-witch Agatha, even nabbing an Emmy nomination for her efforts. So, because she was such a fan favourite, Disney magicked her up her own show. Check out the first trailer for Agatha All Along below: Agatha All Along will stream via Disney+ from Thursday, September 19, 2024. Read our review of WandaVision. Images: courtesy of Marvel Television. © 2024 MARVEL.
