Being a Barbie girl in a Barbie world wasn't just a 2023 trend, back when Greta Gerwig's (Little Women) Margot Robbie (Asteroid City)-starring — and Oscar-nominated — film became one of the biggest and pinkest movies to ever hit cinemas. The 2025 way to get your Barbiecore fix Down Under from late June through till summer 2026: by enjoying ice cream floats served in a pink Barbie convertible car at the Malibu Barbie Cafe, plus sipping fairy floss-topped cocktails at the Ken Kabana bar, all at The Social Quarter at Chadstone Shopping Centre in Melbourne. The Malibu Barbie Cafe has been popping up across the US, with New York, Chicago, Minneapolis, Miami, Austin and Houston all welcoming the venue. From Friday, June 27, 2025, it'll next make its first-ever appearance in Australia. This is also the cafe's debut stop beyond America — as well as Melbourne's second temporary big-name pop culture-themed addition in the same month, after Melbourne Museum's Star Wars Galactic Cafe opened its doors in early June. Pink hues? Beachy decor? Kicking it back to the 1970s, when Malibu Barbie initially debuted, at the onsite watering hole? A rollerskating rink lined by artwork of palm trees? A life-sized Barbie box? An installation that celebrates how Barbie as a brand has changed over the years? That's all on offer at the Malibu Barbie Cafe. So is merchandise that you won't find anywhere else, if you need a memento from your visit — although, with that in mind, we're sure that you'll fill your phone with plenty of photos. Ken's job isn't just beach here, given that his name adorns the cocktail-slinging upstairs bar in the two-storey site. On the drinks menu: that gin and lemonade concoction with spun sugar on top; themed takes on mojitos, margaritas, cosmopolitans, espresso martinis and old fashioneds; and more. If you're keen on a booze-free version, some of the tipples are available as mocktails. There's also a snack range, including fries with pink mayo, prawn cocktails, sushi and baked brie. Does putting your skates on appeal? You'll find that on the second level, too. Downstairs, Malibu Barbie Cafe's menu is an all-ages-friendly affair, with that ice cream float just one option. Sticking with sweets means choosing from doughnuts, pink cookies, cupcakes, ice cream sundaes, fruit and marshmallows. If you can't decide, the dessert sampler dishes up a mix of picks on a Barbie boat for between four and eight people. Savoury dishes span the same small bites as at the Ken Kabana, plus burgers, poke, garlic prawn linguine, beer-battered fish tacos, club sandwiches, grilled cheese, mac 'n' cheese and salads. Or, tuck into avocado toast, açai bowls, bacon and eggs, parfait or pancakes from the all-day brunch selection. Then, to drink, milkshakes, pink lemonade and pink lattes are among the options. If you're thinking "come on Barbie, let's go party", party packages are indeed a feature — including three-hour adults-only private-dining experiences from 6.30pm Thursday–Sunday. "We're delighted to partner with Bucket Listers and Chadstone, in collaboration with Mattel, to bring the Malibu Barbie Cafe to Melbourne," said Matt Gudinski, Chief Executive of The Mushroom Group, which is helping to share the Barbie fun with Australia. "At The Mushroom Group, we're always exploring new immersive live experiences and working with the world's biggest brands — few are as iconic as Barbie." Find Mattel's Malibu Barbie Cafe at The Social Quarter at Chadstone Shopping Centre, 1341 Dandenong Road, Malvern East, Melbourne, from Friday, June 27, 2025–summer 2026. Head to the cafe's website for more details.
Even when True Detective had only reached its second season, the HBO series had chiselled its template into stone: obsessive chalk-and-cheese cops with messy personal lives investigating horrifying killings, on cases with ties to power's corruption, in places where location mattered and with the otherworldly drifting in. A decade after the anthology mystery show's debut in 2014, almost to the day, True Detective returns as Night Country, a six-part miniseries that builds its own snowman out of all of the franchise's familiar parts. The main similarity from there: like the Matthew McConaughey (The Gentlemen)- and Woody Harrelson (White House Plumbers)-led initial season, True Detective: Night Country is phenomenal. Arriving weekly from Monday, January 15 via Binge in Australia and Neon in New Zealand, True Detective's fourth season is a return to form and a revitalisation. Making it happen after two passable intervening cases — with Taylor Kitsch (Painkiller), Colin Farrell (The Banshees of Inisherin) and Rachel McAdams (Are You There God? It's Me, Margaret) in season two, then Mahershala Ali (Leave the World Behind) and Stephen Dorff (The Righteous Gemstones) in season three — is a new guiding hand off-screen. Tigers Are Not Afraid filmmaker Issa López directs and writes or co-writes every episode, boasting Moonlight's Barry Jenkins as an executive producer. True Detective creator Nic Pizzolatto remains in the latter role, too, as do McConaughey, Harrelson and season-one director Cary Joji Fukunaga (No Time to Die); however, from its female focus and weighty tussling with the dead to its switch to a cool, blue colour scheme befitting its Alaskan setting, there's no doubting that López is reinventing her season rather than ticking boxes. Pizzolatto oversaw and penned or co-penned very True Detective episode before now, and helmed some season three instalments. In handing over the reins, his police procedural that's never been a standard police procedural is both a powerhouse again — which season two and three couldn't manage — and lives up to the potential of its concept. The commitment and cost of delving into humanity's depths and advocating for those lost in its abyss has swapped key cops, victims and locations with each spin, including enlisting the masterful double act of Jodie Foster (Nyad) and boxer-turned-actor Kali Reis (Catch the Fair One) to do the sleuthing in season four, but seeing each go-around with fresh eyes feels like the missing puzzle piece. López spies the toll on the show's first women duo in True Detective: Night Country, as well as the splinters in a remote community when its fragile sense of certainty is forever shattered. She spots the fractures that pre-date not only the investigation at the heart of the new season, but a cold case tied to it, plus the gashes that've carved hurt and pain into the earth ever since people stepped foot on it. She observes the pursuit of profit above all else, and the lack of concern for whatever — whoever, the region's Indigenous inhabitants included — get in the way. She sees that the eternal winter night of 150 miles north of the Arctic Circle come mid-December isn't the only thing impairing everyone's sight. And, she knows that not everything has answers, with life sometimes plunging into heartbreak, or inhospitable climes, or one's own private hell, without rhyme or reason. In the fictional mining town of Ennis, Foster's police chief Liz Danvers has few friends; her curt demeanour, hatred of people and long line of casual partners among the local husbands doesn't help. Reis' state trooper Evangeline Navarro certainly isn't among those who consider themselves a pal, after the two teamed up on a murder-suicide years prior. But when all eight researchers at Tsalal Arctic Research Station, all men, go missing as the polar dark spell sets in for the year, the two women are forced to collaborate. With Ferris Bueller's Day Off glitching on the base's TV and food left out, it doesn't appear that the disappeared men left by choice. A detached tongue found on the scene has Reis certain that whatever strangeness is afoot is linked to an unsolved murder of a fellow Indigenous woman six years earlier that she's determined to put to rest. There's also The Thing vibes before, during and after the glacial expanse reveals Lovecraftian horrors, and the season's supernatural thread makes its presence known. True Detective's past casts have been outstanding — the McConaughey and Harrelson season was peak McConaissance — regardless of whether the material met their talents. Recalling her Oscar-winning The Silence of the Lambs performance but as a been-there-seen-that veteran rather than a fresh recruit, Foster is the show's finest enlistment yet. As the hard-nosed, detail-driven yet secretly caring Danvers, whose mentoring relationship with her unreliable deputy Hank Prior's (John Hawkes, Too Old to Die Young) fresh-faced officer son Peter (Finn Bennett, Hope Gap) lays bare her question-driven approach and the compassionate side she'd rather hide, she's mesmerising. Beside her, so is Reis. That the latter brings unflinching passion to the part is hardly surprising for someone with just two prior on-screen credits who now co-leads Night Country with Foster, and they make a fierce and steely odd-couple pair. Crucial to López's time in charge is fleshing out the flaws, losses, hopes and yearnings that make everyone within her frames who they are. From her central duo and their law-enforcement colleagues — Christopher Eccleston (Dodger) plays Danvers' boss, who threatens to take over — to Danvers' teenage stepdaughter (Isabella Star LaBlanc, Pet Sematary: Bloodlines) and her rallying against the mine, Navarro's struggling and grief-stricken sister (debutant Aka Niviâna), and the blow-in professor (Fiona Shaw, Andor) who has gleefully left her stressful old existence behind — there's no such thing as a one-dimensional character here. Complexity snows down from every angle, including from within. While "time is a flat circle" gets a workout in one reference backwards, True Detective: Night Country's equivalent is "it's a long fucking night — even the dead get bored", but there's nothing tedious about spending six hours with its figures and mysteries. Hollywood has been embracing frosty noir heartily of late, with A Murder at the End of the World, season five of Fargo and True Detective: Night Country all arriving within months of each other. Boasting 2023 Oscar-nominee for Tár Florian Hoffmeister lensing True Detective's switch to the literally chilling, Night Country looks as sharp and biting as it feels: all gleaming snow and inky endless evening, with light and dark aesthetically warring like human impulses. This is the series' ongoing dance, but only in its first season with that famous six-minute tracking shot (by Australian Animal Kingdom, Snowtown and Top of the Lake cinematographer Adam Arkapaw) has it dazzled so visibly and hauntingly until now. Yes, True Detective is back after a five-year gap since season three — and for the first time since 2014, it's also back to its best. Check out the trailer for True Detective: Night Country below: True Detective: Night Country streams in Australia from Monday, January 15, 2024 via Binge in Australia and Neon in New Zealand. Images: HBO.
If anyone's embracing the idea of doing one thing and doing it well, it's the duo behind Thornbury's Casa Nata. Ruben Bertolo and Nelson Coutinho's High Street bakery is devoted to just one specialty: creamy, authentic pastéis de nata. Both children of Portuguese parents that migrated to Australia in the 80s, the pair is more than familiar with the custard-filled pastry, but felt it wasn't being properly represented here on Aussie shores. So, they decided to do something about it, got cracking on perfecting a recipe and opened the doors to Casa Nata in April 2020. The menu is a testament to the idea of quality over quantity, featuring nothing more than Atomica Coffee alongside just one version of the signature dessert. "And that is it for now. It still blows people's mind that that is all we do," says Bertolo, also admitting they don't plan on expanding this offering too much any time soon. "If we do add anything else, it definitely would never be something that would distract from the tarts." Of course, the hero status of these beauties is well-deserved, each tart taking three days to produce and the recipes kept firmly under wraps. You can, however, catch a glimpse of the chefs in action, thanks to the store's open kitchen.
The days are getting longer, after-work swims are back, frangipanis scent the air, and we've officially completed the switch to iced drinks only. That can only mean one thing: summer has arrived. Like clockwork, MILKLAB's Summer Sensations program is back for another year to help us kick our coffee ruts aside with a season-defining new drop of drinks. Each year, the number one plant-based barista milk brand officiates the start of summer with a curated lineup of summer-approved drinks. Each drink has been developed with specialty coffee roasters Golden Brown Coffee to be equal parts delicious and aesthetic. If 2024 was the year of strawberry matcha and adding sparkling water to espressos, yuzu, and cold brew, what's in store for summer 2025? We asked MILKLAB for a sneaky first look at this summer's trending drinks, from matcha to coffee and beyond. Glazed Doughnut Iced Latte Hailey Bieber may have made us temporarily think of skincare when we think of glazed doughnuts, but this summer, that's about to change. Why? Because we're set to see the Glazed Doughnut Latte pop up on cafe menus everywhere and become your new summer sweet treat. Think espresso, white chocolate, and caramel shaken over ice until frothy and served alongside MILKLAB Macadamia on a hot summer's commute. If you've ever wanted to turn a doughnut into a drink, this is absolutely for you. Mango Matcha If matcha has become a part of your daily routine — and your entire personality — you will be thrilled to see the Mango Matcha popping up everywhere this year. Yes, it's time to bid farewell to the 2025 zeitgeist's favourite drink, the humble strawberry matcha. Just like your beloved iced matcha, this one comes with a hefty dose of everyone's favourite summer fruit, mango. Perfectly whisked matcha poured over ice, the right balance of MILKLAB Oat, vanilla, and a punchy layer of mango purée make this drink the perfect way to welcome summer. Who knows, you might even like it better than the strawberry version. Ube Matcha Ube has taken the drinks world by storm in Asia, and now it's Australia's turn. If you haven't seen it on menus yet here, prepare for its total takeover of cafes this year. The bright purple drinks are made with ube, a technicolour sweet potato native to the Philippines that has a nutty, earthy vanilla-like flavour. The ugly-on-the-outside and purple-on-the-inside vegetable is boiled down and turned into a delicious syrup, perfect for drinks. Think of it like one of nature's prettiest and tastiest sweeteners. This summer, find it adding a purple punch to your regular matcha — perfect if you're not a fan of overly sweet drinks. Almond Iced Pistachio Latte Pistachios have had one of the biggest years on record, soaring in popularity and becoming an ingredient in just about everything. Now that summer has arrived, you can expect to see it added to coffees. Different from the in-your-face flavour profile of Dubai chocolate, here you'll find the pistachio (and white chocolate syrup) whisked vigorously and dissolved into your espresso shot, meaning each sip tastes of the delicious ingredient we all can't get enough of. Then, it's topped with MILKLAB Almond and garnished with crushed pistachios and pistachio spread. Coconut Mango Frappe Just because you don't drink coffee doesn't mean you should miss out on having an ice-cold drink at a cafe this summer. Frappes are back in a big way this year, so prepare to see them on cafe menus across the country, and even bars for the sober-curious among us. Think of the Coconut Mango Frappe as the piña colada's daytime equivalent, but with mango. Mango, MILKLAB Coconut, coconut cream, ice and sugar syrup are blended up and served topped with shredded coconut and a lime wedge. Best enjoyed from a glass dripping with condensation when the mercury rises. Find your new summer obsession in store at your favourite cafe now, or head to MILKLAB's website for more inspiration.
There are plenty of ways to enjoy a blast from the past, but stepping inside a museum is one of the most reliable. Head to the Australian Museum in Sydney right now and a trip back to Peru more than 3000 years ago awaits. For its big summer exhibition for 2024–25, the venue is hosting the Aussie-exclusive season of Machu Picchu and the Golden Empires of Peru, displaying 134 priceless artefacts including the most-opulent collection of Andean gold that's ever left the South American nation. Move over Egypt: after the Harbour City institution dedicated the end of 2023 and beginning of 2024 to Ramses and the Gold of the Pharaohs, it's now time to wrap up one year and kick off another with a different journey backwards. Featuring jewels, masks and other treasures, some of which were found in royal tombs, this historical showcase hails from Peru's Museo Larco and Museo de Sito Manuel Chavez Ballon. To make the exhibition's six-month stay even more immersive, a virtual-reality tour of Machu Picchu is also part of the experience (albeit at an extra fee). Six cultures are in the spotlight: Chavín, Moche, Chimú, Nazca, Lambayeque and Inca. The array of items is also organised into six themes, taking attendees through ancient Peruvian societies' beginnings, religious beliefs and traditions, and the power wielded by royalty. Trade, agriculture, and Spanish conquistadors forcing their decline: they're covered as well. Sometimes, visitors will peer at gleaming body ornaments. Sometimes, rare ceramics await. From textiles to ceremonial tools, plus bowls to statuettes, the collection is wide-ranging — including in pairing earthy pottery tones with shining gems and metals (as well as gold, silver and gilded copper also feature). As for the VR, this highlight of the program is the first-ever virtual-reality 'fly-through' of the famous site, which won Best Use of VR at the Lumiere Awards. The experience will get you feeling as if you've been transported both back in time and to the other side of the world — not just via VR, but also 360-degree motion chairs and drone footage. The vision featured was recorded at the World Heritage-listed site when Machu Picchu was closed to visitors during the early days of the pandemic. Sydney is just the fourth place in the world to welcome Machu Picchu and the Golden Empires of Peru, after the exhibition's stops in Boca Raton in the US, Paris in France and Milan in Italy. "Full of mystery and culture dating back over 14,000 years, Peru is a stunning land of deserts etched with ancient geoglyphs shown in the Nazca Lines, soaring peaks harbouring secret cities like Machu Picchu and awe-inspiring landscapes" said Australian Museum Director and CEO Kim McKay, opening Machu Picchu and the Golden Empires of Peru. "We invite visitors to uncover the extraordinary legacy of ancient Peru, by visiting Machu Picchu and The Golden Empires of Peru exclusively here in Sydney. It is a cultural experience right at the top of everyone's travel bucket list." Machu Picchu and the Golden Empires of Peru opened at the Australian Museum, 1 William Street, Sydney on Saturday, November 23, 2024 — head to the exhibition website for further details and tickets. Images: Cain Cooper.
Tucked away in a row of beige Victorian houses is the teal kiosk now home to Monforte Viennoiserie. Inside, pastry chef Giorgia McAllister Forte spends her Tuesdays and Wednesdays rolling butter, whipping cream and laminating dough. She returns at 4am on Thursday for her first day of service. By 8am, a sizeable queue has already formed outside. Four and a half hours later (or earlier if everything sells out), service stops and she begins prepping for Friday. This all continues daily through the rest of the week, albeit with the doors opened at 8.30am on Saturdays and Sundays. Monforte only launched in August, but it's already built a loyal base of local customers who are keeping McAllister Forte's operation going, week in week out. Meanwhile, she's keeping them on their toes with an eclectic menu of ever-changing seasonal offerings. "The idea is that people don't always come back to the same stuff. I feel like that's a drawcard because they get to try something new," says Forte. She picked up this approach while working with Claire Ptak at Violet in Hackney, London. "She was really big on baking seasonally, so I learned to bake with the seasons there." As spring rolls into summer, expect to see plenty of berries and stone fruits on the menu, including blackberry and fig leaf tarts and apricot and buttermilk danishes. For something a little more savoury, Forte recommends the tropea onion, heirloom tomato and tarragon tart. "I feel like it's underappreciated. People who have had it think it's really delicious, but I feel like it's always shunned," she says, "and we're only at the very beginning of tomato season as well." McAllister Forte's only year-round menu item is the humble bakery staple: the croissant. Besides a classic plain offering, McAllister Forte is also serving up a leatherwood honey and sea salt variety. It's light, balanced and great to eat with the batch brew from Everyday Coffee also sold in store. McAllister Forte has big plans for the kiosk's future, from making jams in-house to sourcing more off-the-beaten-path produce like mulberries. But, for now, her focus is on expanding opening hours to include Sundays by December, and Thursdays as well in the new year. The pasticceria draws on McAllister Forte's decade of international training and experience. Besides Violet, she's worked at Oyster & Chop alongside Mark Hix and as a pâtissier at All Are Welcome in Melbourne. All this time however, Forte wanted a bakery of her own. "I've wanted to be a pastry chef since I was maybe 10 or 12 years old, and it was always my dream to have my own tiny neighbourhood shop. It's really a dream that's been going for 15 years, maybe more." Now that she has creative control in Monforte, her menu is exciting, experimental and ever-evolving, much to the delight of locals. Just make sure to get there early to beat the queue. Top image: Giorgia McAllister Forte
These days, travel trends shift in the same way as food, music or fashion. Destinations that were popular a few years ago don't always stay that way, and as you scroll through Instagram, you'll often see your friends all hitting up the same travel hotspots. Instead of chasing the same locations, travelling in 2026 is about going somewhere that feels fresh, exciting and a little unexpected. Thanks to Singapore Airlines' Early Bird Fare Deals, you can book ahead to the cities that are sure to fuel your curiosity, from Manchester to Johannesburg to Ho Chi Minh City. Manchester, England London will always be a classic holiday destination and a popular gateway to Europe, but Manchester has a lot more to offer than you might think. Known for its legendary music history (responsible for bands like The Smiths and Oasis), the city has evolved over the years into a hive of live gigs, design festivals and one of the UK's most exciting dining scenes. Football fans already know Old Trafford and the Etihad are must-visit stadiums for a game, but Manchester's neighbourhood bars and galleries are just as worthy of your time. With Singapore Airlines' Early Bird fares, you can fly Perth to Manchester from $1,555 return. Brussels, Belgium Belgium's capital is full of beautiful architecture and public spaces, but it's also fast emerging as Europe's creative hub, where street art and digital design combine with the city's old-world charm. Between modern art galleries, neighbourhood breweries and its reputation as the birthplace of fries, there are so many reasons to go and visit. It's also perfectly positioned for day trips to Bruges, Ghent or Antwerp, if you feel like taking your travel plans even further. Early Bird fares from Adelaide start at $1,473 return, proving that booking ahead pays off. Istanbul, Türkiye Few cities are as interesting as Istanbul right now. Straddling Southeastern Europe and Western Asia, the city is buzzing with a new wave of restaurants, rooftop bars and contemporary art spaces that sit alongside ancient mosques and markets. Stay in Sultanahmet if you want to be right in the historic centre. For something a bit less touristy but still trendy, find a place in the Beyoğlu neighbourhood. You can spend your days wandering through the Grand Bazaar, cruise along the Bosphorus and sample modern Turkish cuisine in Karaköy. Lock in your 2026 flights now and you'll have first pick of this ever-changing city. Frankfurt, Germany When most people plan a European trip, they think of Italy, Greece or Paris. But Frankfurt has quietly become one of Europe's most exciting cities, and it's worth adding to your list. Beyond its skyscrapers and reputation for delicious sausages, it's also home to leafy riverside parks, food halls that champion local producers and some of Germany's most active nightlife districts, offering everything from old school German pubs to trendy wine bars. With Singapore Airlines' and Lufthansa's joint network, you can also connect from Frankfurt to other European cities seamlessly, making it easy to hit multiple destinations in the one trip. Ho Chi Minh City, Vietnam On the Southeast Asia front, Ho Chi Minh City (still known locally as Saigon) is a place of constant movement. Once you touch down, you won't need any plans other than setting out on foot to explore. Street food stalls sit beside cocktail bars, while French colonial buildings stand near cutting-edge coworking hubs. Block out an afternoon to visit the historical Notre Dame Cathedral and Central Post Office buildings, or check out the city's many stores stocked with locally sourced streetwear, jewellery and antiques. It's energetic and chaotic in the best way, and it's impossible to visit without wanting to return again and again. Johannesburg, South Africa For those wanting to go further afield, South Africa's largest city is an eye-opener. Over the years, the city has reinvented itself with a thriving arts district, an innovative restaurant scene and a proud emphasis on heritage as the home of Nelson Mandela and Desmond Tutu. It's also the perfect launchpad for safaris or road trips across South Africa, making it a destination that feels equal parts unique and inspiring. Copenhagen, Denmark Copenhagen is one of those cities that feels old and new all at the same time. There's colourful harbour front houses and cobbled streets alongside sleek architecture, bike-friendly paths and world-leading restaurants. In 2026, plan your visit for summer to make the most of the city's long, warm evenings — perfect for rooftop drinks, open-air festivals and cycling along the canals. Book with Singapore Airlines' Early Bird Fares and you'll have first pick of the best travel dates to soak it all in. For Aussies looking to head overseas, 2026 is shaping up to be a year of fresh horizons. Thanks to Singapore Airlines' Early Bird Fare Deals, you can book now and secure your seat to over 100 destinations worldwide. Singapore Airlines' Early Bird Fare Deals end September 30, 2025, so get in early and make your next adventure one to look forward to. Find out more and book your Early Bird fare for select travel dates in 2026 here.
From classic Western films to luxury fashion houses and cult Aussie shows like The Saddle Club, there's something about a horse that the world adores. The quiet power, the steady weight, the way they seem to sense you before you even move. For some people, a horse's presence is literally life-changing. At Riding for the Disabled Australia (RDA) centres across Australia, these animals are a key in providing therapeutic benefits — involving riding, carriage driving and unmounted activities — designed to help people with disability strengthen muscles, build coordination, develop confidence, and have fun. Some riders are children born with developmental disabilities such as cerebral palsy or autism, while others are affected by physical disability including MS (Multiple Sclerosis) and progressive blindness. Some are even adults rebuilding after an accident, injury or diagnosis, including people who have become paraplegic, an amputee or suffered brain trauma. The horses meet them where they are, instinctively attuned to every movement and mood, and riders respond in incredible ways. "Horses have this beautiful ability to relax people," says Mary Longden. "They're sentient beings. The smell of a horse, the sound of the horse. Nothing beats actually being on a horse. I've seen almost miracles happen." The changes go beyond riding ability, though practice makes perfect. Through assistance horses, riders who once struggled to follow instructions begin to respond, non-verbal participants start whispering to their horse, and those living with anxiety or attention disorders learn to self-regulate. In these sandy arenas where horses trod along and coaches gently call out instructions like "heels down" or "soft reins", incredible progress is made. Routine, patience and progress are learned through care, from brushing and saddling to leading and riding. Each small action adds up to something bigger and creates more freedom than they ever had before. The RDA program runs on volunteers who give up their time to help lead horses, support riders and keep sessions running. The whole thing is a win-win for both riders and volunteers. "The benefits are not just for the participants. It's uplifting to see the impact for their carers and the volunteers and the coaches," says Steve Gatt. "It's an amazing experience." That sense of shared purpose is what's driven the Petstock Foundation to support RDA for more than a decade. Since 2007, the Foundation has contributed to coaching workshops, centre programs and national initiatives that help RDA continue its work. This year, that partnership is further bolstered through Petstock Foundation's Christmas Project 'Support You Can Snuggle'. While you're picking up treats or toys for your pet this Christmas, donate $2 to the Petstock Foundation, either in store or online, and your contribution will help expand access to programs like RDA. These donations go directly towards supporting and expanding assistance animal services in communities across Australia and New Zealand — ensuring more people can access the life-changing support they need. Donate $2 to assistance animals this Christmas. Your support gifts theirs. Donate instore or online at petstock.com.au.
Phillip Island's ever-popular little penguin residents have scored themselves an upgrade, with the new-look, revamped Penguin Parade visitor centre opening its doors this week. The colony of tiny birds and their waterfront digs have long been one of Victoria's iconic tourist destinations, with the sunset penguin viewings pulling over 700,000 visitors each year. Now, with the help of $48.2 million funding from the Labor Government — along with an extra $10 million from the not-for-profit Phillip Island Nature Parks — the world-leading penguin research precinct has had a long-awaited makeover. In good news for its pint-sized inhabitants, the mammoth infrastructure project has restored over six hectares of penguin habitat, reclaiming the site of the former visitor centre building to create extra homes for up to 1400 breeding penguins. As for the new centre built in its place, it boasts a state-of-the-art theatre, a suite of interactive activities and educational installations, along with a selection of retail and dining options. Here, you'll be able to browse a range of commissioned penguin-themed designs, from bamboo tumblers to tea towels, along with a line of sustainability-focused products including reusable veggie bags and stainless steel straws. An onsite restaurant will be dishing up plates like slow-cooked lamb shanks and a classic chicken parma, while the cafe is your go-to for sandwiches, sushi and pies. On the educational side of things, you'll find a realistic habitat space offering a penguins-eye view of the world, a range of penguin statues for those selfie snaps and a display sharing the story of the Summerland Peninsula's historic buy-back scheme and restoration of the penguin habitat. You'll also score a close-up glimpse of the penguin life cycle, as told through the journeys of resident birds Pudding, Ava, Peter and Flynn. The interactive installation allows you to see what's likely happening in penguin world during various seasons and months. The building's design has also earned some serious street cred, being named as a winner at the recent 2019 International Architecture Awards. And, in a win for those penguins, the building is especially environmentally friendly, featuring 666 rooftop solar panels, low-carbon building materials throughout and a water filtration system that recycles rainwater for non-potable use. While the visitor centre is entirely new, the program of penguin-viewing experiences remains the same — including the popular underground viewing platform and the ranger guided tours. You can find the new Penguin Parade Visitor Centre at 1019 Ventnor Rd, Summerlands.
It's the first film from Andrea Arnold in almost a decade, since 2016's Cannes Jury Prize-winning American Honey. It boasts Barry Keoghan in his first big-screen role since Saltburn made him a megastar. ("He could pretty much have done anything he wanted and he stuck with my small, low-budget film, so that's pretty spectacular," Arnold tells Concrete Playground.) It gives Franz Rogowski another exceptional part for his ever-growing resume (see also: Victoria, Happy End, Transit, A Hidden Life, Undine, Great Freedom and Passages). It unearths a stellar new talent in British Independent Film Award Breakthrough Performance-nominee and first-time actor Nykiya Adams. It sports a soundtrack filled with British sing-alongs, complete with a nod to its most-famous face's film past worked in among Blur's 'The Universal', The Verve's 'Lucky Man' and Coldplay's 'Yellow'. Bird is worth watching for each of these reasons alone — as well as for Arnold's blazing empathy, a hallmark of her work since her Oscar-winning short film days, and also the brilliant naturalism that always beams through in the cinematography by her regular collaborator Robbie Ryan (a two-time Academy Award-nominee for The Favourite and Poor Things). It's also a must-see for letting audiences discover how Arnold has spun a tender and moving coming-of-age fable that blends social realism with magical realism from a unique starting point: "it was an image of a naked tall man with a long penis standing on a tall building at night in the mist," she advises. "I think it's a metaphor." Bird began the same way that Andrea Arnold's work always does: with a distinctive picture. While every film, be it a short, feature or documentary, trades in visuals, of course, the writer/director's creative process for each of her projects commences with an image that comes to her, and that she's then driven to unlock. Such was her kick-off point when she started penning a movie that now sits beside Red Road, Fish Tank and Wuthering Heights on her resume as well — plus episodes of Transparent and I Love Dick, the entire second season of Big Little Lies and heartbreaking doco Cow. Rogowski portrays the titular character, who is indeed sighted on a rooftop. Adams is Bailey, the movie's 12-year-old protagonist. Keoghan plays Bug, her single dad, who she resides with in a north Kent squat — also with her brother Hunter (fellow first-timer Jason Buda) — and whose new engagement shatters Bailey's status quo. Arnold layers Bird with journeys and searches to belong. It's true for the girl at the feature's centre, who feels like the already-chaotic existence that she's living with Bug and Hunter is crumbling. It's accurate of Bird, the mysterious stranger on a quest that's tied to his past, too. Bug's impending nuptials, Hunter's own romantic situation: it applies to them also, as it frequently has to other characters across the helmer's filmography. Chatting with us in 2016, American Honey star Riley Keough described that picture as "like an experience, rather than like a film" and "really getting to that sort of place in people's souls"; again, that applies across every Arnold project. In her Oscar-awarded short Wasp, Arnold's focus is a single mother trying to start a new relationship. Red Road follows a CCTV operator who spots someone that she knows on surveillance footage, Fish Tank charts the change in a 15-year-old's life when her mum begins seeing a new boyfriend, Wuthering Heights obviously adapts Emily Brontë's gothic great about Catherine and Heathcliff, and American Honey heads on a US road trip. A female dairy cow earns the filmmaker's attention in Cow. Each unfurls a different narrative, even if dysfunctional families and growing up are familiar themes. "None of the stories are directly connected, but I'm quite interested in those kind of families, I guess," Arnold notes. "Maybe because my own family was quite sort of chaotic as a child." Her work is linked by a sentiment that's summed up wonderfully in an unforgettable line in Bird, too: "no one's no one". That piece of dialogue was pivotal for the director. Arnold is adamant about that fact, as she was about ensuring that the line made it into Bird. As she keeps demonstrating a devastatingly evocative and effective knack for seeing working-class reality with clear eyes while equally spying the world's beauty wherever her characters can snatch it, Arnold likes to let her films speak for themselves rather than unpacking their meaning — "I really believe in cinema being something that you give to the audience to have their own experience with," she says; "you want the audience to go to the bar afterwards and argue about what they think it meant, 'I think it meant this' or 'I think it meant that', 'no, no, what about that scene, because that scene means that'" — but she's aware of how crucial those four words are. Bird's evolution from that first image of a man on a building, delving into magical realism, casting Keoghan, discovering Adams, guiding naturalistic performances out of her actors, her approach to the film's soundtrack, making three-dimensional movies about the working class: we also spoke with Arnold about all of the above. On How Bird Evolved From Arnold's First Vision of a Man on a Rooftop in the Mist "Every time I write, I have an image that I then treat like a puzzle. It's like a mystery. The image is a mystery. Who's the man? Why is he naked? Why is he in mist? Why is he standing on a building? Is someone looking at him? Is he an alien? How old is he? The image encourages me to ask lots of questions, so it becomes a puzzle that I then have to solve. And usually what happens is, I know that if the image really keeps annoying me, like it keeps coming into my head, that it's something I need to explore. So I go off and I start making notes, and I start thinking about what are the answers to some of the questions, and that starts me thinking about scenes and possible other images and characters. And then I just build it from there, really. Which takes years sometimes. Not like every day, but it doesn't always make sense straight away, and I start digging around and 'yeah, that makes sense' and 'that doesn't make sense'. I keep — I think I started Bird years ago, five years ago or something, but then I did Cow and did other things, and so I came back to it. If I'd made it straight away five years ago, I think it would be a completely film to the one I made just now, actually. I think it would have been an interesting, different film. Because in five years, you change and you grow, and you do other things and your ideas change. So it depends on the kind of person I am at the time — and actually, interestingly I wasn't sure I should do it. Because I felt like somehow, the image, although I started with the image, that maybe I didn't need to really go there. But then I just kept going and did. And then I think some of the magical realism came out of that because I was pushing the idea more than I perhaps would have done. Maybe five years ago, there would have been no magical realism, but now there is." On Bird's Flight Into Magical Realism "It came naturally out of the process of writing. I didn't have any other films in mind. I love films like Pan's Labyrinth, for example. I think that's an amazing film, but it's not a film that I ever thought was anything like my films or anything to with me. When I saw that film, which I loved, I never thought 'oh, yeah, that I'm going to do that' or 'that's something to do with me' — I loved it for what it was, for its own creation. I never even thought about it. When I started writing, it just started coming naturally — the storytelling, my imagination just went there. So I just let it. It was liberating. I thought 'well, it's a film, I can make anything happen'. It's like magic, isn't it? You can do what you like. To me, it would seem like a natural progression from what I already do. Because I think, all the nature things I film, to me they're magical anyway. If you put a camera on something like a dragonfly, for example, that's about as alien and as magical as you can get. If you look at anything that we, all these things we have naturally in our lives, that are around — look at a worm. What an amazing thing a worm is, right. If you want look at a worm, film a worm and study it, you'd be thinking 'wow, that's like an alien. That's a strange thing. Does it move? How does it work? How does it live?'. I find all the things around us magical anyway. I literally find them fascinating. I find a snail, for example — you just have to look at those things and it's magical anyway. So to me, what I did just didn't seem so weird. It didn't seem so strange to me. It felt normal. It felt like an extension and natural progression of what I'd already done." On the Importance of the "No One's No One" Line — and How It Also Echoes Across Arnold's Other Work "That line just came while I was writing and I just thought 'oh god, that just sums up everything I care about. That just sums up absolutely everything'. And I was absolutely adamant. Because sometimes when you're filming scenes — my scripts end up being quite layered, I think, and I lose so much from my scripts when we film, because filming is so clunky compared with when you do layers in a scene. I might layer a scene with all sorts of things, and of course you film it and sometimes it's like driving a tank across your scenes. It's hard to achieve some of the subtleties that I put in my in my script. Sometimes I think 'maybe I should just write, because then I can have all the things that I want in there'. So often I'm improvising — or not, no I'm not improvising, I'm allowing things from the script, I let them go because I just have to, because the situation, the timing. Sometimes they have lots of non-actors, they don't remember a line or they don't always say it like it is. So often, the scene becomes sort of an echo of what I wrote, but not totally what I wrote. But that line, I was absolutely adamant that we didn't lose it. I was like 'it doesn't matter what'. And we had to hurry in that situation, because we didn't have much time to film in the station and we had some other issues that day. So we ended up with very little time to film on the station and outside the station, but I was absolutely like 'we're putting the camera there and we're going to get that line, that's got to be there'. It's my favourite line. And I think you're right, thank you for spotting that — it is something that I really care about and I think probably is across my work, and that is something I believe." On Casting Barry Keoghan as Bug "My casting comrade Lucy Pardee, who I work with — who's an amazing woman and who I've worked with for years — she knows me really well. She knows my worlds really well. She completely understands them. I've known her for many years. And she thinks about people she thinks will fit in my world. She mentioned him very early on, like ages before Banshees came out. And I met him just before The Banshees of Inisherin came out. And I hadn't seen him very much, actually, but she sent me a picture of him and I was like 'wow, I love the way he looks' — and he looked like he could fit straight in. Then I saw him in a couple of things, just small roles in things, and then I went to meet him. I don't always need to see them in another film necessarily. I like meeting people. And I'll always go on meeting. I feel like that's the genuine feeling that you get, from meeting a person. And I met him — he came down from Scotland when I was in London, and we had a meeting, and I just loved him the minute I met him. I think I offered it, we offered it, to him the next day. But that was quite a long time before we started — but I never ever faltered. I don't think I met anyone else for Bug, actually. I think I just met him and I was like 'yeah, totally'. But that's thanks to Lucy because she just knows me so well, so she picks people that she knows what I'm going to respond to and who feel like they go in my world. And then Banshees came out, of course, and I went to see it, and I just loved him in that. He was so fantastic in that. I was like 'yeah, we definitely made the right choice, without a doubt'. But I'd cast him before that came out so. And then, of course, he was in Saltburn. And then he went stratospheric. I actually thought 'he's never going to stay with our film', because he could do anything he wants now. But he did. So that was beautiful. He stuck with us." On Knowing That Adams, Who Only Auditioned to Get Out of a Class at School, Was the Film's Bailey "The first audition was with Lucy, the casting director, and then Lucy took her along to another — when she saw her, she brought her along to meet me after. So when I met her, she just came on a Saturday. We do the auditions up near where everybody lives, so they don't have to travel very far. So we were up in the area, and she came on that Saturday. I think she'd been playing football that day. She does football and stuff. She's very physical, very sporty. I think she did it to get out of a design and technology class, didn't she? I think that's the story. I think I heard her say that the other day — I didn't know that until I heard her say that. She did the audition more to get out of a lesson than she did because she wanted to be an actor. She just did it to get out of something. So I think even, I don't know when she came to see me, I'm not sure that she was still that not sure about this thing. I think I remember her walking in like 'yeah, what is, what is this thing?'. But I remember waking up when I saw her. I felt like she had a presence. And that I really took note of, I kind of thought 'oh, this this kid has got a presence'. It wasn't quite the sort of the kid that I'd written or been looking for, exactly. She was different. But I noted her and she woke me up, and I think you've got to pay attention to those feelings. That never left me, so she ended being the Bailey." On Guiding Naturalistic Performances Out of Bird's Cast "I shoot chronologically, which I think is a huge thing, and I particularly love it. I do that mostly for the people who haven't acted before, because I think it gives them some sense of where they are, and then they don't have to jump in and out of the chronology — they're not having to do a scene from the end and then a scene from the beginning. It gives them some sense of their journey. Then, because I do that, I do that with all the actors as well, of course — and then I don't show them the whole script. I give them scenes bit by bit. And then I think the actual day-to-day directing is, for me, every person I'm working with is an individual and your relationship then is an individual relationship — and different actors, different people who haven't acted before, need you or there's different ways in which you work with each of them. So there's not one way, I don't think, that I work with anybody. But I try to have relationships with everybody with, and for that to be like a living, growing, evolving thing that is something that we do as we go along." On the Use of British Anthems in the Soundtrack "Every character, I make a playlist for. So that was on Bug's playlist, these sort of very blokey anthems. I mean, 'Yellow' is a song that I absolutely love anyway. I try, all the songs I use, I try, even though the character's songs, I still want them to be songs I love — and I usually don't pick any song that I don't love. Most songs in my films, I love. And even if they're particular character songs, I still want to love them. So I try to find songs that I love for every character. So 'Yellow' is, I think, a fantastic song and. And 'The Universal' is a fantastic song. And 'Lucky Man'. They're all on Bug's playlist. Bug had that kind of playlist, sort of anthems, because I think he likes to sing and he likes to be loud, and he likes to sing these songs. He knows all the words. Then I made playlists for everyone else. I made a playlist for Bailey, but her music got drowned out by Bug's — every time I tried to have a song that was Bailey's song, it didn't happen because she's in the house and Bug takes over. So that happened naturally, actually. That wasn't an intention. I didn't mean for that to happen, but it did happen. And actually now, I realise it happened naturally because of the character and because of the way the world was. So that was something that was sort of a truth that happened, even though I planned something different — the truth came out. And then what happened is because we had Burial do some of the soundtrack, and I've never worked with someone doing a soundtrack before, so this was a new experience for me — but his music became more like Bailey's internal world. So she had her own music, but it wasn't songs. It wasn't songs that she would have on a playlist. It was more her internal world." On Making Three-Dimensional Films About the Working Class "I grew up in a working-class family and in that kind of area, so I very much feel that's something I very much understand and feel deeply connected to. So I don't have any judgment of anybody. I don't have that in my bones. So I think that's just going to come out in what I do. I don't have any sort of — I don't need to do anything because that's just how I feel. But I think like that about everybody. I think we should all respect and be kind and caring towards each other. I feel the world doesn't — I feel like that about everybody. I try not to judge anyone when I first meet anyone, or to judge anything or anybody. I try not to. I guess, of course, we probably all do on some level, but I try not to. And I just don't have that in my bones, so it's not going to be there in the film, I don't think. I don't think I'm making political — it's not a political gesture, not really. It's more about the people, I think. And it's more about trying to show people in three-dimensional ways. It's a privilege for someone like me who comes from that working-class background to be a filmmaker. What a privilege. What an amazing place I'm in that I've come from a working-class background, but here I am making films — what an amazing thing that is. And to me, I see that as quite a responsibility. And it's almost I feel like I need to really try to present it — I mean, obviously I'm making a film from my point of view, and that I'm not trying to make a wide political gesture, I'm just trying to make one from my point of view, in a way I understand, and that's all I try to do. I don't try to pretend I know everything, or I have great, sweeping view — obviously I wish the world was a more equal, fairer place for people. And there's plenty of wealth in the world to go around, isn't there? I'd like it that people weren't struggling to eat or to have somewhere to live. Originally in the film, I put the family — because of lockdown here and COVID, nobody went to work, and London at the moment has masses and masses of buildings, it has sprouted up like some sort of Blade Runner futuristic thing. And all the people that didn't go to their offices every day didn't want to go back into the offices. And I thought 'oh, there's all of these empty buildings now, all of these big office blocks, empty — why don't put all of the people that don't have homes there? There's so many people without homes. The homeless situation, it seems to be getting worse in every single country. When I go to America, they say the homeless thing is incredibly awful there. There are tent cities, and there are avenues and streets full of people living in tents and cars. I'm thinking 'but you've got all these empty buildings. You've got all of these office blocks that no one's working in. Why don't we just put everybody in there?'. So originally in the film, I put the family them in there. But we couldn't find a building like that to film in, so we didn't end up filming there. But the intention was there. My heart was there. So there's all these little things that I do care about that I put in the film, but I wouldn't say it's a big, sweeping political gesture. It's more about the people, more about trying to tell a small world in a way that I see as being true, as true to me. It's my truth — I'm not saying it's everyone's truth or a universal truth, it's just a truthful thing for me. There's things I care about in the film always. Everything I care about. But I would say I'm not trying to make a massive statement." Bird opened in cinemas Down Under on Thursday, February 20, 2025. Images: Robbie Ryan / Atsushi Nishijima.
It might be a movie about a faux romance, but Anyone But You hasn't faked its setting. In the upcoming rom-com, which has a date with cinemas on Boxing Day, Sydney Sweeney (Reality) and Glen Powell (Top Gun: Maverick) play a couple pretending that they're in love — but as most of the just-dropped full trailer shows, there's no shams about the Sydney location. When Sweeney was in Sydney at a Sydney Swans game earlier in 2023, it wasn't just because she was playing the Sydney version of Pokémon and catching them all. Rather, the Euphoria and The White Lotus star was filming this movie. And, from both the first teaser and the latest sneak peek, this film clearly falls into a specific category of Aussie-made flicks: pictures shot Down Under that can't stop reminding viewers that they were made Down Under (see also: fellow future release The Fall Guy, which will arrive in 2024). [caption id="attachment_926799" align="alignnone" width="1920"] Glen Powell and Sydney Sweeney star in ANYONE BUT YOU.[/caption] Multiple shots of the Sydney Harbour Bridge and Sydney Opera House feature heavily amid the banter-heavy glimpses at Anyone But You's stars. In fact, the Opera House even shows up in the background as Bea and Ben are having a Titanic moment on a boat. Anyone But You's setup: Sweeney's Bea had a great first date with Powell's Ben; however, then everything turned sour. Now they're at the same destination wedding and pretence becomes their solution. Anyone But You is directed and co-written by Will Gluck, who has both Easy A and Friends with Benefits on his resume, then the vastly dissimilar Annie and the two Peter Rabbit movies. On-screen, as well as Sweeney, Powell and a whole lot of Sydney — the city — Alexandra Shipp (Barbie), GaTa (Dave), Dermot Mulroney (Secret Invasion), Bryan Brown (C*A*U*G*H*T) and Rachel Griffiths (Total Control) also feature. Check out the full trailer for Anyone But You below: Anyone But You opens in cinemas Down Under on December 26, 2023.
Yes, we know, American barbecue is all over Melbourne at the moment. But can you blame the ongoing excitement? Smoky, flavour-filled, slow-cooked meats with hearty sides of corn bread and mac and cheese have had tongues wagging for at least a year now, and we're happy to say the trend shows no sign of slowing down. I'm sure plenty of you have tried a few different establishments, settled on a favourite, and hence become a regular at your local barbecue haunt. But if you're yet to pick a winner, may we introduce a solid contender? Everyone, meet The Gem: a friendly Collingwood pub with live music and exceptional food. We should point out that American barbecue is not all they do here, but they do it very well nonetheless. The menu here is big on meat — from fish of the day to a wagyu cheeseburger ($20) — but having said that, vegetarians don't miss out. For $16, they do a mean vegetable strudel. If you're not ravenous for a massive meal though, there's no need to stress. They do a wonderful mix of cheap and cheerful tacos ($6-8), and an impressive list of smaller dishes to top up your tank without sending you into a food coma. We couldn't help but eye off the fried mac and cheese balls over on someone else's table. We will be back for them. Fortunately for us, we arrived during lunch on a weekend, which means the super hot and Texy Weekend Barbecue was available and, hot dang, we were happy about that. For $28 you can get two types of barbecued meats, such as smoked ribs, brisket, pulled pork and hot links sausage. You also get two sides, and all your favourites are there like cornbread, 'slaw, corn, barbecue beans and mac and cheese with bacon bits. We went for the ribs and the brisket, which both fell apart beautifully, and we had plenty for the two of us. For some unknown reason we decided to order their kefalograviera saganaki as well, which was totally unnecessary but still very tasty. No regrets here. It seems a little odd to us, but the bar almost seems secondary when compared to the food on offer here. Prices are reasonable, there's plenty to choose from, but there's no extravagant cocktail list (if that's what you're after). We settled on a pint of cider, but if you really want to embrace the Americana, you can't go past a can of Pabst Blue Ribbon. We'd happily come back after dark for some live music or DJs, as The Gem has a very warm atmosphere and the staff were exceptionally friendly, patient, and helpful. We can easily see a late Sunday lunch turning into afternoon drinks, turning into a night session watching a few bands. Can't you? Images: Griffin Simm
If you like music and skiing, Snow Machine has served up a winning combination of the two since 2020. It takes place in chilly climes. It enlists a heap of top-notch talent to provide the tunes. And, as it soundtracks a snow-filled week, it plays out like a massive frosty party. For Australians, it also boasts another huge drawcard: getting you to take an overseas alpine holiday. When Snow Machine first debuted its savvy mix, it did so in Japan. Then came an expansion to Queenstown in New Zealand in 2022, where it's still going strong and will return come September 2024. Thinking ahead to the colder weather in the northern hemisphere in 2025, the fest has not only locked in its plans for Hakuba, its OG home, but is expanding to Niseko as well. Snow Machine has also unveiled the lineup for its two next Japanese dates, with Hakuba first up from Tuesday, March 4–Sunday, March 9, then Niseko from Monday, March 10–Saturday, March 15. Chase & Status leads the bill in both locations, with Action Bronson, Hot Chip doing a DJ set, Melanie C, A-Trak and Ken Ishii among the other names. Attendees will catch a club set from Bob Moses as well, plus DJ sets from each of Jungle and Sbtrkt. The roster of talent keeps going from there with Claptone, Cyril, Dillon Francis, DJ Kentaro, DJ Nobu & Wata Igarashi, Horse Meat Disco, Jimi the Kween, Monorochrome and Riton — plus Vintage Culture in Niseko only. Snow Machine Japan might next return when autumn will be kicking off Down Under, but it's one helluva excuse for a getaway during Japan's snow season. No matter where it's taking place, this is the hottest festival for the colder months, treating festivalgoers to action-packed days on the slopes, après ski events and its hefty lineup of international acts against an idyllic backdrop. And, because this is Japan, onsen trips, sake aplenty and yakitori bites are usually also on offer. Other than the wintry setting, one of the things that sets Snow Machine apart from other music fests is being able to book your entire getaway with your ticket. Packages span five or seven nights of accommodation, and include a festival ticket across the entire event, plus a four-day lift pass for Goryu & Hakuba 47, Tsugaike, Iwatake, Happo, Norikura and Cortina in Hakuba — and Niseko United in Niseko. A word of warning: unsurprisingly, the packages are popular. Although the Snow Machine Japan 2025 lineup has only just been announced, packages are already 70-percent sold out. If you're keen to take care of your own place to slumber and just nab a festival ticket, that's an option as well — via both day and four-day passes. Snow Machine Japan 2025 Locations and Dates: Tuesday, March 4–Sunday, March 9 — Hakuba Monday, March 10–Saturday, March 15 — Niseko Snow Machine Japan 2025 Lineup: Chase & Status A-Trak Action Bronson Bob Moses (club set) Claptone Cyril Dillon Francis DJ Kentaro DJ Nobu & Wata Igarashi Horse Meat Disco Hot Chip (DJ set) Jimi the Kween Jungle (DJ set) Ken Ishii Melanie C Monorochrome Riton Sbtrkt (DJ set) Vintage Culture (Niseko only) Snow Machine Japan 2025 will be held across Tuesday, March 4–Sunday, March 9 in Hakuba and Monday, March 10–Saturday, March 15 in Niseko. For more information and tickets, visit the festival's website. Images: Pat Stevenson. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
In October of 2010, Google revealed that it had developed cars that drive themselves automatically, and that they had been in the road-testing phase for several months. At that point, the cars had been tested on over 140,000 miles of California highway, with only one accident to report. The accident, it turns out, was a result of human error: an uninvolved driver rear-ended the Google car at a red light. Each tester car was manned by a driver, ready to brake or steer if an emergency should occur, and an engineer, who monitored the software operations from the passenger seat. The Google cars are designed to minimise human driving error, making driving safer, and possibly more space and fuel efficient. Computer-operated cars could hypothetically drive closer together and with less excess gas usage than human drivers. Around the time of the press release, it was estimated that Google's cars would take at least 8 years to go from design to production, as design and legal kinks would take a long time to work out. This Wednesday, after 200,000 miles of road testing, Google put Steve Mahan behind the driving wheel. Mahan, who has lost 95% of his vision, was ecstatic at the freedom provided by the self-driving car. His first stop was to a Taco Bell, where the car successfully navigated the drive-through. "This is some of the best driving I am ever done," said Mahan, who would value the "independence and flexibility" a Google automated car would provide him. It may sounds like the stuff of science fiction, but following Mahan's test drive, self-driving cars may be a lot closer to reality than we realised. https://youtube.com/watch?v=cdgQpa1pUUE [via Mashable]
The idea behind The Lume was always a stunner, giving Australia its first permanent digital-only art gallery. When the Melbourne venue started welcoming in patrons in 2021, it lived up to its immersive, multi-sensory promise, initially with a spectacular Van Gogh exhibition that let visitors feel like they were walking right into the artist's work, and then with the French impressionism-focused Monet & Friends Alive. The next showcase set to grace the site's agenda has those past shows beat, however, heroing First Nations art and music. When Connection opens on Friday, June 23, it'll feature more than 110 Indigenous visual and musical artists in a dazzling fashion. At this Melbourne Convention and Exhibition Centre gallery, the art gracing its walls tower over patrons, with the space filled with large-scale digital pieces. And Connection will be full thanks to more than 550 works — digitals and originals alike. Set to feature: art by Emily Kame Kngwarreye, Tommy Watson, Anna Pitjara, Lin Onus, Sarrita King, Kate Constantine, Wayne Qulliam, Clifford, Gabriella and Michelle Possum Nungurrayi, and many more, in a walk-through exhibition that'll present its pieces through the themes of land, water and sky Country. Their work will score a soundtrack by Yothu Yindi, Archie Roach, Emily Wurramara, Gurrumul, Alice Skye, Baker Boy and others, plus composers such as William Barton. Grande Experiences, the company behind The Lume and its touring exhibitions — Van Gogh Alive made its way around Australia, and Monet in Paris is about to do the same from June — says that Connection will boast the largest representation of First Peoples art and culture ever assembled. It'll span over 3000 square metres, and its remit is just as sizeable: highlighting pieces by past and present artists, and surveying the entire country and Torres Strait. Shining a spotlight on emerging talents while showing their work alongside their inspirations is another key mission. "The technology Connection uses breaks down a lot of barriers to entry," says Constantine, a Gadigal artist of the Eora Nation. "A lot of people like Aboriginal art because it is colourful or pretty, but a lot of people are quite challenged by Aboriginal art too, by not knowing or understanding how to interpret it or not feeling like they have permission to be involved. Connection is just so inclusive." "I see Connection as this beautiful collection of storytellers sharing our culture with the world the way that our ancestors have taught us to do," adds Professor Wayne Quilliam, a NAIDOC Indigenous Artist of the Year, who is contributing digital storytelling via drone, photography and art to the exhibition. If it sounds familiar, that's because a smaller version premiered at the National Museum of Australia in 2022, with Grande Experiences joining forces with the Canberra gallery. Connection also benefits from an advisory panel featuring Constantine, Quilliam, King, Aboriginal art specialist Adam Knight, the National Museum's lead Indigenous curator and academic Margo Ngawa Neale, arts executive Rhoda Roberts AO, and designer and film producer Alison Page. Fingers crossed that Connection takes its show on the road, too, after thoroughly wowing The Lume. Connection opens at The Lume, Melbourne Convention and Exhibition Centre, 5 Convention Centre Place, South Wharf, Melbourne, on Friday, June 23 — head to the venue's website for tickets and further information.
Tasmania has long been a pilgrimage for nature lovers, cold-weather chasers and anyone who thinks a weekend away should always involve at least one decent bakery. In recent years, it's also become a destination for whisky lovers. Given Australia's tropical to subtropical climate, whisky distilling has often been left to the pros in the Scottish Highlands. There was a brief flirtation with distilling spirits in the cooler climate of Tasmania during the 1800s, before Governor John Franklin outlawed the practice. But in 1992, the Lark family created the first Australian distillery to produce single malt whisky in 154 years, firmly rekindling Tasmania's love affair with the spirit. Now, Tasmania is the home of Australia's new whisky scene, and LARK Distillery is leading the charge. Whether you're heading to Hobart for a laidback long weekend or are island hopping for a while longer, LARK's whisky-fuelled experiences should be added to any itinerary. Here's what you can expect when visiting the home of Tasmania's thriving whisky scene. [caption id="attachment_1046083" align="alignnone" width="1920"] The Still[/caption] The Still, Hobart Located in the heart of the city on Argyle Street, The Still is LARK's modern whisky bar. By day, the sleek yet warm flagship store is used as a retail space and tasting room for travellers wanting to learn more about Tasmania's whisky industry. During the 45-minute tasting experience, guests learn the story of LARK (from the fishing trip that began it all to its latest releases), and can enjoy a curated tasting of LARK's single malt whiskies. Guests will also receive a 10 percent discount on any bottles, so you can enjoy a taste of Tassie once you get home. If gin is more to your taste, The Still also offers a two-hour gin-making masterclass. Guests will receive a first-hand look behind the process of crafting native gin under the guidance of LARK's professors, who have created the award-winning Forty Spotted gin. During the booking, guests can explore the world of botanicals, try a refreshing native gin and tonic, learn about the history of the spirit, and even create their own Tasmanian gin as a souvenir. [caption id="attachment_1049089" align="alignnone" width="1920"] The Still[/caption] Once the sun begins to set, The Still turns into a cocktail lounge and bustling bar. With its cosy booths, elevated food menu, and knowledgeable staff, even those less into whisky will be able to get out of their comfort zones and enjoy the spirit. Whether it's a tasting flight of impressive local whiskies from across the state, or a LARK whisky and soda, it's easy to spend a whole evening lapping up the atmosphere of The Still. You can try your luck at a walk-in or make a reservation to avoid missing out on a bucket list whisky experience. [caption id="attachment_1046084" align="alignnone" width="1920"] Pontville Distillery[/caption] Pontville Distillery Thirty minutes' drive north of The Still, you'll find LARK's Pontville Distillery. Set amongst historical buildings, the Pontville Distillery is Tasmania's only working whisky village and offers visitors the chance to explore how LARK crafts its award-winning spirits. Its production and site tour is the closest you'll get to stepping inside Tasmania's whisky origin story. During the 45-minute tour, guests are guided through the distillery to learn how the spirit is made, as well as discover the secrets behind single malt whisky and the story of LARK's beginnings. Enjoy four tastings along the way, and take in the atmospheric surrounds of the historic estate. The tours run every day at both 12pm and 2pm, so be sure to book in a spot on your next Tasmanian trip. [caption id="attachment_1050645" align="alignnone" width="1920"] Pontville Distillery[/caption] Between the sleek, design-driven interiors of The Still in Hobart and the rustic, historic beauty of Pontville Distillery, LARK's venues offer two quintessentially Tasmanian whisky experiences. Whether you're a tourist on a long weekend or are looking for a local team bonding experience, you'll be planning your next trip before you've polished off your last dram. Book a table for you, your team, family or friends for dinner, drinks or a guided tasting experience at The Still. Book a spot for you, your team, family or friends on a guided whisky tour at LARK's Pontville Distillery. Lead image credit: Lark Distillery
Ready for a seductive night out? The newly anointed Sistine sets the mood on Chapel Street with an irreverent cocktail bar primed for parties that last well into the early hours. Guided by the Valarc Group – the brains behind other inventive venues like Tartine, The Meatball & Wine Bar, Ines Wine Bar and Ned's Bake & Bistro – Sistine is their latest offering designed as an exclusive, alluring and cheeky space. Serving as a playful nod to the Sistine Chapel, the venue's Renaissance-inspired decor pairs with its sinful late-night vibe. Here, dim lighting, plush velvet furnishings and luxurious seating add a heightened sense of sophistication. Meanwhile, references to the Vatican icon level up the immersion, as each room is adorned with coloured-glass windows and carefully curated paintings. Wildest of all, Sistine offers the chance to indulge in The Immaculate Conception vending machine, featuring a sumptuous selection of bites whipped up in the Ines Wine Bar kitchen downstairs. While there are salumi plates, gourmet crisps and recovery kits to consider, the most lavish snack is certainly the caviar served with a mother-of-pearl spoon. Alongside these luxe morsels, the drinks menu is similarly high-end, with an extensive reserve wine list and a dedicated champagne selection meaning there's no shortage of unholy spirits to guide your night. Plus, indulgent cocktails like the champagne-based Royal Lucre and the Forbidden Fruit riff on classic drinks like appletinis. "It's incredibly exciting to introduce Sistine as the new and cheeky addition to our growing portfolio," says Valarc Group owner Matteo Bruno." Every aspect of the venue has been thoughtfully designed to create a unique contrast to Ines Wine Bar below. We want this to be the sort of place where you can let your hair down, meet new people and have a big night." Leading these big nights will be resident DJs on Fridays and Saturdays. And as a little bonus for the most dedicated sinners, Sistine will offer an exclusive loyalty feature, aka the Sistine Rosary Beads. Mischief-makers bestowed with such an honour will unlock special treats and perks that make their experience at the venue that much more transgressive. Sistine is open Thursday–Saturday from 6pm–late at 150A Chapel Street, Windsor. Head to the website for more information.
Victoria's newest luxury spa destination doesn't require a jaunt down the coast or a road trip all the way out to Daylesford. In fact, full-body bliss now awaits you just 10 kilometres from the CBD, at Ivanhoe's new urban retreat and spa Relinque. It's the brainchild of osteopaths Dr Michelle and Dr Adam Wilson, who set out to create a holistic wellness destination specialising in tailored experiences. The space itself is the kind of serene, soothing setting you'll happily escape to for a few hours of indulgence, decked out with modern interiors by Richmond's Studio Tate. Relinque's treatment offering is built on the founders' decades of osteo experience, carefully tuned to help refocus, rebalance and restore that pandemic-weary body. Guests can choose from four signature 'journeys' or treatment packages, sitting at between 80 and 170 minutes of pampering. In the mix, there are body scrubs, massages, hand and foot treatments, wraps and facial therapies, with individualised combinations also available. If you're seeking some additional rejuvenation, you can soak up the benefits of hot and cold contrast therapy here in Melbourne's only privately-owned steam and ice room. The gig involves alternating between a steamy 45-degrees and the frosty temperatures of an ice fountain, to take advantage of the practice's healing, regenerative properties. Products used at the retreat include the full line of organic, botanically-charged products from leading Aussie skincare brand LaGaia, whose experts have personally trained all Relinque staff. And if you'd like to make this your new one-stop wellness shop, there's also a calendar of regular yoga and pilates classes to come. Find Relinque Urban Retreat and Spa at 19 Upper Heidelberg Road, Ivanhoe.
Sydney's claim to fame as the home of the southern hemisphere's largest dedicated beauty store is set to be short-lived. Mecca opened its huge Australian flagship shop — its first flagship site in general, in fact — in the New South Wales capital in 2020; however, the retailer has just announced that it's going one better in Melbourne come 2023. The Victorian city's Bourke Street Mall will welcome a huge new 3000-square-metre flagship Mecca that'll sprawl across both the ground and first floors at 299 Bourke Street. That's more than 1000 square metres larger than the Sydney shop, and also five times bigger than the chain's current next largest store at Highpoint Shopping Centre. It'll also span over 35 times more space than its very first store on Toorak Road did two decades back. When it opens its doors in two years time, the beauty retailer huge site will obviously boast oh-so-much room for products, including a curated range from over 200 top brands — featuring everything from Nars and Charlotte Tilbury to Drunk Elephant and Diptyque, plus Mecca's own signature lines Mecca Cosmetica and Mecca Max. Exactly what else will fill its hefty floorplan hasn't yet been revealed but, if it takes a few cues from its Sydney counterpart, that could include a heap of beauty services; Mecca's dedicated labs for skin, makeup and brows; a Mecca gift-wrapping bar; and the Mecca concierge will help point you in the right direction as you're wandering around. The chain is calling its new store an "unprecedented beauty experience", so expect more than just a clone of Sydney's features. "After 24 years of opening stores across Australia and New Zealand, our flagships are the culmination of the past, present and future of Mecca as a business," said the brand's founder and co-CEO Jo Horgan. "We have a vision to create the world's most extraordinary, innovative and loved experiential retail destination where people can immerse themselves in the absolute best of global beauty." The new flagship announcement follows Mecca's recent move into the Northern Territory, opening its first store in Darwin — and reaching its 107th site across Australia and NZ. Mecca will open its new Melbourne flagship store at 299 Bourke Street, Melbourne, sometime in 2023 — we'll update you with further details when they're announced. Images: Mecca Sydney.
Opening in 2017, Brunswick East's Etta was in instant hit amongst both local wine and food lovers. Hannah Green (Rosetta) runs the show, and is supported by Rosheen Kaul in the kitchen and Ashley Boburka in the wine cellar. The trio champions all things local and seasonal (with a strong focus on small producers), meaning change is a big part of everything here. If you fall in love with a particular dish, don't be surprised if it's not there the week after. Instead, heat to Etta to keep trying something new. With Kaul running the pass, expect mostly contemporary pan-Asian eats. She draws from the flavours of her childhood, growing up in Singapore with Kashmiri, Peranakan, Chinese and Filipino heritage. This — blended with Etta's tradition of treating fresh, seasonal, sustainable produce with respect — makes for an eclectic and very Melbourne kind of menu. You can find simple dishes like the rock oysters served with a vibrant pink peppercorn granita or something a little more creative like the red curry rice salad with grilled octopus and woodfired otak-otak (fish cakes). Wine is also a big part of the Etta experience (this is why it made our list of the best wine bars in Melbourne). At first, Green set up the menu. But in 2020, Boburka took over the diverse 250-bottle wine program. Like before, there's a strong focus on Victorian and Australian winemakers alongside plenty of European drops. Boburka also gives heaps of love to small producers that approach intervention with light hands. Prepare to try something you've never had before at Etta — whether it's the wine or the food. And expect this each and every time you return. You certainly won't get bored here. Images: Annika Kafcaloudis Appears in: The Best Wine Bars in Melbourne for 2023
A long-standing favourite in the Chinatown end of the CBD, HuTong Dumpling Bar gets its name from the lanes and alleyways of ancient China — and it serves up delicious homestyle Chinese cooking in its honour. With three levels of dining space and open for lunch and dinner every day of the week, Hutong is always a good choice for a midday or post-work feast. The restaurant is praised for its authentic Shanghainese food, though the menu does highlight dishes that originate from other provinces — like dry chicken in hot chilli from Sichuan and Dong Po Square soft pork from Hangzhou. But it's the dumplings that everyone comes for, and many traditional styles are represented, from the soupy xiao-long bao from east China and boiled dumplings stuffed with spinach of the north to the Szechuan-style wontons swimming in hot chilli sauce and Shanghainese pan-fried bites. And, of course, you're allowed to BYO wine at HuTong. Just be sure to make a booking so you don't miss out.
The Merri Creek Trail is a popular walking, running, biking and strolling track for many northside Melburnians. It's also home to collared sparrowhawks, eastern rosellas and plenty of ducks. You'll be pacing along Wurundjeri Country and it's a route full of nature, as well as plenty of places to stop along the way — including community gardens, cafes and swimming pools. To enhance your next run, we've teamed up with Adidas to bring you seven rewarding pit stops for when you're tackling the Merri Creek Trail. Take a look, then plan your own adventure using the map below. [caption id="attachment_803012" align="alignnone" width="1920"] Matthias Zomer[/caption] SUMNER PARK First, head to Sumner Park on Alister Street in Brunswick East. The park features extensive lawns for some light exercises, like leg swings and calf stretches, plus a drinking fountain. Importantly, this park is a regular hangout spot for furry friends, who can run off-leash and play. Is there any better way to warm up than when surrounded by good boys and girls? [caption id="attachment_803088" align="alignnone" width="1920"] Jamie Dale Photography[/caption] CERES COMMUNITY ENVIRONMENT PARK Make a stop on the corner of Stewart and Roberts Streets at CERES Community Environment Education Centre and Park. Here you can learn some good eco tips and tricks as well as grab some caffeine. The social enterprise has a community garden and nursery, which you can peruse as you pick up some seasonal produce advice or organic seedlings to put in your bum bag. There's also an organic cafe, pouring coffee made from locally roasted organic beans and serving sandwiches, wraps, salads and baked treats. [caption id="attachment_803758" align="alignnone" width="1920"] Laya Clode; Unsplash[/caption] MERRI CORNER COMMUNITY GARDEN Past Abrahams Reserve, Merri Corner Community Garden is full of vibrant flowers, plants and plenty of buzzing bees. Catch your breath and slow your heart rate as you walk around the garden beds that are maintained by various groups in the local community. There are benches to enjoy a proper rest, or for calf stretches while you enjoy the floral scent in the air. And, hey, you may even spot an eastern rosella among the sunflowers. [caption id="attachment_804041" align="alignnone" width="1920"] Moreland City Council[/caption] DE CHENE RESERVE Just past Bowden Reserve is De Chene Reserve, a large dog park and sports field connected to the Merri Creek Trail. Here you'll find spots to have a breather among the gum trees. There's also an outdoor gym with various exercise equipment for strength training. Or, there's a walking track if you feel like keeping up your cardio at a slower rate. Make use of the drinking tap near the playground, too. COBURG SWIMMING POOL Take a break from moving on foot by heading to Coburg Olympic Swimming Pool, on Murray Road. Swap the trail for a body of water and get some laps in at the 50-metre outdoor pool. There's also a diving pool with a one-metre diving board if you've got a swan-like plunge to show off. Entry is $6.70. Alternatively, Coburg Leisure Centre is just a stone's throw away and has a spa and steam room if that's more your style. It's $10.30 for a swim, spa and steam. THE BOOT FACTORY After your dip, head to The Boot Factory. The family-owned cafe is housed in the old Coburg Penitentiary and dates back to the 1850s. Take in the history while enjoying an eggs benny, sautéed mushroom medley or a wagyu beef, chicken or haloumi burger. Alternatively, give in to your sweet tooth with a rose and pistachio chocolate brownie or lemon cheesecake. [caption id="attachment_803018" align="alignnone" width="1920"] Creative Commons[/caption] COBURG LAKE RESERVE Finish off your run at Coburg Lake Reserve, an picturesque lake surrounded by greenery and wildlife. You'll definitely see a duck or two and white ibises. Cool down in the shade and enjoy the tranquillity of the park. There's also a public bocce court if you want to stick around for the rest of the arvo. In need of a new pair of runners? Take a look at the new Adidas Ultraboost 21 runners here. Launch the map below to start plotting your own running adventure in and around Melbourne. Top image: Pexels
If you're thinking small for your next domestic getaway, there's a new pint-sized accommodation option to add to that holiday radar. NRMA, aka the National Roads and Motorists' Association, has just unveiled two new stylishly-repurposed shipping containers it's calling 'glamtainers' — and they'll be making their home on New South Wales' Central Coast until autumn next year. Easily movable and extendable in size, the seven-metre-long luxury tiny homes have room to sleep four, each boasting two queen beds, a full bathroom and a decent sized kitchenette. What's more, they're fitted out in style, with upscale features including comfy King Koil mattresses, plush linens, air-conditioning and attached outdoor entertaining spaces. No slumming it here, that's for sure. Currently located at NRMA Ocean Beach Holiday Resort, the two new glamtainers are the work of Melbourne company GlamXperience, which makes a whole suite of glamping tents and mini retreats — and whose creations you might have spied at the likes of St Jerome's The Hotel and the newly launched Clifftop at Hepburn. They're designed to allow guests to experience staying amongst the great outdoors, without sacrificing comfort. Bookings are already filling up fast for the glamtainers' debut stint on the NSW Central Coast, with prices starting from $180 per night. And, because the entire concept of turning shipping containers into places to stay means they're easily portable, the pair of glamtainers will be packed up and shuttled off to NRMA's Jindabyne resort come late autumn — where they'll enjoy a second iteration during ski season. The glamtainers are now available to book at NRMA Ocean Beach Holiday Resort. Head to the website to check availability and make a booking. Images: Shan Rose Photography
They're taking the hobbits to Isengard at The Astor Theatre, with one movie marathon to rule them all. Round up the Fellowship, stock up on lembas bread for sustenance and hide your finest pipe-weed from the Southfarthing for a sitting of all three of Peter Jackson's beloved OG Tolkien film adaptations in their extended editions. Kicking off with The Fellowship of the Ring and ending with The Return of the King (with The Two Towers in the middle, of course), this cave troll of a marathon will see you making the cinema your home for 755 minutes at the screening on Saturday, June 28, 2025. There'll be a 20-minute intermission between each flick, with the first kicking off at 11am, the second at 3pm and the third at 7.30pm. If you make it through breakfast and second breakfast to the final handful of endings, you can pat yourself on the back and smash a ringwraith screech at the nearest person on your way home (note: do not actually screech at people). Tickets are the precious and come in at $40 for the whole ordeal 0r $35 for Palace Movie Club members.
With seven bars in the one venue, Ms Collins is where you go when you're trying to wrangle a large, undefined group of people and you have one thing on your mind: dancing. It's also where you go when you want to show off. For bottle service to your booth, Dom Perignon, Moet Hennessy and Veuve Clicquot are all top of the drinks menu — ready for that champagne-popping moment in the middle of the club — and, as you're probably ordering a magnum, you get the full mini fireworks treatment, too. For snacks, everything's a lot more affordable — tempura soft shell crab sliders, southern fried chicken ribs and peri peri chicken bao are $12 each, as they know you're not here to feast. But if you're bringing more than four mates, there are after-work drinks and food packages to make splitting the bill that bit easier. Though events have been hit and miss, Ms Collins is also where you'll go to see big-name musicians and entertainers — Kevin Hart, Jaden Smith and Mos Def, have all performed there, for example. And, for the cheap and cheerful, it has free bachata and salsa dance classes on Thursday nights as part of its Latin-themed program.
It's frequently referred to as the Olympics of the art world — and at 2024's edition, Australia has won gold. The event: La Biennale de Venezia, aka the Venice Biennale. The award: the coveted Golden Lion for Best National Participation. And the winning artist: Indigenous talent Archie Moore. The First Nations artist's exhibition kith and kin received the top gong, both chronicling history and making it. The work is a hand-drawn genealogical chart that spans back 65,000 years. The win gives Australia its first ever at the Venice Biennale. Both a personal and a political piece, kith and kin works through Moore's Kamilaroi, Bigambul, British and Scottish heritage across the installation's five-metre-high, 60-metre-long black walls. More than 2400 generations are covered. On display at the Australia Pavilion, the exhibition uses chalk on blackboard, with a reflective pool sitting in the middle of the room and 500-plus document stacks suspended above it. Every aspect of kith and kin makes a statement. With its size and scale, it speaks to Australia's Indigenous peoples being among the world's longest-continuous living cultures. The use of black is also designed to look like a celestial map, and therefore nod to the resting place of First Nations ancestors. Highlighting the decrease in Indigenous Australian languages and dialects since colonisation, the fragility that stems from not being able to pass down knowledge and injustices such as deaths in custody are all also part of the work — with the aforementioned piles of paper primarily from coronial inquests. "The phrase 'kith and kin' now simply means 'friends and family'. However, an earlier Old English definition that dates from the 1300s shows kith originally had the added meanings of 'countrymen' and also 'one's native land', with kin meaning 'family members'," notes Moore's explanation of the work. "Many Indigenous Australians, especially those who grew up on Country, know the land and other living things as part of their kinship systems — the land itself can be a mentor, teacher, parent to a child. The sense of belonging involves everyone and everything, and for First Nations peoples of Australia, like most Indigenous cultures, is deeply rooted in our sacred landscapes from birth until death." "I was interested in the phrase as it aptly describes the artwork in the pavilion, but I was also interested in the Old English meaning of the words, as it feels more like a First Nations understanding of attachment to place, people and time." kith and kin was curated by Queensland Art Gallery and Gallery of Modern Art's Ellie Buttrose, and also has a date with the Brisbane gallery as part of its 2025–26 program after its Venice run. In Italy, the work is on display until Sunday, November 24, 2024. "In this quiet, impactful pavilion, Archie Moore worked for months to hand-draw in chalk a monumental First Nation family tree. Thus 65,000 years of history (both recorded and lost) are inscribed on the dark walls and ceiling, inviting viewers to fill in the blanks and grasp the inherent fragility of this mournful archive," said the jury of the 60th International Art Exhibition of La Biennale di Venezia about Moore's exhibition. "The official documents drawn up by the State float in a moat of water. The result of Moore's intensive research, these documents reflect the high rates of incarceration of First Nations people." "This installation stands out for its strong aesthetic, its lyricism and its invocation of a shared loss of an occluded past. With his inventory of thousands of names, Moore also offers a glimmer of the possibility of recovery." "As the water flows through the canals of Venice to the lagoon, then to the Adriatic Sea, it then travels to the oceans and to the rest of the world — enveloping the continent of Australia — connecting us all here on earth. Aboriginal kinship systems include all living things from the environment in a larger network of relatedness, the land itself can be a mentor or a parent to a child. We are all one and share a responsibility of care to all living things now and into the future," said Moore about his win. "I am very grateful for this accolade; it makes me feel honoured to be rewarded for the hard work one does. I am grateful to everyone who has always been part of my journey ‚ from my kith to my kin — to my Creative Australia team and everyone else back home and those of the Venice lagoon." kith and kin is on display at the Australia Pavilion, Giardini di Castello, 60th International Art Exhibition of La Biennale di Venezia, until Sunday, November 24, 2024 — head to the exhibition website for further details. Images: Archie Moore / kith and kin 2024 / Australia Pavilion at Venice Biennale 2024 / Photographer Andrea Rossetti / © the artist / Images courtesy of the artist and The Commercial.
The heart and soul behind this East Lebanese joint in Brunswick is the owners' Téta (grandmother) Mona, and the village soul food they were raised on. Surrounded by black and white photos of the family, tables covered in plastic and vintage kitchenware, you'll feel like you've gone back in time to your grandparents' place for Sunday lunch. Nab a table in the courtyard out the back, and enjoy crunchy falafel, smoky baba ganoush, zucchinis stuffed with wild rice and vegan baklava. And good news: it's just $1 per bottle to BYO beer (or $8 per bottle of wine). Images: Tracey Ah-kee
Next time you're on Easey Street, you'll have a front row seat to a brand-new large-scale artwork. Painted by ten of Melbourne's best street artists, the 11-metre-tall, 30-metre-wide mural is a colourful tribute to Keith Haring and Jean-Michel Basquiat, who's works are, fittingly, currently on show at the National Gallery of Victoria. The world-first Crossing Lines exhibition, which runs until April 2020, has brought together 200 works from the two legendary 80s NYC art figures, who were both friends and creative rivals. As well as commenting heavily on society and politics in their works, both artists used distinctive signs, symbols and lines — some of which are echoed in the huge new Collingwood mural. [caption id="attachment_755024" align="alignnone" width="1920"] Keith Haring and Jean-Michel Basquiat mural. Photo by P1xels.[/caption] Two central black and white portraits of Haring and Basquiat by artist Heesco are surrounded by abstract, vivid line work by Conrad Bizjak and Chehehe. Graffiti writers Ling, Dvate, Phibs, Sabeth and Duke have also contributed pieces at the bottom of the mural. A collaboration between the NGV, photographer Dean Sunshine and local artist P1xels, the artwork also nods to Haring's two 84 Melbourne murals, which he painted on the NGV's Water Wall and at the Collingwood Technical School. You can find the Keith Haring and Jean-Michel Basquiat mural at 46 Easey Street, Collingwood. Keith Haring | Jean-Michel Basquiat: Crossing Lines is on show at the NGV International until April 13, 2020. Images: Keith Haring and Jean-Michel Basquiat mural in Collinwood. Photo by P1xels.
It isn't every day that Australia busts out a pop-metal tune to compete on the world stage. No, just at Eurovision 2023. Apologies to whatever's been getting a workout on your playlist over the past few weeks, but May is here, which means that Eurovision is here. And, so are a whole bunch of synth-heavy Europop tunes — plus that Aussie riff on a on Europop tune — that'll worm their way into your head. This is Christmas for pop songs belted out competitively in a glitzy ceremony filled with eye-catching outfits, with the the 67th Eurovision Song Contest kicking off at 5am AEST on Wednesday, May 10. Doing the honours for Australia, starting in the second semi final at 5am AEST on Friday, May 12, is Perth synth-metal band Voyager. Their track: earworm 'Promise', which'll have "it's gonna be alright" lodged in plenty of brains from the moment that the band take to the stage. For newcomers, Eurovision started back in 1956 as a competition between a mere seven nations. Now, more than six decades later, it's a glitter-strewn and spandex-fuelled global musical phenomenon. Thirty-seven countries not only in Europe but from elsewhere will compete in 2023 — hello Australia — and viewers tune in en masse to watch, sing along and add new pop tunes to their queues. This year's host city is Liverpool in the United Kingdom, in a break from Eurovision tradition. The song contest usually unleashes each year's contenders in the country responsible for the past year's winner — and in 2022, Ukraine's Kalush Orchestra won for 'Stefania'. But due to the ongoing war in Ukraine, Eurovision will be held in the UK for the first time in a quarter-century. Thanks to duo TVORCHI, a huge hit on their homegrown charts, Ukraine will still defend its title with the song 'Heart of Steel'. Australians keen to tune in will be directing their eyeballs to SBS, with the broadcaster's usual annual celebration of all things Europop returning for another round. 2023 marks 40 years of the network showing Eurovision, in fact. When Voyager play their track, they'll be up against performers from 15 other countries, including Brunette from Armenia, Belgium's Gustaph, Diljá from Iceland, Joker Out from Slovenia, and Austria's Teya & Salena. Also in the same show: Aussie Andrew Lambrou, who is competing for Cyprus, his parents' homeland, with 'Break a Broken Heart'. If Voyager makes their way through to the grand final — with only 21 acts making the cut, and France, Germany, Italy, Spain, the United Kingdom and Ukraine automatically guaranteed spots — you'll also want to get up early on Sunday, May 14. Or, even if they don't, that's when this year's winner will be anointed. Of course, for those who can't tear themselves out of bed before it's light and can somehow manage to avoid the internet and social media, both semis and the grand final will also screen in primetime on the same dates. Wondering who Voyager are? And why you didn't get a say in their Eurovision selection? Unlike past years, there was no Eurovision — Australia Decides event and public vote to choose who'd score the Aussie berth; however, the five-piece band featuring Danny Estrin on vocals and keytar, Simone Dow and Scott Kay on guitar, Alex Vanion on bass and Ash Doodkorte on drums has been vying to represent the country since 2015. In 2022's Australian vote, they came in second to Sheldon Riley, who took the country to 15th spot in last year's Eurovision grand final. Now that it's time to watch along, SBS' usual local hosts Myf Warhurst and Joel Creasey are once again overseeing the Australian coverage. And if you can't decide whether to beat the sun or wait and host a party at sensible hour, it's worth remembering that Australians can indeed vote for Eurovision, but only until around 15 minutes after the last song is performed in each live semi-final broadcast and about 40 minutes after the last track ends in the grand final. In a big change to past years, voting is open to everyone in all finals — whether you're from a country participating in that final or not — and the artists who get through from the two semi finals to the grand final will be solely chosen by the audience at home. Still remaining the same: the rule that says Australians can't actually vote for Voyager, because no one can vote for the country they represent. EUROVISION 2023 BROADCASTS: LIVE BROADCASTS: Semi final one: 5am AEST on Wednesday, May 10 on SBS and SBS on Demand Semi final two: 5am AEST on Friday, May 12 on SBS and SBS on Demand — featuring Voyager Grand final: 5am AEST on Sunday, May 14 on SBS and SBS on Demand STREAMING REPLAYS: Semi final one: 12pm AEST on Wednesday, May 10 on SBS on Demand Semi final two: 12pm AEST on Friday, May 12 on SBS on Demand — featuring Voyager Grand final: 3pm AEST on Sunday, May 14 on SBS on Demand TV REPLAYS: Semi final one: 7.30pm AEST on Friday, May 12 on SBS Semi final two: 7.30pm AEST on Saturday, May 13 on SBS — featuring Voyager Grand final: 7.30pm AEST on Sunday, May 14 on SBS SBS' Eurovision 2023 coverage runs from Wednesday, May 10–Sunday, May 14. For more information, head to the broadcaster's website. Images: Sarah Louise Bennett / Corinne Cumming.
Much-anticipated all-day venue Beverly graces the top of the Goldfields House building, soaring 24 storeys above Chapel Street and delivering show-stopping 270-degree views across the city. Helmed by Cameron Northway (founder of LOTI, Rocker Bondi and drinks company Sweet&Chilli), along with Goldfields' Marco Gattino and Lachlan Thompson, Beverly is designed as a serene, sky-high retreat that'll glide easily from a long lunch destination to after-dinner cocktail pit-stop. Taking cues from the cool-kid rooftop haunts of LA, the indoor-outdoor space has been imagined by acclaimed Melbourne studio Mitchell & Eades (Grill Americano, Carlton Wine Room, Rock Sugar). Boasting a retractable glass roof primed for Melbourne's erratic weather changes, it's a vision of earthy sunset tones and foliage set against that backdrop of sweeping panoramas. Sippers of all persuasions have found themselves a new haven up here, thanks to a broad selection of drops that celebrate local goodness. Biodynamic and organic pours rule the expansive wine list, while the globe-trotting cocktail lineup reimagines the classics using Aussie spirits and native botanicals. From the open kitchen, chef David Ball (the UK's Le Manoir aux Quat Saisons, The Glass House in Hobart) delivers a menu anchored in seasonality and sustainability. It has swagger yet remains approachable, bundling southern Californian influences with a touch of modern Australian flair. Images: Jake Roden and Sean McDonald.
Melburnians love a good Japanese restaurant. Not only is it the most Googled cuisine in the state, but these spots come in so many forms — from wallet-friendly takeaway sushi and ramen haunts, to high-end omakase diners and neighbourhood izakaya. We've also seen a rise in contemporary Japanese restaurants that pull many of these elements together into one playful package — Ichi Ni Nana Izakaya, Yakimono, Supernormal and Robata all do this brilliantly. And the latest to join this club of new-wave Japanese restaurants is Kushiro, which opened in June on Brunswick Street, Fitzroy. This is Yvonne Cheng's second Kushiro outpost, with the first located inside Hong Kong's legendary Peninsula Hotel. Both sites have many similarities, but while the Hong Kong Kushiro is a traditional omakase diner befitting its five-star-hotel setting, Melbourne's version is significantly more low-key and has a distinct izakaya feel. But just because it's less formal, don't think that means the quality here has also been taken down a notch, with Kushiro Hong Kong's Executive Chef Jan Chung in Melbourne to personally ensure the new offer is just as impressive as the original. Chung has worked in a slew of Michelin-starred restaurants, so you should rightfully expect top-quality eats with a lot of creative flair. You'll find him serving up a luxe scampi tartare with lobster bisque panna cotta; a less-than-classic char siu made with beetroot-marinated pork belly that's been tenderised with papaya and glazed with a sticky and sweet sauce; and a 12-hour slow-roasted short rib with barley, carrot and a whisky rosemary glaze. When it comes to bevs, the team is pouring Kushiro's own Japanese-made sake, as well as classic and signature cocktails, Japanese spirits, and a tight selection of wines and beers. You'll find Kushiro at 175 Brunswick Street, Fitzroy, open for dinner from Tuesday–Saturday and lunch on Saturdays. For more details and to book a table, head to the venue's website.
Each year, at the turn of winter to spring, Hindus celebrate Holi, a festival exalting colour that leaves participants saturated in bright hues. Holi serves as the inspiration behind the Color Run, a unique 5k race touring 18 United States cities. Runners are invited to join the "3.1 miles of color madness" that comprise the untimed Color Run purely for the sake of a good time. The only race requirements are that all participants wear a white t-shirt and be willing to be greeted with a blast of coloured pigment upon completing every leg of the race. The pigment, made of 100% natural food-grade cornstarch, is colour-specific for each portion of the race. After the first kilometre, runners are splattered with yellow; after the second, they are doused in blue. And so it continues until the end of the 5 kilometres, when each runner is covered head-to-toe in a brilliant mish-mash of every hue imaginable. https://youtube.com/watch?v=ZWsfHC-0d6A [Via PSFK]
Peru-born Alejandro Saravia, the Owner and Executive Chef of Renascence Group (Farmer's Daughters, Victoria by Farmer's Daughters and Morena Sydney), has become a hugely successful chef in Australia. But Saravia didn't start his professional career in hospitality. He did always want to be a chef, yet he made a deal with his father when he was younger: to get a marketing and business degree, and eventually work in that space — leaving cooking as a hobby. This lasted for a while, as Saravia spent years at the likes of L'Oréal and Johnson & Johnson. Nonetheless, the call of the kitchen was too strong, and he eventually quit marketing to pursue the ambitious goal of running his own restaurants To achieve this, Saravia tells Concrete Playground, he made incredibly detailed plans from the outset — something he picked up in his brand management days — which included working at some of the world's best restaurants (learning from top chefs and owners), developing clear business strategies early on and putting in countless hours of hard work. During our long chat with Saravia, we learned that he does nothing on a whim. Everything is planned out (painstakingly so) and executed with the help of many other experts. This, he notes, is key to running successful restaurants. However, he believes many Australian hospo owners aren't running their businesses in this way, which is strongly contributing to the industry's failings. We sat down with Saravia to discuss what restaurants, cafes and bars need to do to survive these trying times — plus he shared more details on his new Morena Melbourne venues and the best advice he ever received. On the Melbourne Hospitality Industry's Collaborative Spirit "Melbourne is the epicentre of collaborations in Australia. The way the Melbourne hospitality industry works is based on collaborations. I think everybody's very open to receiving other people in their kitchens, in their cellars and in their restaurants. We want to show each other what we do because we're very proud of what we represent. I love collaborations and I will go out of my way to do them. I feel it's a really great way to exchange knowledge and experiences, and it works really well when you're trying to do new things." On Defining Contemporary Australian Cusine "I think that the narrative of tagging Australian cuisine has to change dramatically. Instead of focusing on the dishes, I think we should be focusing on the providence of the food. I'm not going to say 'sadly' because it is what it is, but in Australia, we don't have a dish that represents a region. I mean, a pie is a pie everywhere. They will have different versions, but it's not that there's a Tasmanian pie, there is a Victorian pie or even a Gippsland stew. And that's the problem we've been facing for a long time. We are trying to classify Australian cuisine, but at the end of the day, it could be passed as Japanese, southeast Asian or European cuisine. For me, it's what's in those dishes — and the provenance of the food — that matters." On the Need for Melbourne's Hospitality Industry to Be More Business-Minded "The industry is not broken. I think that there are some operators who are more resistant to changing their ways when faced with a situation where we are transitioning into a much more structured industry. I think, now, a lot of the groups that are growing, a lot of the restaurants that are opening and succeeding, are better and more professional. The advice is: don't cut corners, do your due diligence properly, and spend the money that needs to be spent in getting advice on HR, accounting and how to face a lease. It's like that in any other industry. You will not just go in blind and throw X amount of money to open a creative agency, right? Not knowing anything about how to run a creative agency, or at least half of a creative agency. There are also a lot of decisions that I would like to make that are a personal taste, but I don't for business reasons. I tell a few of my chefs that if you want to put caviar in every single dish, do it in your house. We need to make money here. So, there are decisions that sometimes go against your personal taste but they are guided by the market and what your clientele wants. Our industry is becoming more and more professional, and it's becoming more and more serious. That's a good thing." [caption id="attachment_964136" align="alignnone" width="1920"] Morena Sydney[/caption] On How Morena Melbourne Differs From Morena Sydney "I like to see the restaurants as a person. And I think that's probably something that I learned during my time at Johnson & Johnson. They started developing a product, and then the product has a person's name and it has a personality — representing a person who the customer wants to be a friend with. With the restaurant, I see the same. I like to give them a female personality because that's the warmth and personality that symbolises hospitality for me. The Morena in Sydney had to embrace that Sydney vibe, personality and charisma. If we wanted to replicate the same concept in Melbourne, it would have clashed because Melbourne people are different. The first difference is that Morena Melbourne has the Barra venue and Sydney does not. This will have Latin American cantina energy, which is loud, festive and fun without being tacky and over the top. It is more casual as well. We want to present small dishes that you can share and snack on and have a nice laidback experience. It's like a Latin American wine bar, if you want to call it that. Morena Restaurant next door is also more innovative than Sydney, in my opinion. The menu is a little more experimental and we're working with concepts of Latin American cuisine that are not traditionally exposed here in Australia. For example, we've been playing a lot with fermenting, similar to the way they do it in the Andean Sierras and the Amazon jungle." On the Best Advice That Saravia Has Ever Received "The general advice that I got and like to pass on to my teams is to always have a plan. I think that's the core of the whole story. And I think that is one of the key points of my success as well. I always had a plan. For me, you can do anything you want. Absolutely everything. There's no barriers, there's no limitations, but you have to have a plan. If you go blind to the fight, then you don't know where you're going and that's when you're going to fail. And you're going to fail without learning, which is worse. I mean, failing is part of the learning process, but if you fail without learning why you fail, that's stupid. I then tell my team that we need to understand the past in order to be prepared for the present and then face the future. When we have a new project, vision or concept, I sit down and analyse it through those three steps of learning. We need to understand the past to be prepared for the present and to face for the future — that's something that I learned in school from my history teacher. It was a tool that he was giving us to face our lives in different ways." Top image: Arianna Leggiero.
Whether you're a resident or a visitor — a lifelong local, a recent denizen of the city, a regular traveller, first-time tourist or anything in-between — walking around Melbourne, and also spending that time talking to friend, is one of the best ways to soak in the Victorian capital. Even if you're snapping photos and recording video along the way, most people aren't making a film while they amble and chatter, however. Fwends is about Em (Emmanuelle Mattana, Videoland) and Jessie (Melissa Gan) strolling through and around the inner city. Their journey is the movie's filmmaking journey, too. The feature debut of writer/director Sophie Somerville after shorts Peeps and Linda 4 Eva, both of which picked up awards at the Sydney Film Festival, this walk-and-talk comedy completely improvised its dialogue and also shot in order. Discovering a flick as it unfurls is usually just the audience's experience; for Fwends, which premiered at the 2025 Berlin International Film Festival, won the Caligari Film Prize for its innovation and had its Australian debut in the Harbour City on the way to the Melbourne International Film Festival, that applied as much to everyone making it. We've all had the kind of day, night and weekend — one at least, likely several — that Em and Jessie navigate in Fwends. The former is a junior lawyer in Sydney with a workaholic's dedication to her career, in no small part because of the effort it took to get there. The latter is an ex-stripper who spent time in Europe before returning to Melbourne, and is fresh from a breakup. They haven't seen each other for years when Jessie meets Em at Southern Cross Station, so catching up is built into their wanderings. Step by step, story by story, they mosey and meander and babble and banter, and it feels to them — and to viewers — that anything can happen. Lingering just as strongly: the sense that nothing, whether getting coffee or dinner, or repeatedly running into strangers, or making plans for the evening, will turn out as either Em and Jessie expects. Deep bonding happens on jaunts like these. Truths and secrets are shared. Revelations are gleaned — about each other and about where you're sauntering. Rambling happens in both senses of the word. Sleep is forgone. Only the moment matters. And the main event is the walking and talking and bonding and exploring, regardless of what else is supposed to be on the itinerary. For Em and Jessie, they're digging into how work-life balance, the cost-of-living crisis, climate change, mental health and sexual harassment touches their existence — alongside sifting through their hopes, dreams, yearnings, fears, failings and regrets. Somerville is diving into the ups of downs of friendship as well, and of life, plus the fact that we all simply just want to connect. Fwends' guiding force is certain that the chronological approach to making the film is a key to why it resonates with audiences as such a relatable slice of life. "Part of why it feels so real is because we shot the film in order. So normally when you shoot a film, all the scenes are out of order and you'll be like 'oh, we do that scene, and then we jump forward and we do that scene'. But for this one, we were just telling the story while we shot it," Somerville notes to Concrete Playground. "So we would go to one place and then be like 'okay, so we shot that part, and we're going to use that take. So we'll go to the next thing and we'll talk about these things'. So it was this very living process." [caption id="attachment_1018129" align="alignnone" width="1920"] Berlin International Film Festival[/caption] "And it's the kind of luxury that you can have in filmmaking when you have no money at all, or when you have millions and millions of dollars. But because we had no money at all, it meant that we could create that freedom. That's why it feels so relatable and so alive — because we were living it while we were shooting it," she continues. This is a film about anxiety and life's mess and existential dread, too — but, as Em and Jessie keep trekking, it's also literally about putting one foot in front of the other and keeping on going. "I didn't think of it that way, but that's really cool," Somerville says. Having the tiniest of budgets and relying on free filming permits meant not contemplating about where and how Fwends would makes its way to audiences when it was finished as well. 2025 from the Berlinale onwards has been "pretty up and down", then, Somerville reflects. "After we got back from Berlin, it was chill for a little while — and then we had Sydney Film Festival, and then it's just been film festivals and then overseas, and now I'm back in Melbourne and more film festival, and then more film festivals after that. So it's just — it's crazy." Fwends' Melbourne homecoming is a proud moment. "It is such a Melbourne film in the sense that all the crew are emerging young people, and there's such an amazing community of young filmmakers here who help each other out," Somerville shares. "And it's a real success story for that whole culture. So we're just super proud, and hopefully this means that people like me and people who are young and bold and making innovative, exciting films have more belief and money and time invested in them." We also spoke with Somerville about everything from improvisation as a filmmaking technique, the importance of having the right cast willing to go on this excursion with her, and being unafraid to get dark and reflective, to shooting Melbourne in a realistic but loving way, plus being another example of Australian filmmakers going the DIY route to features and international recognition (see also: kickstarting careers via YouTube, as Talk to Me and Bring Her Back's Danny and Michael Philippou and Together's Michael Shanks did). On the Fwends Experience So Far for Somerville — From Premiering in Berlin and Winning an Award to the International Embrace of the Film and Bringing It Home to Australian Festivals "I feel very lucky that it's not just me going through it on my own — it's been everyone who made Fwends with me. So we've been going through it together. We were all together in Berlin when it came out, and it was a very nice time. And then after that, when we played in the Opera House in Sydney, it was a very insane moment in our lives — because we just never imagined that was possible with our tiny film. So I feel very glad that our friends made our film and our friends have been supporting us through our film coming out." On Not Having Expectations for Fwends' Future While Somerville Was Walking Around Melbourne Shooting It "Because the film was made with so little money, we didn't really have any expectations of 'oh, this will set us up, this will ... '. We didn't really think of it that way. We were just being like 'here's our chance to experiment and try all these innovative techniques of filmmaking, like with improvisation and not having a script and being guerrilla-style and having that kind of freedom that you can't have when you have people with money riding on the film'. So the lack of expectation is the reason the film is the way it is — because we didn't set out having this very judgmental kind of feeling of like 'oh, this needs to make or break anything'." On Whether Somerville Anticipated That Fwends Would Resonate So Strongly with Audiences, Including Around the World "No, we were just wanting to be heard in whatever way we could be. When the film played so well in Berlin, we were all very amazed because we were like 'wow, they really connect with these Australian girls'. And then when we thought about it, we were like 'yeah, of course they do, because the problems they're having are the same ones that people in Berlin are having and that people in so many cities feel'. It's weird now, trying to think back to the headspace we were in when we were making the film, but I think really we were just trying to recreate the depth of the experiences of those two characters, and we were just absorbed in that journey, that process." On Improvisation as a Filmmaking Technique "Working with improvisation is a technique that me and some other filmmakers have been talking about for a little while and experimenting with. And I made a short film called Peeps with five teenage girls in it, which was my graduate film when I was at VCA. I did a bit of improvised filmmaking with those kids, because I knew that it would free them up and make them be quite funny and loose. And I became super interested in it as a way of working just because it just a really surprising, refreshing thing to watch — it feels more alive than a more-scripted thing. And so then I did another short film with Melissa Gan, which was also improvised. And I learned a lot about how to work with that as a filmmaking style. Then with Fwends, I was like 'let's just fully take the risk and improvise the whole thing. Let's see what happens'." [caption id="attachment_1018130" align="alignnone" width="1920"] Berlin International Film Festival[/caption] On How Important It Was to Find the Right Leads to Go on Fwends' Journey with Somerville "People have asked me 'oh, did you have an elaborate casting process?'. And the answer is actually no. I just messaged two really talented people on Instagram because we didn't have the money or the time to do a big complicated long casting process. But I was super lucky to connect with Emmanuelle through Melbourne filmmaking adventures — and they are one of the most-talented actors in the world and they're absolutely killing it at the moment. So it was really, really awesome to work with both Melissa and Emmanuelle, because they're so talented." On Ensuring That Fleshed Out, Recognisable, Everyday Characters Are at the Movie's Heart "I really wanted to have that feeling that there's this real depth to these two people, more so than a traditional film. And I also think just authenticity is a real buzzword these days, and it's something that younger audiences really want out of their entertainment. They want to see realness and they want to see honesty. And I think it's a really exciting way of making a film, because you challenge the actors to make themselves more vulnerable, which makes it a more interesting thing to watch." On How the Film's Tiny Budget, and Using Free Filming Permits, Helped Shape the End Result "You kind of have to adjust your mindset, because when you normally make a film, you'll have a script and then you'll be trying to find all the components after the fact, after the script's been written. But with the way we made this one, it was very much being adaptive and responsive to the things we had available, and then being completely willing to be like 'okay, we can't do that scene in this way, so we're going to do this scene using that over there instead'. So some of the best moments in the film weren't storyboarded or thought of beforehand, they were just decided in the moment. They were just like 'oh look'. Like that star scene, that was just there the night we were shooting and it looked amazing, so we were like 'okay, we have to go do something with that star'. But we didn't plan that." On Giving Voice to the Fact That Everyone Just Wants to Connect — But Doesn't Want to Admit It "I guess it's just a thing that was on my mind and something I feel about my relationships, where you just constantly want to tell them how much you love them, and it's always awkward and shit, and embarrassing and doesn't come across very well. I think their friendship is one that is like that. It's messy and they have moments of deep connection, and then they have to go away and we don't know when they'll see each other again. Love is important." On Fwends Being a Fast-Talking Buddy Comedy That's Also Unafraid to Get Deep, Dark and Existential "I think all my films gravitate towards this feeling of wanting to address real, dark stuff, but then somehow find a way to package it in a way that's entertaining — as a way of digesting your real experiences and being like 'but then this funny thing happened'. But I think that's how real life is. I think with Fwends, we were really trying to convey this feeling of realness and authenticity, and so to be like 'yeah, there's all this bullshit, there's bad shit happening, but there's also all this joy and all this life, and they're totally coexisting all at the same time'. And just to try to live with the complexity of that experience, rather than being sucked into 'everything sucks' or being all delusional and escapist — trying to just live with the complex dimensions of our experiences." On the Walk-and-Talk Genre and Fwends' Influences "I know Before Sunrise is the film it's being compared to a lot, but I intentionally didn't watch it before I made this one because I didn't want to feel like I was too absorbed by the Linklater-y thing. I think when I was making the film, I wasn't thinking about it in terms of 'where does this sit in the constellation of cinema?'. I try not to get too sucked in thinking about that kind of thing, because I think it distracts you from what you're really doing when you're making a film — which is 'how do I show this particular person's journey?'. I love all kinds of films and Fwends is definitely influenced by my own taste, which is a field of movies from the French New Wave and slacker films and all kinds of cinema, really." On Whether It's Rewarding Making an Improvised Film — and Taking an Inventive, Problem-Solving Approach to Budget and Resource Constraints "Yeah, for sure. Because filmmaking is so prohibitive. It can feel so out of reach to people who don't have access to a lot of money. And none of my films were ever made with lots of money because I didn't have any. My short films were made with really, really small budgets as well, where it was just a problem-solving thing of being like 'how do we make cinema out of nothing at all?'. So Fwends was a combination of all those skills, of being like 'how do we make this thing feel bigger than it is using the very limited resources that we have?'. I guess I'm very lucky because I'm in today's day and age, where it is possible to make a great movie on your laptop. And I really hope that we can — I don't think we should be ashamed of the fact that we're making a film with no money. I think it's a powerful thing and it can be used to your advantage." On Somerville's Approach to Showing a Realistic — But Still Affectionate — Version of Melbourne "I didn't want it to look too pretty and too ugly. I wanted to strike a middle ground between 'this is a real place' and also wanted to frame it quite lovingly. Because we were shooting the world out there, just regular people walking around, and so I think when you do that you owe the city a kind of respect. So I hope that it t does come across that way, because we do love living here. And I think I was just trying to just show it the way it is — and also find a romance and a beauty in the messiness of the real world." On Fwends' Journey Around Melbourne, Including Both Planned Stops and Surprises Along the Way "Some places were very planned. Carter [Looker, an alum of Peeps and Linda 4 Eva] and I, the cinematographer, we did a lot of walking around — and a lot of 'oh, we really want to do a shot there'. The shot in the rainforest where they walk around, that was always, very early on, something that we were going to do, because we were very excited about this idea of doing this long take where they weave around the whole place. So it's a real mixture. Some of the nicest shots in the film were not planned at all, and then others were totally imagined and planned out and storyboarded. I mean, that's the beauty of making a film — some of it is totally planned and it doesn't even work, and then some of it is fully improvised in the moment and it's the best thing ever." On How Shorts Helped Prepare Somervile for Making the Leap to Features "I wouldn't have been able to make Fwends if I hadn't made those two short films. It's so important that you experiment and try things. And those two short films, they're very different — really, really different aesthetically. But I think there is something about Fwends that they join in the middle a little bit. Then I hope with my next one, that it'll be even more of a joining together of all these different vibes. And I'm super lucky to have worked with some really generous, talented people for my short films." On How Somerville Plans to Build Upon Both Fwends and Her Shorts for Her Next Feature "Our next thing, we want to make with proper funding and all that stuff. So it's an interesting conversation now to try to bring all these methods that came out of working in the DIY space and bring them into a professionalised environment. But I think it's going to be so exciting. Because I think we've proved, because of how well Fwends has done, we've got real proof that filmmakers like me who are taking bold experiments deserve to be given trust. So I'm really excited to make the next one." On Being an Example of Australian Filmmakers Taking the DIY Path to Features and International Recognition "That's very, very cool. I hope that lots more films get made with no money — and I know how hard it is, but I think that it's super important that you have a space to experiment. And sometimes the only way you can find that space is by doing things yourself and taking those risks." Fwends screens at the 2025 Melbourne International Film Festival. MIFF 2025 runs from Thursday, August 7–Sunday, August 24 at a variety of venues around Melbourne; from Friday, August 15–Sunday, August 17 and Friday, August 22–Sunday, August 24 in regional Victoria; and online nationwide from Friday, August 15–Sunday, August 31. For further details, visit the MIFF website.
Now that peak entertaining season is over, what better time to give your old ceramics collection a spruce up? Especially since you can score some fab pieces on the cheap, at Mud Australia's one-weekend-only Melbourne seconds sale. The legendary Aussie label is hosting a huge warehouse sale opposite its Fitzroy store this weekend, July 19–21, and is slinging a whole assortment of its handmade porcelain and homewares for up to 50 percent off the regular price. Head along each day to find some very pocket-friendly deals on designs that are slightly chipped, samples colours, left over from discontinued lines, imperfectly glazed, or as the team describes, 'outrageously organic'. There'll be everything from tableware to bakeware, vases and lights. Mud Australia seconds sale is open on Friday midday–7pm, Saturday 10am–4pm and Sunday 11am–3pm.
Melbourne's pan-Asian chef and restaurateur, Andrew McConnell, wants to get you off the couch this Monday evening. Remedy a weekend of bad behaviour with something sweet: namely, the ever-coveted peanut butter parfait, salted caramel and soft chocolate dessert at Supernormal, his ever-popular Flinders Street restaurant. The peanut butter parfait is the final crescendo on the restaurant's hybrid menu: it injects a nut element into a typical western dessert format, securing its place alongside other Asian-inspired dishes. If you stop by for the peanut parfait, don't be surprised if you find yourself facing three courses of pan-Asian dishes, showcasing McConnell's delicate blend of Chinese, Japanese and Korean flavours.
The Centipede Cinema is way less creepy than it sounds. The Bartlett School of Architecture in Portugal has designed a cinema in which each moviegoer manoeuvres his or her body into one of the yellow tubes that makes up the giant centipede structure to view the film. Located in Guimarães and conceived by Professor Colin Fournier with artist Marysia Lewandowska, the Centipede Cinema was commissioned by the 2012 European Capital of Culture. The design team for the project included NEON founders, George King and Mark Nixon. Resembling a sort of futuristic alien spaceship, this highly unique cinema invites people to enter one of the 16 nozzles poking out from below the cork structure. The viewer's entire upper body is encompassed by the nozzle, however the legs are out in the open for the rest of the world to see. This creates what looks like a giant cork centipede but is really just 16 people enjoying a film.
If you've always had a fondness for the creepy, kooky, mysterious and spooky, the idea of spending an evening stepping into anything Addams Family-related probably sounds like a dream. Whether you first discovered pop culture's eeriest family via the 90s films, through old episodes of the 60s TV show, in various animated guises over the years — including on the big screen — or thanks to Netflix's Wednesday, that fantasy can now become an IRL reality if you score admission to Wednesday Island. When the streaming platform dropped the full trailer for Wednesday's second season on Thursday, July 10, 2025 Down Under (it was still Wednesday in the US, fittingly), it announced that it was creating a Wednesday experience in Australia. So, on Saturday, August 16, the platform is transforming Cockatoo Island / Wareamah in Sydney Harbour into a fan festival-hosting haven to the show. Now, just a day later, applications are now open to attend — and to be part of a setup that'll make you feel like you're at Nevermore Academy, complete with other activations, performances and more The details remain vague even now that the timer on the pop-up's website has ended its countdown — it was whiling away the seconds until 12am on Friday, July 11, 2025 — but Cockatoo Island will celebrate all things Wednesday for a macabre winter evening. You need to be over 16 to head along. You'll also have to dress the part, too, so you'd best dust off your black-hued and gothic-looking outfits. At present, applications are open for VIP double passes until Sunday, July 20, 2025. Thirty competition winners will score attendance, a merchandise pack, access to an exclusive viewing area, food and drink vouchers to use while they're there, and transport to and from Wednesday Island — via boat from Sydney, and also return economy flights to the Harbour City, and/or one night's accomodation, if you're located outside of metropolitan Sydney. You'll also be able to head along to a pre-festival event. To enter for VIP tickets, you're asked to record a video of up to 30 seconds showing why you need to be hitting up Wednesday Island — and why, like Wednesday, you're an outcast. After that, Wednesday fans will be able to go in the running for general admission tickets between Wednesday, July 23–Sunday, August 3, 2025. What that entails hasn't yet been revealed, but boat transport to and from the island, plus one food and one beverage token, will be included if you're selected. Netflix is also bringing the Wednesday cast to Australia as part of a worldwide promotional tour, but how that will factor into Wednesday Island also hasn't been announced as yet. As for watching the Jenna Ortega (Death of a Unicorn)-led and Tim Burton (Beetlejuice Beetlejuice)-executive produced series when it returns for its second season, you'll be doing that in two batches. Part one arrives on Wednesday, August 6, then part two on Wednesday, September 3. Check out the full trailer for Wednesday season two below: Wednesday Island is taking over Cockatoo Island in Sydney on Saturday, August 16. Head to the pop-up's website to apply for VIP double passes until Sunday, July 20, 2025, or to go in the running for general admission between Wednesday, July 23–Sunday, August 3, 2025 — or just for further information. Wednesday season two arrives in two parts, with part one dropping on Wednesday, August 6, 2025 and part two on Wednesday, September 3, 2025, both via Netflix. Read our full review of Wednesday season one. Images: Bernard Walsh, Helen Sloan and Jonathan Hession/Netflix © 2025.
Spotify Wrapped, the biggest day of the year for admitting to music tastes, has returned. It's the sacred day when we crack open the statistics and see what we've been listening to by the numbers. Here's hoping we've moved on from the pink pilates princess era. For Wrapped Day 2025, Spotify is taking the fun out of your Instagram stories with a series of in-person activations. Celebrating some of the biggest bands in the game, Spotify is taking over Melbourne Central Mall today with a pop-up of personalised goodies for only the most dedicated of listeners. Some Spotify users are ashamed of their hours — but this is a place to celebrate the impressive numbers. If you're a chronic listener, the dedicated office DJ, a driver who won't go a kilometre without a song or someone who just needs white noise — this is your moment. Head to Melbourne Central Mall and look for the Spotify stand near the Optus shop, and show off your hours to the staff, and you'll walk away with one of six limited edition keyrings with your listening hours engraved on the back. It's a special way to remember the year gone by, and you'll have from 10.00am to 6.00pm to visit and secure your goodies, but don't wait as they'll sell out in no time.
With Japanese-inspired, small-batch baked goods and calming, laidback vibes, Bakemono Bakers has been drawing crowds to a hidden laneway off Little Lonsdale Street since 2019. Following a recent renovation, the unassuming space is attracting more crowds than ever, and for good reason. The chefs blend European traditions and Japanese techniques to create handcrafted products from scratch, which are baked fresh in-house daily. The menu is kept tight and intentional, and while there are some seasonally influenced pastries, Bakemono has a range of signature items that customers continue to line up for time and time and again. These include the plain croissant, an item that exemplifies Bakemono's commitment to producing quality goods. The traditional croissant is prepared over three days and laminated with Isigny Sainte-Mère butter before being carefully baked to golden perfection. Bakemono's shiopan — traditional salt breads — are soft, pillowy and buttery rolls that customers can't get enough of. The renovated space maintains its industrial aesthetic, with details drawing inspiration from Studio Ghibli's Japanese animated fantasy film, My Neighbour Totoro. The dark timber display boxes, which showcase each pastry in all its glory, mimic the medicinal cabinets seen in the movie. In those backlit boxes, you'll find the likes of crowd-favourite twice-baked yuzu and almond croissants, blueberry danishes with mascarpone custard and crumble, soft melon-pans with crackled tops, and honey, sesame and sea salt scrolls that make any amount of time spent in the queue entirely worthwhile. It's best to arrive early, as these coveted baked goods often sell out before midday. Images: Supplied.
If you're looking for a quintessentially Melbourne experience, look no further than the Richmond Club Hotel. A grand old dame that's been serving up top-notch tucker and tasty tipples for over a century, this pub is an institution in its own right. But don't be fooled by the historic facade — inside you'll find a modern kit-out sprawled across three levels including a beer garden and rooftop bar. With a menu that blends old-school pub classics with modern Australian fare, it's the perfect spot to tuck into a juicy burger, crispy schnitty or succulent roast. And let's not forget about the beer — with a wide range of brews on offer including many from local and regional breweries. But if hops aren't your thing, don't worry — the bar also boasts an impressive wine list and a creative cocktail menu that's sure to please. And let's not forget about the atmosphere — with its warm, inviting interior and friendly staff, the Richmond Club Hotel is the perfect place to kick back and relax. Whether you're looking for a cosy spot for date night, a quiet drink after work, a comfortable place to watch the game or a lively venue for a night out with friends, this historic establishment has got you covered.
In A Real Pain, as two cousins make a pilgrimage to walk in their dearly departed grandmother's shoes, the concept of alternative possible lives arises. Jesse Eisenberg's second film as a writer/director after 2022's When You Finish Saving the World doesn't hop between timelines science fiction-style; rather, when different pasts or futures come up, it follows a relatable Sliding Doors-esque train of thought about the events and decisions that've shaped David (played by Eisenberg) and Benji Kaplan's (Kieran Culkin, Succession) existences. They're in Poland, where their Grandma Dory grew up, and where they might've too if the Holocaust hadn't occurred. On their guided tour, Benji muses with David about their parallel-universe selves, where they're Polish with beards and everything that they've ever known is completely different. A Real Pain itself is the product of a comparable journey; it could've been a different movie and, originally, it was meant to be. Eisenberg was endeavouring to bring another project to the screen, adapting a short story that he'd penned for Tablet magazine. It was about two friends, not cousins, and instead of Poland they were travelling to Mongolia together. But the Oscar-nominated The Social Network actor, not to mention star of everything from the Zombieland and Now You See Me movies through to TV's Fleishman Is in Trouble, had himself been to Poland. He'd paid tribute to his own family history, visiting the house that his aunt Doris had lived in. He'd also been inspired by that trip to write 2013's off-Broadway play The Revisionist, about a young American man with an older Polish cousin who had survived the Second World War. An ad for "Auschwitz tours, with lunch", which Eisenberg randomly spotted online, helped him pull together influences from all of the above — the screenwriting task that he'd actually set himself, his prior play, his personal experiences and history — into A Real Pain. Audiences should be grateful that it did. Awards bodies have been so far, including via four Golden Globe nominations (for Best Film — Musical or Comedy, Best Best Performance by a Male Actor in a Motion Picture — Musical or Comedy for Eisenberg, Best Performance by a Male Actor in a Supporting Role in Any Motion Picture for Culkin, and Best Screenplay — Motion Picture, again for Eisenberg), plus love from the Gotham Awards and Independent Spirit Awards. At Sundance, where A Real Pain premiered, the dramedy took home a screenwriting accolade. Eisenberg isn't just filtering elements of his family's past into the movie, or recreating a trip that he took with his now-wife two decades back. As he did with the Julianne Moore (May December)- and Finn Wolfhard (Saturday Night)-starring When You Finish Saving the World, he's also tapping into his own IRL anxieties. What he's digging into is right there in A Real Pain's name. As he tells Concrete Playground, "I'm trying to examine and ask the question that I ask myself every day: is my pain valid?". When there's such bigger struggles, troubles and atrocities haunting the world beyond the everyday woes of a person with a largely comfortable life, how can someone feel angst and hurt while also confronted with the bigger picture? In A Real Pain, David and Benji were born mere weeks apart and were almost inseparable as kids, and now make a chalk-and-cheese pair — as is immediately evident while the former leaves a series of messages about meeting up at the airport, where the latter has already been contentedly for hours — but both have their own tussles. In their interactions one on one and with others, one is a ball of tension and apprehension, while the other is laidback and charming. (Based on casting, it's easy to pick which is which before even watching, although Eisenberg initially planned to play Benji.) Where David has also settled into adulthood while grappling with his stresses, however, Benji is in a state of arrested development. Their grandmother's passing hasn't helped. At a pivotal moment, chatting over dinner with the pair's tour group — which includes Will Sharpe (The White Lotus) as their guide, plus Jennifer Grey (Dollface), Kurt Egyiawan (The Agency), Liza Sadovy (A Small Light) and Daniel Oreskes (Only Murders in the Building) as fellow travellers — while Benji is in the bathroom, David unburdens his feelings in a powerful torrent. "I love him and I hate him and I want to kill him and I want to be him," he notes, getting to the heart of the cousins' complicated relationship. Earlier, they'd been at Lublin's Old Jewish Cemetery. The next day, they'll visit the Majdanek concentration camp. A Real Pain sees its titular emotion in micro and macro, then, and knows how awkwardly that the two clash. Just as with questioning the legitimacy of routine trials versus all of the worse things in the world, Eisenberg drew that crucial monologue from his own emotions and experiences. "It's also the most-personal part of the movie — and this is a movie that is very personal," he told us. We also chatted with the Rodger Dodger, The Squid and the Whale, Adventureland, The Double, Batman v Superman: Dawn of Justice, Vivarium and Sasquatch Sunset star about how A Real Pain came together, working with Culkin — including Emma Stone's advice as one of the film's producers that he shouldn't play Benji himself — and what he makes of his career 25 years after his screen debut in TV series Get Real. On What Keeps Drawing Eisenberg to the Question of 'What Pain Is Valid?' as a Writer/Director, First in When You Finish Saving the World and Now in A Real Pain "I've been in the arts since I'm a kid, and I married somebody who works in social justice. And so anytime time I feel I'm doing well or something, I'm reminded that my wife is maybe working with people in more immediate need than I am. And my mother-in-law ran a domestic violence shelter for 35 years, and was unimpressed that her daughter had been married to somebody in movies. So in that first movie, Julianne Moore plays a woman who runs a domestic violence shelter, and she's kind of unimpressed with her kid, who's her family, not doing anything of social value according to her. And then in A Real Pain, the characters are experiencing this very personal pain. My character has OCD, but medicates it away. And my cousin's character has very dark, dark demons inside of him, but it's on an individual level. And so I thought it would be interesting to put these guys against the backdrop of real historical global objective trauma, like the Holocaust. Because in both movies I'm trying to examine and ask the question that I ask myself every day: is my pain valid? I live in a comfortable apartment with a nice wife and kid, and work, I have a nice job. But yet I still feel miserable all day. And why do I have those feelings? So both movies are exploring that exact question. Questions of privilege versus pain — questions about how is it possible that we could feel bad for ourselves when there are so many worse things in the world? In the case of the first movie, it's about domestic violence, and in the case of this movie, it's the Holocaust. And that's just my preoccupation, which just comes from a very self-centred question of 'why do I deserve to feel self-pity?'. On A Real Pain Coming Together From First Trying to Write a Different Film, Then Seeing an Online Ad for Auschwitz Tours "with Lunch", and Also a Past Off-Broadway Play, Plus Eisenberg's Own Personal History and Trip to Poland "It's funny, my friend and I, he's a writer too, we write next to each other at the library every day, and he always says 'once you're on the downslope of the script, you know it's going well'. 'The downslope' in our lingo is basically just once you get past the point of setting everything up and the things are in motion and everything feels right, kind of resolving everything or maybe it's not resolving anything, but that downslope to the end is really smooth. So the last ten pages of this movie, I wrote, I think, in like five minutes, because my wife was texting me I'm going to be late to pick up my kid, and I was like 'I know, but I know the ending, I just have to..'. [caption id="attachment_985500" align="alignnone" width="1920"] Photo by Agata Grzybowska. Courtesy of Searchlight Pictures © 2024 Searchlight Pictures All Rights Reserved.[/caption] So I just wrote it really quickly and all this great stuff came out about me hitting him in the airport, and then this just sad ending of me going home to my family and him stuck at the airport, and it just happened because everything had been set up. And it was in my mind, as you mentioned, throughout several other plays and short stories and stuff, and a real trip with my wife. So once I was at that point, where the dominoes were all falling, I knew, 'oh, this is a story that feels complete'. And then I sent it to my parents and they had no idea what they were reading, because I sent it to them, I don't write in screenwriting programs, so I sent them an e-mail with no names above the characters. Anyway, they said 'this is terrible, what did you what did you do?'. And then I made it more official." [caption id="attachment_985499" align="alignnone" width="1920"] Photo by Agata Grzybowska, Courtesy of Searchlight Pictures, © 2024 Searchlight Pictures All Rights Reserved.[/caption] On What Eisenberg Was Excited About with Working with Kieran Culkin — and Casting Him in a Role That He Was First Planning to Play Himself "I was originally thinking I would play the role of Benji. And our producer is Emma Stone, and she is obviously a very successful producer/actress, and she told me just it would not be a good idea to play a character like that, who's so kind of unhinged and spontaneous, while also trying to direct the movie where I had to be in my other side of my brain of managing a crew. So once I decided I wasn't going to play that role and I was thinking about who could play it, the only person that seemed to me — it's strange, because he's not a Jewish actor — but the only person that seemed to me of my ilk is Kieran. [caption id="attachment_985496" align="alignnone" width="1920"] Tim P. Whitby/Getty Images for The Walt Disney Company Limited[/caption] I don't know what it is, that we're both from New York and speak in this kind of way, and have an energy about us that is similar, but I needed somebody similar and different to me. And Kieran is like me in so many ways and then completely the opposite of me in so many ways. He doesn't feel anxiety about acting. He doesn't think about it. He just wants to get to the set and to just perform. He doesn't want to talk. He does want to analyse it. He doesn't even sleep the night before, and he never wants to rehearse. And he's just comfortable in his own skin. He's now winning, like today, he just won two major awards for the role. I think he doesn't even care. I sent him a congratulations message. He's never going to get back to me. He just takes care of his kids and doesn't care about ambition, fame, success, any money, anything. He lives a really unusual life and it's exactly what I needed for the character. So what we were experiencing on set as colleagues was quite similar to what they're experiencing on set in character." On Capturing the Relatable Dynamic of Loving Someone But Also Hating Them in a Powerful Monologue — and How Pivotal That Moment Was for Eisenberg "Oh, very strangely pivotal in the sense that I was so conscious of the fact that I, as the writer/director, have a monologue in the movie. And I was so panicked about filming it, because I thought I would screw it up, and then I thought 'I don't want the other cast to be sitting there all day while I do this shot of myself'. So the cinematographer and the producer Ali Herting [I Saw the TV Glow, The Curse] basically forced me into doing this long shot that pushes in. We did one take and I was too embarrassed to do it again, because it just seemed indulgent. It's the only take we got. And because I knew I only wanted to one take, I put all the eggs in the basket of it, and so it was very lived in, so to speak. It's also the most-personal part of the movie — and this is a movie that is very personal. We film the movie at my family's house in Poland and it's about my family's history, and yet the most-personal part of the movie is where I say that stuff. Because I guess what I'm talking about is just the way I've felt in my relationships with other guys growing up, just finding people that I'm in awe of — not just guys, also women and family members and all sorts of people — where I have these dual feelings of wanting to be them and kill them at the same time, and loving them and hating them at the same time. I'm living in the shadow of Benji, but in some ways my life has greater stability than his. In most ways, my life has more stability. And so I understand that I've created the life I want, and yet still every time I'm with him he brings up those childhood feelings of envy." On What Eisenberg Makes of His Path From His Screen Debut in TV Series Get Real 25 Years Ago to Everything That's Come His Way Since, Including Writing and Directing "When I was like 16, I got my first professional acting job, which was acting in this TV show. And I'll never forget the audition, all the executives were there, and I remember I was just trying to be funny in front of them. And I was not thinking of myself as a funny person at that point. I was trying to be funny, and people were laughing, like adults were laughing. And I thought 'oh, that's interesting, I wonder if I'm allowed to just be funny the way I want to be funny — it can translate'. I didn't have to be funny like Adam Sandler or something. I could just be funny like myself. So that TV show allowed me to explore, let's say, my own voice as an actor. So that was a really, really lucky experience that no one watched. And since then, I've been very lucky to play roles where I can bring myself to it or bring my own sensibility to certain things, especially in a movie like A Real Pain, which is like my story, and I'm always surprised that anybody likes it. Because when you think of something that's your own, and that's private or artful or creative or something that's funny in your head, you never expect to have any kind of public reaction. But now I've found myself in this very weird position where I get to write stuff and can produce it, and it just feels quite strange because it all still feels very personal." A Real Pain opens in cinemas Down Under on Thursday, December 26, 2024. Images: Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.
Iconic Melbourne club New Guernica has a new Collingwood home, after moving out of the CBD in September. Owners Steve Costa, Dominic Lococo, Jaff Tzaferis and Kyle Bush hunted for a new location in the following weeks, and just last month announced they had found the perfect address in a historic venue on the corner of Smith and Langridge Streets. The site was the previous home to much-loved Foresters Beer and Music Hall, but its history dates back to 1868. Now the club has undergone yet another transformation, this time into a completely unique nightclub space featuring seven-metre high ceilings, a balcony high above the dance floor to see and be seen, as well as a world class lighting and sound system. But key elements remain from the club's old venue, including the recognisable trusty disco ball. And if the colour palette feels familiar, that's because the orange lighting and brass-topped bar were both inspired by Stanley Kubrick's The Shining. Spooky. Whether you want to boogie to some of Australia's most established electronic artists or catch some of the new up-and-coming talent on the scene, this will be the place to do it come the weekend. Iconic club night Guerns will continue its 12-year run on Thursday nights, including the famous $3.50 drink specials. Independent organisers like Novel, The Operatives, Thick As Thieves and Eat The Beat will run the party on Friday and Saturday.
For every Australian that was a toddler from the 90s onwards, and their counterparts worldwide as well, heroes wear blue, yellow, red and purple skivvies. Since the early 90s, The Wiggles have been one of the biggest Aussie names in children's entertainment, and one of the country's most-successful global hits. Alongside Bananas in Pyjamas and Bluey, they're part of a trio of homegrown icons in pop culture's early-childhood space, all thanks to the decision by Anthony Field, Jeff Fatt, Greg Page and Murray Cook to turn their university studies in the area, plus their experience in music — Field and Fatt were part of The Cockroaches, while Page was in Dead Giveaway and Cook in Bang Shang a Lang — into an album for kids. The rest is history, which The Wiggles just keep making. In Triple J's Hottest 100 of 2021, three decades after the group's self-titled debut album, they topped the poll with a cover of Tame Impala's 'Elephant'. Also among the troupe's recent achievements and highlights: appearing at the Mardi Gras parade, playing Falls Festival, earning some love from Lil Nas X and bringing the OGs back together for adults-only shows. Premiering at the first-ever SXSW Sydney, documentary Hot Potato: The Story of The Wiggles — which is now streaming via Prime Video — has joined their resume as well. Onstage for today's toddlers — plus every batch of preschoolers since 'Get Ready to Wiggle' and 'Dorothy the Dinosaur' first started echoing — The Wiggles serve up business as usual. Whether playing at home or around the world, the Aussie entertainers put on a child-pleasing live show. Other than Field, the folks donning the skivvies have changed, with the troupe becoming bigger, more culturally diverse and championing gender balance. At gigs specifically focused at 90s and 00s kids who are now well past The Wiggles' prime demographic, Field, Fatt, Page and Cook have reformed for reunion tours. As seen in Hot Potato: The Story of The Wiggles, both types of concerts draw huge crowds. For Field, Fatt, Page and Cook, life has been shaped by wearing bright colours, singing to fans young and older alike, and getting 'Hot Potato' and 'Fruit Salad' lodged in everyone's brains — and lives have been moulded by their efforts in turn. Early-childhood teaching philosophies have always sat at the forefront of The Wiggles, which the OG four attribute to their success. Young devotees who dance along to their tunes then become adults who still think fondly about their first-ever favourite group. Hot Potato: The Story of the Wiggles clearly has much to cover, then, all within a 104-minute doco that does much more than trade in nostalgia: as directed by Valerie Taylor: Playing with Sharks and David Stratton: A Cinematic Life filmmaker Sally Aitken, it chronicles how four friends started a phenomenon that's taken them everywhere from small Aussie shows to Madison Square Garden, and sparked a beloved group that shows no signs of stopping. With the movie now delighting audiences, Field, Fatt, Page and Cook spoke to Concrete Playground about all things Wiggles, including reflecting upon their careers via the doco, the whirlwind last few years for the OGs and why they're so beloved. And if you're wondering if Fatt, Page and Cook wear skivvies or their famous colours now, Page bought yellow sneakers just for the film's premiere "to have something yellow in my wardrobe", Fatt says he "definitely avoids the purple" and Cook does "have some skivvies though, but they're black". ON THEIR RESPONSE TO A DOCUMENTARY BEING MADE ABOUT THE WIGGLES Anthony: "This New Zealand company approached us about doing it. So they were filming us for the last couple of years and being with us, and then got all this archival footage, and got fans to send in a whole lot of stuff — and just got all these incredible photos right through our career. We were all a step away from the actual creatives of it, and the storytelling. It was pretty well Sally [Aitken] and Fraser [associate director Fraser Grut] with the guys in New Zealand who put it together. But I was a bit scared to see it. I found it very emotional and beautiful — and sad and happy, all that stuff. A lot of great memories." Murray: "When someone's going to make a documentary about you, you're not involved in the decision-making. There's a bit of trust involved and you just hope that they do the right thing. But once we met the filmmakers, Fraser and Sally, we got to know them a bit, and I felt very trusting that they'd tell the story honestly. You don't want to whitewash — you just want the the truth to be told, I think." Jeff: "And Fraser grew up with The Wiggles. So, he held us in very high esteem." Greg: "I think, too, that because he did, because he was a fan as a child, he got the essence of what the documentary is, and that is showing that connection between us and the children, and that connection that continues on today with the new Wiggles. I think that really sums it up beautifully. And I think the overall tone of the picture is one — can you believe I said picture, like moving picture? — the tone of the documentary is one of joy and happiness. Really, that's what it's about. And I think he's done a great job, and so has Sally." ON REFLECTING ON THEIR CAREERS VIA THE FILM Greg: "It must have been such a challenge to try and cram 30 years into probably 100 minutes or so. But they've done a really good job at capturing those high points and the low points along the way — the milestone moments of The Wiggles. To sit there and watch it back for us, I know personally it was really interesting because living it from the inside, you see it very differently to how other people have seen it. But then to step outside of that now and watch it in a different perspective, it's really quite fascinating." Anthony: "You see little bits on YouTube of things we did 15 years ago, but this was like a line of just what happened. And just at the end of it, I was overwhelmed by it all." Murray: "I thought it was quite moving at at times. There was a lot of joy there, but there were a few tears. It does give you an opportunity to reflect on what it was that we achieved and what we created. I think it's really great for the world to see the people behind The Wiggles — that it's not just four goofballs, although we are that — but that there's theory and philosophy behind it. But also just seeing the journey that we went on together, it was really lovely to be able to see that." Greg: "It's interesting because when people ask us questions like they did in the documentary, they're asking questions that we probably never asked each other. And a lot of things we kind of took for granted that we're on the same page about, or we just felt that we would all feel the same way about, but I think there were some differences — not major differences at all. It's kind of funny, like we never sat around and shared a lot about our own feelings about things. A lot of the time, we were talking about the show, the production that we were going to do, there was a lot of that stuff. So I think for me it was really a chance to hear the other guys' perspective on what The Wiggles was to them." ON REALISING THAT THE WIGGLES WERE BECOMING A PHENOMENON Anthony: "In Australia, we went from birthday parties to playing fundraisers for the Nursing Mothers Association, which was really good. They'd sell the tickets and get a percentage of the tickets, they were fundraisers for them and it was great because, basically, it just was word of mouth. The Wiggles in those days, we weren't on television and we weren't on the radio. But the big step up in America, when I knew that things had changed, was when we went over and the people in customs recognised us — not in a bad way. That's when I went 'things have changed here'. It was because Disney took our TV series and put it on four times a day on their channel. And we became massive in America and Canada, and it was amazing." Murray: "I don't think we thought it would go around the world until we actually spent a bit of time in America. For us in the 2000s, from about 2002 on, America was a fairly big focus because it was very successful there. Once we started doing things like playing Madison Square Garden and doing the Macy's Thanksgiving Day parade, it became a little bit surreal, for me anyway. We'd be sitting on buses going to these cities in America that in a lot of cases we've heard of but never been to, and it was a great adventure but it was also a little bit hard to get your head around." Jeff: "From the early days, for example, when we put out the first video and it really made a connection with our audience — and just little steps like that. We'd quite often play for the Nursing Mothers Association in little halls, and that started getting traction. So the audience was continually building in those regional areas and in the city. So there were these little steps along the way, so it wasn't like a huge leap — it was a very gradual thing for us." Greg: "I think, too, it's interesting that people use words like 'global phenomenon' or 'global empire'. For us, it was never about that. It was just about being able to do something that we loved and do it well. And for that reason, every time we had a little bit of success, it felt like we had achieved so much more than what we ever set out to do. And every step along the way, it just kept building and building. So on reflection, I think that was probably the biggest thing about the doco — to sit back and watch those milestone moments be played back. It's like 'well, god, I can't believe we did that because we never set out to do it' — it was just all these happy bonuses that came along. We've had a a blessed time and I think, I hope, that people take away from the doco the fact that when you do something in life that you really enjoy, if it brings joy to other people and that joy is something that's shared both ways, and if everybody's life can be filled with joy, then it's a really great thing." ON THE WIGGLES' ONGOING SUCCESS Murray: "I think that what made The Wiggles successful in the first place is a few things. One of them is that we had this philosophy that was being child-centred, which is a philosophy from early-childhood education where you put the child first and you think about where they're at in terms of their development. We tried to use that in The Wiggles, I think quite successfully. Also just things like we're pretty genuine about it. We're very genuine about what we're doing and what we're trying to achieve. And the songs are good, I think, and really connect with the audience. What's happened after we moved on is that mostly Anthony's seen to it that those things are intact, that the philosophy's still there, that the way of speaking to the audience is still there, the songs are there. So I think that has carried on through the decades and kept The Wiggles in the forefront." Anthony: "I think the bottom line for us is that we have to entertain, and keep children interested and educate them if we can. We're more about pro-social skills, and I think that we've kept the early-childhood philosophies at the forefront, and we haven't gotten too carried away with too many bells and whistles. When we play a live show, we can go off the script at any time, as opposed to a lot of children's shows that are taped. We can, if a child calls out something, we can go with it. That keeps it interesting for us as well. I think that for all those reasons we still love it. I love it still." ON THE WIGGLES' TARGET DEMOGRAPHIC GROWING UP, BUT REMAINING WIGGLES FANS Greg: "I think for those fans, it's the connection to their childhood, when they were young — hopefully carefree and innocent. It's a time of your life where, if you can connect to that inner child when you're in your 20s or 30s, it's something to celebrate. And if The Wiggles are that connection for people, it's a great channel to be able to play music for them and come to our shows, and it's great for us too, actually." Murray: "Oh it's fantastic." Greg: "Because it connects us to that time of our lives as well, when we were doing something that we absolutely loved doing and very privileged to be a part of so many people's lives in a way where they did embrace us and they still do." Jeff: "And for Australian fans, us topping the Triple J, Hot 100, that certainly boosted things with our older audience now." Anthony: "We get told that it was a positive part of their childhood. And when those shows, when we do those adult shows, we don't change our show at all. I mean, pretty well, we're just the same — in the documentary, Paul Paddick, who plays Captain Feathersword, thought it was going to be a chance to swear on stage. And we said 'no, it's got to be exactly how it was or we're going to ruin what these people think about us'." ON THE HOTTEST 100, LIL NAS X AND THE HIGHLIGHTS OF THE LAST FEW YEARS Anthony: "It's been awesome. I'm still going with The Wiggles, so the eight Wiggles, and I'm loving that we've had Jeff come on stage, Murray come on stage, Greg come on stage with us — and it just proves that we're all part of the Wiggles family. Lil Nas was amazing. He made a couple of fun tweets that he'd like to do a collaboration — I really did think it was tongue in cheek — but we did get to meet him at Falls. Falls Festival was just the best, and hanging out with Australian bands that are in their 20s that grew up with the Wiggles, it's just been great. The Hottest 100 was surreal. And musically, it was great because I got to experience Tame Impala, who I knew nothing about — so it was educational for me." We're ready to wiggle with you! 💛💜💙❤️ — The Wiggles (@TheWiggles) April 27, 2022 Murray: "It's funny that so much of what we've done over the years, like going to America, quite a lot of the things we've done have been uncharted. And we've always had this sense of doing things for the adventure of it — and I think this is again something that we never expected. We never expected the initial success that we had, and we never expected that 30 years later we would be playing for those kids who grew up — and no one ever thought that we'd be on Triple J at all, let alone topping the Hottest 100. So it's just wonderful. It's like some sort of icing on the cake, I guess, that we can still get together and have fun with our audience, but also to spend time with each other, and really go back and do this thing that we loved and this amazing thing we created together. Jeff: "At the time we didn't even know who he [Lil Nas X] was. I was totally out of touch with all. But looking at it now, it's crazy." Hot Potato: The Story of The Wiggles streams via Prime Video. Read our review.
Though one of the smallest, Brother Baba Budan has to be one of the most frequented coffee shops in the CBD. The Little Bourke Street cafe has just 15 seats inside, so if you're heading in at coffee peak hour, you'll have to be lucky to snag a spot. Even getting a take away cup tends to be a cosy experience. But it's worth it for an expertly made Seven Seeds brew, either as an espresso, filter or nitro brew. A small selection of pastries and cakes are available on the counter as well. Appears in: The Best Coffee Shops in Melbourne's CBD
Named for Shanghai's ancient narrow streets and alleys, the popular Hutong Group first set up shop in the CBD. The Prahran branch — specialising in peking duck and dumplings — has been around since the end of 2009 and is often as busy as its sibling. The addition of peking duck in its name supposedly indicates their specialty with the dish, however the boast that they are "the original one to make the Peking Duck since 1978 in China" is confusing as a statement and one that is not necessarily fulfilled. As in their other venues, Hutong Peking Duck & Dumpling offers Shanghainese food from eastern China, where dishes are traditionally small and designed for sharing. Their xiao long bao (also known as XLB or soup dumplings) command a rather large and dedicated following. Thin — but not too thin — dumpling skins expertly envelop the fragrant, soupy crab and pork filling ($13.50 for eight). Challenging to eat perhaps, but, having been advised by a dumpling maker that this is what you're after in a dumpling, juices running down the chin is not a problem you should worry about with these morsels. You can have the aforementioned peking duck in dumpling form, or their signature half or whole peking duck with steamed pancakes ($36.90-68.90). This is a build it yourself deal, with the menu instructing you to take a pancake, fill it with roasted and sliced duck meat, swathe this with special duck sauce, some cucumber strips and spring onions, roll it up and put it in your mouth before it all falls apart. It's a pretty dish and rather ceremonially presented with its flower adornment and bamboo steamer full of pancakes. As far as flavour is concerned though, there's just something missing. The gloriousness of the first bite of hot, crispy skin giving way to a melting mouthful of sweet, savoury, smoky duck fat and meat experienced with our previous peking duck endeavours was absent here. While the service was fast and efficient, there is little interest in conversation — or time for explanation or recommendation. You'll want to take a dumpling savvy friend and allow them to order up a storm. Otherwise you may feel a little overwhelmed by the vast menu and lack of navigation assistance. Disinterested service is often part of the deal in dumpling venues — as is a flask of complimentary Chinese tea, lots of dumplings for your dollar and laminated tables. But don't expect any of the latter at Hutong. A lot of care has been put into the décor here with its of mixture of wood, tiling, glass, contemporary art and ornaments. It's very much about the look. All of the surfaces are hard ones, which makes for some tricky acoustics once people start competing for their voices to be heard. If you're after a cheap and cheerful dinner — or a lot of dumpling bang for your buck — Prahran's Hutong isn't for you. But if you feel like mulling over a few xiao long bao and a glass of wine in a refined environment, this is the place to do it.
"Once upon a time there was a little girl who was trapped. This is the story of her great escape." So begins the trailer for the latest version of a Roald Dahl classic, the book-to-stage-to-screen Matilda the Musical — and it's bringing its imaginative story about an extraordinary child, her impressive abilities and her horrible school to Netflix on Christmas Day. For the past few years, the streaming platform has been obsessed with one very particular golden ticket that Matilda the Musical springs from: the beloved works of British author Dahl. Back in 2018, Netflix announced that it was bringing 16 of the writer's classic novels to the service in animated form. And, it revealed that there'd be two new series from Taika Waititi based on Charlie and the Chocolate Factory, too. In 2021, it also advised that it had snapped up the Roald Dahl Story Company (RDSC) itself. So, plenty of Dahl-penned tales are now getting the Netflix treatment, with the service's library set to expand in a big way. That spans everything from Charlie and the Great Glass Elevator, Matilda and The Twits, all as animated television shows, plus The BFG, Esio Trot, George's Marvellous Medicine, The Enormous Crocodile, The Giraffe and the Pelly and Me, Henry Sugar, Billy and the Minpins, The Magic Finger, Dirty Beasts and Rhyme Stew. Yes, it's a long list — and yes, Matilda the Musical is obviously on it. [caption id="attachment_873641" align="alignnone" width="1920"] Roald Dahl's Matilda the Musical. Alisha Weir as Matilda Wormwood in Roald Dahl's Matilda the Musical. Cr. Dan Smith/Netflix © 2022[/caption] If you've seen the Tony and Olivier award-winning show in theatres since 2010 — complete with original music and lyrics by Tim Minchin — you'll know what's in store. If you read the novel before that, you'll also already have plenty of fondness everyone's favourite book-loving schoolgirl with telekinetic abilities. In the movie as onstage, the narrative remains the same as Dahl's original 1988 text, but with songs and tunes that are all supremely on its wavelength. Once again, Matilda Wormwood (Alisha Weir, Darklands) is a curious, bright, quiet, observant and imaginative girl — and tiny — but has terrible parents (Venom: Let There Be Carnage's Stephen Graham and Amsterdam's Andrea Riseborough). So, she escapes into novels as they feast on TV and try to stump up cash via dodgy schemes. But that isn't welcomed by her mum and dad, in her first lesson in being bullied — something that, at school, Matilda will no longer stand for. [caption id="attachment_873640" align="alignnone" width="1920"] Roald Dahl's Matilda the Musical. Alisha Weir as Matilda Wormwood in Roald Dahl's Matilda the Musical. Cr. Dan Smith/Netflix © 2022[/caption] At Crunchem Hall, Matilda finds a source of support and inspiration in Miss Honey (Lashana Lynch, No Time to Die), but it's also where the star student meets another foe. That'd be the villainous Miss Trunchbull (Emma Thompson, Good Luck to You, Leo Grande), who is as mean as can be — and needs Matilda to teach her a lesson. Minchin's songs and lyrics make the jump to the movie version, of course, while Tony Award-winning director Matthew Warchus — who did the honours with Matilda the Musical on the stage — helms. And yes, this is the second movie based on Dahl's Matilda, after a 1996 version initially adapted the book for cinema (not as a musical, though), and featured Mara Wilson as the titular character. Check out the full trailer for Matilda the Musical below: Matilda the Musical will be available to stream via Netflix on December 25. Images: Dan Smith/Netflix © 2022.
It spent almost 100 years of its life as a dry venue, but the beer's flowing freely now at The Victoria Hotel, as it enters its next phase as Mister Munro. The historic Little Collins Street pub has been reimagined as a dapper dining room and bar, named in a nod to former Victorian Premier and temperance advocate, James Munro. Here, you'll find a locally-focused all-day offering that leans to the classics, much like the fitout takes its cues from the building's art deco origins. Breakfast might mean baked eggs with mushrooms and asparagus in slow cooked tomato sauce ($14) or a brown rice 'morning bowl' ($14). An all-day grazing menu features bites like beetroot carpaccio teamed with orange, goats cheese and candied walnuts ($12), tempura salt and vinegar haloumi fries ($8), and a charcuterie platter loaded with a largely local lineup of cheese, cured meats and wild fig compote ($18). Come dinnertime, there's the likes of a pistachio-crusted Millawarra lamb rack served alongside rustic sweet potato fries ($38) and Victorian rainbow trout, starring garlic butter, capers and shaved fennel ($22). The bar offering is a certain hit for that after-work tipple, too. Think, craft beers, an Aussie-led wine list and sophisticated signatures like the A Touch Of Class — a blend of sloe gin, prosecco, watermelon and basil ($18).
