When the time came for Hannah Gadsby to follow up international smash-hit show Nanette, that seemed a rather difficult task. After all, the one-performer stand-up show copped serious praise on its 18-month travels across Australia and the UK, even scooping the top honours at both the Melbourne International Comedy Festival and Edinburgh Festival Fringe — and spawning its very own Netflix special. But, then Douglas was born, with the beloved Aussie comedian returning to the stand-up stage with a performance named after a pet pooch. While Nanette pulled apart the concept of comedy itself, dishing up an insight into Gadsby's past, Douglas took comedy fans on a "tour from the dog park to the renaissance and back". It toured stages across Australia and New Zealand in late 2019 and early 2020, and then hit Netflix in 2020 as well. After that came Body of Work — first as a live show again, and now as a Netflix special, too. Gadsby and the streaming platform have announced that they're reteaming for a multi-title deal that includes bringing that last comedy set to the service, and also producing a new multi-comic special featuring gender-diverse performers. I am pretty excited to be filming my new 'feel-good show', Body of Work, at the Sydney Opera House...yep…I'm back at the scene of the Nanette 'crime'. The shebang of it all will premiere on @netflix....at some point… in the future, I suppose. pic.twitter.com/P53tDfqoqC — Hannah Gadsby (@Hannahgadsby) September 26, 2022 With Body of Work, it'll be filmed live at the Sydney Opera House — this week, in fact, ready for a 2023 release. Exactly when it'll drop next year hasn't yet been revealed, however, but add it to your future must-stream list. As for the special, Gadsby offered a few thoughts with the announcement. "In an effort to further open a door that I had to fight to get through myself, I will curate and host a line-up show on Netflix featuring six new, gender-diverse comedians," Gadsby advised in a statement. "In a notoriously transphobic industry, I am looking to broaden the scope of opportunities for genderqueer performers from around the globe, as well as expand the diversity of offerings to audiences on one of comedy's biggest platforms. Coupled with a mentorship initiative for these up-and-coming comics, the program aims to foster the professional development of a demographic that is still struggling to have their voices heard," the Aussie comic continued. "Recorded in a single run in the UK in 2023, this will be a chance for the world to hear these voices for the first, but definitely not the last, time." It's clearly too early for sneak peeks at all of the above — Body of Work hasn't been filmed for Netflix yet at the time of writing, and the multi-comic special won't be recorded until 2023 — but you can check out trailers for Nanette and Douglas in the interim below: Hannah Gadsby's 'Body of Work' Netflix special will drop sometime in 2023 — we'll update you with an exact release date when one is announced.
Following the success of last year's Pokémon Go craze, the latest smartphone foray into augmented reality sees the launch of Snapchat's art lens, which will again see people wandering around using their smartphone to locate 'virtual objects' all across the globe. This time though you can claim a cultural pull, because instead of hunting collectable monsters, you'll be scouting out three-storey-high digital sculptures by acclaimed American artist Jeff Koons. Having dabbled plenty in AR with its face-morphing selfie filters and World Lens feature, Snapchat's now dropped a series of Lenses that will let users view a selection of Koons's colourful installations in specific locations worldwide. Right now, the series includes a shiny gold balloon dog in New York's Central Park, a rainbow playdough sculpture on Brazil's Copacabana Beach and a monumental likeness of Popeye at Sydney Opera House. Each sculpture will remain virtually in one place for a few weeks, before moving to a new location. If you're hooked up with the latest version of Snapchat, the app will give you the option of using the art lens when you're within 300 metres of one of the sculptures. The sculptures will appear on your screen once you're nearby — you can't miss them. Snapchat's also put the call out for other artists to jump aboard their virtual global art exhibition — here's hoping some local works are added to the mix.
Miranda July is many things. She is a writer, filmmaker, actor, artist, app maker, and bona fide A-grade nutcase, and now a fashion designer. Teaming up with outlandish leather specialists Welcome Companions, this queen of quirk has created something pretty unique. 'The Miranda' is a specialty item that's been touted as a "millenial survival kit"; an all-purpose bag for the modern manic pixie dream girl. While it appears relatively normal from the exterior, this bag really comes alive on the inside. It boasts somewhat regular compartments for things like emergency cash, bobby pins and medication, but it also asks you to carry a USB drive of "ultra top secret projects", a tiny security blanket and a singular almond "in case of low blood sugar". In place of business cards, the owner of The Miranda carries around offbeat calling cards about theft and personal lubricant. Unsurprisingly, the inspiration for the bag came from July herself. After agreeing to collaborate on the project, July approached designer Laurel Conseulo Broughton with fistfuls of miscellaneous junk. "These are the things I always have with me," she said. The project grew quickly from there. Retailing for $1725, The Miranda is hardly something to be picked up on a whim. Half fashion and half wearable art, the bag is a bit of a collector's item; a definite budgetary stretch for July's usual rung of doe-eyed twentysomething admirers. Regardless, a girl can dream. This thing strikes the perfect balance between functional and neurotic. We can't help but want one. Via PSFK and New York Times.
There are two ways that you can add some extra flavour to your next boozy beverage. Mix your drink of choice with a heap of other ingredients and you've got yourself a cocktail, of course — or, you can opt for one of the many varieties of spirits that don't just stick to the usual recipe. Australia's newest vodka falls into the second category. And if you like lamingtons, which everyone should, then you're going to want to add a bottle to your liquor cabinet. Made by Gold Coast-based distillery Wildflower Gin, the limited-edition lamington-flavoured tipple appears as crystal clear as every other vodka. But it's made using local strawberries, cocoa and coconut, so you'll taste all of the above while you're sipping. Obviously, if you'd like to pair it with an actual lamington as well, that's encouraged. And if you're just keen on knocking back drinks that taste like dessert, that's fine as well. The strawberries, cocoa and coconut are all distilled with water from Tamborine Mountain, to help create a smooth beverage — which you can then drink neat by itself, pair with some soda water or add to a cocktail. If you're keen, you'll need to get in fast, because only 200 bottles are available online and at the distillery's Varsity Lakes home. Wildflower Gin's lamington vodka is available to order online for $75 — or, if you're near the Gold Coast, you can pick up a bottle at the distillery at 2/486 Scottsdale Drive, Varsity Lakes.
Australian farmers are currently doing it rough. Really rough. Some areas of the country have been struggling with a years-long drought, and, this morning, the NSW Government announced that 100 percent of the state is currently in drought. While the government has pledged more than $1 billion in drought relief, there's still a lot to be done. And you can help. Early this week a 'Parma for a Farmer' campaign launched, encouraging pubs across the country to donate dollars from every parmigianas sold to charities helping drought-affected communities. Spearheaded by Amanda Kinross, the campaign — and the Parma for a Farmer Facebook group — quickly garnered the support of pubs and hotel groups, including the Australian Hotels Association. Whether or not you agree it should be parma (or, really, parmi), it's a great and tasty campaign to get behind. A slew of pubs have already committed to the cause, including hospitality group Australian Venue Co. For all of August, many of the group's pubs are donating $1 from every parma bought to the Buy A Bale initiative. The initiative, part of the charity Rural Aid, provides essentials — such as, yes, hay, as well as water, diesel and hampers — to farmers doing it rough. Australian Venue Co. has pubs located across the country, including Surry Hills' The Forresters and Petersham's The Oxford Tavern in NSW; Prahran's College Law and Richmond's Prince Alfred Hotel in Vic; and Brisbane's Fridays. You can see the group's full list of participating venues here. For the full list of venues participating in NSW, Vic and Qld, head to the Parma for a Farmer Facebook page. Image: Giulia Morlando
While many of us wish we were jumping on a plane for a week of relaxing at a beachside resort in Saint-Tropez or hopping over to the Cinque Terre for many bowls of pasta and spritzes, the reality is international travel can be a time-consuming and expensive hassle. But, that doesn't mean a glamorous waterfront getaway is completely unattainable. About an hour's drive north of Sydney, you'll find Pittwater, which is surrounded by hundreds of secluded beach houses, charming cabins set right on the water and serene retreats that'll transport you miles away from the hustle and bustle of the city. To save you hours of scrolling, we've rounded up a list of the most stunning — and most secluded — Airbnbs located by the water around Sydney's northern beaches. So, book a spot, pack your togs and get ready to escape the city for a weekend of relaxing. Recommended Reads: The Best Places to Go Glamping in NSW The Best Tiny Houses You Can Book Around NSW The Best Hotels in Sydney The Best Places to Stay in the Blue Mountains The Boathouse, Scotland Island This cosy coastal cabin is the ideal destination for couples wanting to unwind, beachside. It's got character aplenty, with sparkling water views to match. From $440 a night, sleeps two. Boathouse on the Waterfront, Avalon Beach A cheery couples' hideout perched right on the shores of Careel Bay, where just a few steps connect open-plan living with a waterfront jetty. From $995 a night, sleeps two. Secluded Waterfront Cottage, Lovett Bay It doesn't get much more secluded than this bayside retreat for two, which backs onto a lush national park and has water-only access. From $399 a night, sleeps two. Retreat at Coasters, Coasters Retreat Treat your flock to some downtime at this family-style retreat, enveloped by pristine bushland and set just metres from the shore. From $444 a night, sleeps four. The Secret Palm Beach Getaway, Palm Beach At this breezy Palm Beach cottage, the open-plan living space, sprawling deck and infinity pool all boast the same covetable water views. From $700 a night, sleeps two. Sandstone Cottage, Great Mackerel Beach One of Mackerel Beach's original sandstone cottages is now a secluded six-person hideaway with spectacular sunrises to match. From $1100 a night, sleeps six. Cape Mackerel Cabin, Great Mackerel Beach Secure your own patch of Great Mackerel beachfront, boasting an entertainer's dream deck and views that stretch from Palm Beach to the Central Coast. From $635 a night, sleeps six. Tides Reach Boathouse, McCarrs Creek Accessible only by water, this modern nautical cottage feels worlds away from reality. Fresh white interiors and a sun-drenched waterfront deck round out the holiday vibes. From $700 a night, sleeps eight. The Boathouse Retreat, Elvina Bay This peaceful hideaway nestled on the edge of Ku-ring-gai National Park offers stunning views of Pittwater and that cosy tiny home feel without compromising comfort. From $360 a night, sleeps two. The Oyster Shed, Lovett Bay Accessed only by water, this rustic studio on the bay is perfect romantic getaway. This nautical boathouse comes complete with a fire pit, private dock and cosy vibes to spare. From $369 a night. Sleeps two. Top image: Waterfront Boathouse FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
Adoring Pixar films is generally easy for a whole heap of reasons, and here's one them: the Disney-owned animation studio knows what it likes and what it does well, and it finds multiple ways to keep giving both a whirl in new and different fashions. Even when you can see the formula behind toys, fish, monsters and feelings having feelings — to name a few of Pixar's similar ideas — the end result usually carves its own niche, and also makes its own heartfelt and delightful impact. 2023 release Elemental looks set to be one of those flicks. Even from just its title, it's easy to see the path that the studio is taking. The question this time: what if the elements, aka fire, water, land and air, had feelings? The film dubs its characters fire-, water-, land- and air-residents, but getting big Inside Out and Soul vibes comes with the territory while watching the movie's just-dropped first trailer. That initial sneak peek is also as adorable as you'd expect if you've ever just seen one frame of a Pixar feature. The teaser heads to Element City, where its various Captain Planet-like characters reside together — and where the fiery Ember (voiced by Leah Lewis, Nancy Drew) and go-with-the-flow Wade (Mamoudou Athie, Archive 81) cross paths. As is generally the case with debut trailers, Elemental's first look is all about style and mood rather than diving too far into the story, but it does show Ember and Wade meeting, and also surveys the passengers on an Element City water train. Flaming legs, grassy creatures, critters that look like clouds, earthy parents with children in pot plants: they're all sighted. Then Ember's headphones fall off — and Wade picks them up. Directed by The Good Dinosaur's Peter Sohn, and with the rest of the voice cast yet to be announced, it's literally a story of water and fire trying to get along. Maybe Pixar is staffed by George RR Martin fans? There's a Studio Ghibli feel to it all, too, thanks to the big focus on nature (and that water train, which isn't quite a cat bus, but might get you thinking of one). Following 2022's Turning Red and Lightyear, Pixar's most recent releases, the film hits cinemas on June 15. Check out the first trailer for Elemental below: Elemental releases in cinemas on June 15, 2023.
Never in history has the topic of sustainability been a more popular or important topic of conversation. Saving the environment is on the immediate to-do list of individuals and organisations across the world, but will governments go as far as to grant legal rights to Mother Nature herself? The answer is shockingly, but quite possibly, yes. Today, the United Nations will propose Bolivia's Law of Mother Earth, based on the Universal Declaration of the Rights of Mother Earth, in an attempt to lead the world into a new age of conservation of natural resources and a strict reduction of pollution. The treaty includes four articles and, if passed, would grant the environment 11 legal rights, including the right to life and to exist, the right to continue processes free from human disturbance, the right to pure water and clean air, the right to balance, the right not to be polluted, the right to not be affected by mega-infrastructure and development projects that negatively affect ecosystems and the local inhabitants and the right to not have cellular structure modified or genetically altered. Does this mean no cutting down trees? It's hard to determine whether the proposal is silly or a solution. Although it is highly unlikely that the UN will approve the treaty any time soon, the truth is that especially in the suffering environment of Bolivia, Mother Nature isn't in the best shape right now. It remains to be seen whether granting a bill of rights to flora and fauna is the best way to restore her to her former glory. [Via The Guardian]
When The Duffer Brothers, the siblings who brought the world Stranger Things and gave Netflix its biggest hit yet in the process, announced that their obsessed-over and adored series was returning for a fourth season — a reveal made all the way back in 2019, just months after the third season released — they did it in the only way they know how. "We're not in Hawkins anymore", the video heralding the news advised. Even when dropping 45-second videos comprised solely of graphics and moody tunes, the Duffers' fondness for filtering their show through classic pop-culture references remained firmly intact. So it is that Stranger Things 4 ventures beyond its trusty small-town setting, and in several directions. It keeps those nods and winks to flicks and shows gone by streaming steadily as well. This fourth go-around, seven episodes of which arrive on Friday, May 27, ambitiously expands in other ways, too — not quite so many that you'd need seven Dungeons & Dragons dice to count them, but enough that it's noticeable. It's bigger and longer, with no episode clocking in at less than an hour, one in the first batch running for a feature-length 98 minutes, and the final two not set to release until Friday, July 1. Its teenage stars are bigger and taller as well, ageing further and faster than their characters. The show has matured past riffing on early-80s action-adventure movies, such as The Goonies; now, it's onto slashers and other horror films, complete with new characters called Fred and Jason. And with that, Stranger Things also gets bloodier and eerier. It's still the show that viewers have loved since 2016, when not even Netflix likely realised what it had unleashed — and no, that doesn't just include the demogorgon escaping from the Upside Down. But growing, as Eleven (Millie Bobby Brown, Godzilla vs Kong), her boyfriend Mike Wheeler (Finn Wolfhard, Ghostbusters: Afterlife), and their pals Will Byers (Noah Schnapp, Waiting for Anya), Dustin Henderson (Gaten Matarazzo, The Angry Birds Movie 2), Max Mayfield (Sadie Sink, Fear Street) and Lucas Sinclair (Caleb McLaughlin, Concrete Cowboy) all visibly have, comes with a few pains. The Duffers give fans more this time around, entertainingly so; however, the flow of the season's super-sized episodes and sprawled-out narrative threads is often askew. But that's hardly the worst problem to have — and pressing "next episode" instantly when each set of credits rolls remains as easy as ever. Eleven and company all do have worst woes to deal with. Six months after the battle of Starcourt, Eleven lives in Lenora Hills, California, with Will, his brother Jonathan (Charlie Heaton, The Souvenir Part II) and their mother Joyce (Winona Ryder, The Plot Against America). There, the weather is sunny yet little is rosy. The former government test-subject writes otherwise in letters back home, but high school is an onslaught of mean-girl bullying, which spills out violently when Mike visits over spring break. Eleven's powers have also vanished, and she's haunted by the loss of Jim Hopper (David Harbour, Black Widow) — as is Joyce, who now sells encyclopaedias from home. Life isn't any better in Indiana. More accurately, it's terrifying and insidiously grim. A pre-holiday Mike has joined the high school D&D club with Dustin, as run by metal-loving outcast Eddie Munson (Joseph Quinn, Small Axe). So has Lucas, but he's also on the basketball team, trying to work his way up the social ladder. Haunted by her brother Billy's (Dacre Montgomery, The Broken Hearts Gallery) death in season three, Max refuses to fit in anywhere, but needs the gang's help when a new form of evil seeps out of the Upside Down and starts leaving a body count. Also ready to assist: Steve Harrington (Joe Keery, Free Guy) and Robin Buckley (Maya Hawke, Fear Street), who've graduated to working in the Hawkins' video store, plus the school newspaper's new star reporter Nancy Wheeler (Natalia Dyer, Things Seen & Heard). And, in Russia — because that Hopper is alive and definitely isn't in Hawkins was revealed between seasons — frosty bleakness is status quo. But the stranded Hawkins Police chief remains as stubborn as ever, even shackled in a Soviet gulag. Obviously, he's determined to regain his freedom. Stranger Things 4 is many things: a reminder that high school is hell, and just being a teenager is torturous, too; a musing on trauma and the way it carves through hearts and souls, as slasher flicks tend to be; an escape caper; an enormous love letter to horror master Wes Craven, a wonderful stab of casting included; and another book in the show's superhero story. One of its most frustrating aspects: the way it throws around that S-word, because everything has to be a superhero tale these days (see also: the clearly Stranger Things-influenced Firestarter remake). This series has always been at its best when it's embracing two other genres, sci-fi and horror. Ramping up the latter, and using it to explore the chaos of being caught between childhood and adulthood, is season four's savviest touch. While it isn't particularly new or inventive, it cuts deep, mining the pain of making mistakes, being forever changed by life's ups and downs, and grappling with the realisation that some wounds truly are forever. As a result, for all of its efforts to roam beyond its original setting, Stranger Things' fourth season feels more like itself on familiar ground, unsurprisingly. That sensation helps give Sink one of the season's best performances so far — its weightiest and most textured, too — complete with a stunningly deployed 'Running Up That Hill' by Kate Bush as her personal soundtrack. It's also in Hawkins where the stakes are greater, the plot tighter and the diversions funnier, in no small part thanks to Matarazzo's still-stellar timing, Keery leaning as hard on Steve's comedic vibe as he has since season two, and Hawke making every Robin moment an utter delight. There's no place like home, after all, including when that town is a cross between Buffy the Vampire Slayer's Sunnydale and Twin Peaks. Although they're both 90s references, rather than hailing from the Duffers' beloved decade prior, the blood of Buffy and Twin Peaks have long pumped through Stranger Things' veins. That feels especially the case in season four, which is also the most melancholic yet — but with a clearly vast budget, as made plain by the special effects that the Duffers and fellow directors Shawn Levy (Free Guy) and Nimrod Antal (Predators) have at their disposal. And, with all that dripping 80s nostalgia, of course, because it wouldn't be Stranger Things without it. The expected but never derivative winks and callouts to the decade's screen touchstones keep coming, naturally, like they too are spilling out of the Upside Down. Also flowing faster than Dustin's one-liners, Steve's glorious locks, Eleven's steely stares, Joyce's nervous energy and the horrors of season four's new Lovecraft-esque big bad? The can't-stop-watching thrill of having Stranger Things back, slinking into its darker trip — ups, downs, occasional awkwardness and all — and binging compulsively. The first seven episodes of Stranger Things season four hit Netflix at 5pm AEST / 7pm NZST Friday, May 27, with the remaining two set to follow on Friday, July 1. Images: Courtesy of Netflix © 2022.
The kids are all right: in Future Council, the third feature-length documentary directed by Australian actor-turned-filmmaker Damon Gameau after That Sugar Film and 2040, children are brimming with enthusiasm to act to solve the inescapable problem facing every single person on earth right now. There's no avoiding the fact that the earth is in the midst of an eco-crisis, and that challenges to fix it linger at every turn. The young environmentalists in front of Gameau's lens know this deeply. They're distressed and angry about it. They're also driven to act, to bring about change and to do whatever they can to stop the planet's plight from continuing to worsen. When That Sugar Film became a sensation in 2014 — it's in the top five Australian documentaries of all time at the local box office, and sparked many among its audience to rethink the role of the movie's titular substance in their lives — it did so through a particular approach. Gameau, then best-known as an actor in the likes of The Tracker, Thunderstruck, Love My Way, Razzle Dazzle, Underbelly, Balibo, Patrick, Charlie's Country and Puberty Blues (he also played an Australian backpacker on an episode of How I Met Your Mother), put himself and his eating habits at the centre of the film. Think: Super Size Me, but Aussie and about the sweet stuff. Accordingly, Gameau physically charted the consequences of a high-sugar diet. The viewer response, as the cinema takings show, was phenomenal. Gameau wasn't thinking at the time that he'd discovered the blueprint for his approach as a filmmaker, aka documentaries with both a personal and an activist angle. "Upon reflection, I didn't know it at the time," he tells Concrete Playground. "I certainly just wanted to tell stories and thought that there weren't enough stories that, I guess, could enlighten or educate and inspire people. And so I thought that was the goal of making that. And then obviously seeing the impact that had, even in influencing policy in some countries — that kind of lit the fuse, I guess, of like 'oh, there's something really potent about storytelling'." "So much of our storytelling has been used for distraction and other means, and they're perpetuating values that maybe we don't need in this moment," Gameau continues. "So, how could we tell better stories that actually give people a bit more hope and show that there's a different part of humanity, rather than just conflict and competition and really base values around things — you think of those reality shows. So I just got inspired, I think, to tell more stories and try to encourage other storytellers, artists, whatever, to use their platform to maybe highlight the best of us as opposed to other values." Next on his behind-the-camera filmography — after more on-screen stints in Secrets & Lies, Gallipoli, Miss Fisher's Murder Mysteries, Barracuda and The Kettering Incident — came 2019's 2040. In a film that world-premiered at the Berlin Film Festival, follows in An Inconvenient Truth's footsteps and is in the top ten Aussie docos of all time at the box office, Gameau retained the same documentary style but changed subjects. His topic: climate change and ways to combat it. The personal element came via packaging his plea to the world to act as a letter to his then-four-year-old daughter, then travelling the globe to delve into potential solutions. Again, it was a massive success. Just as That Sugar Film helped put Gameau on the path to 2040, the latter did the same with Future Council. The environment is again the focus and the writer/director appears on-camera once more, but eight kids — Australian Ruby Rodgers, Joseph Wijaya from Bali, Norfolk Islander Hiva Tuki Grube, Karla Albjerg from Uganda, The Netherlands' Joaquin Minana, Clemence "CC" Currie from Scotland, Wales' Skye Neville and Aurvi Jain from Singapore — are the true stars of the show. Each was selected after a callout for children to accompany Gameau across Europe on a biofuel-powered school bus to both examine options for tackling the planet's predicament and speak with the leaders of companies contributing to the issue. The film's name doesn't just apply to their actions in the doco, either, with the kids making the child-led Future Council a real and ongoing organisation that's advocating for genuine action to save the earth. Gameau isn't merely giving voice to the frustration of the next generation about humanity's current handling of the climate crisis, then, but is helping them in their efforts. One result so far, almost a year before the film reached Australian cinemas in general release on Thursday, August 7, 2025 (but after world-premiering at the 2024 Melbourne International Film Festival): Ruby, Joseph, Hiva, Karla, Joaquin, CC, Skye and Aurvi appearing at, screening the feature for and meeting with world leaders at the United Nations General Assembly in September 2024. Their deeds, plus Future Council as an off-screen initiative, are inspiring both fellow children and adults — as also chronicled in a movie that's well aware of adult-washing but never earns that description itself, even while ensuring the film is accessible, and also balancing the seriousness of the environmental situation with a sense of joy, play and empowerment. Future Council, the film, is as much a celebration of unique personalities and children following their passions, too — and proves as heartening in that element as well. With Gameau, we also explored that key aspect of the documentary, his show-don't-tell approach to factual filmmaking in general, the path from 2040 to Future Council and the difficult task of getting CEOs to speak with the movie's eight kids, plus his own journey from when he was starting out as an actor and more. On the Show-Don't-Tell Approach Resonating Across Gameau's Documentaries "I think particularly, in this film, I think it could have failed really, really dramatically if it had felt preachy, if the kids were too precocious or pretentious, if it felt like I was steering them in any way and it was a sort of manipulation. That's a careful dance to do and it does take some crafting. I guess I don't think about it too overtly, but I think I know what I don't want it to be. And I see films where it does feel preachy and I think that's really off-putting, and people don't want that. They're craving authenticity in the current state of the world. They want people to be real. And I think that's what the children bring in spades." On How 2040 Put Gameau on the Path to Making Future Council "I took 2040 around the world and a lot of the releases did school visits, and I did lots of classrooms — and the questions were often better than any adult would ask in the Q&As. The kids really knew their stuff. And I just realised that I've projected my own childhood onto these children sometimes and forgotten that they just have access to so much information now. And the ones that are passionate about sustainability just go super-deep on these subjects — and they can online now. So they often know far more than most adults do. So it really felt like 'well, this is their moment. They deserve a platform. How do we connect them together so they don't feel like their only avenue is to protest on the streets? What if they could actually come together meaningfully, collaborate with organisations, businesses, their schools, and actually actively shape and design their own future?'. And I think we've got the opportunity with our tech now, their knowledge, their awareness, to do that, and so that just felt like a good fit for the Future Council." On Whether Gameau Expected the Huge Response That 2040 Received Around the World "I don't think so. I mean, you probably know it yourself, but I think there's a default in any artist that is self-sabotaging and doesn't think we're much good at anything, really. So it's always a little bit of a surprise when something does well. And I guess I was a bit spoilt with Sugar in that that was just such a bizarre, extraordinary takeoff that I didn't expect. That was always going to be hard to match. So I just, yeah, I was surprised. But I think 2040 came at a time when people were looking for solutions and, strangely, that narrative hadn't been told very much — which was a real surprise to me, that we weren't focusing all the great things that people were doing. And so I can see now why it resonated, but of course, yeah, anytime you make something and put it out in the world, you kind of assume that no one is going see it. And it means something to you, but might not connect. So it's always a lovely bonus when people do support it." On Gameau Not Worrying About Falling Into the Adult-Washing Trap By Making Optimistic and Empowering Environmental Documentaries for All Ages "No, I think it's the very thing we need. I think this whole particular movement has got bogged down in so much graphs and analysis and data that what it needs is humanity. It needs a burst of heart. And there's a great quote by an English academic, Louisa Ziane, and she says that 'if you want to change the world, you've got to throw a better party'. And I think that that's what these children bring. Even though, as you saw in the film, they're really processing deep grief, they still find a way to be children, and to play and have fun and find the best moments in in their life. And I think there's great lessons in that for all of us that, yeah, times are incredibly tough right now — we need to be honest about — but when we are honest about it and we give ourselves a good cry like the kids do, you do free up some space to also find the joy and be grateful for the things that are still happening in our lives. And that's the thing that's going to sustain us. If we all get too bogged down in the way of the world, we're no good to anyone, and I can relate to that. I know the state I get in when I'm too serious. So the children really taught me and inspire me to make sure I stay in my heart, and to make sure I still find the moments of joy and the slices of light among these dark times. They do still exist. There are people doing extraordinary things in the face of this adversity, trying to come up with new solutions right now, find the best and be the best humans they can be. So we need to focus on that just as much as we're focusing on the things we don't want." On Whether the Children Setting Up a Real-Life Future Council Was Always the Aim for the Film "It was always in the back of the mind there was a potential that could happen. But again, I was so careful to not steer this or lead the kids on in any way. And that sort of started to happen midway through the film. That's when the children went 'oh, we can see that we've got something to say here. We can see we're valuable and we are having an impact in these boardrooms — what if we did actually start extending this out?'. So it was an idea we talked about halfway through filming. And then subsequently, we've developed that together. We've run every decision through them — 'okay, from everything from branding, what would this look like? How would you want it to run? What don't you want it to be?'. And so now we have a functioning Future Council entity with a COO and board members, and it's all kicking off. And there's now an invitation to children right around the world — which is what this film will do as we take it around the world, is recruit children that want to sign up and join. And then it'll be child-led. So all the decisions go through the children. But we've got the adults that want to support the children with the more-complex stuff and the logistics and the governance, all those sort of things. But the idea is to really make sure that the children feel like they're making the decisions and it is coming from them. They're not being told by their teachers or someone else. Because they do know their stuff, and they do have a chance to really make change — and let's let them drive it." On How Future Council's Children Are Inspiring Adults "Every screening, something magical happens. Like, someone from somewhere reaches out. Some adult wants to join up some organisation. We've got people who just — one woman just gave every child $10,000 to support their initiatives. They are doing something. There's a magic that they have together, and I think it is that humanity. There's a lot of emotion in the screenings. There's people being very, very — it's sort of unlocking parts of them they haven't confronted for a while. So there's just — I don't know, it's hard to describe. There's a magic that's coming out of the tailpipe of this bus as it cruises around, and I'm just sitting back, watching it all, I'm observing, and I'm incredibly excited by what's forming and the people from right around the world that are coming in to support this. I think it's just one of those stories that's come at the right time. The children are taking this conversation to a deeper level that it needed to go to." On Getting Representatives From Large Corporations to Meet with the Children "Yeah, that was a challenge. And I guess the framing was that we wanted to make sure that we — it wasn't about just telling them they're wrong, that it was an invitation to some of these groups to say 'these kids have some really good ideas, and I think you'd be crazy not to access some of their creativity'. I think the children learned that as it went along, that, as you saw, when we started with Nestle, they did go in with quite an activist bent — and it was a much more aggressive take. Then they reflected on that and thought 'you know what, I don't know that that worked entirely'. So they tried and pivoted to a slightly different approach with ING — and by the time we got to Decathlon, which is the world's biggest sporting goods retailer, they were so collaborative. 'Right, how can we work?'. And that, I think, is when they discovered their superpower, and that's why they then wanted to turn this into something much bigger. So it was a really interesting journey. But as I said, to their credit, these companies did say yes. A lot said no. And it was a very, very difficult challenge to get the children in there, to be honest, and I was very lucky that I had some people that were supportive of my previous work in 2040 and were able to open the doors there. But yeah, full credit to those CEOs that did front up and listen to, as you saw, what were some pretty awkward questions and difficult conversations for them. But they were willing to lean in, not shut the film down, not try to edit or cancel — which they could have done. So in the end, we're grateful for the conversations we were able to have." On How Pivotal It Is for Future Council to Celebrate the Unique Personalities of the Kids in the Film — and to Make Children Feel Included for Whatever It Is That They're Passionate About "I obviously really love these kids and they do have their own uniqueness — and that's what's beautiful about it. And Ruby said it on a Q&A — what she learned was that some people feel like they can't do enough or 'who am I to do anything?' or 'I'm not doing enough?', but we all have our own unique way to contribute to this problem right now. And that's, I think, what the kids brought. Ruby found herself that she didn't think she was of any value, and then realised that her art is the thing that people need. And now she's got a record deal and now she's singing live, and all this stuff is happening because she's expressing her grief through her music Whereas Hiva, for example, is just obsessed with birds. And I've watched him give a TED talk now and bring a whole room to its knees because he channels these birds and tells people how important they are to our ecosystem. So they've all got their different superpower. And then they came together as this incredible force. And I think that's the metaphor, isn't it? That's the great example of what we need to do as humans, as a whole, is that no matter what field we're working in, no matter what area of interest we have or our passions, when we actually come together and reknit that fabric that's been torn apart from us by this system, that we can achieve extraordinary things. And I think that's the best takeaway — and my favourite scene in the film is that last scene where the kids are all coming together, they're all acknowledging what they learned from each other and the best that they see in each other. Whoa — what a what a lesson that is for adults right now and how we're going to fix some of these problems we're facing." On Whether Making Inspiring Documentaries Was Gameau's Aim Back When He Was Starting Out as an Actor "No. God no. No, I was way too self-obsessed back then. That was very much sort of, I guess, trying to forge my own path. 'What am I doing in life?'. I hadn't really understood — I always never felt quite happy. I was lucky enough, obviously, to do a film like The Tracker or Balibo, and those felt very, very rich and deep, and felt really fulfilling. But other than that, I always felt a little bit frustrated and not comfortable. And I was lucky enough, obviously, to work with people like Rolf [de Heer, who directed Gameau on The Tracker and Charlie's Country] and Rob Connolly [Balibo's filmmaker], and they showed me how powerful storytelling can be. And I decided that I wanted to start telling my own stories. I thought I had something to say and I wanted to find the courage to be able to say that. And that took a long time to find that courage. I had a lot self-doubt that so many people do, and I was really my worst enemy in that sense. So it's taken me a long time, and I'm still on that journey of really believing this. But I see it now. I can see the impact of what these stories have done and I'm just so grateful. It's been a magical experience. And this one even more so. I feel like it's less about me, this one — the others were quite focused with me at centre, but this again is a shifting in my own journey, to give a platform to these eight kids and then these other kids around the world. So yeah, it's just I've seen it. I just think storytelling is our most-potent tool for change and it is so underutilised and undervalued. And I think it's the only way we're going to get through. I really want to call out to all artists, whether they're musicians or artists or storytellers, whatever it might be, that this is our moment. This is our time. Terence McKenna had this great quote, he said that 'the role of the artist is to save the soul of mankind and anything else is a dithering while Rome burns. If the artist can't find the way, then the way cannot be found'. And I just think whoa, what a moment right now, given everything we're facing — let's unite as artists and tell a new story." Future Council opened in Australian cinemas on Thursday, August 7, 2025.
Thought there was room in this town for just one retro-inspired line of Melbourne beer merch? Well, think again. Just a week after VB's new collection of branded threads, hats and other slick gear hit its online store, fellow legendary local brew Melbourne Bitter has announced it's dropping some sweet new merchandise all of its own. A collaboration with fuss-free menswear label Mr Simple, this one has apparently been in the works for a while, and it's inspired by artwork and logos from across all eighty years of the beer's history. Melbourne Bitter's reputation as a hipster sip of choice should give you some idea of the vibe of this latest collection — think, vintage-style tees showcasing old-school logos, and shirts and shorts covered with a coaster collage print. Unlike the largely unisex offerings of VB's range, this one's marketed more towards men, but we think it can rocked by all beer lovers. The Melbourne Bitter collab collection is launching with a fittingly 'Fitzroy' party, at The Standard Hotel on Thursday, November 15. RSVP here and head along from 6-9pm for product giveaways, icy brews and live tunes from local alt-rockers Eaten By Dogs. The Melbourne Bitter x Mr Simple clothing line will be available exclusively at Mr Simple's Brunswick Street, Smith Street and Chapel Street stores.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from February's haul. Brand New Stuff You Can Watch From Start to Finish Now Mr & Mrs Smith 2005 movie Mr & Mrs Smith isn't the first time that title adorned a spy caper about a literally killer couple. That honour goes not to the Brad Pitt (Babylon)- and Angelina Jolie (Eternals)-starring, Brangelina-sparking film, but to a 90s TV series. No one remembers 1996's Mr & Mrs Smith, where Scott Bakula (who was not long off Quantum Leap at the time) and Maria Bello (Beef) took on the eponymous parts. It didn't last, with just nine episodes airing and a further four made but left unseen. But its existence gives 2024's Mr & Mrs Smith a full-circle vibe, with Donald Glover (Atlanta) and Maya Erskine's (PEN15) now both adopting the monikers and ushering the premise back to episodic storytelling. Bakula and Bello's Mr & Mrs Smith didn't inspire Pitt and Jolie's; however, the latter did give rise to Glover and Erskine's — and any history isn't mere trivia. Instead, it speaks to a concept that's so appealing that it keeps being reused, whether coincidentally or knowingly, and to an idea that's now being given its full Mr & Mrs Smith due, in line with True Lies and The Americans: that relationships are mysteries, missions and investigations. The backstory behind Glover and Erskine bringing glorious chemistry to John and Jane Smith doesn't stop there, because Mr & Mrs Smith circa 2024 has been in the works for three years. When announced in February 2021, it was with Atlanta-meets-Fleabag hopes, with Glover co-starring and co-creating with Phoebe Waller-Bridge (Indiana Jones and the Dial of Destiny). Then creative differences with Glover saw Waller-Bridge — who also co-wrote the No Time to Die screenplay and created Killing Eve — leave the project within six months. While it's impossible to know how that iteration of Mr & Mrs Smith would've turned out, whether with more overt comedy, talkier or boasting a darker tone, Glover's interpretation with fellow Atlanta alum Francesca Sloane lives up to the promise of two creatives from one of the 21st century's best dramedies turning their attention to espionage and romance. There's an intimacy, a lived-in feel and hangout charm to this Mr & Mrs Smith, even as it swaps Brangelina's already-wed pair discovering that they're assassin rivals for a duo only tying the knot for the gig. Mr and Mrs Smith streams via Prime Video. Read our full review. Shōgun Casting Hiroyuki Sanada (John Wick: Chapter 4), Cosmo Jarvis (Persuasion) and Anna Sawai (Monarch: Legacy of Monsters) as its three leads is one of Shōgun's masterstrokes. The new ten-part adaptation of James Clavell's 1975 novel — following a first version in 1980 that featured Japanese icon and frequent Akira Kurosawa collaborator Toshiro Mifune — makes plenty of other excellent moves, but this is still pivotal. Disney+'s richly detailed samurai series knows how to thrust its viewers into a deeply textured world from the outset, making having three complex performances at its centre an essential anchoring tactic. Sanada plays Lord Yoshii Toranaga, who is among the political candidates vying to take control of the country. Jarvis is John Blackthorne, a British sailor on a Dutch ship that has run aground in a place that its crew isn't sure is real until they get there. And Sawai is Toda Mariko, a Japanese noblewoman who is also tasked with translating. Each character's tale encompasses much more than those descriptions, of course, and the portrayals that bring them to the screen make that plain from the moment they're each first seen. As Game of Thrones and Succession both were, famously so, Shōgun is another drama that's all about fighting for supremacy. Like just the former, too, it's another sweeping epic series as well. Although it's impossible not to see those links, knowing that both battling over who'll seize power and stepping into sprawling worlds are among pop culture's favourite things right now (and for some time) doesn't make Shōgun any less impressive. The scale is grand, and yet it doesn't skimp on intimacy, either. The minutiae is meticulous, demanding that attention is paid to everything at all times. Gore is no stranger from the get-go. Opening in the 17th century, the series finds Japan in crisis mode, Toranaga facing enemies and Blackthorne among the first Englishmen that've made it to the nation — much to the alarm of Japan's sole European inhabitants from Portugal. Getting drawn in, including by the performances, is instantaneous. Shōgun proves powerful and engrossing immediately, and lavish and precisely made as well, with creators Justin Marks (Top Gun: Maverick) and Rachel Kondo (on her first TV credit) doing a spectacular job of bringing it to streaming queues. Shōgun streams via Disney+. Read our full review. American Fiction Here's Thelonious 'Monk' Ellison's (Jeffrey Wright, Rustin) predicament when American Fiction begins: on the page, his talents aren't selling books. Praise comes the Los Angeles-based professor's way for his novels, but not sales, nor attendees when he's part of writers' festival panels. And even then, publishers aren't fond of his latest manuscript. Sick of hearing that his work isn't "Black enough", and also incensed over the attention that fellow scribe Sintara Golden (Issa Rae, Barbie) is receiving for her book We's Lives in Da Ghetto, he gets a-typing, pumping out the kind of text that he vehemently hates — but 100-percent fits the stereotype of what the world keeps telling him that Black literature should be. It attracts interest, even more so when Monk takes his agent Arthur's (John Ortiz, Better Things) advice and adopts a new persona to go with it. Soon fugitive convict Stagg R Leigh and his book Fuck are a huge hit that no one can get enough of. Because of the story spun around who wrote the bestseller, too, the FBI even wants to know the author's whereabouts. Deservedly nominated for five 2024 Oscars — including for Best Picture, Best Actor for Wright and Best Supporting Actor for Sterling K Brown (Biosphere) as Monk's brother Clifford — American Fiction itself hails from the page, with filmmaker Cord Jefferson adapting Percival Everett's 2001 novel Erasure. Wright is indeed exceptional in this savvy satire of authenticity, US race relations and class chasms, and earns his awards contention for his reactions alone. Seeing how Monk adjusts himself to a world that keeps proving anything but his dream is an utter acting masterclass, in big and small moments alike. As the film dives into the character's personal chaos, that's where Brown's also-fantastic, often-tender performance comes in, plus Leslie Uggams (Extrapolations) as Monk's mother and Tracee Ellis Ross (Candy Cane Lane) as his sister, and also Erika Alexander (Run the World) as a neighbour who is a fan of his — not just Stagg R Leigh's — work. Don't discount how excellent American Fiction is beyond its literary hoax setup, in fact; as a character study, it's equally astute. American Fiction streams via Prime Video. The Vince Staples Show It was true when Seinfeld made a series about a real-life standup comedian playing a fictionalised version of himself one of the world's biggest sitcoms in the 90s. It remained accurate when Larry David started riffing on his own existence in Curb Your Enthusiasm — and also when Pete Davidson leapt from making his life movie fodder in The King of Staten Island to turning it into TV in Bupkis. Donald Glover wasn't directly referencing his own career in Atlanta, and neither The Other Two nor Girls5eva bring exact replicas of real-life figures to the screen, but the same idea pumps through them as well: fame or proximity to it doesn't stop anyone from grappling with life's frustrating minutiae. Add The Vince Staples Show to the list, with the five-part series featuring its namesake as a take on himself. Whether or not you know who he is is part of the show's joke. On- and off- screen, he's a rapper and actor. Staples' very real single 'Norf Norf' gets quoted to him in the TV comedy. The fact that he's been in Abbott Elementary is referenced in the debut episode. But just attempting to have an ordinary day doing everyday things in an average way — driving home, heading to the bank, attending a family reunion, visiting an amusement park and returning to his old school — is as impossible for him as it is for us all. Sometimes, Staples' celebrity complicates matters in The Vince Staples Show. It also never helps. Usually, he's stuck navigating Murphy's law, so asking for a loan ends up with him caught up in a robbery, while endeavouring to source something decent to eat at a theme park takes him on an absurdist odyssey that winks at David Lynch and the Coen brothers. Having an entertainment career doesn't stop him from being confused for someone else by the police (Killing It's Scott MacArthur, You People's Bryan Greenberg and The Menu's Arturo Castro) — the same cops who ask for free tickets to his shows while they're locking him up — or ensure that cashiers treat him politely. If it assists with anything, it's with giving Staples a deadpan acceptance that anything and everything might come his way. Twice asked if something interesting happened during his day by his girlfriend Deja (Andrea Ellsworth, Truth Be Told), his reply is "not really", even though viewers have just witnessed the exact opposite in both instances. The Vince Staples Show streams via Netflix. Read our full review. Orion and the Dark Learning to face life's chaos, or even just recognising that life is chaos, has a particular term when Charlie Kaufman is making movies and audiences do the confronting. Describing something as Kaufmanesque sprang from the screenwriter and filmmaker's stunning run at the end of the 90s and beginning of the 00s — the Spike Jonze (Her)-helmed Being John Malkovich and Adaptation, plus the Michel Gondry (Microbe & Gasoline)-directed Human Nature and Eternal Sunshine of the Spotless Mind — and it's stuck ever since. Joining the trio of Synecdoche, New York, Anomalisa and I'm Thinking of Ending Things as well, all three of which he penned plus helmed, is new family-friendly animation Orion and the Dark. A Kaufmanesque kid-appropriate flick? It exists, and it's wonderful. Feature first-timer Sean Charmatz (TV movie Trolls Holiday in Harmony) directs, and Emma Yarlett's 2014 children's book provides the source material; however, this account of a boy afraid of the dark who then meets the literal Dark (voiced by The Afterparty's Paul Walter Hauser) is a Kaufman affair through and through. Also, iconic German filmmaker — and one-time Parks and Recreation star — Werner Herzog (The Fire Within: A Requiem for Katia and Maurice Krafft) pops up. Loaned the vocal tones of Jacob Tremblay (The Little Mermaid) as a child and Colin Hanks (The Offer) as an adult, Orion is petrified of sleeping without the lights on. And, just like the kids in Monsters, Inc that are scared of creatures in their cupboards, Orion and the Dark's protagonist is frightened of something real. Dark exists and, alongside Orion's parents (The Fall of the House of Usher's Carla Gugino and Bull's Matt Dellapina), is exasperated by the boy's response to nighttime. He can't help taking it personally, in fact, then offers to assist. For one 24-hour period, as darkness falls around the world, he gets Orion to accompany him on his travels with friends Sleep (Natasia Demetriou, What We Do in the Shadows), Insomnia (Nat Faxon, Our Flag Means Death), Quiet (Aparna Nancherla, The Great North), Unexplained Noises (Golda Rosheuvel, Bridgerton) and Sweet Dreams (Angela Bassett, Black Panther: Wakanda Forever) to demonstrate that being distressed is unfounded. It isn't just Herzog's involvement and a joke about David Foster Wallace's Infinite Jest that prove that this is a movie as much for adults as kids; amid its gorgeous animation, its understanding of existential dread is also that astute. Orion and the Dark streams via Netflix. Dario Argento: Panico Filmmakers love filmmakers, so much so that new documentaries about directors arrive all the time. Paying tribute to the creative forces behind everyone's big-screen obsessions: what's not to love? With Dario Argento: Panico, there's plenty to adore, including the considerable participation of the Italian master of giallo himself. A film about the man behind Suspiria, Inferno and Tenebrae was always going to be a portrait of his influence upon his chosen genre. Accordingly, who better to take viewers through it? He begins the doco unhappy about the location of the latest hotel that he's decamping to to write, as has been his custom for decades, but he's a fascinating interviewee, especially when he's reflecting upon his work and his processes in his own words. For company, he's joined among Dario Argento: Panico's talking heads by his sister Floriana, daughters Fiore and Asia, ex-wife Marisa Casale, and collaborators such as Franco Ferrini (who co-penned screenplays such for Phenomena, Trauma, Dark Glasses and more) and Claudio Simonetti (the composer, also of the band Goblin, who has been so instrumental) in giving the filmmaker's movies their sound. And to unpack his impact both in general and on their work, Guillermo del Toro (Guillermo del Toro's Pinocchio), Nicolas Winding Refn (Copenhagen Cowboy) and Gaspar Noé (Climax) all feature as well. Noteworthy quotes and links abound from the documentary's chats beyond its titular figure, such as when del Toro notes that "everything in Argento's movies is trying to kill you", Refn admits that Tenebrae's synth-heavy score is responsible for the tunes in his own features and the fact that Noé had Argento star in his drama Vortex. Simonetti's reflections on Goblin's role in helping Argento's work have such resonance, and the ripples that his film's scores have enjoyed across the industry since, are also riveting — and accurate. And for an understanding of who Argento is personally, Asia (who has acted in her father's flicks since making her debut at ten) is particularly enlightening. Simone Scafidi also deftly weaves in clips from Argento's movies, plus behind-the-scenes footage and archival materials, to ensure that audiences have a burning yearning stirring while watching: the need to see everything featured, whether for the first time or again. He knows how to make this kind of movie, after all, given that he did the same with 2019's Fulci for Fake, about fellow giallo talent Lucio Fulci. Dario Argento: Panico streams via Shudder. The Greatest Night in Pop One of the biggest songs of the 1980s was largely recorded in one night. 'We Are the World' wasn't just huge on the charts, either. When it came to people buying the single, it was massive — it's still the ninth biggest-selling physical single ever — but the list of talent making it happen was just as hefty. Lionel Richie, Stevie Wonder, Paul Simon, Kenny Rogers, Tina Turner, Billy Joel, Michael Jackson, Diana Ross, Dionne Warwick, Willie Nelson, Bruce Springsteen, Daryl Hall and John Oates, Huey Lewis, Cyndi Lauper, Bob Dylan, Ray Charles, Dan Aykroyd, Harry Belafonte, Bob Geldof, Waylon Jennings, Bette Midler, Smokey Robinson, The Pointer Sisters: they're just some of the names involved. Even Kenny Loggins, fresh from 'Footloose' being a hit, joined in. This roster of names and more teamed up in 1985 as supergroup USA for Africa, taking cues from Band Aid and 'Do They Know It's Christmas?', to raise funds for African famine relief. Belafonte had the idea. Richie and Jackson wrote the tune. The whole thing came together on the night of that year's American Music Awards, with everyone going from the ceremony to the studio. The Greatest Night in Pop tells this tale, and adds another entertaining music documentary that's also a blast from the past to Netflix's catalogue (WHAM! in 2023 similarly fit the bill). Regardless of whether the song itself suits your taste in music, or whether it's before your time and so you haven't heard of it, this behind-the-scenes look at its creation is illuminating — especially if you're interested in the recording process, how it works when there's so many figures involved and simply what it was like to have all those people in the one room. Accordingly, The Greatest Night in Pop is the kind of documentary that thrives thanks to its archival material. Putting audiences in the space with all those famous faces as they navigate who sings what when, and how, and also their various personalities, is can't-look-away viewing. A number of the talents involved also reflect upon the experience now, and the notion that some didn't want it to end at the time echoes through in both recent and decades-ago glimpses. Watching along, it's easy to understand why. The Greatest Night in Pop streams via Netflix. New and Returning Shows to Check Out Week by Week Constellation If a great getaway to a beach, island or faraway city can be life-changing, what does a journey to space do? So ponders Constellation, among other questions. Inquiries are sparked instantly, from the moment that a mother in a cabin in northern Sweden, where there's snow as far as the eye can see but a frost infecting more than just the temperature, leaves her pre-teen daughter to follow a voice. The screams that she seeks out are yelling "mama!" — and what they mean, and why she's abandoning one girl to find another, is just one of the matters that Constellation interrogates. The woman is Jo Ericsson, as played by Noomi Rapace with the maternal devotion that also marked her turn in Lamb, plus the protective instincts that were key in Prometheus and Alien: Covenant as well — and the fierceness that helped bring her to fame as Lisbeth Salander in the original Swedish The Girl with the Dragon Tattoo films. Jo, an astronaut, is Europe's representative on the International Space Station when Constellation jumps backwards from its opening icy horror to a different kind of terror. Not long out from returning back to earth, she FaceTimes with her nine-year-old daughter Alice (Rosie and Davina Coleman, The Larkins) and husband Magnus (James D'Arcy, Oppenheimer). Then, something goes bump in the sky. Trauma leaves people changed, too; what if this incident, during which setting foot on our pale blue dot again is anything but assured, isn't the only distressing facet of travelling to the heavens? On the at-risk ISS, on a spacewalk to locate the source of the collision, Jo finds the mummified body of what looks like a 60s-era Russian cosmonaut. There'll soon be another astronaut dead inside the station, destroyed infrastructure, the first escape pod shuttling her three remaining colleagues back to terra firma and Jo left alone trying to repair the second so that she herself can alight home. Where both Gravity and Moon spring to mind in Constellation's initial space-set scenes, plus Proxima in the show's focus on mother-daughter connections (Interstellar, Ad Astra and First Man have dads covered), it's the earthbound Dark that feels like a touchstone once Jo is back among her loved ones. There's a similar moodiness to this series, which also features Nobel Prize-winning former Apollo astronaut Henry Caldera (Jonathan Banks, Better Call Saul), who has had his own incidents in space — and there's a feeling that characters can't always trust what they think is plainly apparent to the show, too, plus a certainty that nothing is simply linear about what's occurring. Constellation streams via Apple TV+. Read our full review, and our interview with Jonathan Banks. Curb Your Enthusiasm A quarter of a century is a long time to spend with Larry David, even with gaps along the way. Friends and acquaintances of the fictionalised version seen in Curb Your Enthusiasm might have some not-so-positive things to say about investing that chunk with TV's great curmudgeons. If you're a fan of the satirical series that's been airing since 2000, however, 12 seasons isn't enough. But David has called time on his second small-screen smash. CYE won't beat Seinfeld's episode count, but it has been on-screen on and off for far longer than the famous show about nothing. And with its ending in sight, of course the inimitable force behind both starts Curb Your Enthusiasm's final season with the series' version of Larry going where Seinfeld's characters closed out their story: jail. He's there not due criminal indifference, though, but rather thanks to the opposite. In Atlanta to attend a rich fan's (Sharlto Copley, Beast) birthday party, on a paid gig courtesy of the success of Young Larry — CYE's in-show show about David's childhood — he gives a bottle of water to Leon's (JB Smoove, Office Race) Auntie Rae (Ellia English, Blood Pageant) while she's in line to vote. That's illegal, the cops pounce immediately and one of the season's key threads is born. Larry being Larry, of course he wasn't really trying to make a stand against ridiculous voter-suppression laws. Larry still being Larry, he's also content to capitalise upon being seen as a hero, complete with droves of media attention. And, Larry never able to be someone other than Larry, he's still his petty normal self regardless of how much praise flows from Bruce Springsteen. Before Beef was winning Golden Globes, Emmys and other awards for trivial squabbles, David got there first — and before The Rehearsal and The Curse's Nathan Fielder was inspiring cringing so vigorous that you can feel it in your stomach, David was as well. The show's swansong season so far is vintage Curb Your Enthusiasm, including when a lawyer who looks like one of David's many enemies, overhearing golfing lessons, throwing things at CODA Oscar-winner Troy Kotsur, getting disgruntled over breakfast menus cutting off at 11am and bickering with the late, great Richard Lewis (Sandy Wexler) are involved. As always, it continues to be fascinated with whether someone as set in his ways as David, who was the inspiration for George Constanza, can and will ever change. He won't, and watching why that's the case will only stop being comedy gold yet when the ten-episode 12th season says farewell. Curb Your Enthusiasm streams via Binge. The New Look The New Look, Apple TV+'s ten-part series about Christian Dior and Coco Chanel, hasn't chosen its points of focus because they were frequently in each other's company; as depicted here, at least, they weren't. Instead, it's a portrait of rivals, but it isn't that concerned with why the two Parisians might be adversaries beyond their shared field. That said, they're tied by more than both being French fashion figures who were working at the same time, made pioneering haute couture choices and started labels that retain household recognition today. And, when the show opens in 1954, it does so with Chanel (Juliette Binoche, The Staircase) offering harsh words about Dior (Ben Mendelsohn, Secret Invasion) to the press as she's about to unveil her first post-war collection. Her chatter is crosscut with his at the Sorbonne, where he's being honoured — and asked by students why he kept working during the Second World War while Chanel closed her atelier. Dior's answer: that such a description of the two designers' actions during WWII is the truth, but that there's also more truth behind it. Unpicking the reality — and stitching together Dior and Chanel's plights at the same time — is the series' mission. The garments that its two couturiers make might be pristine in their stylishness, but neither's history can earn the same term. Creator Todd A Kessler (Damages, Bloodline) makes a drama about choices, then. Again, it isn't fuelled by the pair being in close physical proximity, which only happens twice in the show — or even acrimony between them — but by comparing and contrasting the moves that Dior and Chanel each made during Nazi-occupied Paris and immediately afterwards. The New Look also takes its overarching perspective from the notion that haute couture's impact in assisting to revive French culture following the war was revolutionary and "helped humanity find beauty and the desire to live again". That said, with Dior and Chanel's prowess treated as a given, the bulk of its frames, handsomely shot as they are, hone in on the personal. The New Look streams via Apple TV+. Read our full review. Recent and Classic Movies to Finally Watch — or Revisit The FP, The FP 2: Beats of Rage, FP3: Escape From BAKO and FP4: EVZ Part-dance movie, part-dystopian comedy, The FP is a rare beast of a movie. It's an instant classic that feels both alluring familiar and completely its own creation, and that immediately sears every frame into your brain. Given the premise, none of the above should come as a surprise. This low-budget 2011 flick is set in a time when gangs fight over control of their home turf, aka Frazier Park, by dance-fighting it out while playing a Dance Dance Revolution-style game called Beat-Beat Revelation. Basically, if Footloose was set in a post-apocalyptic future, it would look something like this. As, yes, it would look rather amazing. Indeed, that's The FP from start to finish. That isn't where it ends, however. After becoming a true cult-favourite, it has spawned three sequels over the years since: 2018's The FP 2: Beats of Rage, 2021's FP3: Escape From BAKO and 2023's FP4: EVZ. This isn't the kind of saga that's blown up and sold out, either — every single entry feels like you can see the filmmaker's fingerprints on every frame. That writer and director is Jason Trost, who also stars as well. Beyond The FP movies, he was last seen in Foo Fighters-driven horror effort Studio 666, with his mere presence there showing the huge gap between the kind of midnight movie that flick wanted to be and the real thing. Trost plays JTRO, who starts The FP franchise training to defeat a rival — but that's only the beginning of a storyline across four films that needs to be experienced by going in as fresh as possible. In a different world, the OG movie and its sequels would get The Room treatment, returning to cinemas regularly. In Australia, big-screen sessions have been rare. That makes being able to settle in and watch all four at once via Brollie quite the treat, and a unique way to spend some couch time. Wanting to play Dance Dance Revolution also comes with the territory. The FP films stream via Brollie. Yuni Again and again in Yuni, a heartbreaking clash echoes. Its sounds stem from schoolyard gossip, superstitious tut-tutting, ultra-conservative demands and reminders that its titular character shouldn't steal anything purple that she sees. In the third feature from Indonesian filmmaker Kamila Andini (The Seen and Unseen), Yuni (Arawinda Kirana, Angkringan) is a 16-year-old in a Muslim society where agreeing to an arranged marriage is the only thing truly expected of her. When the movie begins, a proposal from construction worker Iman (Muhammad Khan, Memories of My Body) already lingers. After she declines, her classmates chatter. Then another offer comes from the much-older Mang Dodi (first-timer Toto ST Radik), who is looking for a second wife. Yuni knows the accepted myth that any woman who refuses more than two proposals will never wed, but she's also keen to make her own choices. She has a crush on teacher Mr Damar (Dimas Aditya, Satan's Slaves), and spends time with the younger and infatuated Yoga (Kevin Ardilova, Vengeance Is Mine, All Others Pay Cash). She's also the smartest student at her school, with dreams of attending university. Andini's film is full of specifics, diving into the minutiae of Yuni's life — surveying Indonesian society and its customs, the roles thrust upon women from their teenage years, and enormous gap between the path that she's supposed to follow and the yearnings of her heart. This is a movie where scenes of its protagonist hanging out with her friends, whether kicking back on the grass talking about boys or dressing up with her beautician pal Suci (Asmara Abigail, Satan's Slaves 2: Communion), could be scenes from almost any teenage girl's life. Of course, then the reality sinks in, be it in discussions about husbands, babies and virginity tests, or in the teary worries about horrific power imbalances. The ability of poetry to capture everything that can't be easily uttered otherwise also floats through Andini's deeply moving picture, so it should come as no surprise that Yuni is both naturalistic and lyrical. It's precise and universal, follows an easily foreseeable path and yet proves full of surprises, and is astutely directed as well — and Kirana is a star. Yuni streams via SBS On Demand. Need a few more streaming recommendations? Check out our picks from January this year, and also from January, February, March, April, May, June, July, August, September, October, November and December 2023. You can also check out our running list of standout must-stream shows from last year as well — and our best 15 new shows of 2023, 15 newcomers you might've missed, top 15 returning shows of the year, 15 best films, 15 top movies you likely didn't see, 15 best straight-to-streaming flicks and 30 movies worth catching up on over the summer.
UPDATE, September 24, 2020: True History of the Kelly Gang is available to stream via Stan. Parched bushland. Roaring flames. Irate Australians rebelling against the status quo. It's a tragic coincidence rather than a case of making a purposeful statement, but True History of the Kelly Gang's bold, blazing imagery is timelier than director Justin Kurzel could've ever dreamed. It fits, though. It fits perfectly. Adapting Peter Carey's Booker Prize-winning novel via a sharp script by Kurzel's Snowtown screenwriter Shaun Grant, this a work of agitation. Made for a world where 'such is life' tattoos commit Ned Kelly's purported last words to slabs of Aussie flesh, this gritty, galvanising film sets fire to Australia's national identity and stares at the ashes of the country's troubled history — all by re-interrogating a man inescapably engrained in our iconography over the past century and a half. Australia came of age in thrall to Kelly, with the notorious bushranger's Robin Hood-esque story known by everyone. Accordingly, True History of the Kelly Gang needn't wonder what type of nation evolves as a result, because that's the Australia that we already live in. But what has the country mythologised about Kelly, and why — and what does that say about us today? They're questions that Kurzel, Grant and a first-rate cast led by soaring British talent George MacKay (1917) all ponder. Carey's literary work doesn't just excavate the past but toys and tinkers with it, mixing reality and fiction to mirror the present — a task that this wild and daring feature eagerly continues. "Nothing you are about to see is true," True History of the Kelly Gang announces at the outset. Reflecting the film's irreverent, impudent vibe, that's not strictly accurate. But the opening statement sets a playful mood and smashes any expectations of historical accuracy — because, here, anything can happen. So it is that Kurzel begins by peering through a letterbox-style slit in corrugated iron, as pre-teen Ned (excellent newcomer Orlando Schwerdt) watches his mother Ellen (Essie Davis) pay off local Sergeant O'Neil (Charlie Hunnam) by getting intimate. As lensed by cinematographer Ari Wegner (In Fabric, Lady Macbeth), shots recalling Kelly's famous armour keep recurring, peeking through gaps and offering rich and potent visual symbolism. In his boyhood, Ned adores yet also fears his Irish settler mum, who'll do anything for her family — including putting her husband Red (Ben Corbett) in his place. The Kelly patriarch is considered a disappointment by his wife, with Ned dubbed the man of the house instead. Indeed, Ellen has plans for her eldest son. When, through an act of heroism, Ned receives the chance to attend boarding school, his mother refuses. Rather, she gives him to bushranger Harry Power (Russell Crowe) as an apprentice. Learning he's been sold into a life of crime severely shapes Ned's perspective, understandably. Returning home a decade later following a stint in jail, Ned (now played by MacKay) makes a living through bare-knuckle boxing. He fights to entertain the law — such as the suspiciously friendly Constable Fitzpatrick (Nicholas Hoult) — and the upper classes, in a winking inversion of his future path. But his now-grown younger brother Dan (Earl Cave, son of Nick) has taken to horse-rustling, and soon crime is a family business. As their father previously did, they wreak havoc in the bush adorned in dresses, breaking both the law and societal conventions. Immortalised in the first feature-length movie ever made back in 1906, in a Mick Jagger-starring 1970 flick and with Heath Ledger donning the bandit's helmet in 2003, the nuts and bolts of Kelly's story have already been given the cinematic treatment — the Jerilderie letter, the Glenrowan siege and his 1880 hanging among them. While the same minutiae remains here, it's reshaped, reinterpreted and recontextualised, with Kurzel's uncompromising 2015 reworking of Macbeth the best reference point. Think equally ferocious and poetic imagery, an intensity bordering on operatic, a score that's both sparse and jittery, and an all-round punk-ish attitude. Framed through letters penned by Kelly, retelling an oft-told tale isn't True History of the Kelly Gang's main motivation, but rather re-evaluating the legend that's sprung up around him. In stripping bare the bushranger's story, Australia's colonial history and the nation we've become in the shadow of each, two other filmic frames of reference spring to mind: 2018's Sweet Country and 2019's The Nightingale. Ignoring the misstep that was Assassin's Creed, Kurzel's adds True History of the Kelly Gang to a resume already marked by Snowtown and Macbeth — and what an audacious and propulsive trio they make. All three also boast spectacular casts, with MacKay brawny, angry, anarchic and simply brilliant to watch here. Although he's well-supported by the formidable Davis, sly Hoult and raucous Crowe, he's nothing short of electrifying in this brutal yet utterly bewitching picture. The verve and spark in his performance is the same blistering energy that Kurzel burns into every frame of the film — a visually, emotionally, thematically searing movie that strides across the screen like an outlaw, aptly. https://www.youtube.com/watch?v=RE7YVZA5YVc
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. From the latest and greatest to old favourites, here are our picks for your streaming queue from November. NEW STUFF TO WATCH NOW https://www.youtube.com/watch?v=u7QpnvmMmag&feature=emb_logo PALM SPRINGS It wasn't the first movie to play with temporal trickery; however, Groundhog Day has a lot to answer for. Films about folks stuck in a loop, repeating the same day or events over and over, now almost comprise their own genre — but, wearing its allegiance to the aforementioned Bill Murray-starring comedy on its sleeves, Palm Springs is one of the best of them. Here, Brooklyn Nine-Nine's Andy Samberg plays Nyles, who has ventured to the titular location with his girlfriend Misty (Meredith Hagner, Brightburn) to attend a friend's nuptials. He gets drunk, makes a speech and a scene, befriends fellow wedding guest Sarah (Cristin Milioti, Modern Love) and disappears into a cave, warning the latter not to follow. When dawn breaks, it's the same day again. Then variations on the same events happen once more, and they just keep repeating over and over. Also featuring an initially intense JK Simmons (21 Bridges) as another ceremony attendee, Palm Springs has a wealth of fun with its concept, and becomes one of the year's most enjoyable movies in the process. Produced by Samberg alongside his Lonely Island colleagues Akiva Schaffer and Jorma Taccone, directed by feature first-timer Max Barbakow and written by Lodge 49's Andy Siara, it also finds its own way to grapple with the time-loop genre's usual elements — the repetition that feels like being stuck in purgatory, and the existential malaise that comes with it — in a smart and funny rom-com that boasts particularly great performances from Samberg and Milioti. Palm Springs is available to stream via Amazon Prime Video. https://www.youtube.com/watch?v=Vv-Mb4vTxj0 WE ARE WHO WE ARE Two on-screen tales about American teenagers in Italy. Two floppy-haired male leads oozing with uncertainty and yearning. One filmmaker. After Call Me By Your Name, Luca Guadagnino returns to familiar territory with HBO miniseries We Are Who We Are — and if its star Jack Dylan Grazer reminds you of the now ultra-famous Timothée Chalamet, that's completely unsurprising; in 2018's Beautiful Boy (not directed by Guadagnino), the former even played a younger version of the latter's character. But don't go mistaking Guadagnino's eight-part TV show for a mere or lazy rehash of the director's past work. Following two neighbouring 14-year-olds who live on a US army base with their enlisted parents, including Grazer's newly arrived loner, We Are Who We Are once again taps into universal themes about finding one's own identity and place in the world, and navigating affairs of the heart as well, but it definitely has its own story to tell. Also starring first-timer Jordan Kristine Seamón, plus Chloë Sevigny (Queen & Slim), Alice Braga (The New Mutants), Scott Mescudi (aka Bill & Ted Face the Music's Kid Cudi), Francesca Scorsese (daughter of iconic filmmaker Martin Scorsese) and Tom Mercier (Synonyms), this patient yet involving series once again boasts Guadagnino's eye for gorgeous and revealing imagery, though, with every intoxicating shot (and every camera angle and placement used for each shot) luring viewers in. We Are Who We Are is available to stream via SBS On Demand. https://www.youtube.com/watch?v=8BVoYKwTc4E AUNTY DONNA'S BIG OL' HOUSE OF FUN 2019's I Think You Should Leave with Tim Robinson was the best sketch comedy of that year. In 2020, the equivalent title goes to Aunty Donna's Big Ol' House of Fun. If you're familiar with Australian comedy troupe Aunty Donna, then you'll know what to expect. Writers and performers Mark Samual Bonanno, Broden Kelly and Zachary Ruane, director and writer Sam Lingham, filmmaker Max Miller and composer Tom Armstrong have been treating audiences to absurdist gags, satire, wordplay and songs since forming in 2011 — but now the group has channelled all of its silliness and surreal gags, and its astute ability to make fun of daily life in a smart yet ridiculous way, into a six-part Netflix series. Bonanno, Kelly and Ruane star as themselves, and housemates. Each episode revolves around a theme, starting with the search for a fourth member of their household when they decide to turf their annoying talking dishwasher (voiced by Flight of the Conchords' Kristen Schaal). There's nothing too over-the-top for Aunty Donna, or too trivial, including treasure hunts, an out-there recreation of Ellen DeGeneres' talk show, a pitch-perfect takedown of trendy barber shops to a parody of male posturing when the guys turn their house into a bar. And there's little on offer in the extremely binge-able show that doesn't deliver just the dose of side-splitting absurdity that this hectic year needs. Aunty Donna's Big Ol' House of Fun is available to stream via Netflix. Read our full review. https://www.youtube.com/watch?v=p5FXjdKxgrA LEAP OF FAITH: WILLIAM FRIEDKIN ON THE EXORCIST First, a word to the wise: if you haven't already seen The Exorcist, you'll want to give it a whirl before checking out this new Shudder documentary. And even if you've watched the iconic horror movie so many times that you've memorised every crucifix and spinning head, revisiting it is never a bad idea; this in-depth examination of the 1973 hit by the filmmaker behind it will certainly make you want to as soon as possible. Leap of Faith: William Friedkin on The Exorcist is as straightforward as its title intimates. For the movie's 104-minute running time, the director also responsible for The French Connection, Sorcerer and Killer Joe chats through the feature he's best known for, explaining both behind-the-scenes and on-screen details. Expect an insight into the battles to even get The Exorcist to the screen, anecdotes about the quest to find the exact right stars for this unsettling tale of demon possession and insider recollections about the now-85-year-old Friedkin's wide-ranging career in general. Indeed, it's impressive just how wide a range of topics and themes this doco covers, proving absolute catnip for cinephiles. Leap of Faith's own filmmaker Alexandre O Philippe is known for diving deep into great screen works, as seen in 78/52 (about Psycho) and Memory: The Origins of Alien (about, well, Alien), after all. Leap of Faith: William Friedkin on The Exorcist is available to stream via Shudder. https://www.youtube.com/watch?v=bEv0xy7p5Rg GANGS OF LONDON When crime kingpin Finn Wallace (Colm Meaney, Seberg) is killed unexpectedly after a 20-year reign over London's illicit dealings, the city's underworld is forced to react. The first order of business: find out who ordered the assassination, which is Finn's brooding, grieving and quick-to-react son Sean's (Joe Cole, One of These Days) only priority, and one he's determined to pursue at any cost. At first, it seems as if Gangs of London's nine-episode debut season is simply charting familiar territory — because many a movie and TV show about mobsters has focused on shock hits, succession scrambles and bloody fights over turf. But this British series has a particular strength that none of its genre compatriots can boast, aka filmmaker Gareth Evans. He's the director behind The Raid and its 2014 sequel The Raid 2: Berandal. If you've seen those two movies, that should be all you need to know. Here, Evans' penchant for balletic brutality and exquisitely shot and choreographed action scenes is on full display once again. He doesn't just rely upon intense, ultra-violent fights to keep viewers interested in this contemporary-set gang epic, though, plotting out an intricate world filled with meaningful, memorable and menacing characters (and just as impressive performances). Gangs of London's first season is available to stream via Stan. https://www.youtube.com/watch?v=CDrieqwSdgI THE QUEEN'S GAMBIT In much of The Queen's Gambit, Beth Harmon sits at a chessboard. As a child (Isla Johnston), she demands that orphanage janitor Mr Shaibel (Bill Camp, The Outsider) teach her the game. As a teenager (Anya Taylor-Joy, Radioactive), she earns a reputation as a chess prodigy. As her confidence and fame grows, she demonstrates her prowess at tournaments around America and the globe, while also spending her spare time hunched over knights, rooks, bishops and pawns studying moves and tactics. None of the above sounds like innately thrilling television unless you're a chess grandmaster, but this seven-part miniseries proves that you should never judge a show by its brief description. Based on the novel of the same name by Walter Tevis, written and directed by Oscar-nominee Scott Frank (Out of Sight, Logan), and dripping with lavish 50s and 60s decor and costuming to reflect its period setting, The Queen's Gambit doesn't expect that all its viewers will be chess aficionados; however, it's made with a canny awareness that anything can be tense, suspenseful and involving — and that every different type of game there is says much about its players and devotees. The series doesn't lack in creative and inventive ways to depict chess on-screen. It knows when to hang on every single move of a pivotal game, and when to focus on the bigger story surrounding a particular match or Beth path through the chess world in general. And it's especially astute at illustrating how a pastime based on precision and strategy offers an orphaned girl a way to control one lone aspect of her tumultuous and constantly changing life. The Queen's Gambit is available to stream via Netflix. Read our full review. https://www.youtube.com/watch?v=K4X9fQsiAOQ FIREBALL: VISITORS FROM DARKER WORLDS Werner Herzog could make a documentary about absolutely any topic and, as long as the great filmmaker narrated it himself in his inimitable tones and with his lyrical, observational prose, it'd be worth checking out. As his on-screen acting roles in the likes of Jack Reacher, Parks and Recreation and The Mandalorian have shown, listening to his voice is one of life's purest joys — and, in Fireball: Visitors From Darker Worlds, he spends his time talking about a riveting topic. Reuniting with University of Cambridge professor Clive Oppenheimer, who he worked with on the volcano-focused Into the Inferno, Herzog turns his attention to meteors. As well as searching for sites where they've fallen from the sky and made a literal impact, his new doco surveys experts from around the world, explores meteors in both ancient and recent times, and looks at the subject from a scientific, historical, archaeological and anthropological basis as well. From the Norwegian jazz musician who collects micrometeorites to the way that rocks descending from the heavens have played a part in Indigenous Australian culture, Fireball: Visitors From Darker Worlds is never anything less than fascinating. And, it also sees Herzog describe one part of the globe as "so godforsaken it makes you want to cry", which just might be one of his best turns of phrase yet. Fireball: Visitors From Darker Worlds is available to stream via Apple TV+. https://www.youtube.com/watch?v=DYY0QJhlXjc HIS HOUSE Stories about fleeing persecution are innately horrifying, but His House makes viewers confront the scenario in a visceral and purposefully confronting way. That's what happens when you pair an unsettling real-world situation that's distressingly common with the horror genre — using the latter to augment and emphasise the terror of the former, as His House does commandingly. The first feature from writer/director Remi Weekes, this British-set movie follows Bol (Ṣọpẹ́ Dìrísù, the aforementioned Gangs of London) and Rial (Wunmi Mosaku, Lovecraft Country) from war-torn South Sudan, across the Mediterranean by boat, into detention in the UK and finally to a home on the edge of London. They're thrilled to have made the journey safely, albeit at a significant personal cost that neither can shake, and they're initially excited to have a place to call their own. But, after their case worker Mark (Matt Smith, Official Secrets) gives them the keys, the couple's new abode turns into a nightmare. It doesn't help that Bol is certain that they need to farewell everything about their own culture to show the government that they deserve to stay, while Rial is rightly resistant to that idea. The pair are quite literally haunted, though, as Weekes manifests in eerie detail in a movie that cleverly and compellingly (and creepily, too) interrogates the refugee experience. His House is available to stream via Netflix. https://www.youtube.com/watch?v=HfiH_526qhY THE SPONGEBOB MOVIE: SPONGE ON THE RUN Never let anyone tell you that SpongeBob SquarePants is just for kids. The long-running show about the absorbent, yellow and porous sea critter has always proved otherwise, but his big-screen adventures wholeheartedly make the case — because when you have Keanu Reeves playing a talking sage tumbleweed that's also a sage that dispenses wisdom, that pitch-perfect piece of casting is 100-percent aimed at adults. Yes, that's something that happens in The SpongeBob Movie: Sponge on the Run, and more often than you might expect. Yes, it's delightful. There are more surreal and absurd gags where that came from, too, which has always been SpongeBob's appeal for older viewers. Story-wise, the movie — SpongeBob's third, after 2004's The SpongeBob SquarePants Movie and 2015's The SpongeBob Movie: Sponge Out of Water — sees everyone's favourite Bikini Bottom resident leave his pineapple under the sea in search of his kidnapped pet snail Gary, with the vain King Poseidon (as voiced by What We Do in the Shadows star and Sponge Out of Water alum Matt Berry) the culprit. It's silly, it's sweet, it's chaotic and, although the flashbacks to SpongeBob's childhood are just a blatant way to promote a new TV spinoff, it's supremely entertaining. The SpongeBob Movie: Sponge on the Run is available to stream via Netflix. CULT CLASSICS TO REVISIT AND REDISCOVER https://www.youtube.com/watch?v=X0xENt3xZqA THE FRESH PRINCE OF BEL-AIR Add this show about a west Philadelphia teen's life-changing move to Los Angeles to the list of classic series making a comeback in 2020. The Will Smith-starring sitcom hasn't returned in the proper sense. It is actually getting a reboot, in a darker, more dramatic form, because everything old is new again, but that was just announced a few months back and hasn't arrived just yet. Still, The Fresh Prince of Bel-Air's surviving original cast members have all come together for a brand new reunion special — which Stan now has available to stream alongside each and every one of the 148 episodes that initially aired between 1990–96. Accordingly, if you'd like to while away more than a few hours, days and weeks seeing where Smith's on-screen career kicked off, laughing at The Fresh Prince of Bel-Air's fish-out-of-water premise and feeling mighty nostalgic for times gone by, now you can. You'll obviously be treated to a hefty array of 90s fashions, because that comes with the territory. And, you'll be certain to get the series' famed theme tune stuck in your head (if you haven't already while reading this paragraph, that is). Every season of The Fresh Prince of Bel Air is available to stream via Stan. Top images: The SpongeBob Movie: Sponge on the Run, Paramount Animation; The Queen's Gambit, Phil Bray/Netflix; His House, Aidan Monaghan/Netflix.
Whatever she's in, and whether she's the star of the show or a supporting player, Chloë Sevigny's face always tells a tale of its own. That's been true in everything from Kids and Boys Don't Cry through to Big Love and We Are Who We Are, and it remains that way in The Girl From Plainville — the new eight-part true-crime miniseries led by The Great's Elle Fanning that's based on the death of Massachusetts teenager Conrad Roy III in 2014. Here, Fanning plays Conrad's long-distance girlfriend Michelle Carter. It's due to the her actions that the situation has been known as "the texting suicide case" for almost a decade — garnering not just local but international attention, and earning a HBO documentary, I Love You, Now Die: The Commonwealth Vs Michelle Carter, back in 2019. Fanning is fantastic in what proves an eerie character study, but the looks that Sevigny, as Conrad's mother Lynn, shoots her way scream rather than simply speak volumes. If you've ever wondered what facial expression could sum up grief, horror, sorrow, anger, disbelief, hurt, despair and utter bewilderment all at once, the always-excellent Sevigny frequently has the answer. Inspired by Jesse Barron's Esquire article of the same name, The Girl From Plainville tells a tough tale. Streaming in Australia via Stan, with three episodes available now and the rest following weekly, it starts with Conrad's (Colton Ryan, Dear Evan Hansen) suicide in his truck in a Kmart parking lot. It was his second attempt to take his life, although he'd promised Lynn that he wouldn't do it again — and when his death was investigated, police discovered text messages sent to him by Michelle, including a plethora of words encouraging him to take his own life. In 2015, she was indicted on charges of involuntary manslaughter for "wantonly and recklessly" assisting the suicide. In 2017, her trial took place. The outcome is now a matter a history, which The Girl From Plainville builds up to while also unpacking Michelle and Conrad's relationship. Accordingly, in two intertwined narrative threads, Michelle is a bereaved girlfriend who inserts herself into the Roy family's mourning wherever she can, even though Lynn and her ex-husband Co (Norbert Leo Butz, another Bloodline alum) didn't know she existed until after their son's death — and she's also a lonely high-schooler who meets a boy from a neighbouring town while vacationing in Florida, then keeps up a romance afterwards via text. In both, she's clearly a troubled young woman with body-image issues, struggles making and keeping friends, and a yearning for attention, which The Girl From Plainville unpacks without excusing her actions. Indeed, Sevigny's piercing gaze aside, this is a show about questions rather than answers, because some things can't ever truly be resolved. It's a series about feelings, too, including the many faces we wear to weather them. Michelle sports plenty: devoted, manipulative, heartbroken, rebellious, insecure, domineering and needy being a mere few. The Girl From Plainville's first episodes are full of jaw-on-the-floor moments, all stemming from Michelle's behaviour. The way that she ingratiates herself into the Roys' lives is disturbing and infuriating in equal measure — and a scene where the Glee-obsessive mimics one of the show's big emotional numbers is nothing short of chilling. The more details that are revealed, the more perturbing her conduct proves, including the fact that she was playing the victim and claiming that Conrad had been missing for days to her friends while she was actually texting him encouragement to go through with his suicide. That's what sparks local detective Scott Gordon (Kelly AuCoin, Billions) and then assistant district attorney Katie Rayburn (Aya Cash, The Boys) to dig deeper, even though they're in unprecedented territory legally. When the show turns into a courtroom drama, it still weaves through blasts from Michelle and Conrad's relationship past. In the former, the tone is understandably stark and grim; in latter, which includes reimagining the onslaught of text messages the pair shared as face-to-face conversations, it's almost dreamy. Creators Liz Hannah and Patrick MacManus know that they're making another entry in the ever-growing scandal-to-screen canon — Hannah also executive produced The Dropout, and MacManus did the same on Dr Death — but their focus on inner turmoil is both compassionate and haunting. And, it does what a straightforward retelling might've missed, giving Conrad a space to be himself and to be a main character, rather than just a casualty in someone else's story. Ryan might be playing his second suicidal adolescent in as many projects, but he's heartbreaking here as Conrad navigates unshakeable social anxiety and the traditional expectations placed upon masculinity. There's nuance in Ryan's every scene, and layers to each aspect of his sensitive performance — traits that Sevigny and Fanning also display, all to The Girl From Plainville's benefit. In fact, it's that texture, subtlety and complexity that makes Fanning's portrayal something exceptional, especially when tasked with inhabiting such a difficult character. Whether she's playing Michelle as seemingly sweet but desperate to be liked and loved, overbearing and demanding in her determination to be the centre of Conrad's death, or solemn and shaken during her trial, she's always a whirlwind of competing — and compelling-to-watch — aims and emotions. Giving room to all these shades, and to the unanswerable queries they inspire, is what gives this ripped-from-the-headlines series weight and depth beyond its attention-grabbing premise. True-crime dramas are firmly having their moment right now — see also: Pam & Tommy, Inventing Anna, The Dropout and WeCrashed in the first quarter of 2022 alone — but The Girl From Plainville is complicated, captivating and gripping. Check out the trailer for The Girl From Plainville below: The first three episodes of The Girl From Plainville are available to stream via Stan, with new instalments dropping weekly. Images: Steve Dietl/Hulu.
If you've ever raised an eyebrow at the idea of peanut butter and whiskey in the same sentence, you're not alone. But Skrewball — the Original Peanut Butter Whiskey — is full of cocktail-compatible surprises… and that's what makes it so damn good. Created in the US as a blend of American whiskey and natural peanut butter flavour, it's smooth, nutty and often the number one choice for bartenders who want to go a little wild. One of those bartenders is Sav Harrison, Skrewball's AU & NZ brand ambassador, who thinks too many people box it in before they've had a proper taste. "A lot of people get either caught up in the whiskey side or the peanut butter side and forget that we created a whole new category," Harrison says. "Don't just go for an old fashioned and manhattan. Skrewball is an opportunity to create something new altogether. Go nuts!" For Harrison, Skrewball cocktail creation starts with asking herself: what won't work? "Nothing is off the table with this bad boy," she says. "Recently I just discovered that Mumm Premium Sparkling Wine and Skrewball work when paired with raspberry and lemon." [caption id="attachment_1018328" align="aligncenter" width="1920"] Finley Jones[/caption] And when it comes to serving up your delicious concoction, she recommends a rocks glass or coupe. "Nothing beats a Skrewball on the rocks and the versatility of a rocks glass means you can make anything from a margarita to an old fashion. With the occasional jump to a coupe glass [because] it's fun, playful and can do anything." Here are three of Harrison's standout recipes, each designed to show off what peanut butter whiskey can actually do in the right hands. The Nutty Sparkler Think PB&J, but fizzy. The raspberry plays into Skrewball's nutty sweetness, while the lemon juice cuts through with a tart edge. The Mumm gives it a lift, making the whole thing lighter and more refreshing than you'd expect. What's in it: 45ml Skrewball Peanut Butter Whiskey 15ml Raspberry Liqueur (like Chambord, or a homemade raspberry syrup for less sweetness) 10ml Fresh Lemon Juice (to cut through the richness) Chilled Mumm Premium Sparkling Wine Garnish: Fresh raspberries and a lemon twist Ba Ba Bramble The classic 1980's bramble combines gin, lemon juice and simple syrup. To give it a remix, swap the gin for Skrewball's natural sweetness, add in blackberries for a fruity twist and Chartreuse for a herbal note and extra kick. What's in it: 1½ parts Skrewball Peanut Butter Whiskey ½ parts Green Chartreuse ½ parts Lemon Juice 5 parts Blackberries Mint & Blackberries for Garnish Skrewball Old Fashioned If you're still suspicious of flavoured spirits, this is an easy entry ramp. The rye whiskey keeps things grounded, while the Skrewball adds a hit of smooth sweetness that'll keep you coming back for more. What's in it: 1½ parts Skrewball Peanut Butter Whiskey ¾ parts Rye Whiskey 4 dashes Angostura Bitters The bottom line? Creating a Skrewball Peanut Butter Whiskey cocktail can be as fun as you want it to be. "Every time I decide to play around with cocktails and Skrewball, I find out there's so much to Skrewball almost anything works," Harrison says. Find Skrewball Peanut Butter Whiskey at Dan Murphy's, BWS and Liquorland and start Skrewing around with cocktails at home. Explore more Skrewball Peanut Butter Whiskey recipes on the website. Skrewball is classified as a flavoured liqueur in Australia. Please enjoy responsibly.
Exploring the meeting point between cafe culture and club culture, OnAir is a new music-led coffee shop that's opened its doors in Cremorne. Co-founded by Francesca Poci and Deyon Murphy of local events and artist management crew Selfless Events, this innovative space looks to redefine what it means to engage with culture and creativity in a distinctly Melburnian way. At a challenging time for live music venues and festivals, this spot is bound to be a welcome addition for electronic artists and fans alike seeking community and connection. But don't expect all-night parties and wide-eyed chats in the smoker's. This daytime cafe offers a more chilled-out experience, where patrons are invited to kick back with a coffee — brewed with beans by Mount Waverley roaster Inglewood — as a revolving line-up of local and international DJs provides the ideal soundtrack. "Over the past 18 months, we've noticed a lack of spaces in Melbourne that encourage creativity and connection and there is a need for different spaces to consume music," says Poci. "Australia is considered to stream the most amount of house music globally, and the growing number of DJs and producers in this country is exponential. However, club culture is dying and festivals are being cancelled, yet people are craving authentic and safe spaces to experience music." Upon arrival, it won't take you long to see the thought that has gone into fitting out the space. Crafted entirely from upcycled, recycled and sustainable materials, the loft-style space was designed to deliver pristine acoustics for an excellent listening experience. Complementing the bright and airy interior are warm textures and tones, including Tasmanian oak flooring, seating fashioned from upcycled Australian hardwood, Douglas Fir timber beams and the building's original exposed brick walls. It's all been designed to, as Murphy puts it, "bridge the gap between traditional music venues and everyday spaces". "Music is the driving force of OnAir," says Murphy. "From the bespoke Pitt + Giblin sound system to our curated in-house radio channels, we're providing a platform for artists to reach new audiences whilst championing diverse voices and artistic expression." Complementing the music program is a tight menu of classic cafe fare, available for eat-in or takeaway. Expect smoothies made to order, freshly baked pastries, seasonal salads and organic Dench panini, filled with the likes of chicken schnitzel with rocket, Mexican lime salt and mayo; spicy tuna, jalapeños and dill served with fresh basil pesto; and chicken with American-style cheese, avocado and jalapeño aioli. On your visit, you might just stumble into one of the venue's regular Espresso Sessions, featuring emerging and established DJs and producers from across Australia and overseas. Held after hours from 4pm, these curated events make the most of OnAir's limited capacity, with room for 60 people only. Every Espresso Session set will be recorded for OnAir's YouTube channel, so even if you don't make the list, you can still enjoy the tunes. Plus, with plans for a fully operational bar in the near future, OnAir will seek to push the boundaries of its music-driven space further. OnAir is open Monday–Friday from 7am–3pm, with extended hours for special events. Head to the venue's website for more information.
Every last trilby-wearing tween celebrity, former President's daughter and your smug, smug US-based friends will be rubbing their paws together after this afternoon's Coachella festival lineup announcement. Running over two weekends from April 12–21, the Californian festival has delivered their usual jaw-dropper of a lineup — including Australia's own Tame Impala headlining both Saturdays. Kevin Parker and his touring bandmates have big-name company, of course. Childish Gambino hasn't rescheduled his cancelled 2018 Australian dates yet, but he will be leading the charge on Coachella's two Fridays sessions. As for the Sunday shows, Ariana Grande doing the honours. Elsewhere, a bonafide metric fucktonne of squealworthy acts fill out the rest of the bill — Janelle Monae, Solange, Weezer, Aphex Twin, Khalid, Diplo, CHVRCHES, Jaden Smith, Idris Elba and Aussies Rüfüs Du Sol, to name a few. Anyway, let's be honest, you haven't truly read any of those words — you'll be wanting this: Coachella runs over two weekends, from April 12-14 and 19-21 in Indio, California. Tickets go on sale at 11am PST on Friday, January 4. For more info, visit coachella.com.
If you know only one thing about Singapore, it's most likely its reputation for fantastic food. And it's not just the cuisine that's earned high esteem with foodies around the world. Alongside the world-class eats, the city's bars are making waves on the global cocktail scene. There's no quicker way to unravel the complexities of Singapore's cultural heritage than by eating your way through the city, from Michelin-starred European fine-dining to humble hawker centres selling affordable but delicious dishes. Then there's the drinking, which ranges from quirky speakeasies to opulent cocktail dens. To showcase the depth of Singapore's drinking and dining, we've partnered with the Singapore Tourism Board to present some of the city's can't-miss experiences. From art deco bars and urbane craft breweries to authentic Peranakan restaurants and French fine dining, these are the places to bookmark for your next visit. ATLAS If you try only one cocktail bar in Singapore, make it Atlas — previously featured on the World's 50 Best Bars list. First, you'll be blown away by the grand art deco space with its vaulted (and frescoed) ceilings. Then you'll be awed by the lofty bronzed gin tower that requires bartenders to scale a ladder to access the more than 1,300 gins (though the extensive menu also includes seriously fine wines, champagnes and whiskies). Going beyond the booze, there's a European-inspired food menu, a lavish afternoon tea service, and the must-try #SundaysAtAtlas which includes free-flowing cocktails, champagne and nibbles. Reservations are essential. [caption id="attachment_864471" align="alignnone" width="1920"] Singapore Tourism Board[/caption] JIGGER & PONY Singapore has speakeasies aplenty but there's no finer example than Jigger & Pony. The proof? It landed on the World's 50 Best Bars list in 2021, 2022 and 2023. The buzzy spot, located at the Amara hotel, is swanky yet relaxed but shakes up a serious cocktail. Jigger & Pony's drinks list — cheekily titled "A Decent Menu" — elevates 24 classic cocktails with clever twists. Think yuzu whisky sours, black pepper sazeracs and sakura martinis. Pair your tipple with a next-level bar snack — we're looking at you, black truffle macaroni and cheese — and go home with some of the bar's bottled cocktail selection to enjoy another day. [caption id="attachment_864481" align="alignnone" width="1920"] Mindy Tan (Singapore Tourism Board)[/caption] KENG ENG KEE Zi char is a term derived from the Chinese Hokkien dialect that translates to 'cook and fry' and refers to casual home-cooked Chinese food meant for sharing. Third-generation zi char restaurant Keng Eng Kee has been firing its woks since the 1970s and has truly perfected its craft. The food here is largely of the Hainanese and Cantonese influence, with popular dishes including the chilli and black pepper crabs, coffee pork ribs and Marmite chicken. The late Anthony Bourdain was a fan, as is feted British chef James Martin, and that's good enough for us. [caption id="attachment_864482" align="alignnone" width="1920"] Afur Wong (Singapore Tourism Board)[/caption] LEVEL33 Singapore may be the home of Tiger Beer, but LeVeL33 is the place to go for a brew with a view. Known as the world's highest urban microbrewery, this award-winning concept serves up freshly shucked oysters, lobster bisque, and pasture-fed Australian steaks, while brewmaster Gabriel Garcia whips up everything from lagers and pale ales to stouts and Bavarian-inspired wheats. Order a tasting paddle for the full experience. The beer menu pairs expertly with LeVeL33's views of the Singapore skyline as well as the "contembrewery dining" of elevated pub grub like baby back ribs and Wagyu beef chunks. [caption id="attachment_864485" align="alignnone" width="1920"] Singapore Tourism Board[/caption] NATIONAL KITCHEN BY VIOLET OON France may have Alain Ducasse but Singapore has Violet Oon, the doyenne of authentic Peranakan cuisine. Oon's flagship is an elegant, colonial-inspired space of dark woods and Straits Chinese tiles tucked into the grand National Gallery of Singapore — but it's the authentic plates infused with fine, fresh ingredients that'll thrill. Dig into refined takes on popular local dishes like kueh pie tee, beef rendang and the signature dry laksa, all of which are full of flavour and beautifully presented. There's also a dedicated plant-based menu that features meat-free takes on classics. Round off the experience with a selection of locally inspired cocktails for a sophisticated Singapore meal. [caption id="attachment_864487" align="alignnone" width="1920"] Danny Santos (Singapore Tourism Board)[/caption] MAXWELL FOOD CENTRE Hawker centres are a quintessential Singapore experience. And while the well-known Lau Pa Sat and Newton are on every tourist's hit list, insiders head straight for Maxwell. This go-to destination began life in 1929, but its current iteration opened in 1987. Inside you'll find a smorgasbord of popular food stalls so this is very much a choose-your-own foodie adventure. There's rich laksa at Old Nyonya, Michelin Bib Gourmand-awarded chicken rice at Tian Tian and traditional sweets at Heng Heng tapioca cake stall. And that's before you get to the rare culinary finds like the alluring Maxwell Fuzhou Oyster Cake and DIY China Street Fritters. [caption id="attachment_864493" align="alignnone" width="1920"] Singapore Tourism Board[/caption] ODETTE Three Michelin stars? Step into Odette and it's easy to see why this is among Singapore's most lauded restaurants. Named after chef Julien Royer's grandmother, Odette delivers dishes inspired by Royer's French farming heritage and Asian culinary experiences, all laced with high-quality luxury ingredients handled with impeccable technique. Expect plates like the signature organic egg with ibérico chorizo, Normandy brown crab with wasabi oil and nashi pear, and kampot pepper-crusted pigeon. All of this is served in a graceful, elegant dining room and paired with polished service and a curated wine list. [caption id="attachment_864497" align="alignnone" width="1920"] Singapore Tourism Board[/caption] MANHATTAN It might be located at the Conrad Singapore Orchard but Manhattan isn't your average hotel bar. Drawing on old New York glamour for its art deco-esque interiors and artisanal spirits for elevated cocktails, Manhattan is one of the city's best drinking dens. The onsite rickhouse produces exquisite liquid like solera-aged negronis and barrel-aged spirits, while the menu brings together classic and forgotten cocktails that revive Golden Age drinking. There's even a collection of over 150 rare American whiskies and tipples inspired by New York personalities like Whoopi Goldberg and Andy Warhol. Did we mention it's ranked 21st on the World's 50 Best Bars list in 2024? [caption id="attachment_866128" align="alignnone" width="1920"] Supplied[/caption] BURNT ENDS When Aussie chef David Pynt ran his Burnt Enz pop-up in London, he probably didn't know it was going to evolve into Burnt Ends, a modern Australian barbecue restaurant that currently holds one Michelin Star and is on the list of Asia's 50 Best Restaurants. Pynt translates his love of flame cooking (found while working with Victor Arguinzoniz of renowned Spanish restaurant Asador Etxebarri) into a daily menu of grilled delights. You might find items like flatiron steak with burnt onion and bone marrow or grilled leeks with hazelnut and black truffle, all complemented by a convivial, unpretentious atmosphere and boutique wines. For more incredible ways to experience Singapore, head to Singapore Tourism Board's website. Top image: Nauris Pukis (Unsplash)
Following its local premiere last year, Love Actually? The Musical Parody is set for an encore run — with dates confirmed for Sydney, Melbourne and Brisbane. The NSW premiere lands first at Sydney's Darling Quarter Theatre from November 27, before the production heads south to Melbourne's Athenaeum Theatre from December 5, then up to Brisbane Showgrounds from December 11. The show, based on the famous hit 2003 Christmas film, will return to Melbourne's Athenaeum Theatre from December 5, after its NSW premiere at Sydney's Darling Quarter Theatre from November 27, and a Queensland premiere season playing at Brisbane Showgrounds from December 11. The musical follows "nine quirky couples seeking love across the pond, the cheeky show delivers all the awkward meet-cutes, over-the-top grand gestures, and side splitting moments that fans crave." "This show is like Christmas dinner after a few too many champagnes — loud, ridiculous, and way too much fun. Whether you're obsessed with Love Actually, love to hate it, or just want some musical theatre laughs, Love Actually? The Musical Parody is pure festive chaos: outrageous jokes, over-the-top romance, and songs that'll have you humming into New Year," promoter Ashley Tickell said. "It takes all the bits you secretly giggle at in the movie and dials them up to 100. Grab your mates, a date, or your mum — this is a night out that you'll actually love! It's like wrapping yourself in tinsel and good vibes." Love Actually? The Musical Parody will boast all local casts, with auditions already underway. Tickets are on sale now. Images: Supplied.
In 2018, it was the book that everyone was talking about. In 2020, it was the TV adaptation that we all watched in one sitting. That'd be Normal People, with Irish author Sally Rooney enjoying a big couple of years thanks to her dramatic romance — even co-writing the screenplay for the television series. If you've been enjoying all this time spent singing Normal People's praises, but also wondering what's next for Rooney, it's time to rejoice — because 2021 has the answer. In great news for fans of not only of her most popular work, but of her 2017 debut Conversations with Friends as well, the writer will be releasing her third book later this year. Beautiful World, Where Are You is set to hit shelves on September 7, Rooney's UK publisher Faber has announced. Readers can expect another tale about complicated relationships, this time focusing on novelist Alice. She meets warehouse worker Felix, and asks him to travel to Rome with her — while her Dublin-based best friend Eileen is flirting with Simon, who she has known since she was a kid, to help get over a breakup. "Alice, Felix, Eileen and Simon are still young – but life is catching up with them. They desire each other, they delude each other, they get together, they break apart," says the official synopsis for the book. "They have sex, they worry about sex, they worry about their friendships and the world they live in. Are they standing in the last lighted room before the darkness, bearing witness to something? Will they find a way to believe in a beautiful world?" it continues. View this post on Instagram A post shared by Faber Books (@faberbooks) That's just one of two new Rooney-related projects to put on your radar, too, with Conversations with Friends following in Normal People's footsteps and getting the TV treatment. It's being adapted as a 12-episode mini-series, with Normal People co-director Lenny Abrahamson and co-writer Alice Birch leading the charge behind the scenes. Just when it'll hit screens hasn't yet been revealed — but you can obviously rebinge Normal People while you're waiting for it to land. Beautiful World, Where Are You will be published on September 7, 2021. For further details, head to the book's website. Top image: Normal People.
The crew behind Pilgrim Bar and The Boatbuilder's Yard have kicked open their latest venue with a bang. Located in the old Caulfield Rifle Club building, the fittingly named Bang Bang at the Rifle Club is a cafe, bar and Asian-style eatery all rolled up in one. Open 6am till late, seven days a week, and situated within shooting distance of Elsternwick Station, Bang Bang is the brainchild of the Riverland Group's Richie Ludbrook and Dave Sharry. In turn, they've tapped ex-Longrain chef Matthew Dunbar to craft a menu inspired by the flavours of Southeast Asia. "Travelling through most of Southeast Asia has really simplified my approach to food," said Dunbar in a statement. The stripped-back approach is on display in Bang Bang's selection of bar snacks, which include chargrilled king prawn with lime and roasted shallot, pork scratching with green chilli, lime and spring onion, and crispy chicken ribs with house spice and sriracha. Those after something a little more substantial can opt for one of the large share plates, such as the whole steamed snapper with Chinese cabbage, or the roasted pumpkin curry with cinnamon and kipfler potato. Bang Bang also offers a range of tasty desserts, including sago, coconut and pineapple with chocolate chilli crumble, and black sticky rice with pandan sweet cream, mango and coconut sorbet. The day menu, meanwhile, features a number of delectable breakfast and lunch options, including French toast with grilled banana, passionfruit ice cream, palm sugar caramel and freeze dried berries, a turmeric omelette with bean shoots, prawns and pork; and jasmine rice bowls with satay vegetables, tofu and egg. Finally, we get to the beverages. Bang Bang's coffee comes courtesy of Seven Seeds, and their tea courtesy of Larsen & Thompson. They also offer an array of milkshakes, in chocolate, strawberry, salted caramel and fresh young coconut. As for booze, they've got a variety of wines, beers and ciders and a small but impressive mix of summery cocktails. The basil cucumber smash includes Thai basil and cucumber (duh) along with Plymouth gin, pineapple juice and lime. We're also quite taken with a watermelon-based cocktail kicked with chilli salt and pepper-infused vodka. Appears in: The Best Bottomless Brunches in Melbourne for 2023
Colin Farrell's recent hot streak continues. After a busy few years that've seen him earn Oscar and BAFTA nominations for The Banshees of Inisherin, notch up a Gotham Awards nod for After Yang, steal scenes so heartily in The Batman that TV spinoff The Penguin is on the way and pick up the Satellite Awards' attention for The North Water, Apple TV+'s Sugar now joins his resume. The Irish actor's television credits are still few — and, until his True Detective stint in 2015, far between — but it's easy to see what appealed to him about leading this mystery series. There's much to entice viewers, too, including an alluring slipperiness that spans past the sleuth-focused premise from creator Mark Protosevich (whose last screen credit is scripting and co-producing the American Oldboy remake). From the moment that Los Angeles-set noir Sugar begins — in Tokyo in black and white, in fact, covering a situation that involves a yakuza gangster's kidnapped grandson — it drips with intrigue. Farrell's John Sugar, the show's namesake, is a suave private detective whichever city that he's in. Upon his return to the US, he takes a big Hollywood case against his handler Ruby's (Kirby, Scott Pilgrim Takes Off) recommendation. She thinks that he needs rest instead. She's adamant that the gig isn't for him. But once he signs on, he's swiftly plunged into sinister City of Angels chaos, bringing The Big Sleep, Chinatown, LA Confidential and Under the Silver Lake to mind, and loving movie history beyond the show sharing the same genre as said flicks. Softly spoken, always crispy dressed in Savile Row suits, understandably cynical, frequently behind the wheel of a blue vintage convertible as it drives down neon-lit streets and also narrating his experiences via voiceover, Sugar, the PI, is a film fan. The series bakes that love and its own links to cinema history into its very being through spliced-in footage and references elsewhere. To watch Sugar, the series, is to take a voyage through the gumshoe stories, LA visions, accounts of duplicity and other thematically connected flicks that've blazed across the silver screen before (The Big Heat, Kiss Me Deadly, Sunset Boulevard, Double Indemnity, Touch of Evil, The Night of the Hunter, The Third Man and The Thing are just a few that pop up). At the same time, with its wholehearted embrace of movies, the show also foregrounds the idea that illusions — aka what Tinseltown so eagerly sells via its celluloid dreams — are inescapable in its narrative. Twists come, some relating to Sugar's current assignment and some bigger — and suspense stacks up like crystalline cubes along the way — but his new task is at the show's centre for its eight-episode first season. The gig: endeavouring to track down Olivia Siegel (Sydney Chandler, Don't Worry Darling), a member of Hollywood royalty who has vanished to the immense concern of her grandfather and legendary film producer Jonathan (James Cromwell, Succession). She's also the daughter of less-worried (and less-renowned) fellow producer Bernie (Dennis Boutsikaris, Better Call Saul); half-sister of former child star David (Nate Corddry, Barry), who is on the comeback trail; and ex-stepdaughter of pioneering rocker Melanie (Amy Ryan, Beau Is Afraid). Each one is a person of interest in Sugar's quest to ascertain Olivia's whereabouts — and each has their secrets. If locating a missing person was simple, it wouldn't fuel film and TV narratives. Trying to find Olivia inspires heated and dangerous opposition from every angle, which directors Fernando Meirelles (The Two Popes) and Adam Arkin (The Night Agent) — collaborating with cinematographers César Charlone (also The Two Popes) and Richard Rutkowski (Masters of the Air) — reflect visually. In its own imagery, when the four-strong editing team aren't cutting in snippets of classic pictures, askew placements, shots peering through doorways and frequently obscured positioning are rarely far from sight. Sugar isn't just about a film buff, and doesn't merely weave in movie clips and take its cues from beloved cinema genres; it also values a big-screen look within its meticulously poised small-screen frames. Even with a cinephile for a protagonist, Sugar clearly isn't here to ignore the entertainment industry's unseemly side. Also sparked as it slinks through the clash of Tinseltown's glow and shadows: an excellently cast series that splashes around its affection for film noir and LA movies gone by wherever it can, but a show that's never afraid to be its own thing as well. Accordingly, Protosevich and his co-scribes Donald Joh (Invasion), Sam Catlin (Preacher) and David Rosen (Hunters) simultaneously probe, revere and swerve. Then arrives a bold and brilliant move that reframes everything that precedes it — one with its own winks at specific movies, of course — and ensures that Los Angeles' status as a new home for anyone chasing its gleaming sense of opportunity sprinkles on another layer. Farrell as a private eye in a hardboiled neo-noir crime drama is the stuff that detective-genre fantasies are made of. Getting Farrell leading Sugar into the rest of its concept is also a savvy decision. Investigations, as the series shows, are as much about the right pieces falling into the right places at the right time as they are about determination, instinct and gumption — and Sugar itself equally embodies that truth. Sincere yet world-weary, earnest but clear-eyed, tender but pragmatic, suave but haunted, sorrowful and vulnerable but hopeful, and decent in a place and a world that rarely recognises let alone rewards such a trait, the show's titular role isn't a straightforward one. Indeed, that's so much the case that it feels as if Farrell was born to play the part, and that the series might've crumbled without him proving magnetic yet restrained at its core. Any sleuth story is built from one-on-one exchanges; that's how interrogations work. Farrell's perfect-for-the-role skills don't only apply in fleshing out Sugar as a character, maintaining an enigmatic air even as viewers peer into his soul, but in the dynamics with Kirby, Ryan, Cromwell and his fellow co-stars — Anna Gunn (Physical) as David's protective mother and another of Olivia's stepmothers among them. Whatever the plot throws his way, and whoever else, Farrell has audiences investing in the journey, the clue-chasing, the cross-examinations, the connections and the searching, Olivia-driven and existential alike. If a second season follows, he'll also be a key reason to tune in for what'll likely be a very different program. Check out the trailer for Sugar below: Sugar streams via Apple TV+.
Call this 'The One with Familiar But Still Exciting News': Friends! The Musical Parody is bringing its comedic, song-filled take on a certain 90s sitcom to Australia in 2022. Yes, this announcement has been made before, and more than once. The show has even opened its umbrellas in some parts of the country already. But we all know how the past two years have turned out — so the fact that the production is doing the rounds again should still make your day, week, month and even your year. This time around, Friends! The Musical Parody will kick off its tour in Adelaide in May, before being there for audiences in Hobart, Wollongong, Sydney, Canberra, Brisbane, Perth and Melbourne. So, wherever you live, get ready to spend time with the show's versions of Ross, Rachel, Chandler, Monica, Joey and Phoebe — hanging out at their beloved Central Perk, of course, and sitting on an orange couch, no doubt. The musical starts with caffeinated catch-ups, but then a runaway bride shakes up the gang's day. From there, you'll get to giggle through a loving, laugh-filled lampoon that both makes good-natured fun of and celebrates the iconic sitcom. Yes, no one told you that being obsessed with the Courteney Cox, Jennifer Aniston, Matthew Perry, Matt LeBlanc, Lisa Kudrow and David Schwimmer-starring show about six New Yorkers would turn out this way — with on-stage skits and gags, recreations of some of the series' best-known moments, and songs with titles such as 'How you Doin?' and 'We'll Always Be There For You'. And no, no one told us that being a Friends aficionado would continue to serve up so many chances to indulge our fandom 17 years after it finished airing, either. FRIENDS! THE MUSICAL PARODY AUSTRALIAN TOUR 2022: May 4–15: Dunstan Playhouse, Adelaide Festival Centre, Adelaide May 20–21: Wrest Point Entertainment Centre, Hobart May 26–28: Illawarra Performing Arts Centre, Wollongong June 10–18: Riverside Theatres, Parramatta July 13–15: The Playhouse, Canberra Theatre Centre, Canberra July 20–24: The Tivoli, Brisbane September 9–11: Regal Theatre, Perth November 23–December 17: Athenaeum Theatre, Melbourne Friends! The Musical Parody tours the country from May–December 2022. For further details, and to buy tickets, visit the production's website.
Talk about going out on top: Sky Safari, a mainstay of Sydney's Taronga Zoo since 1987, is saying farewell. The sky-high cable car — the Harbour City's only cable car, in fact — has been a beloved part of a trip to the animal-filled tourist attraction for a huge 35 years. But, once February 2023 arrives, it's retiring in its current guise. That means that Sydney locals and visitors alike have until Tuesday, January 31 to go for a last spin, which includes views of the Sydney Harbour, peering down at Taronga's Asian elephants as they play and attempting to see squirrel monkeys. But, hopefully, this is just a goodbye-for-now situation, with an upgrade already planned — pending final approval. View this post on Instagram A post shared by Taronga Zoo (@tarongazoo) "The current Sky Safari is an ageing asset and has reached the end of its workable life with Taronga," explained the zoo's team announcing the news. "Plans are underway for an exciting new experience. While we are in early stages of planning, the revitalised Sky Safari will feature additional larger and accessible gondolas, extend along an expanded route, and provide greater access to the zoo for guests of all ages and abilities," the statement continues. [caption id="attachment_830238" align="alignnone" width="1920"] Destination NSW[/caption] Last upgraded in 2000, and even carrying the Olympic Torch for the Sydney Olympics that same year, the Sky Safari has carried more than 20 million passengers over its lifetime, helping ferry zoo-goers around the 28-hectare site. In its absence, there'll be extra buses in holiday and peak periods to move patrons to Taronga's top entrance. When 2025 hits, that's when the new Sky Safari is aiming to start operating, as part of a major investment by the New South Wales Government that'll also help future-proof it as much as possible — and Taronga itself. Announced back in April 2022, Sky Safari 2.0 is set to gain more gondolas than the 21 currently used, and larger and more accessible ones at that. At the moment, it can't accommodate guests in bigger wheelchairs, which is something that's set to be addressed The revamped Sky Safari will also head along an expanded route, complete with new terminals. That'll connect to fellow upgrades that are in the works at the Taronga Zoo Wharf — and, thanks to those extra gondolas, increase Sky Safari's daily capacity. And, Taronga visitors will also gain additional ways to view the venue's inhabitants from a lofty perch. At the time of writing, the makeover proposal is still in the planning stage, and accepting community feedback. Ideally, a development application will be lodged in 2023, with construction starting before the year is out. Taronga Zoo's Sky Safari will take its last ride in its current form on Tuesday, January 31, 2023. Head to the zoo's website for further details, and for bookings before the end of the month.
Do you adore greenery, wish your house could be filled with blossoming petals and gorgeous leaves, but don't have the greenest of thumbs? That's a hugely relatable predicament. Now, a second question: do you firmly think that you never grow out of Lego, and also find building with the plastic bricks peaceful? The toy brand's latest range has answers to both queries. At the beginning of 2021, Lego unleashed its new Botanical Collection — part of its growing range for adults, because we're all well past pretending that Lego is just for kids. Back then, it boasted a flower bouquet and a bonsai, letting you add both to your home without worry about care, water, wilting or the expiry date that always comes with cut florals. Or, they made great gifts to your nearest and dearest for all of the same reasons. The two latest items in the range also tick those boxes. If you're terrible with keeping greenery alive, they're ideal for you, too. And no, even you can't kill these succulents or orchids — from under- or overwatering, not enough sun or too much, or the usual long list of things that can go wrong when you become a plant parent. The 771-piece succulent kit features nine different Lego cacti and the like in different shapes, sizes and hues, all in their own separate containers. Connect them together for one striking piece, or keep them apart and place them in different spots — the choice is obviously yours. As for the 608-piece orchid set, it'll see you build a towering bloom with six large flowers and two newly opened flowers, all in a blue fluted vase. And it really isn't small, measuring 39 centimetres in height. Available now in Australia and New Zealand, both kits are customisable, and also based on actual plants — so they look as lifelike as Lego succulents and orchids can. Sure, fake flowers exist, but they're nowhere near as engaging to put together as this build-your-own low-maintenance option. As well as catching the eye and adding some splashes of green to your decor, Lego's newest products are designed to help you destress and get mindful — something that the brand has been promoting for adults for a few years now. Both kits cost $89.99 each in Australia and $99.99 each in New Zealand. And if you're keen on more, the original two sets are still available, as is a bird of paradise in a pot, plus small sunflower, rose and tulip kits. For more information about Lego's new Botanical Collection, including the flower bouquet and bonsai tree kits, head to the company's website.
2023 marks 65 years since Australia's film and television industry first started recognising its best work of the year with accolades. Back then, the gongs were called the AFI Awards. When the Australian Film Institute created the Australian Academy of Cinema and Television Arts in 2011, the awards changed names to the AACTAs. The country's standout flicks and TV highlights are still rewarded with shiny trophies, though — and, since making the switch in monikers in 2012, the big winners paint quite the picture of Australia's screen output. Red Dog, The Sapphires, The Great Gatsby, The Babadook, The Water Diviner, Mad Max: Fury Road, Hacksaw Ridge, Lion, Sweet Country, The Nightingale, Babyteeth, Nitram and Elvis have all been anointed Australia's top movie. Among the small-screen recipients, Best Drama has gone to East West 101, Puberty Blues, Redfern Now, The Code, Glitch, Wentworth, Top of the Lake: China Girl, Mystery Road, Total Control, The Newsreader and Mystery Road: Origin. They all now have company, with the 2024 awards looking back on 2023's highlights announced on Saturday, February 10. Talk to Me was named Best Film, while The Newsreader claimed Best Drama again. The AACTAs are known to concentrate the love towards a few titles each year. 2024 is different, however. The list of winners goes on, and makes an ace must-see lineup of top-notch Aussie movies and TV shows to catch up on or revisit from the past year. Here's 13 that you can watch now: Movie Must-Sees Talk to Me An embalmed hand can't click its fingers, not even when it's the spirit-conducing appendage at the heart of Talk to Me. This is an absolute finger snap of a horror film, however, and a fist pump of a debut by Australian twins Danny and Michael Philippou. As RackaRacka, the Adelaide-born pair have racked up six-million-plus subscribers on YouTube via viral comedy, horror and action combos. As feature filmmakers, they're just as energetic, eager and assured, not to mention intense about giving their all. Talk to Me opens with a party that's soon blighted by both a stabbing and a suicide. It segues swiftly into a Sia sing-along, then the violent loss of one half of the Aussie coat of arms. A breakout hit at the 2023 Sundance Film Festival, where it sparked a distribution bidding war won by indie favourite A24, it's constantly clicking, snapping and ensuring that viewers are paying attention — with terror-inducing imagery, a savvy sense of humour, both nerve and the keenness to unnerve, and a helluva scary-movie premise that's exceptionally well-executed. The picture's outstretched mitt is the Philippous' Ouija board. That withered and scribbled-on paw is also a wildly unconventional way to get high. In a screenplay penned by Danny with fellow first-timer Bill Hinzman, but based on Bluey and Content executive producer Daley Pearson's short-film concept — yes, that Bluey — shaking hands with the distinctive meat hook is a party trick and dare as well. When the living are palm to palm with this dead duke, in flows a conjuring. A candle is lit, "talk to me" must be uttered, then "I let you in". Once heads are kicking back and the voices start, no one should grasp on for more than 90 seconds, as Hayley (Zoe Terakes, Nine Perfect Strangers) and Joss (Chris Alosio, Millie Lies Low) explain. But, as she navigates the anniversary of her mother's death, Mia (Sophie Wilde, Boy Swallows Universe) is up for going as far as she can. Here, being consumed by sinister spirits, not consuming booze, is an escape. That, and filming whatever twisted chaos happens when you connect with the otherworldly. It isn't all fun and frights and games, though; when her best friend Jade's (Alexandra Jensen, Joe vs Carole) 14-year-old brother Riley (Joe Bird, First Day) takes part, traumatic consequences spring. AACTAs Won: Best Film, Best Direction (Danny and Michael Philippou), Best Lead Actress (Sophie Wilde), Best Editing, Best Hair and Makeup, Best Original Score, Best Screenplay, Best Sound. Where to watch it: Talk to Me streams via Netflix, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Danny Philippou. Limbo When Ivan Sen sent a police detective chasing a murdered girl and a missing woman in the Australian outback in 2013's Mystery Road and its 2016 sequel Goldstone, he saw the country's dusty, rust-hued expanse in sun-bleached and eye-scorching colour. In the process, the writer, director, co-producer, cinematographer, editor and composer used his first two Aussie noir films and their immaculately shot sights to call attention to how the nation treats people of colour — historically since its colonial days and still now well over two centuries later. Seven years after the last Jay Swan movie, following a period that's seen that character make the leap to the small screen in three television seasons, Sen returned with a disappearance, a cop, all that inimitable terrain and the crimes against its Indigenous inhabitants that nothing can hide. Amid evident similarities, there's a plethora of differences between the Mystery Road franchise and Limbo; however, one of its simplest is also one of its most glaring and powerful: shooting Australia's ochre-toned landscape in black and white. Limbo's setting: Coober Pedy, the globally famous "opal capital of the world" that's known for its underground dwellings beneath the blazing South Australian earth, but reimagined as the fictional locale that shares the film's name — a place unmistakably sporting an otherworldly topography dotted by dugouts to avoid the baking heat, and that hasn't been able to overcome the murder of a local Indigenous girl two decades earlier. The title is symbolic several times over, including to the visiting Travis Hurley (Simon Baker, Boy Swallows Universe), whose first task upon arrival is checking into his subterranean hotel, rolling up his sleeves and indulging his heroin addiction. Later, he'll be told that he looks more like a drug dealer than a police officer — but, long before then, it's obvious that his line of work and the sorrows he surveys along the way have kept him hovering in a void. While he'll also unburden a few biographical details about mistakes made and regrets held before the film comes to an end, such as while talking to the missing Charlotte Hayes' brother Charlie (Rob Collins, The Drover's Wife The Legend of Molly Johnson) and sister Emma (Natasha Wanganeen, The Survival of Kindness), this tattooed cop with wings inked onto his back is already in limbo before he's literally in Limbo talking. AACTAs Won: Best Indie Film. Where to watch it: Limbo streams via iTunes and Prime Video. Read our full review, and our interview with Ivan Sen and Simon Baker. The New Boy Warwick Thornton, Cate Blanchett, Deborah Mailman, Nick Cave and Warren Ellis: name a better Australian quintet. The director of Samson & Delilah and Sweet Country, the two-time Oscar-winner and Tár tour de force, the local screen mainstay, and the Bad Seeds bandmates and seasoned film composers all combine not for the ultimate Aussie dinner party, but for The New Boy. None are debuting in their jobs. All are exceptional. They're each made better, however, by the luminous and entrancing Aswan Reid. As well as playing the titular part, the 11-year-old first-time actor lives it among such a wealth of acclaimed and experienced talent — and he's such a find in such excellent company, while saying little in words but everything in every other way, that Thornton's third fictional feature owes him as much of a debt as its applauded and awarded household names. There's a spark to Reid from the moment that he's first spied grappling with outback law enforcement under blazing rays as Cave and Ellis' (This Much I Know to Be True) latest rousing score plays. His sun-bleached hair couldn't be more fitting, or symbolic, but it's the confident way in which he holds himself as New Boy, plus the determined look on his face, that sears. Wily and wiry, the feature's eponymous figure is toppled by a boomerang, then bagged up and transported to the remote Catholic orphanage doted on by Sister Eileen (Blanchett, Nightmare Alley) in the 1940s. The cop doing the escorting notes that the kid is a bolter, but the nun is just as fast in her kindness. She sees what Thornton wants his audience to see: a boy that beams with his presence and through his sense of self, even though he's been snatched up, taken from his Country and forced into a Christian institution against his will. Sister Eileen is as drawn to him as the movie, but — and not just due to the red wine she likes sipping and the subterfuge she's keeping up about the resident father's absence — she isn't as certain about what to do. AACTAs Won: Best Lead Actor in Film (Aswan Reid), Best Supporting Actress (Deborah Mailman), Best Cinematography, Best Production Design. Where to watch it: The New Boy streams via Binge, Prime Video, YouTube Movies and iTunes. Read our full review, and our interview with Warwick Thornton. John Farnham: Finding the Voice There's no need to try to understand it: John Farnham's 1986 anthem 'You're the Voice' is an instant barnstormer of a tune. An earworm then, now and for eternity, it was the Australian song of the 80s. With its layered beats, swelling force and rousing emotion, all recorded in a garage studio, it's as much of a delight when it's soundtracking comedy films like the Andy Samberg-starring Hot Rod and the Steve Coogan-led Alan Partridge: Alpha Papa as it is echoing out of every Aussie pub's jukebox. Making a noise and making it clear, 'You're the Voice' is also one of the reasons that Farnham's 1986 album Whispering Jack remains the best-selling homegrown release ever nearing four decades since it first dropped. But, as John Farnham: Finding the Voice tells, this iconic match of track and talent — this career-catapulting hit for a singer who'd initially tasted fame as a teen pop idol two decades prior — almost didn't happen. Whispering Jack also almost didn't come to fruition at all, a revelation so immense that imagining Australia without that album is like entering Back to the Future Part II's alternative 80s. Writer/director Poppy Stockwell (Scrum, Nepal Quake: Terror on Everest) and her co-scribe Paul Clarke (a co-creator of Spicks and Specks) know this, smartly dedicating a significant portion of Finding the Voice to that record and its first single. The titbits and behind-the-scenes anecdotes flow, giving context to a song almost every Aussie alive since it arrived knows in their bones. Gaynor Wheatley, the wife of Farnham's late best friend and manager Glenn, talks about how they mortgaged their house to fund the release when no label would touch the former 'Sadie (The Cleaning Lady)' crooner. Chris Thompson, the English-born, New Zealand-raised Manfred Mann's Earth Band musician who co-penned 'You're the Voice', chats about initially declining Farnham's request to turn the tune into a single after the latter fell for it via a demo. AACTAs Won: Best Documentary. Where to watch it: John Farnham: Finding the Voice streams via YouTube Movies, iTunes and Prime Video. Read our full review. Shayda Whether or not Noora Niasari was ever explicitly told to write what she knew, the Iranian Australian filmmaker has taken that advice to heart. Her mother listened to the same guidance first, even if it was never spoken to her, either. The latter penned a memoir that has gone unpublished, but helped form the basis of the powerful and affecting Shayda. This account of a mum and her daughter attempting to start anew in a women's shelter doesn't entirely stick to the facts that writer/director Niasari and her mother lived through. The Sundance-premiering, Melbourne International Film Festival-opening, Oscars-entered feature — it was Australia's contender for Best International Feature Film at the 2024 Academy Awards, but wasn't nominated — isn't afraid to fictionalise details in search of the best screen story. Still, the tale that's told of courage, resilience, rebuilding lives and finding a new community is deeply and patently personal. Perhaps even better, it's inescapably authentic. Niasari peers back at being barely of primary-school age and making a new home. Fleeing to a women's shelter is the only option that the film's eponymous figure (Zar Amir Ebrahimi, 2022's Cannes Best Actress-winner for Holy Spider) has to get away from the abusive Hossein (Osamah Sami, Savage River), whose controlling nature is matched by that of their patriarchal culture. So, Shayda leaves with six-year-old Mona (debutant Selina Zahednia). As she waits for her divorce proceedings to go through — a complicated task under Iranian law and customs — she seeks refuge at a secret site overseen by the caring Joyce (Leah Purcell, The Lost Flowers of Alice Hart). Even surrounded by kindness and filled with desperation for a better future, every iota of Shayda's decision is fraught and tense; Niasari starts the film with Mona at an airport being told what to do if she's ever there with her father, should he try to take her not only away from her mum but also back to Iran. AACTAs Won: Best Casting. Where to watch it: Shayda streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Noora Niasari. Carmen Breaking down a classic tale best known as an opera, rebuilding it as a lovers-on-the-run drama set across the US–Mexico border and making every moment burst with emotion, Benjamin Millepied's Carmen is a movie that moves. While its director is a feature debutant, his background as a dancer and choreographer — he did both on Black Swan, the latter on Vox Lux as well, then designed the latest Dune films' sandwalk — perhaps means that the former New York City Ballet principal and Paris Opera Ballet Director of Dance was fated to helm rhythmic, fluid and rousing cinema. His loose take on Georges Bizet's singing-driven show and Prosper Mérimée's novella before it, plus Alexander Pushkin's poem The Gypsies that the first is thought to be based on, is evocative and sensual. It's sumptuous and a swirl of feelings, too, as aided in no small part by its penchant for dance. And, it pirouettes with swoon-inducing strength with help from its stunningly cast leads: Scream queen and In the Heights star Melissa Barrera, plus Normal People breakout and Aftersun Oscar-nominee Paul Mescal. When Mescal earned the world's attention in streaming's initial Sally Rooney adaptation, he had viewers dreaming of fleeing somewhere — Ireland or anywhere — with him. Carmen's namesake (Barrera) absconds first, then has PTSD-afflicted Marine Aidan (Mescal) join her attempt to escape to Los Angeles. Carmen runs after her mother Zilah (flamenco dancer Marina Tamayo) greets the cartel with thunderous footwork, but can't stave off their violence. Aidan enters the story once Carmen is smuggled stateside, where he's a reluctant volunteer border guard in Texas alongside the trigger-happy Mike (Benedict Hardie, The Drover's Wife The Legend of Molly Johnson). As the picture's central pair soon hurtle towards California, to Zilah's lifelong friend Masilda's (Rossy de Palma, Parallel Mothers) bar, they try to fly to whatever safety and security they can find. That may be fleeting, however, and might also be in each other's arms. AACTAs Won: Best Costume Design. Where to watch it: Carmen streams via Stan, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Benjamin Millepied. The Giants Nature documentaries rarely simply spy the earth's wonders, point cameras that way and let the planet itself do the talking. Instead, films such as 2017's The Ancient Woods are by far the exception rather than the rule. And yet, the best footage within any movie about our pale blue dot makes viewers wish that more favoured the "a picture is worth a thousand words" approach. Take The Giants, for instance. When it includes talk, which is often, it's no lesser a feature. The conversation and commentary offered is illuminating, in fact. But when it wanders through Tasmania's colossal foliage within the Styx Valley, Southern Forests and the Tarkine, which is also regularly, it feels like it barely needs to utter a single thing. This isn't merely a factual affair about flora, with environmental campaigner and pioneering former Greens senator Bob Brown firmly at its core, but The Giants knows that paying tribute to both is best done by staring at leafy surroundings as much as it can. It's no everyday feat to get a movie-watching audience admiring the natural world while peering at a screen, even if the frequency with which David Attenborough's docos arrive has helped everyone both think and expect otherwise. Indeed, notching up that achievement is a mammoth accomplishment on the part of The Giants' filmmakers Laurence Billiet (Freeman) and Rachel Antony, plus cinematographer Sherwin Akbarzadeh (Carbon — The Unauthorised Biography). Crucially, it assists what was always going to be a fascinating ode to bloom as much as any plant that it waters with attention. When you're crafting a documentary that intertwines a love letter to Australia's ancient native forests and their ecosystems with a powerful portrait of a hefty figure who has devoted much of his life to fighting for them, showing all the green splendour it possibly can is equally a must and a masterstroke. AACTAs Won: Best Cinematography in a Documentary. Where to watch it: The Giants streams via DocPlay, YouTube Movies, iTunes and Prime Video. Read our full review. Ego: The Michael Gudinski Story Post-viewing soundtrack, sorted: to watch Ego: The Michael Gudinski Story is to take a trip down memory lane with the Australian music industry and hear homegrown standouts from the past five decades along the way. Unsurprisingly, this documentary already has an album to go with it, a stacked release which'd instantly do its eponymous figure proud. His tick of approval wouldn't just stem from the artists surveyed, but because Ego: The Michael Gudinski Story's accompanying tunes comprise a three-disc number like Mushroom Records' first-ever drop, a 1973 Sunbury Festival live LP. To tell the tale of Gudinski, the record executive and promoter who became a household name, is to tell of Skyhooks, Split Enz, Hunters & Collectors, Jimmy Barnes, Paul Kelly, Kylie Minogue, Archie Roach, Yothu Yindi, Bliss n Esso, The Temper Trap, Gordi and Vance Joy, too — and to listen to them. Need this on-screen tribute to give you some kind of sign that the Gudinski and Mushroom story spans a heap of genres? Both the film and the album alike include Peter Andre. Any journey through Michael Gudinski's life and career, from his childhood entrepreneurship selling car parks on his family's vacant lot to his years and years getting Aussie music to the masses — and, on the touring side, bringing massively popular overseas artists to Aussies — needs to also be an ode to the industry that he adored. The man and scene are inseparable. But perhaps Ego: The Michael Gudinski Story plays as such an overt love letter to Australian music because it's an unashamed hagiography of Gudinski. Although the movie doesn't deliver wall-to-wall praise, it comes close. When it begins to hint at any traces of arrogance, moodiness or ruthlessness, it quickly does the doco equivalent of skipping to the next track. Australian Rules and Suburban Mayhem director Paul Goldman, a seasoned hand at music videos as well, has called his feature Ego and there's no doubting his subject had one; however, the takeaway in this highly authorised biography is that anything that doesn't gleam was simply part of his natural mischievousness and eager push for success. AACTAs Won: Best Sound in a Documentary. Where to watch it: Ego: The Michael Gudinski Story streams via YouTube Movies, iTunes and Prime Video. Read our full review. Small-Screen Standouts Deadloch Trust Kate McCartney and Kate McLennan, Australia's favourite Kates and funniest double act, to make a killer TV show about chasing a killer that's the perfect sum of two excellent halves. Given their individual and shared backgrounds, including creating and starring in cooking show sendup The Katering Show and morning television spoof Get Krack!n, the pair unsurprisingly add another reason to get chuckling to their resumes; however, with Deadloch, they also turn their attention to crime procedurals. The Kates already know how to make viewers laugh. They've established their talents as brilliant satirists and lovers of the absurd in the process. Now, splashing around those skills in Deadloch's exceptional eight-episode first season lead by Kate Box (Stateless) and Madeleine Sami (The Breaker Upperers), they've also crafted a dead-set stellar murder-mystery series that ranks among The Kates' best work in almost every way. The only time that it doesn't? Not putting the tremendous pair on-screen themselves. Taking place in a sleepy small town, commencing with a body on a beach, and following both the local cop trying to solve the case and the gung-ho blow-in from a big city leading the enquiries, Deadloch has all the crime genre basics covered from the get-go. The Tasmanian spot scandalised by the death is a sitcom-esque quirky community, another television staple that McCartney and McLennan nail. Parody requires deep knowledge and understanding; you can't comically rip into and riff on something if you aren't familiar with its every in and out. That said, Deadloch isn't in the business of simply mining well-worn TV setups and their myriad of conventions for giggles, although it does that expertly. With whip-smart writing, the Australian series is intelligent, hilarious, and all-round cracking as a whodunnit-style noir drama and as a comedy alike — and, as Box's by-the-book Senior Sergeant Dulcie Collins and Sami's loose and chaotic Darwin blow-in Eddie Redcliffe are forced to team up, it's also one of the streaming highlights of the past year. AACTAs Won: Best Acting in a Comedy (Kate Box), Best Casting in Television, Best Editing in Television, Best Original Score in Television, Best Screenplay in Television. Where to watch it: Deadloch streams via Prime Video. Read our full review, and our interview with Kate McCartney and Kate McLennan. The Lost Flowers of Alice Hart In The Lost Flowers of Alice Hart, blooms are rarely out of sight and petals never evade attention. Adapted from Holly Ringland's 2018 novel, the seven-part Australian miniseries is set on a farm that cultivates native flora. It dubs the women who tend to them, an ensemble from various backgrounds largely seeking refuge from abusive pasts, "flowers" as well. Whether stem by stem or in bunches, its characters use florets as their own secret language. And yet, as much as bouquets linger, getting all things floral on the mind, star Sigourney Weaver burns rather than blossoms. Fire is another of the show's strong recurring motifs, so it's still fitting that its biggest name is as all-consuming as a blaze. She needs to be that scorching: this is a story about endeavouring to survive while weathering woes that ignite everything in their path. Weaver also draws upon almost five decades of thriving before the camera, often playing steely, smart and sometimes-raging women. Her on-screen career began sparking with Alien, the film that made her an instant icon. Since then, everyone has heard her performances scream — and, in The Lost Flowers of Alice Hart, she's again dazzling. Flowers frequently surround Weaver's June Hart far and wide. With a carefully selected cutting, the shotgun-toting matriarch of Thornfield Flower Farm can say all she needs to. That's what the eponymous Alice (Ayla Browne, Nine Perfect Strangers) quickly learns about her grandmother when she arrives at the property following a tragedy, becoming one of the farm's flowers after losing her pregnant mother Agnes (Tilda Cobham-Hervey, Hotel Mumbai) and violent father Clem (Charlie Vickers, The Lord of the Rings: The Rings of Power). The Lost Flowers of Alice Hart is a tale about traumas, secrets and lies that lurk as deeply as the earth — about the choices and cycles that take root in such fraught soil, too. When nine-year-old Alice relocates fresh from hospital, the determined June, her doting partner Twig (Leah Purcell, The Drover's Wife The Legend of Molly Johnson) and their adopted daughter Candy Blue (Frankie Adams, The Expanse) aim to shower the girl with sunlight to blaze away her horrors. You can't just bury problems, however, then hope that something vivid and colourful will grow over the top. Dedicating its first half to Alice's childhood and its second to 14 years later, when she's in her early twenties (Alycia Debnam-Carey, Fear the Walking Dead), The Lost Flowers of Alice Hart understands this immutable fact in its core. AACTAs Won: Best Miniseries, Best Cinematography in Television, Best Production Design in Television, Best Sound in Television. Where to watch it: The Lost Flowers of Alice Hart streams via Prime Video. Read our full review. Colin From Accounts A girl, a guy and a meet-cute over an adorable animal: that's the delightful and very funny Colin From Accounts' underlying formula. When medical student Ashley (Harriet Dyer, The Invisible Man) and microbrewery owner Gordon (Patrick Brammall, Evil) cross paths in the street one otherwise standard Sydney morning, they literally come to an impasse. He lets her go first, she flashes her nipple as thanks, then he's so distracted that he hits a stray dog with his car. As these circumstances demonstrate, Colin From Accounts isn't afraid to get awkward, much to the benefit of audiences. There's a syrupy way to proceed from the show's debut moments, intertwining sparks flying with idyllic dates, plus zero doubts of a happy ending for humans and pooches alike. If this was a movie, that's how it'd happen. Then there's Dyer and Brammall's way, with the duo creating and writing the series as well as starring in it, and focusing as much on ordinary existential mayhem — working out who you want to be, navigating complex relationships and learning to appreciate the simple pleasure of someone else's company, for example — as pushing its leads together. Just like in the Hollywood versions of this kind of tale, romance does blossom. That Dyer and Brammall are behind Colin From Accounts, their past chemistry on fellow Aussie comedy No Activity and the fact that they're married IRL means that pairing them up as more than new pals was always going to be on the show's agenda. It's how the series fleshes out each character and their baggage — including those who-am-I questions, Ash's difficult dynamic with her attention-seeking mother Lynelle (Helen Thomson, Elvis), and the responsibility that running your own business and committing to care for other people each bring — that helps give it depth. Colin From Accounts lets Ash and Gordon unfurl their woes and wishes, and also lets them grow. Sometimes, that happens by peeing and pooping in the wrong place, because that's also the type of comedy this is. Sometimes, it's because the show's central couple have taken a risk, or faced their struggles, or genuinely found solace in each other. Always, this Aussie gem is breezy and weighty — and instantly bingeable. AACTAs Won: Best Narrative Comedy Series. Where to watch it: Colin From Accounts streams via Binge. Read our full review. The Newsreader Aspiring Australian actors, take note: modelling your career after Anna Torv's so far is highly recommended. She's among the lengthy list of Aussies to call The Secret Life of Us one of her launch pads (another: Joel Edgerton). For five seasons and 100 episodes, she led fantastic US sci-fi series Fringe opposite Joshua Jackson (Fatal Attraction). The Daughter and Force of Nature: The Dry 2 in cinemas, plus Secret City, Mindhunter and The Last of Us on TV: they're also on her resume, which boasts both Hollywood and homegrown standouts. In the latter category, so is The Newsreader. Debuting with a six-episode first season in 2021, returning for the same stretch in 2023 and with another half-dozen on the way in 2024, it casts Torv as Helen Norville, News at Six's first-ever female newsreader. With the show set in the 80s, that gig isn't easy as misogyny and sexism run rife in the media industry — and as major real-life events, including the Challenger explosion, the Azaria Chamberlain case, Chernobyl and the 1987 federal election, are weaved in, all requiring news coverage. Torv is unsurprisingly excellent as Helen, and also in great company. As Dale Jennings, who starts the series as a budding reporter, Sam Reid is every bit up to the task. (He'a also someone whose own filmography is impressive both at home and abroad, thanks to past parts in The Railway Man, Belle, '71, Prime Suspect 1973, Lambs of God, The Drover's Wife the Legend of Molly Johnson and the Interview with the Vampire TV series.) The Newsreader isn't just anchored by two stellar leads, however, or guided by a cast that also includes Robert Taylor (Scrublands), William McInnes (NCIS: Sydney), Michelle Lim Davidson (After the Trial), Marg Downey (Jones Family Christmas), Chum Ehelepola (Preppers) and Stephen Peacocke (Five Bedrooms). It's textured at the character level, and also enthralling in its newsroom antics and glance backwards at Australia's past. Indeed, it's no wonder that more seasons keep coming. AACTAs Won: Best Drama Series, Best Lead Actress in a Drama (Anna Torv), Best Supporting Actor in a Drama (Hunter Page-Lochard), Best Costume Design in Television, Best Direction in Drama or Comedy. Where to watch it: The Newsreader streams via ABC iView. Love Me Add Love Me to the list of Aussie dramas set in Melbourne and featuring starry casts, alongside The Secret Life of Us, Tangle and Offspring. In this one, which first arrived in 2021, then returned in 2023, the ensemble runs deep — starting with Hugo Weaving (The Royal Hotel) and Bojana Novakovic (Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)). Bob Morley (In Limbo), Celia Pacquola (Utopia), Heather Mitchell (Jones Family Christmas), William Lodder (Bali 2002) and Shalom Brune-Franklin (The Tourist) also feature. Kim Gyngell (The Artful Dodger), Eryn Jean Norvill (Preppers) and Frank Woodley (The Ex-PM) each pop up as well. Given that this is a series about a family and their complicated romantic relationships, the who's who-esque roster of familiar Aussie talent is particularly fitting. The show steps inside the Mathieson clan's amorous ups and downs, in this Aussie adaptation of Sweden's Älska mig, and with such superb casting instantly creating a sense of intimacy in an effort that marked Binge's first local series when it initially debuted. Weaving's Glenn is the father of Novakovic's Clara and Lodder's Aaron. They quickly have death to deal with, as well as love; that life is messy thrums through the series from the outset. What stands out isn't always every minute detail in the plot, as universal and relatable as the storylines are, but the folks navigating it. That, again, is a testament to such savvy casting. Of course, putting Weaving is anything is usually reason enough to press play, especially when he's in thoughtful and layered mode as an everyman grappling with the fact that existence brings pain as well as joy. Amid the scenic vision of Melbourne roved over by helmers Emma Freeman (The Newsreader) and Bonnie Moir (Foe's second-unit director), this series brings characters to the screen with deeply engaging performances that feel layered and lived-in, and worth spending time with. AACTAs Won: Best Lead Actor in a Drama (Hugo Weaving), Best Supporting Actress in a Drama (Heather Mitchell). Where to watch it: Love Me streams via Binge.
In much of The Queen's Gambit, Beth Harmon sits at a chessboard. As a child (Isla Johnston), she pulls up a chair in the basement of the orphanage she calls home and demands that janitor Mr Shaibel (Bill Camp, The Outsider) teach her the game. As a teenager (Anya Taylor-Joy, The New Mutants), she plays whenever she's able, earning a reputation as a chess prodigy. As her confidence and fame grows, she demonstrates her prowess at tournaments around America and the globe, while also spending her spare time hunched over knights, rooks, bishops and pawns studying moves and tactics. None of the above sounds like innately thrilling television unless you're a chess grandmaster, but this seven-part Netflix miniseries firmly proves that you should never judge a show by its brief description. Based on the 1983 novel of the same name by Walter Tevis, written and directed by Oscar-nominee Scott Frank (Out of Sight, Logan), and dripping with lavish 50s and 60s decor and costuming to reflect its period setting, The Queen's Gambit doesn't expect that all its viewers will be chess aficionados. But it's made with a canny awareness that anything can be tense, suspenseful and involving — and that every different type of game there is says much about its players and devotees. The series doesn't lack in creative and inventive ways to depict chess on-screen, whether projecting imagined matches onto the ceiling or peering down on competitive bouts directly from above. It knows when to hang on every single move of a pivotal game, and when to focus on the bigger story surrounding a particular match or Beth path through the chess world in general. And it's especially astute at illustrating how a pastime based on precision and strategy offers an orphaned girl a way to control one lone aspect of her tumultuous and constantly changing life. Indeed, from its very first moments, the series peppers all that chess gameplay throughout a knotty coming-of-age tale — because, while this is definitely a show about chess that serves up an underdog sports narrative, it's really a story about Beth's journey. After a family tragedy, she arrives at a Kentucky orphanage as a defiant slip of a girl. Forced to navigate a stern and strict environment, she finds solace in the tranquillisers that are handed out to the children like lollies, and in the game that instantly piques her curiosity from the moment that she spies Mr Shaibel playing it. Both will change her life, not only during her stint in institutionalised care, but when she's later adopted by the lonely Alma Wheatley (Marielle Heller, who is best-known for directing The Diary of a Teenage Girl, Can You Ever Forgive Me? and A Beautiful Day in the Neighbourhood) and her frequently absent husband (Patrick Kennedy, Peterloo). By the time that Beth is busing around the US and jetting around the world to compete with the game's most formidable players, however, she's also leaning on alcohol as a coping mechanism. Taylor-Joy has had a busy 2020 — or, to be more accurate, audiences Down Under have been spoiled for opportunities to see her on-screen this year. The New Mutants finally reached cinemas after hefty delays, Radioactive just arrived locally after debuting overseas in 2019, and Emma released back before the pandemic changed 2020 forever. But The Queen's Gambit is her best role of the year and, alongside 2014's The Witch, her best work yet. Playing a teen and then a young woman who is constantly changing from moment to moment, and making that reality feel authentic and relatable, she's one of the key reasons that the series is so compelling. She's also crucial to all those chess scenes, with her determined stare and the gleam in her eyes the source of much of the show's weight and tension. She's in excellent company, too, not only thanks to Heller and Camp but also first-timer Moses Ingram as Beth's fellow orphanage resident and Thomas Brodie-Sangster (Game of Thrones, Love Actually) as the cowboy hat-wearing reigning US chess champ; however, she's always the most pivotal piece on the board. Before his death in 2008, Heath Ledger had been preparing to bring The Queen's Gambit to cinemas. It would've marked his directorial debut, and he would've co-starred alongside Ellen Page as Beth. We'll never know how that might've turned out, but this tale works exceptionally well as a miniseries, with the longer duration giving it room to breathe and affording its central character and the themes she's grappling with the space they need to ferment. The Queen's Gambit also benefits from arriving post-Mad Men, a show that it shares a time period with, and visually resembles again and again. And it now reaches viewers at a time when more stories about women fighting their way through male-dominated realms are being made; Frank himself was also behind Netflix's seven-part western Godless, for example. When you start dreaming about chess after watching a single episode, you'll know you're hooked. Check out the trailer below: https://www.youtube.com/watch?v=CDrieqwSdgI The Queen's Gambit is available to stream via Netflix. Top image: Phil Bray/Netflix.
When Josh and Julie Niland announced in 2024 that they're launching their debut Queensland restaurant this year, with Hamilton Island their destination, it was huge news. As the venue gets closer to welcoming patrons in the door — from Thursday, April 24, in fact — it remains one of the big culinary openings of 2025. You'll find the pair's first Sunshine State eatery at The Sundays, a brand-new hotel that's launching on the same date. But Catseye Pool Club, as the Nilands' venture is called, stands out from the pair's other restaurants. There's the location, of course — and eating here does indeed mean dining at an oceanfront spot in The Whitsundays. Then there's the fact that Catseye Pool Club isn't a seafood joint. Whenever Josh and Julie's names come up, it's usually in the same breath as their preferred form of protein. Acclaimed Sydney restaurants, award-winning cookbooks, global kudos, a sustainable seafood restaurant in Singapore: championing a fin-to-tail approach to the ocean's finest, their footprint spans all of the above. Whole-fish cookery remains a feature at Catseye Pool Club, though, but it's just one part of the menu. The plan is to hero Australian ingredients and celebrate shared dining, with dishes designed to be tucked into communally. Taking your time in the sun, making the most of the fact that you're on an island and relaxing in general are also key aspects of the vibe — and the pool club part of the restaurant's name says plenty. Yes, it the eatery is by the pool, too, so you'll be peering at water from multiple sources. "Whilst 'family-style' or 'share-style' dining is very much a way restaurants have operated for many years, the Catseye Pool Club approaches its menu with each item very much designed to be enjoyed as a whole table, with all the trimmings coming with each dish," explains Josh. "The menu is still undergoing final deliberation, but guests can expect beautiful fresh pastries made by the team, 'CPC' spanner crab royale, and coconut and verjuice honey bircher." The Nilands have released a sample menu, to give a further idea of the types of dishes that might be on offer. Think: eastern rock lobster with white bread rolls and tarragon mayonnaise; roasted chicken for two and four, paired with slow-cooked zucchini, chicken-fat roast potatoes, and tomato and grilled bread salad; grass-fed beef rib eye for four, accompanied by boiled greens and house fries; hard line-caught coral trout in salt pastry, again for four; and a neapolitan sundae for dessert. Catseye Pool Club will also serve up breakfast just for hotel guests — and you'll be able to enjoy its range of meals if you're hanging out by the pool rather than sitting at a table. "It's about creating an atmosphere where everyone can detach, unplug and simply enjoy being together. We will also extend our hospitality offering to the guest's pool and sun loungers, with a Queensland ingredient-focused cocktail menu curated by Sam Cocks, the Saint Peter Bar Director," explains Josh. While The Sundays is a luxury boutique hotel, being family friendly is part of the point of difference for the 59-room venue at Catseye Beach's northern end. That mindset applies to the new restaurant, too, with catering to family holidays a guiding principle. At a hotel run by Hamilton Island Enterprises, which is also behind qualia, guests can also look forward to that oceanfront swimming pool surrounded by private cabanas, alongside a pickleball court and tropical gardens. Room options include balcony and terrace, plus interconnecting family rooms, all decked out in calming hues. Find Catseye Pool Club at The Sundays, Catseye Beach, Hamilton Island, from Thursday, April 24, 2025. Head to the hotel's website for more details in the interim. Images: Hamilton Island Photography, Sharyn Cairns, Adam Rikys, Nick Leary.
In Stay of the Week, we explore some of the world's best and most unique accommodations, giving you inspiration for your next trip. In this instalment, we set the compass to regional Victoria and take a trip to Sorrento for a special stay at the newly renovated Hotel Sorrento. [caption id="attachment_899023" align="alignnone" width="1920"] Image: Rising High Media[/caption] WHAT'S SO SPECIAL? Here, in a buzzy pocket of the Mornington Peninsula, Hotel Sorrento has sat for nearly 150 years boasting enviable bay vistas. Now, the historic sandstone building is welcoming a massive expansion including a soon-to-come 30-metre pool and rooftop yoga studio. At the moment, Hotel Sorrento boasts five separate bars, two restaurants, newly refurbished accommodation rooms as well as private dining areas. It's an all-in-one destination escape just over an hour from Melbourne's CBD. THE ROOMS There are plenty of rooms to choose from at Hotel Sorrento, starting from $325 a night. Contemporary and light-filled, rooms are accented with a variety of deep European oak, natural limestone and marble. Heritage Balcony Rooms are the crowning jewel of this hotel, boasting private balconies with exclusive vistas overlooking the bay. [caption id="attachment_899027" align="alignnone" width="1920"] Image: Threefold Social[/caption] FOOD AND DRINK Hotel Sorrento has recently overhauled its food and drink offering, helmed by George Calombaris. "The goal is to create dishes that not only satisfy the palate but tell a story of the region and the community's rich history," George Calombaris says. Shihuishi is the newest addition to the Hotel Sorrento family, nestled in the original, grand Hotel Sorrento ballroom. Head chef Junlin (Jerry) Yi (ex-Red Spice Road) is unafraid to stray from tradition, from prawn crackers paired with crème fraîche; to spanakopita dumplings that marry whipped feta and dill. Deeper into the menu, patrons will discover Australian-Canto cuisine that nods to the Chinese restaurant that stood onsite back in the 1980s. A prawn, lap cheong and onion stir-fry is a crowd-pleaser, along with duck pancakes and black pepper beef, served on a sizzling plate. Other classics run to the likes of steamed barra with soy, ginger and spring onion, or the ever-popular pork and prawn shumai. Otherwise, if you fancy a short but sweet wander, head across the road to the Conti for a slew of venues including a public bar, beer garden, speakeasy and fine diner. Luxe speakeasy Barlow is our pick for a pre-evening tipple. Sorrento institution Stringers has also recently been revamped by The Darling Group (Higher Ground, Kettle Black, Top Paddock), turning the corner store and cafe into an all-day restaurant, pizzeria, bar and providore. THE LOCAL AREA Sorrento is a much-loved spot for both Mornington Peninsula locals and regular holiday blow-ins, due to its accessibility from Melbourne. In warmer months, swimming, snorkeling and water activities at Sorrento Beach is a must-do. If you're looking to sidestep the crowds, Diamond Bay is a popular spot for both families and couples. A range of short, all-weather walking tracks are stunning year-around, including Coppins Track which finishes at the clifftop of Diamond Bay. The cliffside Millionaires Walk is named as a nod to the lavish private residences that line this path, or try the 7km Sorrento Circuit Walk, which hits all of this town's main attractions. THE EXTRAS Hotel Sorrento is looking to install a new 30-metre pool alongside a pool-friendly bar, rooftop yoga studio and gym by the end of 2023. If you're looking for a staycation special, Hotel Sorrento's winter escape package includes overnight accommodation for two, dinner for two at Shuihuishi and a bottle of local Pinot Noir for your room. 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. Images: supplied.
More so than any other in recent memory, this summer is going to be all about socialising. And, whether you've got a special occasion to celebrate or looking for places to have those overdue catch-ups, you can't beat a private dining room if you want to go all out. We've teamed up with Hennessy to highlight six impressive private rooms in Melbourne, Sydney and Brisbane for your next baller night (or day) out. Round up your crew, get the Henny flowing and your night is set.
Hoping that 2022 proves brighter than the last couple of years? Aren't we all — and, in Sydney, it's set to do exactly that in one particularly eye-catching way. After cancelling its 2020 and 2021 events due to the pandemic, Vivid will be back with its citywide celebration of creativity, innovation and technology (and luminous lights) from Friday, May 27–Sunday, June 18, and the festival has just revealed the first must-sees on its lineup. Words like dazzling, glowing, radiant and vibrant get thrown around a lot when describing Vivid, but there's a great reason for that: its installations and events — and especially its art displays and light projections — really are spectacular. 2022's bill looks to live up to the hype, too, based on the four inclusions revealed from first-time Festival Director Gill Minervini's program so far. Get ready to see plenty of Sydney in a whole new light, naturally. At The Goods Line at Central Station, Convergence will surround Sydneysiders in an immersive light-and-sound experience — all in the disused Goods Line railway tunnel, which'll be used for the first time ever. It'll actually be Vivid's largest-scale laser exhibition ever, too, if you need any more convincing. Next, over at Customs House at Circular Quay, none other than famed Aussie artist Ken Done will be joining forces with Sydney-based projection specialists Spinifex Group to deliver a work called For Sydney With Love. Yes, it's a love letter to the city, and it spans everything from Sydney's landmarks to its natural environment, which Done will bring to life. Also a highlight: Earth Deities, which'll set up at Hickson Road Reserve in The Rocks. It's the work of Western Sydney-raised artist Ramesh Mario Nithiyendran, who is known for making large-scale sculptural forms out of compacted earth, steel and paint. Here, Nithiyendran will craft what's been dubbed as a "multi-limbed avatar", which'll come complete with animated fire and electricity. And, spanning an eight-kilometre continuous stretch from Sydney Opera House to Central Station, Future Natives will guide folks along Vivid's Light Walk. You'll find your way along thanks to sculptures along the route, including a flock of 200 Sydney bird species created by Sydney artist Chris Daniel. [caption id="attachment_843269" align="alignnone" width="1920"] Future Natives, Chris Daniel[/caption] The full Vivid 2022 lineup will be announced mid-March, but you can also look forward to spending time elsewhere in the Sydney CBD, Circular Quay, The Rocks, Barangaroo and Darling Harbour, and at the Sydney Opera House, Sydney Harbour Bridge, MCA and Customs House. Can't wait? You have to, sorry, but because Wednesday, February 16 marked 100 days till Vivid 2022 kicks off, the event has also stationed countdown clocks designed by artist Elliott Routledge — who'll also feature in the full festival program — outside the Queen Victoria Building at Town Hall and at Gateway Plaza at Circular Quay. So, you'll always know how many days are left until Sydney gets brighter for a few wintry weeks. [caption id="attachment_843267" align="alignnone" width="1920"] Dallas Kilponen / DestinationNSW[/caption] Vivid Sydney 2022 will run from Friday, May 27–Sunday, June 18. We'll update you with the full lineup when it's announced in mid-March — and for further information in the interim, visit the event's website. Top images: Convergence, Mandylands / Earth Deities, Ramesh Mario Nithiyendran, Jessica Maurer, Kane-Sullivan.
For the past few months, Netflix has been drip-feeding The Crown fans sneak peeks of the show's fourth season. By now, you've probably watched the first teaser, which gave a brief 46-second snippet of the royal drama's latest ups and downs. And you've likely also viewed the longer trailer, which sported quite the heavy mood. If you can't wait for more, however, a new glimpse at the series' next batch of episodes has just hit — just over a fortnight before you'll be able to watch the entire thing, too. Of course, it has been a huge year for The Crown all round, even before the show started dropping teasers and trailers. At the beginning of 2020, Netflix announced that it would end the royal drama after its fifth season. Then it had a change of heart, revealing it would continue the series for a sixth season. That's quite the drama — and, obviously, there's more to come on-screen. This season focuses on two showdowns. Firstly, as shown in some detail in the new trailer, Queen Elizabeth II (Oscar-winner Olivia Colman) and British Prime Minister Margaret Thatcher (The X-Files icon Gillian Anderson) don't quite see eye to eye. Also, with Prince Charles' (God's Own Country's Josh O'Connor) marriage to Lady Diana Spencer (Pennyworth's Emma Corrin) a big plot point, the latter clashes with the entire royal establishment. When season four hits Netflix on Sunday, November 15, it'll be the last chance for fans to see the current lineup on talent. The series' fifth and sixth seasons — which are expected to follow the Queen in the 1990s and 2000s — will switch out its cast again, as it did after seasons one and two. This time, after season four, Downton Abbey, Maleficent and Paddington star Imelda Staunton will don the titular headwear, and Princess Margaret will be played by Staunton's Maleficent co-star and Phantom Thread Oscar-nominee Lesley Manville. Also, Game of Thrones and Tales from the Loop's Jonathan Pryce will step into Prince Philip's shoes and Australian Tenet, The Burnt Orange Heresy and Widows star Elizabeth Debicki will play Princess Diana. Check out The Crown's latest season four trailer below: https://www.youtube.com/watch?v=OiXEpminPms The Crown's fourth season will hit Netflix on Sunday, November 15. Image: Ollie Upton / Netflix
Yesterday afternoon, Melbourne hosted a climate change rally and knocked it out of the park. Upwards of 60,000 people attended the march through the CBD, which according to organisers would make it the largest rally of its kind in Australian history. The demonstrators marched from the State Library to Parliament House, and were joined by the likes of Opposition Leader Bill Shorten, Greens Senator Richard Di Natalie and national treasure Paul Kelly, who led the crowd in a rendition of 'From Little Things, Big Things Grow.' The People's Climate March in Melbourne was the first of many set to take place around the country this weekend, with Australian's calling on their leaders to take a strong stand against climate change ahead of the UN Climate Change Conference in Paris next week. According to the Australian Conservation Foundation, a further 10,000 people marched through Brisbane this morning, while there's a demonstration scheduled for Sydney tomorrow afternoon. Here's hoping they can amass even bigger numbers. If there was ever a time to put the ol' Sydney-Melbourne rivalry to good use, this would have to be it. To find the closest People's Climate March near you, go here. And if you want to feel good about humanity, we've gathered some of the best social media reactions from the Melbourne rally, below. "Coal- don't dig it! Leave it in the ground, it's time to get with it!" Huge crowds at Melb #peoplesclimate march! pic.twitter.com/IHRG8mLm1L — Adam Bandt (@AdamBandt) November 27, 2015 'The largest climate change rally we have ever seen in Australian history' #peoplesclimate #COP21 #melbourne https://t.co/Rcs2IjuU58 — CAHA Inc (@healthy_climate) November 27, 2015 That's a great view #Melbourne #peoplesclimate march @Peoples_Climate 50,000 pic.twitter.com/MPAXtslZgo — Samantha Dunn (@SamanthaDunnMP) November 27, 2015 Pics from the #peoplesclimate march in Melbourne this evening. Organisers think they have 30,000. #PeoplesMarch pic.twitter.com/IA1zFib0om — Melissa Davey (@MelissaLDavey) November 27, 2015 Pretty sure this guy just won #peoplesclimate (via @350Australia) pic.twitter.com/dAN3TSEjjO — GetUp! (@GetUp) November 27, 2015
As far as the team at WOHA is concerned, green cities are the future. Their latest project, Singapore's Park Royal Hotel, is evidence of how it's done. As a result of the building's construction, the site's capacity for natural growth has doubled. Comprised of twelve storeys that overlook Singapore's CBD, the Park Royal is not just a hotel, it's an oasis - not merely another building, but a kind of extension of the adjacent park. Elevated gardens, filled with palm trees, frangipanis and rambling tropical flora, extend from every fourth level. Inside, the green theme continues, with plants and water features forming an inherent part of the interior design. On the top floor, the Hotel's club lounge offers panoramic views, and on the fifth, the spa area features an expansive pool and a 300-metre long botanic 'strip'. All rooms are northward facing, looking over the elevated gardens and/or the park. Energy efficiency is prioritised throughout, with maximised natural lighting, self-shading, harvesting of rainwater, thorough recycling systems and motion-stimulated sensors. Where much of Singapore's architecture tends towards the insipid, faceless and generic, WOHA's bold, environmentally aware design represents a mighty gesture. In the view of architectural photographer and writer, Patrick Bingham-Hall, '...finally the city has a uniquely expressive landmark that reinterprets and reinvigorates its location...The Park Royal on Pickering is a purely commercial development...But as with many of WOHA's projects built throughout Asia over the last decade, the hotel performs unambiguously as a public building...proposing that commercial architecture must respond to the city as its civic duty.' Previously, WOHA has won three Green Good Design Awards from the Chicago Athenaeum and the European Centre for Architecture, Art, Design and Urban Studies - for the Sanya Intercontinental Hotel, China; the Hansar Rajdamri, Bangkok, Thailand; and the Wilkie Edge, Singapore. [Via Inhabitat]
Saint Haven opened its exclusive Collingwood wellness club in May 2023 and had sold all of its memberships before it even had the chance to open its doors. This meant that anyone wanting entry to the private club had to go on the very long waiting list — there are 15,000 people still on it. But if those still wanting a membership are happy to commute, they can now try to get access to Saint Haven's upcoming sites in Toorak and South Yarra. First off, there's the 1600sqm Toorak club, located in the recently completed St Germain building, which will house much of the same facilities found in Collingwood. There are thermal pools, a hammam, saunas, coworking spaces, a restaurant, studios hosting fitness classes, and a regular barber and hairdresser on site. Toorak members will have their own personal lockers featuring their favourite fragrances, overnight washing service and a luxe Bentley chauffeur to and from Melbourne airport. One of the biggest perks is their access to Saint Haven's wellness practitioners who run a stacked lineup of treatments. It feels very Black Mirror, with the city's mega-rich getting anti-ageing procedures (it has hyperbaric oxygen chambers and cryotherapy equipment), full body scans, diet programs, DNA testing and more. Unfortunately, most memberships have already been bought for the Toorak wellness club, with only 45 spots left, which will be held back for opening later in the year. The South Yarra site, on the other hand, is still open for pre-registration. It will have the same luxury facilities as the other two clubs, and will be located in Capitol Gran building. Saint Haven South Yarra is slated to open in August this year, and the Toorak location will open sometime in spring. For more information and to try and get a membership, head to the club's website.
When any and every film festival rolls around, plenty of numbers get mentioned. With the 2022 Sydney Film Festival now fast approaching, the Harbour City's annual cinema showcase is no different. This year will mark the fest's whopping 69th event, as well Festival Director Nashen Moodley's 11th time bringing the latest and greatest flicks to the glorious State Theatre and other Sydney picture palaces — and, if its first 22 movies are anything to go by, it's set to be another winner. There's no such thing as a bad SFF, of course, because its program always spans so far and wide — and how you watch your way through it is always dictated by personal choice. But 2022's event already has a new Aussie horror standout that proved a hit at SXSW, the latest from freshly minted Oscar-winner Jessica Chastain, multiple Sundance award recipients, and the new comedy from inimitable Berberian Sound Studio, The Duke of Burgundy and In Fabric filmmaker Peter Strickland. Yes, we're already spoiled for choice. Taking place between Wednesday, June 8–Sunday, June 19 — back in its usual timeslot after moving to November in 2021 due to lockdowns and restrictions — SFF 2022 will show some local love to Sissy, the aforementioned Australian horror film. Starring The Bold Type's Aisha Dee, it follows a successful social media influencer who gets stuck in a remote cabin with her old high-school bully. Also in the homegrown camp: street dancing documentary Keep Stepping, car-bound docudrama The Plains and the music fest-focused 6 Festivals, with the latter about three friends who decide to hit up as many live gigs as possible after one is diagnosed with brain cancer, and also featuring cameos by the likes of Bliss n Eso and Peking Duk. Hailing from further afield are the Chastain-starring The Forgiven, which also marks the latest movie by Calvary and War on Everyone's John Michael McDonagh; Strickland's Flux Gourmet, which sees the director reteam with Game of Thrones' Gwendoline Christie; 80s-set, Charlotte Gainsbourg-led Parisian drama The Passengers of the Night; and genderqueer musical Please Baby Please, which follows a 50s couple in Manhattan who witness a violent incident and undergo a sexual awakening. Or, there's also Sundance Film Festival-winning doco The Territory, which follows an Indigenous fightback over rainforest land seized for farming; Yuni, the latest coming-of-age tale by Indonesian The Seen and Unseen filmmaker Kamila Andini; We Met in Virtual Reality, a documentary filmed entirely inside the world of VR; and Incredible But True, a time-travel caper from Deerskin and Rubber's Quentin Dupieux. Other titles of interest include Bootlegger, which stars Reservation Dogs' Devery Jacobs; doco A House Made of Splinters, another Sundance winner that was filmed in pre-invasion Ukraine; Sirens, about the Middle East's first all-female, queer death metal band; and Gentle, which stars real-life bodybuilder Eszter Csonka. As for what'll join them — among a lineup that usually spans hundreds of films — that'll be revealed on Wednesday, May 11. You can already start getting ready to spend most of June in a cinema, though, obviously. The 2022 Sydney Film Festival will run between Wednesday, June 8–Sunday, June 19. Check out the event's just-announced titles by heading to the festival website. The full program will be released on Wednesday, May 11 — head back here then for the rundown.
A mere stroll west from the Queen Vic Market rests Willows & Wine. As well as wine, the walls are stacked with pre-loved books organised according to genre — you're welcome to pick one up while you're sipping and, if you can't put it down, all are available for purchase. A few shelves across from the bar are dedicated to a hoard of games. Hiding not so inconspicuously is an original 70s robot boxing game, the sort that hungry hippo aficionados would probably be grand at. The other book you might want to consult is the menu — it's got many chapters on wine (by the glass and bottle) and even one on cheese and charcuterie. You're also able to order food in from anywhere that delivers. This is easily a place you could visit every night of the week and not regret a thing. Chatting to bar staff will be near impossible not to do, they're wonderfully friendly and even host their own book club evenings at the bar. Sit anywhere, order a whiskey — the place is made for you and your readathon quest.
For most folks, starring in one of the best new shows of 2022 so far would be the highlight of their resume for the year. But, of course, most folks aren't Taika Waititi. After getting streaming viewers swooning over warm-hearted pirate comedy Our Flag Means Death, he's about to unleash a little movie called Thor: Love and Thunder upon cinemas. And, based on the just-dropped first teaser trailer for his second contribution to the Marvel Cinematic Universe as a director, the goofy vibes, old-school rock tunes and delight that is Chris Hemsworth firmly in comedic mode are all back this time around. In fact, if you watched Thor: Ragnarok, laughed along heartily, lapped up the looser mood and instantly wanted more of Waititi's take on the MCU, you're in luck — because he also co-wrote the script for Thor: Love and Thunder with Jennifer Kaytin Robinson (Sweet/Vicious). In the trailer, that results in a comic look at Thor (Hemsworth, Extraction) dealing with the aftermath of Avengers: Endgame by reassessing his future and opting for retirement. But, if that was all there was to the story, it wouldn't be a Marvel movie. As shot in Australia, Thor: Love and Thunder sees its namesake come up against Gorr the God Butcher (Christian Bale, Ford v Ferrari), a galactic killer with a world-changing plan: eradicating the gods. So, Thor has to give up his search for inner peace, and call upon help from King Valkyrie (Tessa Thompson, Passing) and Korg (Waititi, doing triple duty) — and his ex-girlfriend Jane Foster (Natalie Portman, Vox Lux), who is now in possession of Mjolnir. Thor: Love and Thunder marks Portman's return to the MCU after appearing in the first Thor flick back in 2011, but sitting out the rest. Given the path her character has taken, it's easy to see why she's back. As set to the sounds of Guns 'N Roses' 'Sweet Child 'O Mine', the trailer makes the most of her new ownership of the god of thunder's magical hammer — understandably. Also popping up in the initial sneak peek for the fourth Thor flick: the Guardians of the Galaxy crew (as played and/or voiced by Chris Pratt, Pom Klementieff, Dave Bautista, Karen Gillan, Bradley Cooper and Vin Diesel), and a lightning-bolt wielding figure who it's safe to expect is Russell Crowe (Unhinged) as Zeus. When it hits cinemas Down Under on Thursday, July 7, following Doctor Strange in the Multiverse of Madness in early May, Thor: Love and Thunder will mark the 29th MCU movie overall. And, it mightn't be the last big-screen release Waititi has for us this year, either, with his documentary-to-feature adaptation of soccer story Next Goal Wins also in the pipeline. Check out the teaser trailer for Thor: Love and Thunder below: Thor: Love and Thunder opens in cinemas Down Under on Thursday, July 7.
One of the most acclaimed singer-songwriters of the 21st century, Chan Marshall — aka Cat Power — is no stranger to a cover. She's been transforming other people's work into something entirely Power-esque across her entire career, including honing the art on her 2000 album The Covers Record and 2008's Jukebox. In 2022, she again dropped a project devoted to reshaping songs originally sung by others with the aptly titled album Covers, unveiling versions of tracks by Frank Ocean, Nick Cave, Lana Del Rey and Iggy Pop. Now, Power has embarked on her most ambitious cover-based project yet, covering Bob Dylan's legendary 1996 Royal Albert Hall set in full in 2022 at the titular venue in London. Receiving rapturous praise, the show is a track-by-track recreation of a legendary set that Dylan performed on his first tour after polarising attendees at the Newport Folk Festival with his new electric sound. Sydney is lucky enough to be the second-ever city to see Power perform this set, with Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert coming to the Sydney Opera House as part of the Vivid Live program. Concrete Playground chatted with Marshall before she headed to Australia to discuss why this set is so important to her, the reaction to its debut in London and the new music she has on the way. ON WHY SHE CHOSE THIS PARTICULAR BOB DYLAN SET "I got an offer to play the Royal Albert Hall in London on Bonfire Night, Guy Fawkes Night... and I was like 'well if I play there, I only want to do Dylan's songs'. And that was just a no-brainer of which songs I would do. I felt pretty alone when I was young — when he was running around being a rockstar and stuff. I wasn't a rockstar, but just knowing that someone was kind of scuzzy, and writing his own shit and saying what he wanted to say and doing his own thing, that was that peer thing he gave people. He narrated and was able to articulate people's points of view during a time of mass confusion and that confusion is the thread of our social constructs." ON HEARING THE SET FOR THE FIRST TIME "It was the film, so it might have been [in] 91 — it was the film Don't Look Back... I just felt transported to this place that reminded me of just floating and thoughts and poetry and the absurd." ON THE TEAM SHE PULLED TOGETHER FOR THE SHOW "We had a rehearsal and I tried to figure out who would be best. Because it's really specific, the style of playing — the heartbeat of that is Bob's style — and on top of that, The Band and that movement of playing. Because I could say that it's a style but there was a certain feeling, I think, that was happening at the time. I asked my friend Henry Munson, he's playing with me. He's in Arsun's band, he has his own bands, too. But he was, no-brainer, going to be the Bob guitar. I had never heard the drummer play before or seen him play or met him, but I said 'well, tell me what kind of band he's in before I go jam with him' and [my friend] said 'oh, he's in a Grateful Dead cover band'. And I said 'okay perfect, he sounds great'. " ONE DEBUTING THE SET AT ROYAL ALBERT HALL "Oh my god. So, for me, I'm secondary to the nature of what's happening when I'm doing it — I feel secondary. My major concern is for the song itself. It's not psychological, it's like I have to do it justice. I don't know. I'm secondary, my physical being is secondary but the song is always the point of me doing what I'm doing. And, I can be very hard on myself but it's the only way that I can be. In the back of my mind, you know, my consciousness, my awake mind was like 'oh yeah, I'm fucking terrified'. I've never been inside that place. I used to walk around it. I used to stay at the Hotel Columbia across the park from there, you know, the rock 'n' roll hotel or whatever. And I'd always walk around that place. I'd never been inside, and to be able to play there, it was some kind of a magic gift or something. That's how it felt. It means something individually to me to do those songs in that venue 'cause of how much I loved Bob growing up." ON THURSTON MOORE'S REACTION TO THE LONDON SET "One thing was that, at the end, there were a bunch of friends there and Thurston Moore was in town and he said — he's gonna kill me — but he said 'Mr Tambourine Man' made him cry. Isn't that sweet?" ON THE MAGIC OF COVERING OTHER ARTISTS' WORK "I knew those songs already, as a little kid, so it was like — I don't want to say second nature because, as someone who's loved all kinds of music my whole life and different things besides music, it wasn't second nature to me — it was just familiar and just easy, because it was like being a kid and singing along. If I play Michael Jackson's song or something, play me the Thriller record, I'm going to sing backup on the whole fucking record with my own harmonies, because I've been singing that shit forever. And different singers bring different shade or colour, or smell or taste, to the same old song. And that's what speaks to a new generation or a new group of people, just different emulations of one song." ON HER CONNECTION TO THE SYDNEY OPERA HOUSE "I did a record of mine called Moon Pix. I think it was the 25th anniversary. [Editor's note: it was the 20th.] I did another Vivid fest, actually... I have the poster for all two of them. And I hope to get the poster for the third. The Moon Pix thing was really moving because I was alive, you know. I wasn't dead. I never thought I'd live this much and I was there and it was great and it was beautiful. I was with Mick [Turner, from Dirty Three] and Jim [White, also from Dirty Three] and we were, all three, alive. And it was beautiful, and it was real, and it was really nice." ON WHAT'S NEXT FOR CAT POWER "I'm going right back into the studio and doing my new record. There's a song called 'Brave Liar', I think it's the good one. Another home recording." Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert is coming to the Sydney Opera House for Vivid Live on Wednesday, May 31. Head to Sydney Opera House website for tickets and further details.
When Jemaine Clement and Taika Waititi invited the world to experience the vampire sharehouse mockumentary genre, one of the best comedies of the decade wasn't the only result. Every film seems to spawn sequels, remakes, spinoffs and the like these days, but no one's complaining about spending more time in the What We Do in the Shadows universe. A follow-up, We're Wolves, is in the works, focusing on the undead bloodsuckers' Rhys Darby-led lycanthrope enemies. So is six-episode television spinoff Wellington Paranormal, following the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural, and expected to air in New Zealand mid this year. Add a US TV remake of the original flick to the pile as well, but withhold any "do we really need a remake?" judgement. First revealed by Waititi last year, given a pilot order earlier in 2018 and now officially moving ahead with a 10-episode first season, the American version will be written by Clement and directed by Waititi, The Hollywood Reporter notes — and will see a documentary crew follow three vampire flatmates living in New York City, according to Variety. The series will star Toast of London's Matt Berry, Four Lions' Kayvan Novak, British stand-up comedian Natasia Demetriou and The Magicians' Harvey Guillen. It's unknown whether Clement and Waititi will reprise their on-screen roles in a guest capacity. With What We Do in the Shadows actually starting its life as a short back in 2005, the concept of flatting members of the undead arguing about bloody dishes has taken quite the journey since those early beginnings. If any idea was going to come back in multiple guises, it's this one. Of course, so have Clement and Waititi. Clement has a new Flight of the Conchords TV special airing on HBO this month, while Waititi two post-Thor: Ragnarok flicks in the works — a stop-motion animated effort called Bubbles, about Michael Jackson's chimp, and another by the name of Jojo Rabbit, set during World War II and starring Scarlett Johansson and Sam Rockwell. As for feasting your eyes into What We Do in the Shadows' new TV version, fans will have to wait until next year. The US remake isn't set to air in America until early-to-mid 2019. Via The Hollywood Reporter / Variety. Image: Kane Skennar.
There's little doubt that we love the city, but after a long week chained to the desk, we don't blame you if you get a little lost daydreaming about something a little lusher than the office. So, when the weekend finally comes around, take some time out and go in search of something wilder. Fortunately, you don't have to travel far from Melbourne to find plenty of natural wonders that will help you unwind (and refresh) as you soak up some crisp country air. Victoria is home to a wealth of waterfalls, dotted throughout the state's many national parks and backcountry. Flowing from pristine alpine regions, they are impressive, crystal-like falls all within a few hours' drive of the city. Something to note: this year's bushfire season is particularly dangerous. Before you head on an out-of-town adventure, check the CFA and Parks Victoria websites and heed any alerts and warnings. [caption id="attachment_692502" align="alignnone" width="1920"] Visit Lorne[/caption] ERSKINE FALLS Take a drive down the Great Ocean Road and you'll come across another 'great' location: the Great Otway National Park. Running from Torquay to Princetown, this sprawling national park is renowned for its temperate rainforest, flush with stunning scenery and a variety of waterfalls that flow all year round. One of its landmarks is Erskine Falls, which rises a towering 30-metres above the fernery below. Featuring two awesome vantage points, the spot is a far cry from the city, with the cascading water coating you in an invigorating mist. [caption id="attachment_719735" align="alignnone" width="1920"] Visit Victoria[/caption] MACKENZIE FALLS If you want your weekend escape to reach soaring heights, then MacKenzie Falls is where you need to head. One of the largest waterfalls in Victoria, MacKenzie is located deep within the grand Grampians National Park and flows even throughout the coldest part of the year. Undoubtedly some of the most spectacular falls within touching distance of Melbourne, it pours millions of litres of fresh water from the jagged black cliffs into a deep pool below. While you're here, make the most of your visit to the Grampians and take a short walk upstream to the charming Broken Falls. [caption id="attachment_719731" align="alignnone" width="1920"] Visit Victoria[/caption] STEAVENSON FALLS Opened to tourists in 1866, Steavenson Falls has long been a highlight for travellers touring Maryville and the surrounding foothills of the Great Dividing Range. The 84-metre drop from the top into the Steavenson River below makes for a stunning sight as several viewing platforms provide the ideal spot to get a good glimpse. The falls are one of the easiest to visit on this list at just a two-hour drive from Melbourne. Feel like a late-night nature stroll? The best part about Steavenson is that the falls are lit up by floodlights until midnight, meaning you can go along the gentle walking tracks and admire the falls in a different light (yes, literally). [caption id="attachment_719742" align="alignnone" width="1920"] Visit Melbourne[/caption] FERNTREE FALLS Situated within Mount Buangor State Park, Ferntree Falls offers some of the wildest surrounds you can find in regional Victoria. The landscape is overrun by thick eucalypt forests and rough hillsides that offer a variety of scenic walks. As you make your way along the relatively easy 45-minute return walk to get to Ferntree Falls, you'll pass by Cascade Falls, which features spectacular views across Middle Creek. Scramble over a few rocks and twist through the fernery as you get an up-close look at this beautiful natural landmark. Meanwhile, you can carry on your out-of-town adventure by exploring the surrounding area and nearby walking tracks. [caption id="attachment_703437" align="alignnone" width="1920"] Ian M Ross via Wikimedia Commons[/caption] TURPINS FALLS Just a casual 70-minute drive from Melbourne CBD, Turpins Falls is the waterfall to visit if you're looking to find a tranquil place to spend the day. The pool below, once home to the Turpins Falls swimming club back in the 1930s, invites you to relive history by taking a dip in its icy fresh waters. Surrounded on three sides by sheer rock faces, these 20-metre falls make for a wonderful view as they go crashing into the lagoon below. Located just 15 minutes away are the cafes and restaurants of Kyneton – the perfect way to round out your countryside destressin' session. Top image: Steavenson Falls, Visit Victoria.
When sisters Elle and Alanah Giuliano launched Twostyle back in 2018, they were just 22 and 19 — two Melbourne creatives with an obsession for interiors and a knack for spotting what makes a home work. Seven years later, their studio has grown into a full-scale design business with a team of 11, known for crafting spaces that balance luxury and personality in equal measure. "We believe great design should feel as good as it looks," says Elle. "It's about creating spaces people can actually live in, not just photograph." Forget sterile styling and cookie-cutter fitouts — Twostyle is all about creating homes that make you feel something. Their aesthetic blends natural tones with bold details and surprising moments of character, from playful powder rooms to perfectly layered kitchens. Every inch is considered, every finish chosen to complement both beauty and functionality. Growing up around Melbourne's property scene, the sisters developed an early eye for flow, proportion and personality. That background, paired with a strong sense of visual storytelling, shapes Twostyle's ethos today: homes that are beautiful, practical and full of heart. "At Twostyle, design is never about a formula — it's about storytelling," says Alanah. "Every project should reflect who the client is and how they live, while still carrying that unmistakable Twostyle stamp." Their approach extends from large-scale renovations to accessible Virtual Styling Sessions, which offer clients across Australia a one-on-one design consult over video call. It's an increasingly popular option for people who want expert advice — and the signature Twostyle touch — without committing to a full-service design. Their latest headline project is a Victorian home belonging to AFL star Josh Daicos and model and influencer Annalise Dalins, one of Australia's most-watched young couples. From the start, Elle and Alanah knew the design needed to capture the pair's mix of grounded warmth and modern polish. View this post on Instagram A post shared by Annalise Dalins (@annalisedalins_) "Our inspiration truly came from Josh and Annalise themselves," says Elle. "They're such a grounded, genuine couple, but also stylish, ambitious and full of life. We wanted their home to reflect all of that — a place that feels timeless yet young, elegant yet welcoming." The home's foundation is calm and organic — a neutral base layered with tactile textures and rich, unexpected details. But like all Twostyle projects, it doesn't play it too safe. "We've layered in the Twostyle signature: bold pops of colour, unexpected details and those wow-factor moments — especially in the powder room," says Alanah. "It's that perfect balance of restraint and risk, grounding and play." The design process began with mood boards and deep conversation — not just about aesthetics, but about lifestyle. "It really came to life once we got to know them on a personal level," Elle explains. "Their interests, their energy, the synergy between them — that understanding shaped everything." When Twostyle presented the first concept, they encouraged the couple to see what was possible and how far they could take their vision. "We wanted to share an elevated version of what their home could become," Elle says. "They connected with the ideas straight away, and that sense of trust and excitement set the tone for the rest of the project." From start to finish, the Twostyle process is grounded in collaboration. Clients are invited into every stage — from material selections to final styling — so the result always feels personal. "We want every client to walk into their finished space and feel like it's theirs — just better," says Alanah. Whether it's a multi-million-dollar renovation or a virtual styling session, the team approaches every project with the same level of detail and care. "It all comes down to thought and heart," says Elle. "Every project deserves the same attention." With a growing portfolio of standout projects and a strong social media following, Twostyle is quickly carving out its place among Australia's new wave of interior tastemakers — young, bold and unafraid to push design boundaries. "Homes that feel as good as they look — that's always been the goal," says Alanah. Twostyle's top tips for transforming your space? Start by editing — less clutter means more impact. Mix natural textures like timber, stone and linen for warmth and depth, and never underestimate the power of lighting. Add small bursts of colour to bring life to a neutral palette, and always anchor a room around one hero piece. As the sisters put it, "Even the smallest space can feel luxurious when every element is intentional." For more on Twostyle's interiors, styling services or upcoming projects, visit the website or follow @twostyle.interiors on Instagram. Images: Supplied.
Melbourne got its first rooftop brewery bar overlooking the city skyline in 2024, and you can thank former Aussie Rules football player David Neitz for making it happen. He established the Brewmanity brand back in 2015, alongside fellow brewery lovers Jamie Fox and Paul Hopgood, to not only bring great craft beer to Melburnians but to also raise money to fight motor neurone disease — which Neale Daniher, Neitz's friend, fellow ex-footballer and coach, has. And in March 2024, the trio behind it took things to the next level by setting up a huge three-storey, 400-person, 34-tap brewery bar in South Melbourne. The ground floor houses the beer hall, where visitors can drink the team's craft brews surrounded by stainless steel tanks in which new creations are slowly fermenting. Head up the stairs to find another bar with a large terrace overlooking the city. But when the sun is shining, we're pretty sure punters will be racing for the rooftop, where they'll find even better vistas across Melbourne's skyline. And if Melbourne decides to throw a surprise shower (which will inevitably happen), the venue has retractable awnings ready and waiting. Each level has a bar pumping out Brewmanity beers alongside some local independent wines, spirits and cocktails. Food comes courtesy of Chef Suman, who's serving up a selection of share plates and bar bites to hungry beer drinkers. This includes a beer-braised lamb shoulder that feeds up to six people, DIY taco platters, cheeseburger sliders and mushroom arancini. There'll be no need to scale the stairs to go get a feed — just order and wait for it all to come to you. "We are proud with what we have achieved so far and there is so much more to come. We have proved that you can make a good beer that does good deeds and we hope to pour out the goodness for many years to come," said Neitz.
Since 2019, Netflix's Dead to Me has contemplated endings — starting with a just-widowed woman trying to cope with losing her husband in a hit-and-run incident. Taking a few cues from 2018 film A Simple Favour, the grief-fuelled dark comedy has twisted its way through plenty of chaos from there, including via the unlikely friendship at its centre; however, the fact that everything comes to a conclusion sooner or later has always hung over the show. When it returns for season three on Thursday, November 17, that notion will remain — and Dead to Me itself will wrap up. Back in 2020, after the second season aired, it was revealed that the show would finish after a third and final run. So, get ready for your last swim through its murders, mysteries and cover-ups. The premise, if you missed Dead to Me when it premiered back in 2019: two women meet, become friends despite seemingly having very little in common, and help each other with their daily existence. From there, however, they find themselves immersed in more than a little murky business. Christina Applegate (Bad Moms 2) plays Jen Harding, whose husband has just died, while Linda Cardellini's (Hawkeye) Judy Hale is the positive-thinking free spirit that breezes into her life. They initially cross paths at a grief counselling session, sparking a definite odd-couple situation — which has evolved to feature secrets, lies, complications and cliffhangers galore across the show's two seasons to-date. Season two ended with a big car crash, in fact — and as well as announcing when Dead to Me would return to close out its story, Netflix has just dropped a teaser trailer for season three. Get ready for a glimpse of Jen and Judy in hospital and unhappy about it, as well as a recap of exactly what's brought them to this point. As for where the story will head afterwards, that'll only be revealed when Netflix drops the third season itself. If it's as easy to binge as the first two seasons, you'll know how the show ends quickly. Created by 2 Broke Girls writer Liz Feldman, Dead to Me marked Applegate's first lead TV role since 2011-12 sitcom Up All Night when it debuted. For Cardellini, it saw a return to Netflix after starring on the streaming platform's drama Bloodline — and she also featured in A Simple Favour, too. Check out the first teaser trailer for Dead to Me's third season below: Dead to Me's third season will hit Netflix on Thursday, November 17. Images: Saeed Adyani / Netflix.
Aussie brick enthusiasts, get excited. Sydney will join the likes of New York, London, Hong Kong and Copenhagen on the list of cities boasting a flagship LEGO store very, very soon. The Harbour City is set to welcome the world's largest official LEGO store to Sydney Arcade, overlooking Pitt Street Mall, on Saturday, November 11. Announced earlier this year, the massive two-storey, 900-square-metre Sydney LEGO store will officially swing open its doors at 9.30am next Saturday morning and promises to be your one-stop shop for all things colourful plastic bricks. "Every new store contributes to the LEGO Group's global mission of inspiring and developing the builders of tomorrow," Vice President and General Manager of LEGO Australia and New Zealand Troy Taylor says. LEGO fans can expect an interactive storytelling table that will give them behind-the-scenes looks at their favourite sets and designs; Australia's first Minifigure Factory, where visitors can create LEGO versions of themselves or their loved ones; and a pick-and-build wall boasting an enormous catalogue of different pieces. Official Brick Specialists will be on hand to help guide you through everything the superstore has to offer — and if you're after a challenge to get your creativity flowing, there will be in-store builds and monthly events. Basically, you'll have everything you could need to bring your wildest imagination to life. There will also be Australia-specific elements of the store with large-format sculptures of Australian and Sydney cultural touchstones decorating the new Sydney LEGO store's space. "The world's largest LEGO Store will stand as a must-see destination for LEGO fans across the globe whilst bringing a world-class retail experience to Australia," says Executive Chairman of the store's retail partner Alquemie Group Richard Facioni. The flagship Sydney LEGO store will open at Sydney Arcade, Pitt Street, Sydney on Saturday, November 11.
Since launching around the country back in 2013, the British Film Festival keeps standing out for three reasons. Yes, it ranks among Australia's most obvious cultural film fests; however, it's also a star-studded affair, and a popular one. If you're keen not only for a slice of Old Blighty, but to watch well-known talents do what they do best, then prepare to spend a few weeks staring at the big screen. 2018's lineup keeps hitting those same marks. Why mess with a good thing? Running in Sydney, Brisbane, Melbourne, Perth, Adelaide and Canberra until November 14, this year's program includes Kiera Knightley's latest star turn, a four-film tribute to Michael Caine that'll blow the bloody doors off, and Star Wars' Daisy Ridley in a playful take on Hamlet — plus these, our five must-see picks. https://www.youtube.com/watch?v=dfWIfwKJ7vA ANNA AND THE APOCALYPSE Anna and the Apocalypse is a zombie movie. It's a high-school comedy. It's a Christmas flick. And, it's also a musical. Just when you thought you'd seen every take on the undead available, this all-singing genre mash-up pops up to prove you wrong. A crowd-pleaser at overseas festivals, it's based on the BAFTA-winning short Zombie Musical — and, story-wise, follows the eponymous Anna (Ella Hunt) as she reacts to the rather inconvenient fact that her Scottish hometown of Little Haven is now filled with the shuffling masses hankering for brains. https://www.youtube.com/watch?v=qItW6evHbE8 YARDIE After coming to fame with to The Wire, Idris Elba is no stranger to sprawling crime dramas that chart the next generation's involvement in the drug trade. With Yardie, however, he's stepping behind the camera rather than appearing in front of it. The actor's feature directorial debut hops between Jamaica and London, and between the 70s and 80s, at it charts the path of Denis. As a boy (Antwayne Eccleston), he watches his brother get gunned down on the streets of Kingston. As a young man (Aml Ameen), he finds himself selling cocaine in the UK and seeking revenge. The result is a film with vibrant style, that knows what it wants to be and knows when it's hitting familiar beats. https://www.youtube.com/watch?v=Dj5h1kKjVYc PETERLOO Whenever Mike Leigh has a new film, it's reason enough to rush to the cinema. The great director has seven Oscar nominations to his name for the likes of Secrets & Lies, Vera Drake, Happy-Go-Lucky and Another Year, and tends to alternate between character-based and historical-leaning dramas. With his latest, Peterloo, he's operating in the latter camp, examining a momentous event in Britain's past. The feature is named after and explores a massacre in Manchester in 1819, when 700 working folks were injured — and 15 killed — during a peaceful pro-democracy gathering. Yes, it sounds more than a little relevant today. https://www.youtube.com/watch?v=RE5xbDTkzQQ STAN & OLLIE To the world, they were Laurel and Hardy — one lean and English, the other rotund and American, and both funnier and more famous when they were hitting the stage and screen together. Starring Steve Coogan and John C. Reilly, Stan & Ollie delves into the story behind the fame, when the comedians were approaching the end of their career. The film arrives in Australia fresh from premiering at the London Film Festival, and closes out BFF with the promise of laughs, love and excellent performances. Indeed, when it comes to spot-on casting, it's already a winner. https://www.youtube.com/watch?v=G8YiltlZGB0 THE HAPPY PRINCE Another blast from the past in the BFF program, another look at a well-known figure past their heyday, and another well-known actor making their filmmaking debut, too. With the dreamily tragic The Happy Prince, Rupert Everett steps into Oscar Wilde's shoes — and it's a role that he was born to bring to the screen. Writing and directing as well, Everett approaches Wilde's dying days in a rundown Parisian hotel room with both passion and sorrow, two traits that the poet and write knew well. It's a hardly a happy portrait, despite the name, which riffs on one of Wilde's works. That said, interweaving flashbacks to fonder times and co-starring Colin Firth, it does Wilde justice. The 2018 British Film Festival tours Australia until November 14, screening at Sydney's Palace Norton Street, Palace Verona, Palace Central and Chauvel Cinemas from October 23 to November 14; Melbourne's Palace Cinema Como, Palace Westgarth, Palace Balwyn, Palace Brighton Bay and The Astor Theatre from October 25 to November 14; Brisbane's Palace Barracks and Palace Centro from October 24 to November 14; and Perth's Cinema Paradiso, Raine Square Cinemas, Luna on SX and Windsor Cinema from October 25 to November 14. For more information and to buy tickets, visit the festival website.
Just about everyone has a friend or relative who would describe themselves as a "struggling artist". For this most beleaguered of professions, the frustrations of the world's most competitive and highly lucrative industry often turns "struggling artists" into "failed artists". Pippin Barr, one such dejected artist, has found a most unusual way of channelling his grievances and disillusionment with the art world: a part-personal, part-satirical, and entirely addictive online video game, Art Game. The monochromatic, 8-bit game takes place in the cutthroat, dog-eat-dog world of the New York City visual art scene. Players choose between three contemporary artists as their avatar: minimalist painter Cicero Sassoon (with his reference-heavy name), Russian sculptor Alexandra Tertanov, and video artists William Edge and Susan Needle. Within a style of gameplay modelled on the classic video games of Snake, Tetris, and Space Invaders, your task is then to create a piece of art worthy of display in an upcoming show at New York's legendary Museum of Modern Art. Your path to artistic glory is a far from smooth one, however, as before you can have your work showcased you must get past the deliciously snooty MoMA curator. The curator's selection of which of your artworks (if any) make the cut seems to be based on a fairly arbitrary and even random set of criteria, in a quite pointed dig at how "good art" is selected and endorsed within the art scene, with decisions handed down in a series of cliche-enriched tirades (another beautiful touch from Barr). The game is filled to the brim with knowing references to the art scene, from the inane chatter of the MoMA visitors to the stereotypical studio apartments of the artists. It is these details that transform the game from not simply being a form of light-hearted procrastination but also a very clever and totally unique piece of satire. The surprisingly heartbreaking experience of being told that your work is not up to scratch provides a fresh understanding of just how brutal and controlled the art scene can be. To see if you have what it takes to be counted amongst New York's artistic elite, click here to play Art Game. Via Hyperallergic.
For more than six decades, fans of Disney have been able to step into the Mouse House's wonders IRL, thanks to a theme park empire that started in the 1950s with Disneyland. For even longer, touring your way through Universal Studios' wares — first during lot visits, then theme parks as well — has also been a reality. While Japan's beloved Studio Ghibli joined in back in 2001 via its Ghibli Museum, now it has launched its very own theme park. Get ready to get spirited away, and to skip around a sprawling place that's both gorgeous and magical. The venue at Aichi Prefecture Expo Park has been in the works since back in 2017, and has also been through a few delays over that five-year period — but as of Tuesday, November 1, it's finally and officially open to animation lovers. If that's you, Ghibli Park is welcoming in fans to wander its 200-hectare expanse in Nagoya's Aichi Prefecture, around a three-hour train trip from Tokyo, with the space's first three stages launching on opening day. Ghibli has been dropping early glimpses at the park over the past few months — even if its recent Hayao Miyazaki-directed cat train trailer was solely animated (but still wonderful) — and there's plenty of store for visitors. Part of the first phase is a space that's been dubbed Ghibli's Great Warehouse, aka the park's main area. Think of it like a fair within the overall attraction, featuring a video exhibition room, three special exhibition rooms, plus shops and cafes all in one space. Many movie lovers' first stop should be Orionza, a cinema that sets 170 patrons and screens ten Ghibli shorts — all of which have only previously been seen at the studio's existing museum in Mitaka, a city on the western outskirts Tokyo. The easy highlight: the 13-minute-long sequel to My Neighbour Totoro, which is an absolute delight, unsurprisingly. Fancy entering one of Ghibli's films? The park also includes recreations of 13 famous scenes from the company's cinematic catalogue that you can step into, including becoming Spirited Away's Chihiro by sitting next to Kaonashi on a mysterious train by the sea. Or, another exhibition focuses on Ghibli's knack for drawing delicious-looking food, and is certain to make you hungry. And, if you're curious how Ghibli's works — such as posters, videos, music and books — appear overseas, there's an exhibition about that as well. Because you'll want souvenirs, the Ghibli's warehouse store sells Ghibli goodies galore, including items specific to the park. Expect two things: to want to purchase everything, so much so that you'll contemplate whether it's worth getting another suitcase to take home with you; and plenty of company while you're browsing and buying. For a bite or a drink, the Great Warehouse's cafe and milk stand both take their cues The Wind Rises. One slings sandwiches and pizzas, while the other focuses on sips to drink — and a sweet made of red bean paste between two pieces of castella, as seen in the movie. Yes, it all truly does resemble the Japanese animation house's glorious frames in real life — as that aforementioned Studio Ghibli museum already does as well. Also open in the first stage: gardens, including the antique shop and verandah from Whisper of the Heart, plus Satsuki and Mei's house from My Neighbour Totoro. The latter was already a part of Aichi Prefecture Expo Park, but that doesn't make it any less stunning. Indeed, there's a reason that Ghibli Park was initially described as having a My Neighbour Totoro focus. Also slated to feature across the whole park: a life-sized version of Howl's Moving Castle, Kiki's home from Kiki's Delivery Service, a village area that pays tribute to Princess Mononoke, nods to the cat from Whisper of the Heart and The Cat Returns, buildings with design elements that take their cues from Laputa: Castle in the Sky, and a super-sized garden that'll make you feel like you're one of the tiny characters in Arrietty. If you're now planning a Ghibli-centric holiday, Japan reopened its borders to individual international tourists, and ditched its visa and package tour requirements, back in October — which, yes, is handy timing. A note re ticketing: like Ghibli's museum, Ghibli Park opens for bookings one day per month, working months ahead. On Monday, November 14, for instance, you'll be able to buy tickets for January visits. Ghibli Park is now open at Aichi Expo Memorial Park, 1533–1 Ibaragamama Otsu, Nagakute City, Aichi Prefecture. For more information, head to the venue's website. Images: © Studio Ghibli.
Australia's touring all-inclusive music and arts festival Summer Camp is returning in December — and it's just dropped the full lineup of over 100 artists, as well as info on its new venues. Following Summer Camp's inaugural run in 2022 which combined great tunes and LGBTQIA+ pride, the blockbuster event will be hitting St Kilda Marina on Saturday, December 2 and the Wentworth Park Sports Centre in Sydney on Sunday, December 3. Leading the latest lineup announcement is viral sensation Rebecca Black who has had a major career revival since 2021, releasing a slate of acclaimed pop projects ten years after achieving global infamy for her so-bad-it's-good track 'Friday'. Heaven will be a place on earth at the Sydney edition of Summer Camp with Belinda Carlisle joining the lineup, while Ultra Naté will be exclusively hitting St Kilda with her catalogue of hits including the iconic dance cut 'Free'. [caption id="attachment_919632" align="alignnone" width="1920"] Matto Lucas[/caption] Also gracing both Summer Camp lineups: Brooke Candy, Kito, Meg10, The Illustrious Blacks and Tom Aspaul alongside a stacked program of local musicians, DJs, dancers and performance artists comprising more than 100 acts. The BEAT stage will be dedicated to thumping house, disco and techno tunes. Sydney will also be treated to Club Love — a haven for cheesy singalongs and big emotions, while Melbourne's Summer Camp will host a cutting-edge Rave Cave. [caption id="attachment_919633" align="alignnone" width="1920"] Matto Lucas[/caption] The huge program will be headlined by previously announced headliners Jessie Ware and Trixie Mattel. Ware teased that she was playing the festival back in May, advising that she'd be appearing on an episode of her podcast Table Manners with Jessie and Lennie Ware before confirming her place on the lineup in July. It's been a long time between Australian visits for the UK disco-pop queen. The last time she graced our shores was for Laneway Festival all the way back in 2013. In the period since, she's released four albums, including the immensely critically acclaimed What's You Pleasure in 2020 and its equally vibrant recent follow-up That! Feels Good!. But now Ware's drought of Aussie appearances is officially coming to an end. [caption id="attachment_899478" align="alignnone" width="1920"] Raph_PH via Wikimedia Commons.[/caption] The St Kilda edition will be taking place as part of the huge 17-day ALWAYS LIVE program that's hitting the state throughout November and December. The massive program also includes performances from Christina Aguilera, Jai Paul and Eric Prydz. As for the new location in Sydney, the festival has decided to head to an indoor-outdoor facility after facing issues with flooding at Centennial Park last year. SUMMER CAMP FESTIVAL 2023 LINEUP: Jessie Ware Trixie Mattel Brooke Candy Kito Meg10 Rebecca Black The Illustrious Blacks Tom Aspaul Sydney Only: Belinda Carlisle Abby & Tyrone Akala Newman Atomic Blond & Dutch Kiss Ballroom Australia Baschoe Charlie Villas Chic Coach Cleo Rapture Club Chrome Dads Mayo Dan Azzo Diva Cups Dyan Tai Feta James Fried Pork Chop Half Queen Jackie Daniels Jane Jason De Cox Jimi the Kween Karlee Misi King C*ntessa Lady Fur Matt Vaughan Never Enough DJs (Dunny Minogue x Estèe Louder) Rosie Rivette Melbourne Only: Ultra Naté Alex Morris Ballroom Australia Bathesba Crescendoll Daws Dilonce' Disco Daddies DJ Gay Dad Ecterera Ecterrea x Art Simone Fragile Future House of Buffet Jesse Boyd Kat Zowthabag Kween Kong Mz Risk Nick Spurway Saint Eve Sal Simple Sovblkpssy Stone Motherless Cold Sullivan The Huxleys Tilly Capulet Tyoow Vb Unicorns Yo Mafia Summer Camp will be hitting Sydney and Melbourne in December 2023. For further details or to nab tickets, head to the festival's website. Top image: Matto Lucas
